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Horace, Contribution & Works. Horace was, along with Vergil, the leading Roman poet in the time of Emperor Augustus. He ...
22/05/2024

Horace, Contribution & Works.

Horace was, along with Vergil, the leading Roman poet in the time of Emperor Augustus. He is considered by classicists to be one of the greatest and most original of Latin lyric poets, appreciated for his technical mastery, his control and polish, and his mellow, civilized tone. As well as his lyric or love poetry, he wrote many biting satires and hymns.
Writings:
The surviving works of Horace include two books of satires, a book of epodes, four books of odes, three books of letters or epistles, and a hymn. Like most Latin poets, his works make use of Greek metres, especially the hexameter and alcaic and sapphic stanzas.

The “sermones” or satires are his most personal works, and perhaps the most accessible to contemporary readers since much of his social satire is just as applicable today as it was then. They were Horace’s first published works (the first book of ten satires in 33 BCE and the second book of eight in 30 BCE), and they established him as one of the great poetic talents of the Augustan age. The satires extol the Epicurean ideals of inner self-sufficiency and moderation and the search for a happy and contented life. Unlike the unrestrained and often vituperative satires of Lucilius, though, Horace discoursed with gentle irony about faults and foibles which everyone possesses and should confront.
The “carmina” or odes, published in 23 BCE and 13 BCE, are his most admired works, however, and were developed as a conscious imitation of the short lyric poetry of the Greek originals of Pindar, Sappho and Alcaeus, adapted to the Latin language. They are lyric poems dealing with the subjects of friendship, love and the practice of poetry. The epodes, actually published before the odes, in 30 BCE, are a shorter variation on the form of the odes and represented a new form of verse for Latin literature at that time.

Metamorphoses by OvidMetamorphoses, poem in 15 books, written in Latin about 8 CE by Ovid. It is written in hexameter ve...
21/05/2024

Metamorphoses by Ovid

Metamorphoses, poem in 15 books, written in Latin about 8 CE by Ovid. It is written in hexameter verse. The work is a collection of mythological and legendary stories, many taken from Greek sources, in which transformation (metamorphosis) plays a role, however minor. The stories, which are unrelated, are told in chronological order from the creation of the world (the first metamorphosis, of chaos into order) to the death and deification of Julius Caesar (the culminating metamorphosis).

The importance of the theme of metamorphosis is more apparent than real; passion is the essential theme of the poem, and passion imparts more unity to the work than do the transformation devices employed by Ovid. The work is noted for its wit, rhetorical brilliance, and narrative and descriptive qualities.

Aeneid by Virgil Virgil's tale recounts Aeneas' quest to establish a new city for the Trojan people. From the beginning,...
19/05/2024

Aeneid by Virgil
Virgil's tale recounts Aeneas' quest to establish a new city for the Trojan people. From the beginning, we learn that Aeneas is destined to settle in Italy and give rise to the mighty Roman Empire, to whom all nations and people look in awe and wonder. This is the will of Jupiter, king of the gods, and it is immutable.

Seneca Senecan tragedy, body of nine closet dramas (i.e., plays intended to be read rather than performed), written in b...
16/05/2024

Seneca
Senecan tragedy, body of nine closet dramas (i.e., plays intended to be read rather than performed), written in blank verse by the Roman Stoic philosopher Seneca in the 1st century AD. Rediscovered by Italian humanists in the mid-16th century, they became the models for the revival of tragedy on the Renaissance stage. The two great, but very different, dramatic traditions of the age—French Neoclassical tragedy and Elizabethan tragedy—both drew inspiration from Seneca.
Seneca’s plays were reworkings chiefly of Euripides’ dramas and also of works of Aeschylus and Sophocles. Probably meant to be recited at elite gatherings, they differ from their originals in their long declamatory, narrative accounts of action, their obtrusive moralizing, and their bombastic rhetoric. They dwell on detailed accounts of horrible deeds and contain long reflective soliloquies. Though the gods rarely appear in these plays, ghosts and witches abound. In an age when the Greek originals were scarcely known, Seneca’s plays were mistaken for high Classical drama. The Renaissance scholar J.C. Scaliger (1484–1558), who knew both Latin and Greek, preferred Seneca to Euripides.

French Neoclassical dramatic tradition, which reached its highest expression in the 17th-century tragedies of Pierre Corneille and Jean Racine, drew on Seneca for form and grandeur of style. These Neoclassicists adopted Seneca’s innovation of the confidant (usually a servant), his substitution of speech for action, and his moral hairsplitting.

The Elizabethan dramatists found Seneca’s themes of bloodthirsty revenge more congenial to English taste than they did his form. The first English tragedy, Gorboduc (1561), by Thomas Sackville and Thomas Norton, is a chain of slaughter and revenge written in direct imitation of Seneca. Senecan tragedy is also evident in Shakespeare’s Hamlet; the revenge theme, the co**se-strewn climax, and such points of stage machinery as the ghost can all be traced back to the Senecan model.

