DOCSLIB.ORG

Meter and Vocabulary Catullus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Meter and Vocabulary Catullus THE STUDENTh Appendix B METERS Poetry is rhythmic sound married to meaning. Without sound, poetry ceases to exist as such, In written form it is like sheet music, waiting to come to life in performance. This means, of course, that Qitullus should be read out loud (the ancient Romans did not read silently), and the sound should be naturally rhythmic. Catullus Meter is the “measure” or rhythm of poetry. It is as old as language itself; the actual meters used by atullus are believed to be prehistoric Indo-European rhythms developed and handed down by the Greek poets. For our purposes, lines of poetry are best understood as a sequence of metrical feet. Each foot is a series of two, three, or four syllables that combine to form a metrical building block. The commonest such building blocks in Catullus are: —the dactyl, as in ,eni’, Tsbic’. —the spondee, as in13 qiii A7i —the iamb, as in cano,,__.,____su,s, meae.‘,— —the trochee, as in qTiaeils, i’s, iThs. —the choriamb, as in p-;ig As the last example shows, a foot does not necessarily begin or end with a single word. In fact, word divisions and foot divisions are more or less independent of each other, as in this line made up of six iambs: sl_v_. — S1_S _%1 Phaselus ille, quem videtis, hospites When a meter does call for word ending at the end of a foot, that pause in the line is a diaeresis. There is a strongly felt diaeresis in the middle of the elegiac pentameter: _v_ v_ — vV—., ‘— cogit amare magis, sed hene velle minus In scansion, feet may be marked by single vertical lines; a regular pause (diaeresis or c’esura) is indicated by double lines (II). The rhythm of poetic language is also independent of its regular prose accent, C’ano, for example, is accented on the penult, but its natural rhythm is iambic. Syllables have quantity or length as well as accent. Because a long syllable takes more time to pronounce than a short one, every word has a built-in quantitative rhythm as well as a stress accent. Quantity is the basis of meter in Latin poetry. In poetry, the regular stress accent of words is subordinated to the metrical rhythm set up by the patterns of long and short syllables. Latin poetry is thus different from English because our poetic rhythms arc felt in the beat of word- accent. Hence in the meter of Longfellow’s Evangeline / / / F / This is the forest primval, the murmuring pine and the hemlock the natural accent of the words falls into a rhythmic heat of six dactyls that we recognize as a dactylic hexameter. A corresponding line of Homeric, Catullan, or Virgilian hexameter carries its rhythms more by musically, in a sequence of long and short syllables that strike the ear like half notes and quarter notes: — V — _v V— V— Daniel H. Vesper adest, iuvenes, consurgitc: Vesper Olympo 171 Garrison J The Students Catullus Appendix B: Meters More often than not, the caesura D sense the difference between long “half-note” syllables (marked and short quarter-note” syllables in dactylic hexameter is neither strongly felt nor mai ked by a pause in ) phrasing; in this respect it is quite different from the diaercsis in the pentameter of elegiac verse, aarked ), it is necessary to keep in mind two basic rules of quantity. Hexameter tends to observe line end with a break in the phrasing. When that break is strong enough A syllable is long if it contains a vowel that is long by nature, like the ablative singular ending in the to be punctuated by a semicolon, colon, period, or question mark, the line is end stopped. At the other first declension puella, or the dative and ablative plurals of the first and second declensions (e.g., extreme, when the absence of a break is conspicuous, the resulting run-on is called enjamhrnent: pueris). The lexicon in this book indicates naturally long vowels with a macron (e.g.,progenies). Sueh vowels are long because they take longer to pronounce. Diphthongs, because they contain two Certe ‘ago teTnisnn vowels, also take longer to pronounce and are therefore long by nature: aequor, coepi, aurum, de jade (ei as in deign), and Eurnenides all begin with a long syllable containing a diphthong. eripul, et potius germanum anutterc crevi A syllable is long if it contains a vowel that is long by position, that is, if it is followed by two Here Catullus has held back consonants. These consonants have the effect of slowing down pronunciation of the syllable, the verb enui, forcing us to hurry on to the next line to complete the sense. This gives dramatic force whether or not they are technically part of that