Metamorphoses
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INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Greek and Roman Mythology and Heroic Legend
G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image . -
Tacitus on Titus' Visit to the Temple of Venus at Paphos1
Studia Philologica Valentina ISSN: 1135-9560 Vol. 22, n.s. 19 (2020) 103-114 e-ISSN: 2695-8945 Tacitus on Titus’ Visit to the Temple of Venus at Paphos1 Spyridon Tzounakas <[email protected]> https://orcid.org/0000-0002-7779-0464 University of Cyprus Faculty of Letters Department of Classics and Philosophy P.O. Box 20537 CY - 1678 Nicosia (Cyprus) Fecha de recepción: 30/06/2020 Fecha de aceptación: 15/10/2020 ABSTRACT: This article deals with Titus’ visit to the temple of Venus at Paphos in the second book of Tacitus’ Historiae. I argue that apart from its other literary intentions already mentioned by scholars, this digression implicitly connects Titus not only with Aeneas but also with Julius Caesar. Titus’ affair with Berenice that recalls Caesar’s affair with Cleopatra, Tacitus’ allusions to Lucan’s De Bello Civili where Caesar’s visit to the tomb of Alexander the Great is described, the πόθος- Motiv and fortuna’s favour that characterise both Roman generals, all contribute to connect Titus with Caesar and allow the reader to view a parallel between the Flavian and the Julio-Claudian dynasty. Furthermore, the particular digression allows the historian to present certain aspects of his work and his historiographic practices and to reinforce his credibility. KEYWORDS: Tacitus – Titus – Lucan – Caesar – Paphian Venus As a result of its geographical position, cultural contribution and multifaceted presence in historical developments, Cyprus makes a frequent appearance not only in ancient Greek, but also in Latin literature. Roman writers usually view the island as an important point of transition from the Greek world to the East and to Egypt, while they rarely neglect to turn their attention to Cyprus’ connection to the worship of the goddess Venus. -
Ovid, Ceyx and Alcyone Section A
Eduqas GCSE Latin Component 3A Latin Literature (Narratives) Ovid, Ceyx and Alcyone Section A For examination in 2022 and 2023 © University of Cambridge School Classics Project, 2020 Section A Alcyone begs Ceyx to rethink his plans Following the strange transformation of his brother into a bird, Ceyx decides to visit an oracle of the god Apollo to discover the meaning of these events. Usually he would visit the oracle at Delphi, overland from their home in Greece, but the way is blocked by a hostile king. He decides instead to sail across the Aegean Sea to Asia and the oracle at Claros on the Ionian shore. In this passage he tells his wife his plan, and she reacts with alarm. Notes Teachers should not feel that they need to pass on to their students all the information from these notes; they should choose whatever they think is appropriate. The examination requires knowledge outside the text only when it is needed in order to understand the text. 1 The translation is ante (before [he left]) tamen (however) fidissima Alcyone (most faithful Alcyone) certam te facit (he made you certain) consilii sui (of his plan) The loving relationship between Alcyone and Ceyx is stressed by the superlative vocative fidissima (‘most faithful’). The delay between the adjective and the noun with which it agrees (Alcyone) causes the reader to dwell on the word. The strong bond between the two is one of the main themes of this text. facit: there are lots of verbs in the historic present tense in this text. These are present tense verbs but used to describe something happening in the past. -
Ships in the Eastern Mediterranean During the Hellenistic Period N ANTET EDITED by EMMANUEL NANTET with a PREFACE by ALAIN BRESSON (
E Sailing from Polis to Empire MMANUEL Ships in the Eastern Mediterranean during the Hellenistic Period N ANTET EDITED BY EMMANUEL NANTET WITH A PREFACE BY ALAIN BRESSON ( ED Sailing from Polis to Empire What can the architecture of ancient ships tell us about their capacity to carry cargo or to .) navigate certain trade routes? How do such insights inform our knowledge of the ancient S economies that depended on mari� me trade across the Mediterranean? These and similar ques� ons lie behind Sailing from Polis to Empire, a fascina� ng insight into the prac� cali� es of trading by boat in the ancient world. Allying modern scien� fi c knowledge with Hellenis� c sources, this interdisciplinary collec� on brings together experts in various fi elds of ship archaeology to shed new light on the role played by ships and AILING sailing in the exchange networks of the Mediterranean. Covering all parts of the Eastern Mediterranean, these outstanding contribu� ons delve into a broad array of data – literary, epigraphical, papyrological, iconographic and archaeological – to understand the trade FROM routes that connected the economies of individual ci� es and kingdoms. Unique in its interdisciplinary approach and focus on the Hellenis� c period, this collec� on P digs into the ques� ons that others don’t think to ask, and comes up with (some� mes OLIS surprising) answers. It will be of value to researchers in the fi elds of naval architecture, Classical and Hellenis� c history, social history and ancient geography, and to all those with TO an interest in the ancient world or the seafaring life. -