Peace of AristophanesThis play was staged seven months or so after both Cleon and Brasidas—the two main champions of the...
14/05/2024

Peace of Aristophanes

This play was staged seven months or so after both Cleon and Brasidas—the two main champions of the war policy on the Athenian and Spartan sides, respectively—had been killed in battle and, indeed, only a few weeks before the ratification of the Peace of Nicias (March 421 BCE), which suspended hostilities between Athens and Sparta for six uneasy years. In Peace (421 BCE; Greek Eirēnē) the war-weary farmer Trygaeus (“Vintager”) flies to heaven on a monstrous dung beetle to find the lost goddess Peace, only to discover that the God of War has buried Peace in a pit. With the help of a chorus of farmers, Trygaeus rescues her, and the play ends with a joyful celebration of marriage and fertility.

The Birds by Aristophanes This play can be regarded merely as a “comedy of fantasy,” but some scholars see Birds (414 BC...
13/05/2024

The Birds by Aristophanes

This play can be regarded merely as a “comedy of fantasy,” but some scholars see Birds (414 BCE; Greek Ornithes) as a political satire on the imperialistic dreams that had led the Athenians to undertake their ill-fated expedition of 415 BCE to conquer Syracuse in Sicily. Peisthetaerus (“Trusty”) is so disgusted with his city’s bureaucracy that he persuades the birds to join him in building a new city that will be suspended in between heaven and earth; it is named Nephelokokkygia, translatable as “Cloud-cuckoo-land.” The city is built, and Peisthetaerus and his bird comrades must then fend off the undesirable humans who want to join them in their new utopia. He and the birds finally even starve the Olympian gods into cooperating with them. Birds is Aristophanes’ most fantastical play, but its escapist mood possibly echoes the dramatist’s sense of Athens’ impending decline.

The Wasps by Aristophanes This comedy satirized the litigiousness of the Athenians in the person of the mean and waspish...
12/05/2024

The Wasps by Aristophanes

This comedy satirized the litigiousness of the Athenians in the person of the mean and waspish old man Philocleon (“Love-Cleon”), who has a passion for serving on juries. In Wasps (422 BCE; Greek Sphēkes) Philocleon’s son, Bdelycleon (“Loathe-Cleon”), arranges for his father to hold a “court” at home, but, since the first “case” to be heard is that of the house dog accused of the theft of a cheese, Philocleon is finally cured of his passion for the law courts and instead becomes a boastful and uproarious drunkard. The play’s main political target is the exploitation by Cleon of the Athenian system of large subsidized juries.

The Clouds by Aristophanes This play is an attack on “modern” education and morals as imparted and taught by the radical...
11/05/2024

The Clouds by Aristophanes

This play is an attack on “modern” education and morals as imparted and taught by the radical intellectuals known as the Sophists. The main victim of Clouds (423 BCE; Greek Nephelai) is the leading Athenian thinker and teacher Socrates, who is purposely (and unfairly) given many of the standard characteristics of the Sophists. In the play Socrates is consulted by an old rogue, Strepsiades (“Twisterson”), who wants to evade his debts. The instruction at Socrates’ academy, the Phrontisterion (“Thinking Shop”), which consists of making a wrong argument sound right, enables Strepsiades’ son to defend the beating of his own father. At the play’s end the Phrontisterion is burned to the ground.

Knights by Aristophanes This play shows how little Aristophanes was affected by the prosecution he had incurred for Baby...
10/05/2024

Knights by Aristophanes

This play shows how little Aristophanes was affected by the prosecution he had incurred for Babylonians. Knights (424 BCE; Greek Hippeis) consists of a violent attack on the same demagogue, Cleon, who is depicted as the favourite slave of the stupid and irascible Demos until he is, at last, ousted from his position of influence and authority by Agoracritus, a sausage seller who is even more scoundrelly and impudent than Cleon.

Acharnians by Aristophanes This is the earliest of the 11 comedies of Aristophanes that have survived intact. Acharnians...
09/05/2024

Acharnians by Aristophanes

This is the earliest of the 11 comedies of Aristophanes that have survived intact. Acharnians (425 BCE; Greek Acharneis) is a forthright attack on the folly of the war. Its farmer-hero, Dicaeopolis, is tired of the Peloponnesian War and therefore secures a private peace treaty with the Spartans for himself in spite of the violent opposition of a chorus of embittered and bellicose old charcoal burners of Acharnae. Dicaeopolis takes advantage of his private treaty to trade with the allies of the Spartans. The Athenian commander Lamachus tries to stop him, but by the end of the play Lamachus slumps wounded and dejected while Dicaeopolis enjoys a peacetime life of food, wine, and s*x.