syllable. For example, in the phrase Iepidurn novurn to the verb in a speech filled with emotion (the words are Ariadne’s, seduced and abandoned by libellurn, the otherwise short last syllable of lepidum becomes long because it is followed by the Theseus on a desert island). The passionate rush of the first line in this pair is enhanced by elision, which makes the consonant beginning novum. It takes longer to pronounce urn-n than to say urn. By the same token, words stream together: cert-ego tein medio. In Latin verse, a word ending in a vowel elides with the end of novurn becomes long by position because of the duration of the urn-I sound. Finally, the the next word if it begins with a vowel. In scansion, elision is marked by a connecting symbol beneath the e of libellum is phonetically short, but the foot is metrically long because it precedes two i’s that are line: certejgo, Q,in. A final rn in Latin is so weak that it is ignored as a phonetic element and elided: note the pronounced individually: Iibel-Iurn, Exceptions: x = cs and counts as a double consonant: a elision of germanum above and the resultant pronunciation: german-arnittere. Likewise, an initial h is weak preceding vowel therefore makes position.” The combination of a mute (b, c, c4 f g p, and t) with enough to be elided: a following liquid (I, rn, n, and r) makes a blended consonant before which a vowel may or may not qiTr solum iiicc ‘ “make position.” This is the “tnuta corn liquida” rule, TcT cgnitmrrnh’mb In the above line both final rn’s and initial h’s are lost Reading Latin meter, like riding a bicycle, is more complicated to explain than to do. The commonest in elision: soloc died .w cogrutabere. ‘1 hese rules of elision apply in all Latin meters. Actual practice atullan meters, such as the hendecasyllabic verse and the elegiac couplet, can be read instinctively after in pronouncing elided words varies. Some readers prefer to pronounce all elided sounds, reducing one little practice because the rhythm will come naturally. of the two to a kind of grace note: te in would thus become tein. Elisions in Dante and Italian opera are usually treated in this way. The other method is to omit the first of the elided syllables, for example reading solurn hoc above as robe, There is no hard and fast rule, actylic hexameter, the traditional meter of epic since Homer, is used in poems 62 and 64. It also forms Elegiac couplets, named after the meter te first line of every elegiac couplet. Rapid and flexible, it avoids monotony by permitting the substitution used in Archaic Greek elegy and Ilellenistic epigram, are Gatullus’ 1 favorite meter, used in poems 65—116. In this meter, the ‘a spondee for a dactyl in any of the first four feet. “Spondaic lines” (with a spondee in the fifth foot) rapid dactylic hexameter (see above) alternates with a rather slower pentameter, so called because e exceptional, though they appear more often in Catullus than in Virgil or Ovid, some 30 times in poem of its two and a half dactyls on either side of a strongly felt diaeresis. Diaeresis is cancelled by elision only alone, The final syllable, marked with the x, is syllaba anceps, either long or short. The metrical schema eighteen times in a total of 323 pcntametcrs, almost always for pictorial or emotional effect. No substitution is permitted in the last half of the pentameter, written as follows: imposing a f predictability and restraint on the line as well as a sense of closure on the couplet as a whole, — z:-z — — — — .. — The alternation of lines and the divided pentameter give poems in this meter an ebb and flow that is adaptable to many moods. ilowable substitutions or resolutions are indicated by superscripted long or short marks in the schema. he fifth foot of the hexameter is regularly a dactyl; the exceptional line, where a spondee is substituted the fifth foot, is called a spandaic line, even if there are no other spondees in the line. Catullus admits ore spondaic lines than Virgil in his hexameters. This meter usually has a caesura near the middle, so ---I!---x lIed because it cuts the third foot in two. When a word ends immediately after the first syllable of the ird foot, it makes a ,nasculine caesura, also called the principal caesura because most hexameter lines iuse at this point: Galliambic, cum lecti iuvn, rTv r’bi iibis, a one-purpose meter invented for poems about C)’belc and her Galli or casti ated priests, is better suited to the more frequent short syllables of Greek. (‘atullus uses it only in poem 63, where its metimes, as in this and the next example, the caesura is reinforced by a break in the phrasing, marked usual pattern is a comma.
