"The Dioscuri in Pindar's Nemean 10, Theocritus' Idyll 22 and Ovid's Fasti
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Read the Entire Aeneid. Do Not Skip Sections of the Book. You Need to Read the Whole Thing in Order to Understand All of the Motivations
Instructions: Read the entire Aeneid. Do not skip sections of the book. You need to read the whole thing in order to understand all of the motivations. Answer the following questions about books 1, 2, 4, 6, 8, and 12 for the AP syllabus. Your answers do not have to be in complete sentences, but some questions will require sentences or a paragraph. If you have any questions about a question, send me an email ONLY after you have tried to look it up elsewhere. Have a good summer! Content Questions Aeneid Book 1 1.) What goddess opposes Aeneas? 2.) Two cities are mentioned in the beginning of the Aeneid. These later become bitter enemies. What are they? 3.) Name 4 reasons which the answer to #1 has for hating Trojans: 1. 2. 3. 4. 4.) What was the crime for which Ajax the son of Oileus was punished by Athena? (Check reference book) 5. a.) Who is the King of the Winds? b.) What bribe does the goddess offer him? c.) What does he do for her? 6.) What are the winds compared to as they leave the mountain? 7.) What is the first action which happens to the Trojans? 8.) Who stops the storm? 9.) What is the name by which you know Ilia? (Not in book) 10.) How long will Julus rule? 11.) What race is descended from the Trojans? 12.) What was Julus' name originally? 13.) What great Roman will take his name from Julus? 14.) What Roman king does Juppiter mention? 15.) Juppiter names many Greek kingdoms, which Rome shall conquer. -
OVID Metamorphoses
Metamorphoses Ovid, Joseph D. Reed, Rolfe Humphries Published by Indiana University Press Ovid, et al. Metamorphoses: The New, Annotated Edition. Indiana University Press, 2018. Project MUSE. muse.jhu.edu/book/58757. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/58757 [ Access provided at 20 May 2021 05:17 GMT from University of Washington @ Seattle ] book FIve The Fighting of Perseus* So Perseus told his story, and the halls Buzzed loud, not with the cheery noise that rings From floor to rafter at a wedding-party. No; this meant trouble. It was like the riot When sudden squalls lash peaceful waves to surges. Phineus was the reckless one to start it, That warfare, brandishing his spear of ash With sharp bronze point. “Look at me! Here I am,” He cried, “Avenger of my stolen bride! No wings will save you from me, and no god Turned into lying gold.”* He poised the spear, As Cepheus shouted: “Are you crazy, brother? What are you doing? Is this our gratitude, This our repayment for a maiden saved? If truth is what you want, it was not Perseus Who took her from you, but the Nereids Whose power is terrible, it was hornèd Ammon, It was that horrible monster from the ocean Who had to feed on my own flesh and blood, And that was when you really lost her, brother; 107 lines 20–47 She would have died—can your heart be so cruel To wish it so, to heal its grief by causing Grief in my heart? It was not enough, I take it, For you to see her bound and never help her, Never so much as lift a little finger, And you her uncle and her promised husband! So now you grieve that someone else did save her, You covet his reward, a prize so precious, It seems, you could not force yourself to take it From the rocks where it was bound. -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr. -
Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Clash of the Titans
CLASH OF THE TITANS Written bY John Glenn & Travis Wright Based on the 1981 movie "Clash of the Titans" Written by Beverly Cross May 28, 2008 FADE IN: EXT. ALLEYWAY (VILLAGE) - DUSK Gloomy, last light. From out of the shadows comes -- A DOG. A dog of war. Big, mangy, muscular, scary. As he moves down the alley, the way becomes increasingly choked with fallen structures. and signs of tumult. EXT. BATTLEFIELD - DUSK TRACKING WITH THE DOG as he comes onto a battlefield. The hellish scene is REVEALED TO US SLOWLY -- SERIES OF SHOTS as the Dog traverses a landscape of -- BODIES, frozen in contorted death poses. This was furious, hand-to-hand fighting between human SOLDIERS and nightmare CREATURES, their corpses now in piles to the horizon. The Dog climbs a mound of casualties. At the top, the Dog looks back across the battlefield. The Dog's eyes are sad, his expression weary and disgusted. DISSOLVE TO: EXT. THE PALACE OF ACRISIUS - NIGHT The entrance is patrolled by a dozen PALACE GUARDS. They don't see the Dog pad silently to a fissure in the palace wall and disappear inside. INT. THE PALACE OF ACRISIUS - GREAT HALL - NIGHT Bloodied and battered, the King's GENERALS are disagreeing loudly about strategy. A loud BANGING sound pierces the hubbub, and the officers quiet, turning to -- KING ACRISIUS, a striking man in his prime, his handsome face marked by one crooked scar on his jaw. He commands the room -- KING ACRISIUS Now we end the debate about tactics... and begin to plan for victory. -
Spartan Suspicions and the Massacre, Again1 Sospechas Espartanas Y La Masacre, De Nuevo
