Dates:$$70!–!19!BC! ! Home:$$$Vergil!

Total Page：16

File Type：pdf, Size：1020Kb

AUTHOR$SHEET:$$VERGIL$ ! Dates:$$70!–!19!BC! ! Home:$$$Vergil!is!said!to!have!been!born!on!October!15,!70!BC!in!a!village!near!Mantua.! ! ! ! $ $ $ $ $ $ $ $ $ $ $ $ $ Surviving$Works:$ $ Bucolics)(also!called,!Eclogues)—ten!brief!poems!in!hexameters$ Georgics—a!didactic!poem!in!four!booKs!of!hexameters! Aeneid—an!epic!poem!in!twelve!booKs! $ $ An$Introduction$to$the$Aeneid:$ $ 8Vergil!composed!the!Aeneid)between!29!and!19!BC,!but!died!before!the!worK!was!entirely! finished.!!What!remains!to!us!is!roughly!10,000!lines!of!dactylic!hexameter.! 8The!epic!tells!the!legendary!story!of!Aeneas,!a!Trojan!who!travelled!to!Italy,!where!he!became! the!ancestor!of!the!Romans.!! 8The!first!six!of!the!poem’s!twelve!booKs!tell!the!story!of!Aeneas’!wanderings!from!Troy!to!Italy! (modeled!after!Homer’s!Odyssey),!and!the!poem’s!second!half!tells!of!the!Trojans’!ultimately! victorious!war!upon!the!Latins!(modeled!after!Homer’s!Iliad).! 8The!hero!Aeneas!was!already!Known!in!Greco8Roman!legend!and!myth!as!a!character!in!the! Iliad;!Vergil!tooK!the!disconnected!tales!of!Aeneas’!wanderings,!and!authored!a!compelling! founding!myth!or!nationalist!epic!that!both!tied!Rome!to!the!legends!of!Troy,!glorified! traditional!Roman!virtues!and!represented!the!Julio8Claudian!dynasty!as!descendants!of!the! founders,!heroes!and!gods!of!Rome!and!Troy.! ! ! Main$Sources:!!! Conte,!Gian!Biagio.!!Latin)Literature:)A)History.!!Baltimore:!Johns!HopKins!University!Press,!1994.!! Hornblower,!Simon,!and!Antony!Spawforth.!!The)Oxford)Classical)Dictionary.!!New!YorK:!Oxford!University!Press,!1996.!! Kenney,!E.!J.,!and!W.!V.!Clausen.))The)Cambridge)History)of)Classical)Literature.))Vol.)2)Latin)Literature.))Part)3,)The)Age)of) Augustus.!!New!YorK:!Cambridge!University!Press,!1983.!! Martindale,!Charles.!!The)Cambridge)Companion)to)Virgil.!!New!YorK:!Cambridge!University!Press,!1997.!! .