Load more

Recommended publications
  • Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, A
    Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, a young poet employed as a school teacher; Buck Mulligan, a med student; and an Englishman called Haines, who is in Ireland to study Celtic culture, spend their morning in their Martello Tower at the seaside resort town of Sandycove, south of Dublin. Stephen, who is mourning for his dead mother, watches Buck shave on the parapet, they discuss things, Buck goes inside to cook breakfast. They all eat while a local farm woman brings them their milk. Then they walk Martello (now called the "Joyce") Tower at down to the "Forty Foot Hole," where Buck Sandycove swims in Dublin Bay. Pay careful attention to what the swimmers say about the Odyssey, Odysseus was missing, Bannons and the photo girl. presumed dead by most, for ten years after the end of the Trojan War, and Look for parallels between Stephen and his palace and wife in Ithaca were Hamlet, on one hand, and Telemachus, the beset by "suitors" who wanted to son of Odysseus, on the other. In the become king. Ulysses is a sequel to Joyce's A Portrait of the Artist as a Young Man, which is a bildungsroman starring Stephen Dedalus. That novel ended with Stephen graduating from University College, Dublin and heading off for Paris to launch his literary career. Two years later, he's back in Dublin, having been summoned home by his mother's illness. So he's something of an Icarus figure also, having tried to fly out of the labyrinth of Ireland to freed om, but having fallen, so to speak.
    [Show full text]
  • Lilypond Music Glossary
    LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players.
    [Show full text]
  • Warrior Vaunts in the Iliad
    250 Poulheria Kyriakou die bloße Rachehandlung ihm keine Befriedigung schaffen kann. Ihm fehlt die Erkenntnis der Beschaffenheit des Menschlichen, die größere Dauer und höheren Wert besitzt, als die bloße Rache- handlung. Es ist bezeichnend, daß Achilleus diese Wende nicht selbst durchführen kann, sondern daß sein Entschluß wieder als Ausfluß des göttlichen Willens dargeboten wird, wodurch der Weg zu einer echten Versöhnung geöffnet wird. Achilleus erfährt jetzt, was es heißt, hilfreich und edel zu handeln, nicht aber den Stolz auf die rein körperliche Gewalt als letztes Ziel ritterlichen Daseins an- zusehen. Es kann kein Zufall sein, daß die Ilias mit der feierlichen Beisetzung Hektors schließt, genau mit dem Akt, den Achilleus selbst vor dem Zweikampf höhnisch abgewiesen hatte. Es gibt also auch für das heroische Dasein eine Art der Auseinandersetzung, die das gemeinsame höhere Recht in Geltung läßt. Wollte Homer darauf hinweisen, daß er diese Art des Rittertums für die richtige hält? Bonn Hartmut Erbse WARRIOR VAUNTS IN THE ILIAD Warrior vaunts, the short speeches of triumph delivered over a vanquished dead or dying opponent, are peculiar to the Iliad and very rare in extant literature after Homer.1 These speeches have 1) In Od. 22 only the cowherd Philoetius vaunts over the suitor Ctesippus (287–91), ‘admonishing’ him not to boast in the future but to let the gods be the arbiters of his claims. A more conventional vaunt but over an unconventional ene- my is found in the Homeric Hymn to Apollo (362–70), on which see the detailed discussion of A.M. Miller, From Delos to Delphi (Leiden 1986) 88–91.