Babylonians by Aristophanes This comedy, which is extant only in fragments, was produced at the festival of the Great Di...
08/05/2024

Babylonians by Aristophanes

This comedy, which is extant only in fragments, was produced at the festival of the Great Dionysia. The festival was attended by delegates of the city-states, which were theoretically “allies” but were in practice satellites of Athens. Because Babylonians (426 BCE; Greek Babylōnioi) not only virulently attacked Cleon, the demagogue then in power in Athens, but also showed the “allies” as the slaves of the Athenian Demos (a personification of the Athenian citizen electorate), Aristophanes was impeached by Cleon. Though the details are not known, he seems to have been let off lightly.

Trackers (Ichneutai) by Sophocles Four hundred lines of this satyr play survive. The plot of Trackers (Greek: Ichneutai)...
07/05/2024

Trackers (Ichneutai) by Sophocles

Four hundred lines of this satyr play survive. The plot of Trackers (Greek: Ichneutai) is based on two stories about the miraculous early deeds of the god Hermes: that the infant, growing to maturity in a few days, stole cattle from Apollo, baffling discovery by reversing the animals’ hoof marks, and that he invented the lyre by fitting strings to a tortoise shell. In this play the trackers are the chorus of satyrs, who are looking for the cattle; they are amusingly dumbfounded at the sound of the new instrument Hermes has invented. Enough of the play survives to give an impression of its style; it is a genial, uncomplicated travesty of the tragic manner, and the antics of the chorus were apparently the chief source of amusement.

Philoctetes by Sophocles In Philoctetes (Greek: Philoktētēs) the Greeks on their way to Troy have cast away the play’s m...
06/05/2024

Philoctetes by Sophocles

In Philoctetes (Greek: Philoktētēs) the Greeks on their way to Troy have cast away the play’s main character, Philoctetes, on the desert island of Lemnos because he has a loathsome and incurable ulcer on his foot. But the Greeks have discovered that they cannot win victory over Troy without Philoctetes and his wonderful bow, which formerly belonged to Heracles. The crafty Odysseus is given the task of fetching Philoctetes by any means possible. Odysseus knows that the resentful Philoctetes will kill him if he can, so he uses the young and impressionable soldier Neoptolemus, son of the dead Achilles, as his agent. Neoptolemus is thus caught between the devious manipulations of Odysseus and the unsuspecting integrity of Philoctetes, who is ready to do anything rather than help the Greeks who abandoned him. For much of the play Neoptolemus sticks to Odysseus’s policy of deceit, despite his better nature, but eventually he renounces duplicity to join in friendship with Philoctetes. A supernatural appearance by Heracles then convinces Philoctetes to go to Troy to both win victory and be healed of his disease.

Trachinian Women by Sophocles This play centres on the efforts of Deianeira to win back the wandering affections of her ...
05/05/2024

Trachinian Women by Sophocles

This play centres on the efforts of Deianeira to win back the wandering affections of her husband, Heracles, who is away on one of his heroic missions and who has sent back his latest concubine, Iole, to live with his wife at their home in Trachis. The love charm Deianeira uses on Heracles turns out to be poisonous, and she kills herself upon learning of the agony she has caused her husband. Thus, in Trachinian Women (Greek: Trachiniai) Heracles’ insensitivity (in sending his mistress to share his wife’s home) and Deianeira’s ignorance result in domestic tragedy.

Electra by Sophocles As in Aeschylus’s Libation Bearers, the action in Electra (Greek: Ēlektra) follows the return of Or...
03/05/2024

Electra by Sophocles

As in Aeschylus’s Libation Bearers, the action in Electra (Greek: Ēlektra) follows the return of Orestes to kill his mother, Clytemnestra, and her lover Aegisthus in retribution for their murder of Orestes’ father, Agamemnon. In this play, however, the main focus is on Orestes’ sister Electra and her anguished participation in her brother’s plans. To gain admittance to the palace and thus be able to execute his revenge, Orestes spreads false news of his own death. Believing this report, the despairing Electra unsuccessfully tries to enlist her sister Chrysothemis in an attempt to murder their mother. In a dramatic scene, Orestes then enters in disguise and hands Electra the urn that is supposed to contain his own ashes. Moved by his sister’s display of grief, Orestes reveals his true identity to her and then strikes down his mother and her lover. Electra’s triumph is thus complete. In the play Electra is seen passing through the whole range of human emotions—from passionate love to cruel hatred, from numb despair to wild joy. There is debate over whether the play depicts virtue triumphant or, rather, portrays a young woman incurably twisted by years of hatred and resentment.