Copy Link

Recommended publications

Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and the Return of the King
Volume 18 Number 2 Article 1 Spring 4-15-1992 Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King David Greenman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Greenman, David (1992) "Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 18 : No. 2 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol18/iss2/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Sees classical influence in the quest patterns of olkienT ’s heroes. Tuor fits the pattern of Aeneas (the Escape Quest) and the hobbits in Return of the King follow that of Odysseus (the Return Quest).
[Show full text]
Let's Think About This Reasonably: the Conflict of Passion and Reason
Let’s Think About This Reasonably: The Conflict of Passion and Reason in Virgil’s The Aeneid Scott Kleinpeter Course: English 121 Honors Instructor: Joan Faust Essay Type: Poetry Analysis It has long been a philosophical debate as to which is more important in human nature: the ability to feel or the ability to reason. Both functions are integral in our composition as balanced beings, but throughout history, some cultures have invested more importance in one than the other. Ancient Rome, being heavily influenced by stoicism, is probably the earliest example of a society based fundamentally on reason. Its most esteemed leaders and statesmen such as Cicero and Marcus Aurelius are widely praised today for their acumen in affairs of state and personal ethics which has survived as part of the classical canon. But when mentioning the classical canon, and the argument that reason is essential to civilization, a reader need not look further than Virgil’s The Aeneid for a more relevant text. The Aeneid’s protagonist, Aeneas, is a pious man who relies on reason instead of passion to see him through adversities and whose actions are foiled by a cast of overly passionate characters. Personages such as Dido and Juno are both portrayed as emotionally-laden characters whose will is undermined by their more rational counterparts. Also, reason’s importance is expressed in a different way in Book VI when Aeneas’s father explains the role reason will play in the future Roman Empire. Because The Aeneid’s antagonists are capricious individuals who either die or never find contentment, the text very clearly shows the necessity of reason as a human trait for survival and as a means to discover lasting happiness.
[Show full text]
The Eternal Fire of Vesta
2016 Ian McElroy All Rights Reserved THE ETERNAL FIRE OF VESTA Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy A thesis submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Classics Written under the direction of Dr. Serena Connolly And approved by ___________________________________________ ___________________________________________ ___________________________________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE THESIS The Eternal Fire of Vesta: Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy Thesis Director: Dr. Serena Connolly Vesta and the Vestal Virgins represented the very core of Roman cultural identity, and Augustus positioned his public image beside them to augment his political legitimacy. Through analysis of material culture, historiography, and poetry that originated during the principate of Augustus, it becomes clear that each of these sources of evidence contributes to the public image projected by the leader whom Ronald Syme considered to be the first Roman emperor. The Ara Pacis Augustae and the Res Gestae Divi Augustae embody the legacy the Emperor wished to establish, and each of these cultural works contain significant references to the Vestal Virgins. The study of history Livy undertook also emphasized the pathetic plight of Rhea Silvia as she was compelled to become a Vestal. Livy and his contemporary Dionysius of Halicarnassus explored the foundation of the Vestal Order and each writer had his own explanation about how Numa founded it. The Roman poets Virgil, Horace, Ovid, and Tibullus incorporated Vesta and the Vestals into their work in a way that offers further proof of the way Augustus insinuated himself into the fabric of Roman cultural identity by associating his public image with these honored priestesses.
[Show full text]
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.
[Show full text]
Vergil's Aeneid: a Homeric Dichotomy?
Anthós (1990-1996) Volume 1 Number 1 Article 3 1990 Vergil's Aeneid: A Homeric Dichotomy? David Dysert Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Ancient History, Greek and Roman through Late Antiquity Commons Let us know how access to this document benefits ou.y Recommended Citation Dysert, David (1990) "Vergil's Aeneid: A Homeric Dichotomy?," Anthós (1990-1996): Vol. 1 : No. 1 , Article 3. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss1/3 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Vergil~s Aeneid: A Homeric Dichotomy? Twinkle, twinkle little star. How I wonder what you are. !l1ttl1f1rt Ah VollS Dirai-je lIdaman, K.265, is a timeless' series of variations on the children's classic "Twinkle, Twinkle Little Star," a pervasive melody in Western culture. Mozart brilliantly manipulates the previous work creating an entirely different musical statement while retaining elements of the original throughout. Beginning with a nearly exact copy of the original, the composer moves to a somewhat melancholy tone and then concludes with a race to the finish. The listener is delighted by Mozart's use of the common melody. Vergil's contemporaries were probably equally, if not more, delighted with his work, the Aeneid. Vergil, like Mozart, (or should we say Mozart, like Vergil!) .
[Show full text]
The Shields of Achilles and Aeneas: the Worlds Portrayed by Homer and Vergil
Vanessa Peters The Shields of Achilles and Aeneas: The Worlds Portrayed by Homer and Vergil The epic simile is a common device in epic poetry; it forms a relationship between two un- likely things and causes one to be viewed through the lens of the other. Unlike a normal simile, an epic simile has a fully developed vehicle that reflects the complexity back on the tenor; that is, an epic sim- ile, in its increased length and depth, can have layers of complexity that a normal simile cannot. The shield of Achilles (Hom. Il. 18.558-709) in Book 18 of Homer’s Iliad and the shield of Aeneas (Verg. Aen. 8.738-858) in book 8 of Vergil’s Aeneid are examples of epic similes, in which the poet takes the role of the god who forges the shield and can comment on society unobtrusively.1 These shields convey different perspectives of Greek and Roman society. Whereas Homer shows the world of peace in con- trast to the world of war to illustrate the tragedy of the Iliad, Vergil expresses Roman triumphalism to glorify Rome and her people. Book 18 of the Iliad marks a turning point in the epic. In it, Achilles decides to return to bat- tle in order to avenge Patroclus’ death by killing Hector. Since he has lost his armour to the enemy, his mother Thetis, knowing that his fate is sealed, beseeches Hephaestus to forge him a new set (Il. 18.534). The god agrees to her request and sets out to work, creating a magnificent shield for Achilles to wear in battle.