Tales from the Greek Legends Free
FREE TALES FROM THE GREEK LEGENDS PDF Edward Ferrie,Benjamin Soames,Gustav Holst,Et Al | none | 01 Jun 2010 | NAXOS AUDIOBOOKS | 9789626340196 | English | Hong Kong, Hong Kong Greek Myths • Famous Stories, Myths and Legends of Ancient Greece The Greek mythology is a sum of fables told by the ancient Greeks to explain the existence of the world, some natural phenomena or just for pleasure, to intrigue the imagination of people. Most of these Ancient Greek myths survive till our days because they have been included in the works of famous ancient writers and historians. They are, of course, not based Tales from the Greek Legends rationalism but on the unbelievable and the supernatural. Some of the ancient Greek myths are shocking, but all are bound to captivate you. Add Tales from the Greek Legends Business Add your business. Sign In. Discover the most famous ancient Greek myths You will find below 29 Greek myths: Odysseus, Jason and the Argonauts, Theseus, the Amazons, Persphone and many more myths. Odysseus, the king of Ithaca, is probably the most famous hero of all times. His story is a myth with monsters, bad luck and much adventure. The story of Odysseus is actually the long trip of a man who has only one aim, to go back to his beloved homeland and his family. Odysseus left Troy after then years of war and started his journey to his home on Ithaca. However, this journey was long and adventurous. The myth of Jason, his fellow Argonauts and the trip to get the Tales from the Greek Legends Fleece has enthralled the world. -
And Type the TITLE of YOUR WORK in All Caps
IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr. -
Augustanism in Ovid's Ars Amatoria
The Art of Making Oneself Hated: Rethinking (Anti-)Augustanism in Ovid’s Ars Amatoria The Art of Love: Bimillennial Essays on Ovid's Ars Amatoria and Remedia Amoris Steven Green Print publication date: 2007 Print ISBN-13: 9780199277773 Published to Oxford Scholarship Online: January 2010 DOI: 10.1093/acprof:oso/9780199277773.001.0001 The Art of Making Oneself Hated: Rethinking (Anti-)Augustanism in Ovid’s Ars Amatoria Sergio Casali DOI:10.1093/acprof:oso/9780199277773.003.0011 Abstract and Keywords This chapter focuses on the most overtly ‘Augustan’ part of the Ars – the Parthian expedition of Gaius Caesar (1.171-228) – and invites us to read the event as an episode that exposes tensions in the dynastic family, and draws attention to the spectacle and theatricality of the Emperor's Parthian campaign. Keywords: Ars Amatoria, Remedia Amoris, Augustus, politics, Rome, Parthia, Gaius Caesar My subtitle implies that I want to strike a balance, or to discuss the question of the Augustanism/anti-Augustanism of the Ars from a theoretical point of view. In fact, I won’t be doing that. The ‘Augustan’ side of the question has been treated in the best possible way by Mario Labate in his book L’arte di farsi amare,1 the ‘anti-Augustan’ side by Alison Sharrock, particularly in her article on ‘Ovid and the Politics of Reading’,2 and the ‘aporetic’ side by Duncan Kennedy and Alessandro Barchiesi.3 I couldn’t do it better. So, the first part of my title is more relevant for my chapter. It makes fairly clear, I think, my predilection for a good old anti-Augustan approach to Ovid. -
The Example of Procris in the Ars Amatoria
UC Berkeley Cabinet of the Muses: Rosenmeyer Festschrift Title The Example of Procris in the Ars Amatoria Permalink https://escholarship.org/uc/item/5xx8c1wj Author Anderson, William S. Publication Date 1990-04-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California THE EXAMPLE OF PROCRIS IN THE ARS AMATORIA William S. Anderson University of California, Berkeley Ever since Richard Heinze developed his masterful study of Ovid’s narrative styles by pitting similar stories recounted in elegiac meter against those of the Metamorphoses, starting from the near-contemporaneously composed myths of Persephone of Fasti 4 and of Met. 5, a methodology of contextualization has been legitimated for exploring these materials.1 As perhaps the richest pair of such narratives, elegiac and hexameter, the story of how Cephalus loved, married, and then accidentally killed Procris in a hunting accident has generated numerous studies since Heinze’s time.2 The earliest adherents of Heinze used the account in Ars Amatoria 3.687ff. to demonstrate the greater weight and epic character of the account in Met. 7.672ff. (or of 7.796ff., to limit ourselves to the death of Procris in the Met. as the strictly parallel passage).3 In more recent years, as the “epic” character of the Met. has been called into question, the procedures of contextualization have altered somewhat. On the one hand, many studies have continued to emphasize the greater power and pathos of Procris’ death in the Met. and so called attention to features of Ars 3 that appear to be earlier and less artistic details consciously changed and improved by Ovid in the later Met. -
Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’S Stories of Tereus and Myrrha
INCEST, CANNIBALISM, FILICIDE: ELEMENTS OF THE THYESTES MYTH IN OVID’S STORIES OF TEREUS AND MYRRHA Hannah Sorscher A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial ful- fillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2017 Approved by: Sharon L. James James J. O’Hara Emily Baragwanath © 2017 Hannah Sorscher ALL RIGHTS RESERVED ii ABSTRACT Hannah Sorscher: Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’s Stories of Tereus and Myrrha (Under the direction of Sharon L. James) This thesis analyzes key stories in Books 6–10 of Ovid’s Metamorphoses through a focus on the pair of stories that bookend the central section of the poem, the narratives of Tereus and Myrrha. These two stories exemplify the mythic types of the family-centered stories in Books 6– 10: Tereus’ is a tale of filicide (specifically, filial cannibalism), while Myrrha’s features incest. Ovid links these stories through themes and plot elements that are shared with the tragedy of Thyestes, a paradigmatic tragic myth encompassing both filial cannibalism and incest, otherwise untold in the Metamorphoses. Through allusions to Thyestes’ myth, Ovid binds together the se- quence of human dramas in the poem, beginning and ending with the Tereus and Myrrha stories. Furthermore, the poet reinforces and signals the connections between the stories through textual echoes, lexical formulations, and shared narrative elements. iii TABLE OF CONTENTS Introduction………………………………………………………………………………………..1 Thyestes…………………………………………………………………………………………...2 Lexical Connections……………………………………………………………………………...13 Conclusion…………………………………………………………………………………….....34 Works Cited…………………………………………………………………………………...…3 iv Introduction In the central books of Ovid’s Metamorphoses, six episodes share a dark but very Ovidi- an theme: the destruction of human families. -
VISUALISING with OVID Jo-Marie Claassen University Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stellenbosch University SUNScholar Repository WORD PICTURES: VISUALISING WITH OVID Jo-Marie Claassen University of Stellenbosch ABSTRACT Ovid verbally portrays three different modes of ‘seeing’. In the Metamorphoses readers mentally ‘watch’ his various protagonists seeing or being seen. In the elegiac poetry readers are often induced to share the field of vision of his protagonists. In Amores 3.2 and Ars Amatoria 1.135ff., readers ‘look’ with the lover and his mistress during ‘a day at the races’, virtually becoming both protagonists. In the exilic poems Ovid is sole viewer. ‘Something he saw that ruined him’ looms large in his imagination. The exile begins to rely solely on mental vision, ‘seeing’ the sights of Rome, conjuring up distant friends into his presence. Readers ‘see’ the lonely exile being comforted by his own inner vision. Introduction Videmus natura, spectamus voluntate, intuemur cura, aspicimus ex improviso. We see naturally, we look voluntarily, we watch something with care, and we inspect something if we have been surprised by it. (Ps.-Fronto, Gramm. 7.520.18 K = Charis. Gramm. P. 388.26) The four Latin verbs quoted above illustrate the fact that visual perception has various modes, which may be roughly characterised as the differences between the semantic implications of their approximate English equivalents ‘seeing’, ‘looking’, ‘watching’ and ‘scrutinising’. The four verbs chosen by Pseudo-Fronto for differentiating various modes of vision Grateful thanks to David Wardle, editor of Acta Classica, and the two anonymous referees, whose advice I tried scrupulously to follow, and also to two earlier readers, whose equally useful comments were relayed to me by Prof. -
Personification in Ovid's Metamorphoses
Personification in Ovid’s Metamorphoses: Inuidia, Fames, Somnus, Fama Maria Shiaele Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Classics August 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. ©2012 The University of Leeds Maria Shiaele yia tovç yoveiç /lov for mum and dad IV Acknowledgements Throughout all these years of preparing this dissertation many people stood by my side and supported me intellectually, emotionally and financially to whom I would like to express my sincere thanks here. First of all, my deep gratitude goes to my supervisors Professor Robert Maltby and Dr Kenneth Belcher, for their unfailing patience, moral support, valuable criticism on my work and considerable insights. I thank them for believing in me, for being so encouraging during difficult and particularly stressful times and for generously offering their time to discuss concerns and ideas. It has been a great pleasure working with them and learning many things from their wide knowledge and helpful suggestions. Special thanks are owned to my thesis examiners, Dr Andreas Michalopoulos (National and Kapodistrian University of Athens) and Dr Regine May (University of Leeds), for their stimulating criticism and valuable suggestions. For any remaining errors and inadequacies I alone am responsible. Many thanks go to all members of staff at the Department of Classics at Leeds, both academic and secretarial, for making Leeds such a pleasant place to work in.