The practical application of some modem theories of literature to Greek tragedy is discussed in this article. A scene-by-scene analysis to ascertain the function of each scene is a very useful method to gain a better understanding of the structure of a play.
The internal nature of the kontakion. especially as this literary subgenre flourished at the hands of Romanos in the sixth century A.D., can be defined as a liturgical text comprising as basic components doxology, prayer, exhortation, catechesis and sacred myth, the components exhortation and catechesis.
In the literature on Greek architecture, the customary practice of concentrating on the refinements of the Parthenon creates the impression that the Athenian temple is unique in this regard, whereas it is in fact merely the culmination of a long-established practice. The invention of refinements cannot be seen as an exclusive Attic preserve: even if they were most fully developed in that area during the fifth century, an examination of extant temples demonstrates that a number of refinements originated at an earlier date in other parts of the Greek world.
Epicurus denied that the underworld depicted by poets and painters existed and gave an allegorical interpretation of the particular punishments said to be suffered there. What men feared in the afterlife took place according to him in this life. The idea came to Epicurus from the writings of Democritus. It turned up in various forms in the teachings of other philosophical schools. Lucretius no doubt would have taken the general substance of his criticism of conventional beliefs about the afterlife from Epicurus. Some details, however, reflect the life of Republican Rome rather than that of fourth century Athens.
To a very large extent Vergil's epic, the Aeneid, hinges on a paradox - that between the inevitability of war on the one hand and its futility on the other. Seldom is this paradox more vividly exemplified in the Aeneid than in the case of Camilla,4 the Volscian maiden who devotes her full energy to Turnus' cause in his struggle against the Trojans. The present article seeks to illustrate this by surveying the most important passages in the Aeneid in which Camilla figures.
This article is concerned with four passages which represent acts committed by Aeneas to avenge Pallas. In them Aeneas kills suppliants who have begged for their lives and deprives a dead enemy of burial, boasting that his body will be eaten by animals. No other character in the Aeneid is described as doing these things. In addition, in all these passages Aeneas either ignores or scorns the parent-child relationship. Representations and discussions of these actions by Roman and Greek authors will be used to show that Vergil must have intended that they be regarded as extremely repulsive.
Modern theories about Rome's motivations in the East have explored just about every possible permutation and combination - economic expansion, power for power's sake, glory and booty, philhellenism, fear of neighbours, accidental involvement - but it is fair to say that no one theory has commanded general acceptance. motif as shaped with the assistance of the Scipionic lawyers. Most recently another new approach has been tried by E.S. Gruen. Certain questions raised in Gruen's book are the subject of this paper.
In his recent study of the Roman republican aristocracy, K. Hopkins sounded a note of caution concerning the parentage of Q. Caecilius Metellus Macedonicus, who triumphed pro praetore in 146, was consul in 143, and censor in 131. His affiliation Q.f. L.n. is not usually disputed, but this scepticism has caused me sufficient concern to explore the problem.