Oedipus at ColonusIn Oedipus at Colonus (Greek: Oidipous epi Kolōnō) the old, blind Oedipus has spent many years wanderi...
02/05/2024

Oedipus at Colonus

In Oedipus at Colonus (Greek: Oidipous epi Kolōnō) the old, blind Oedipus has spent many years wandering in exile after being rejected by his sons and the city of Thebes. Oedipus has been cared for only by his daughters Antigone and Ismene. He arrives at a sacred grove at Colonus, a village close by Athens (and the home of Sophocles himself). There Oedipus is guaranteed protection by Theseus, the noble king of Athens. Theseus does indeed protect Oedipus from the importunate pleadings of his brother-in-law, Creon, for Oedipus to protect Thebes. Oedipus himself rejects the entreaties of his son Polyneices, who is bent on attacking Thebes and whom Oedipus solemnly curses. Finally Oedipus departs to a mysterious death; he is apparently swallowed into the earth of Colonus, where he will become a benevolent power and a mysterious source of defense to the land that has given him final refuge. The play is remarkable for the melancholy, beauty, and power of its lyric odes and for the spiritual and moral authority with which it invests the figure of Oedipus.

Oedipus the King  by Sophocles The plot of Oedipus the King (Greek: Oidipous Tyrannos; Latin: Oedipus Rex) is a structur...
01/05/2024

Oedipus the King by Sophocles

The plot of Oedipus the King (Greek: Oidipous Tyrannos; Latin: Oedipus Rex) is a structural marvel that marks the summit of classical Greek drama’s formal achievements. The play’s main character, Oedipus, is the wise, happy, and beloved ruler of Thebes. Though hot-tempered, impatient, and arrogant at times of crisis, he otherwise seems to enjoy every good fortune. But Oedipus mistakenly believes that he is the son of King Polybus of Corinth and his queen. He became the ruler of Thebes because he rescued the city from the Sphinx by answering its riddle correctly, and so was awarded the city’s widowed queen, Jocasta. Before overcoming the Sphinx, Oedipus left Corinth forever because the Delphic oracle had prophesied to him that he would kill his father and marry his mother. While journeying to Thebes from Corinth, Oedipus encountered at a crossroads an old man accompanied by five servants. Oedipus got into an argument with him and in a fit of arrogance and bad temper killed the old man and four of his servants.
The play opens with the city of Thebes stricken by a plague and its citizens begging Oedipus to find a remedy. He consults the Delphic oracle, which declares that the plague will cease only when the murderer of Jocasta’s first husband, King Laius, has been found and punished for his deed. Oedipus resolves to find Laius’s killer, and much of the rest of the play centres upon the investigation he conducts in this regard. In a series of tense, gripping, and ominous scenes, Oedipus’s investigation turns into an obsessive reconstruction of his own hidden past as he begins to suspect that the old man he killed at the crossroads was none other than Laius. Finally, Oedipus learns that he himself was abandoned to die as a baby by Laius and Jocasta because they feared a prophecy that their infant son would kill his father; that he survived and was adopted by the ruler of Corinth (see video), but in his maturity he has unwittingly fulfilled the Delphic oracle’s prophecy of him; that he has indeed killed his true father, married his own mother, and begot children who are also his own siblings.
Jocasta hangs herself when she sees this shameful web of in**st, parricide, and attempted child murder, and the guilt-stricken Oedipus then sticks needles into his eyes, blinding himself. Sightless and alone, he is now blind to the world around him but finally cognizant of the terrible truth of his own life.




Antigone by Sophocles {watch video summary: 👉https://youtu.be/GoiQLX1Aa1c?si=rYRJP43x-7kWq5sO }{https://youtu.be/Lak0__1...
30/04/2024

Antigone by Sophocles
{watch video summary: 👉
https://youtu.be/GoiQLX1Aa1c?si=rYRJP43x-7kWq5sO }

{https://youtu.be/Lak0__1Hqwc?si=4bD9FBKJiADX1O6-}

Antigone is the daughter of Oedipus, the former king of Thebes. She is willing to face the capital punishment that has been decreed by her uncle Creon, the new king, as the penalty for anyone burying her brother Polyneices. (Polyneices has just been killed attacking Thebes, and it is as posthumous punishment for this attack that Creon has forbidden the burial of his co**se.) Obeying all her instincts of love, loyalty, and humanity, Antigone defies Creon and dutifully buries her brother’s co**se. Creon, from conviction that reasons of state outweigh family ties, refuses to commute Antigone’s death sentence. By the time Creon is finally persuaded by the prophet Tiresias to relent and free Antigone, she has killed herself in her prison cell. Creon’s son, Haemon, kills himself out of love and sympathy for the dead Antigone, and Creon’s wife, Eurydice, then kills herself out of grief over these tragic events. At the play’s end Creon is left desolate and broken in spirit. In his narrow and unduly rigid adherence to his civic duties, Creon has defied the gods through his denial of humanity’s common obligations toward the dead. The play thus concerns the conflicting obligations of civic versus personal loyalties and religious mores.


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