    [Show full text]
  • Essay 2 Sample Responses
    Classics / WAGS 23: Second Essay Responses Grading: I replaced names with a two-letter code (A or B followed by another letter) so that I could read the essays anonymously. I grouped essays by levels of success and cross-read those groups to check that the rankings were consistent. Comments on the assignment: Writers found all manner of things to focus on: Night, crying, hospitality, the return of princes from the dead (Hector, Odysseus), and the exchange of bodies (Hector, Penelope). Here are four interesting and quite different responses: Essay #1: Substitution I Am That I Am: The Nature of Identity in the Iliad and the Odyssey The last book of the Iliad, and the penultimate book of the Odyssey, both deal with the issue of substitution; specifically, of accepting a substitute for a lost loved one. Priam and Achilles become substitutes for each others' absent father and dead son. In contrast, Odysseus's journey is fraught with instances of him refusing to take a substitute for Penelope, and in the end Penelope makes the ultimate verification that Odysseus is not one of the many substitutes that she has been offered over the years. In their contrasting depictions of substitution, the endings of the Iliad and the Odyssey offer insights into each epic's depiction of identity in general. Questions of identity are in the foreground throughout much of the Iliad; one need only try to unravel the symbolism and consequences of Patroclus’ donning Achilles' armor to see how this is so. In the interaction between Achilles and Priam, however, they are particularly poignant.
    [Show full text]
  • Intertextuality in James Joyce's Ulysses
    Intertextuality in James Joyce's Ulysses Assistant Teacher Haider Ghazi Jassim AL_Jaberi AL.Musawi University of Babylon College of Education Dept. of English Language and Literature [email protected] Abstract Technically accounting, Intertextuality designates the interdependence of a literary text on any literary one in structure, themes, imagery and so forth. As a matter of fact, the term is first coined by Julia Kristeva in 1966 whose contention was that a literary text is not an isolated entity but is made up of a mosaic of quotations, and that any text is the " absorption, and transformation of another"1.She defies traditional notions of the literary influence, saying that Intertextuality denotes a transposition of one or several sign systems into another or others. Transposition is a Freudian term, and Kristeva is pointing not merely to the way texts echo each other but to the way that discourses or sign systems are transposed into one another-so that meanings in one kind of discourses are heaped with meanings from another kind of discourse. It is a kind of "new articulation2". For kriszreve the idea is a part of a wider psychoanalytical theory which questions the stability of the subject, and her views about Intertextuality are very different from those of Roland North and others3. Besides, the term "Intertextuality" describes the reception process whereby in the mind of the reader texts already inculcated interact with the text currently being skimmed. Modern writers such as Canadian satirist W. P. Kinsella in The Grecian Urn4 and playwright Ann-Marie MacDonald in Goodnight Desdemona (Good Morning Juliet) have learned how to manipulate this phenomenon by deliberately and continually alluding to previous literary works well known to educated readers, namely John Keats's Ode on a Grecian Urn, and Shakespeare's tragedies Romeo and Juliet and Othello respectively.
    [Show full text]
  • The New Dictionary of Music and Musicians
    The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno­ mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo­ ries and polyphonic music. IV. Modal scales and folk­ song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela­ tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so­ called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes.
    [Show full text]
  • Naming the Extrasolar Planets
    Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named.