[Show full text]
Mythology, Greek, Roman Allusions
Advanced Placement Tool Box Mythological Allusions –Classical (Greek), Roman, Norse – a short reference • Achilles –the greatest warrior on the Greek side in the Trojan war whose mother tried to make immortal when as an infant she bathed him in magical river, but the heel by which she held him remained vulnerable. • Adonis –an extremely beautiful boy who was loved by Aphrodite, the goddess of love. By extension, an “Adonis” is any handsome young man. • Aeneas –a famous warrior, a leader in the Trojan War on the Trojan side; hero of the Aeneid by Virgil. Because he carried his elderly father out of the ruined city of Troy on his back, Aeneas represents filial devotion and duty. The doomed love of Aeneas and Dido has been a source for artistic creation since ancient times. • Aeolus –god of the winds, ruler of a floating island, who extends hospitality to Odysseus on his long trip home • Agamemnon –The king who led the Greeks against Troy. To gain favorable wind for the Greek sailing fleet to Troy, he sacrificed his daughter Iphigenia to the goddess Artemis, and so came under a curse. After he returned home victorious, he was murdered by his wife Clytemnestra, and her lover, Aegisthus. • Ajax –a Greek warrior in the Trojan War who is described as being of colossal stature, second only to Achilles in courage and strength. He was however slow witted and excessively proud. • Amazons –a nation of warrior women. The Amazons burned off their right breasts so that they could use a bow and arrow more efficiently in war.
[Show full text]
Troy Myth and Reality
Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition.
[Show full text]
AP® Latin Teaching the Aeneid
Professional Development AP® Latin Teaching The Aeneid Curriculum Module The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators and schools. For further information, visit www.collegeboard.org. © 2011 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. Contents Introduction................................................................................................. 1 Jill Crooker Minor Characters in The Aeneid...........................................................3 Donald Connor Integrating Multiple-Choice Questions into AP® Latin Instruction....................................................................
[Show full text]
Homer in Virgil
Anthós (1990-1996) Volume 1 Number 3 Article 5 6-1992 Homer in Virgil Thomas Kerns Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Ancient Philosophy Commons Let us know how access to this document benefits ou.y Recommended Citation Kerns, Thomas (1992) "Homer in Virgil," Anthós (1990-1996): Vol. 1 : No. 3 , Article 5. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss3/5 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. HOMER IN VIRGIL Thomas Kerns fter studying Virgil's Aeneid one can A surmise. that Virgil understood Homer's epics, and that he wanted to incorporate both The Odyssey and The Iliad within The Aeneid. Although Virgil drew upon a large .array of predecessors including Lucretious, Appolonious, Homer, and Plato (to name a few), I believe that the biggest influence was Homer. It can also be said that Virgil did not just imitate Homer, but that he transformed his works to make them the base of his own poem (Knauer 402). In this essay, I will show how Virgil has made use of Homer's epics, their structures and units of action, and a few select characters that Virgil deemed important enough to imitate in a related yet diverse fashion to benefit his own poem and intent.
[Show full text]
The Betrayal of Aeneas Giampiero Scafoglio
The Betrayal of Aeneas Giampiero Scafoglio VERYONE KNOWS the story of Aeneas, who flees with his father on his shoulders and his son by the hand, away from a Troy set on fire by the Achaeans. This poignant E 1 scene occurs in the second book of the Aeneid (2.721–724); hence it has permanently entered into our literary and artistic heritage, as a shining example of pietas, conceived especially as a loyalty to family ties and dedication to father and son.2 That scene has its origin in the Greek world, as attested by Attic vase painting beginning in the late sixth century B.C.;3 1 Here is that famous passage: haec fatus latos umeros subiectaque colla / ueste super fuluique insternor pelle leonis, / succedoque oneri; dextrae se paruus Iulus / implicuit sequiturque patrem non passibus aequis. Cf. N. Horsfall, Virgil, Aeneid 2. A Commentary (Leiden/Boston 2008) 500 ff., esp. 508–510. 2 Cf. Aen. 1.378, 544–545; P. Boyancé, La religion de Virgile (Paris 1963) 58– 82; C. J. Mackie, The Characterisation of Aeneas (Edinburgh 1988). On the con- cept of pietas and its role in the Augustan political program: K. Galinsky, Augustan Culture (Princeton 1996) 288–331. But an alternative and more problematic point of view is expressed by M. C. J. Putnam, Virgil’s Aeneid: Interpretation and Influence (Chapel Hill 1995) 134–151; Ch. Perkell, “Aeneid 1: An Epic Programme,” in Reading Virgil’s Aeneid. An Interpretive Guide (Norman 1999) 29 ff., at 35–37. 3 E.g. the Attic black-figure eye-cup from Vulci Louvre F.122 (530–520 B.C.) and the oinochoe Louvre F.118 (520–510), the storage jar at the Getty Museum, inv.
[Show full text]
Comparison Chart: Greek Vs. Roman
9th Grade Honors Introduction to Literature -Summer Work: 2013-2014- 9th Grade Honors Introduction to Literature class not only prepares students for the rigors of upper level Honors and AP English courses,but also sets a foundation in Classical Literature (Greco-Roman Mythology, Biblical Allusions, Arthurian Legends, Shakespeare, poetry, etc), as well as modern literature, literary theory, and writing. This course is rigorous, yet rewarding. The overall goal of this course is to inspire a love of literature with a deeper understanding of its inherent value. The summer reading assignment is highly recommended, but not required. However, the first few weeks of school will be a quick overview of the following reading assignments with a test that will follow. Therefore, it behooves you to get the reading done. The reading is not available in the library. It is online for free at: http://www.gutenberg.org/files/22693/22693-h/22693-h.htm * The title of the text A Book of Myths: The Orginal Classical Edition by Jean Lange You can order a print copy for $10.57 at amazon.com. Its ISBN-10 is 148615252X and the ISBN-13 is 978-1486152520. You can also download the Kindle edition for free at either the Gutenberg Project website or Amazon.com. Along with the readings, students are highly encouraged to take notes and study the charts on the Greek, Roman, and Norse pantheon listed below. There will be a test on the pantheon of ancient gods, their realms, symbols, and stories. --------------------------------------------------------------------------------------------------------------------------------- Comparison chart: Greek vs. Roman Greek Gods Roman Gods Gods in Greek Mythology, i.e.
[Show full text]