Spartan Suspicions and the Massacre, Again1 Sospechas espartanas y la masacre, de nuevo Annalisa Paradiso2 Università della Basilicata (Italia) Recibido: 27-02-17 Aprobado: 28-03-17 Abstract While narrating Brasidas’ expedition to Thrace and the Spartans’ decision to send 700 helots to accompany him as hoplites, Thucydides refers to another episode of helots’ enfranchisement, followed however by their massacre. The association of the timing of the two policies is indeed suspect, whereas it is possible that in the second case the slaughter may have been carried out in different chasms in Laconia, rather than in the so-called Kaiadas, after dividing the helots into groups. Key-words: Thucydides, Sparta, Massacre, Kaiadas. Resumen Mientras narra la expedición de Brásidas a Tracia y la decisión de los espartanos de enviarle 700 ilotas que le acompañaran como hoplitas, Tucídides refiere otro episodio de manumisión de ilotas, seguido empero de su masacre. La coincidencia de ambas medidas políticas es en efecto sospechosa, si tenemos en cuenta que en el segundo caso la matanza puede haberse llevado a cabo en desfiladeros diferentes de Laconia, y no en el llamado Kaiadas, tras dividir a los ilotas en grupos. Palabras-clave: Tucídides, Esparta, masacre, Kaiadas. 1 This article has been improved through information and comments supplied by Yanis Pikoulas, Dimitris Roubis, and James Roy. I am grateful to them and to Maria Serena Patriziano, physical anthropologist, who provided the volumetric calculations. 2 ([email protected]) She is Lecturer of Greek History at the Department of European and Mediterranean Cultures, Architecture, Environment and Cultural Heritage of the University of Basilicata (Matera, Italy). -
The Theoi of Theocritus: Generic Divinity in Idyll 1
The Theoi of Theocritus: Generic Divinity in Idyll 1 It sounds like the beginning of a bad joke: “three gods walk up to a dying cowherd and…” Yet nevertheless, it is under such unusual circumstances that we are first introduced to Theocritus’ bucolic poetry. A programmatic poem designed to establish a new “lower” genre, Idyll 1, in fact, includes more divine figures than mortals. Theocritus’ unusual treatment of divinities begins most strikingly with his portrayal of the Nymphs, but culminates in his depiction of a trio of erotic deities—Hermes, Priapus, and Aphrodite, a set who do not occur together elsewhere in the Idylls. While the invocation of such diverse gods may seem Homeric, the presentation of these divine figures falls short of the expectations and patterns set up by Homer. In their encounters with Daphnis, their divinity is strangely suppressed, and the approaches, attire, and overall portrayal of the gods are reduced to simple, mundane terms that utterly lack the glory of epic. Interpretation of the roles of these gods has varied over time. A. S. F. Gow proposed that Hermes, at least, comes to Daphnis as a fellow herder, a “god of flocks and herds” who reminds the reader of the pastoral environment (1950); Kathryn Gutzwiller, focusing on Daphnis’ conflict with Aphrodite, explains his divine encounters as Theocritus’ attempt to emphasize Daphnis’ mythical prowess in rejecting love (1991); Marco Fantuzzi simply accepted the presence of these deities as a vestige of the mythical background of Daphnis (1998). There is no consensus among scholars; rather, there is a clear dichotomy, as Gow’s interpretation relies on the familiarity of a god and Gutzwiller and Fantuzzi’s on their divinity. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Si Tantus Amor Belli Tibi, Roma, Nefandi. Love and Strife in Lucan's Bellum Civile Giulio Celotto Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES SI TANTUS AMOR BELLI TIBI, ROMA, NEFANDI. LOVE AND STRIFE IN LUCAN’S BELLUM CIVILE By GIULIO CELOTTO A Dissertation submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2017 Giulio Celotto defended this dissertation on February 28, 2017. The members of the supervisory committee were: Tim Stover Professor Directing Dissertation David Levenson University Representative Laurel Fulkerson Committee Member Francis Cairns Committee Member The Graduate School has verified and approved the above5na ed co ittee e bers, and certifies that the dissertation has been appro0ed in accordance 1ith uni0ersity require ents. ii ACKNOWLEDGEMENTS The co pletion of this dissertation could not ha0e been possible 1ithout the help and the participation of a nu ber of people. It is a great pleasure to be able to ac3no1ledge the here. I a ost grateful to y super0isor, Professor Ti Sto0er, for his guidance and dedication throughout the entire ti e of y research. I 1ish to e6tend y than3s to the other Co ittee e bers, Professors Laurel Ful3erson, Francis Cairns, and Da0id Le0enson, for their ad0ice at e0ery stage of y research. I 1ould li3e to e6press y deepest gratitude to Professor Andre1 7issos, 1ho read the entire anuscript at a later stage, and offered any helpful suggestions and criticis s. -
Massachusetts Senior Classical League
MASSACHUSETTS SENIOR CLASSICAL LEAGUE BOSTON ELITE CERTAMEN 2017 ROUND 1 1. Congratulations to all teams for making it to Round 1 of the 2017 Boston Elite Certamen Invitational. Let’s get right into it with everybody’s favorite: Dramatic Interpretation. With a teammate, act out the following passage, which I will read twice, that is based on a film the Romans might have called Istud: Dum pluit, puer lintrī chartāceā lūdēns in viā sōlus currēbat et rīdēbat. Capite in signō ob neglegentiam ictō, puer lapsus est in sēmitā lūbricā et lintrem āmīsit. Linter chartācea in cloācam cecidit, sed ā scurrā terribilī capta est. Scurra nōmen Pennywise eī esse dīxit et fierī amīcus puerī simulāvit. Cōnāns lintrem recipere, puer ā scurrā prehensus est. Bracchiō morsō, puer in cloācam tractus est ut omnīnō vorārētur. BOY IS RUNNING ON THE ROAD PLAYING WITH A PAPER BOAT AND LAUGHING. BOY HITS HIS HEAD ON A SIGN, FALLS DOWN, AND LOSES THE BOAT. THE BOAT FALLS INTO THE SEWER BUT A CLOWN IN