    [Show full text]
  • Homer and Greek Epic
    HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) • The Iliad, Books 23-24 • Overview of The Iliad, Books 23-24 • Analysis of Book 24: The Death-Journey of Priam •Grammar 4: Review of Parts of Speech: Nouns, Verbs, Adjectives, Adverbs, Pronouns, Prepositions and Conjunctions HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 23 • Achilles holds funeral games in honor of Patroclus • these games serve to reunite the Greeks and restore their sense of camaraderie • but the Greeks and Trojans are still at odds • Achilles still refuses to return Hector’s corpse to his family HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles’ anger is as yet unresolved • the gods decide he must return Hector’s body • Zeus sends Thetis to tell him to inform him of their decision • she finds Achilles sulking in his tent and he agrees to accept ransom for Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • the gods also send a messenger to Priam and tell him to take many expensive goods to Achilles as a ransom for Hector’s body • he sneaks into the Greek camp and meets with Achilles • Achilles accepts Priam’s offer of ransom and gives him Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles and Priam arrange an eleven-day moratorium on fighting
    [Show full text]
  • A Literary Analysis of Juvenal's Twelfth Satire
    MONEY AND MORALITY IN JUVENAL'S TWELFTH SATIRE MORALITY AND MATERIALISM: A LITERARY ANALYSIS OF JUVENAL'S TWELFTH SATIRE By SPENCER JOHN GOUGH, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Spencer Gough, September 2008 MASTER OF ARTS (2008) McMaster University (Classics) Hamilton, Ontario TITLE: Morality and Materialism: A Literary Analysis of Juvenal's Twelfth Satire AUTHOR: Spencer John Gough, B.A. (Mount Allison University) SUPERVISOR: Professor Paul Murgatroyd NUMBER OF PAGES: v,108 11 ABSTRACT This disseltation examines how Juvenal, in his Twelfth Satire, critiques greed. Caused by human stupidity, a principle theme of the Fourth Book of Satires, greed destroys society by cormpting core values of friendship and religion, and by consuming those characters that Juvenal characterizes negatively throughout the poem. Emphasis is placed on interpreting Juvenal's attitude to and the relationships between the characters of the poem. The mocking portrayal of the narrator's "friend" Catullus, a merchant, characterizes him as being consumed by the same materialism which drives legacy­ hunters, the targets of the diatribe at the end of the poem. Greed, as exhibited by Catullus and the captatores, spreads vice throughout society by attacking friendship, kinship, religion, and the fundamental values of the state. 1 argue that Juvenal discusses the corruption of his contemporary society as a concrete illustration of the univers al human stupidity outlined in Satire Ten, thus providing a more cohesive reading of Book Four as a whole. 1 also analyse Juvenal's command of intertext and allusion, through the examination of the poet' s playon the poetic storm as a literary motif of the epic genre (Chapter 3), and also by comparing and contrasting the treatment oflegacy-hunting in Satire Twelve and in Horace's Satire 2.5 (Chapter 4).
    [Show full text]
  • Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Seth G. Bernard University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bernard, Seth G., "Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C." (2012). Publicly Accessible Penn Dissertations. 492. https://repository.upenn.edu/edissertations/492 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/492 For more information, please contact [email protected]. Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Abstract MEN AT WORK: PUBLIC CONSTRUCTION, LABOR, AND SOCIETY AT MID-REPUBLICAN ROME, 390-168 B.C. Seth G. Bernard C. Brian Rose, Supervisor of Dissertation This dissertation investigates how Rome organized and paid for the considerable amount of labor that went into the physical transformation of the Middle Republican city. In particular, it considers the role played by the cost of public construction in the socioeconomic history of the period, here defined as 390 to 168 B.C. During the Middle Republic period, Rome expanded its dominion first over Italy and then over the Mediterranean. As it developed into the political and economic capital of its world, the city itself went through transformative change, recognizable in a great deal of new public infrastructure.
    [Show full text]
  • On the Months (De Mensibus) (Lewiston, 2013)
    John Lydus On the Months (De mensibus) Translated with introduction and annotations by Mischa Hooker 2nd edition (2017) ii TABLE OF CONTENTS Abbreviations .......................................................................................... iv Introduction .............................................................................................. v On the Months: Book 1 ............................................................................... 1 On the Months: Book 2 ............................................................................ 17 On the Months: Book 3 ............................................................................ 33 On the Months: Book 4 January ......................................................................................... 55 February ....................................................................................... 76 March ............................................................................................. 85 April ............................................................................................ 109 May ............................................................................................. 123 June ............................................................................................ 134 July ............................................................................................. 140 August ........................................................................................ 147 September ................................................................................
    [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]