...In his prologue to Daphnis and Chloe, Longus refers to his four books as “a0na/qhma me\n7!Eroti kai\ Nu/mfaij kai\ Pani/” (Pr 2.3-4). Coming before any of the action of the novel, the reader asks, and for good reason, why these three gods or sets of gods? Then in the final book, Daphnis gives “a0naqh/mata…tw~| Dionu/sw|…tw~| Pani\...tai~j Nu/mfaij” (4.26.6-8). Here Dionysus has filled the place of Eros, or, as I shall argue, Dionysus represents the same universal force as Eros in the earlier books. These divinities, Eros/Dionysus, Pan, and the Nymphs, directly influence the lives of the titular protagonists. Their influence serves different purposes depending on what the situation calls for, but, overall, the influences could be labeled as such: Eros/Dionysus controls their lives, the Nymphs nurture the youths, and Pan enflames their passion. In many Greek novels, Eros functions as a stock figure, “not much more than a convenient method of setting [the] plot in motion” (Turner 119). Critics have heavily studied the role of Eros in this novel, and many find that the text of Daphnis and Chloe can be seen as an introductory text for syncretic monotheistic religions, specifically that of Orphic Dionysus. This argument holds valid, yet, I think, over reads the text, and Chalk admits as an introductory text, it is merely “allusive” and not clearly instructive (36). Philetas certainly describes the “cosmic Eros” found in Hesiod’s Theognis in his interaction with Eros in his garden...
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...Famous people and works Ancient Greek society placed considerable emphasis on literature and, according to many, the whole Western literary tradition began there, with the epic poems of Homer. In addition to the invention of the epic and lyric forms of poetry, though, the Greeks were also essentially responsible for the invention of drama, and they produced masterpieces of both tragedy and comedy that are still reckoned among the crowning achievements of drama to this day. Indeed, there is scarcely an idea discussed today that has not already been debated and embroidered on by the writers of ancient Greece. The epic poems attributed to Homer are usually considered the first extant work of Western literature, and they remain giants in the literary canon for their skillful and vivid depictions of war and peace, honor and disgrace, love and hatred. Hesiod was another very early Greek poet and his didactic poems give us a systematic account of Greek mythology, the creation myths and the gods, as well as an insight into the day-to-day lives of Greek farmers of the time. The fables of Aesop represent a separate genre of literature, unrelated to any other, and probably developed out of an oral tradition going back many centuries. Sappho and, later, Pindar, represent, in their different ways, the apotheosis of Greek lyric poetry. The earliest known Greek dramatist was Thespis, the winner of the first theatrical contest held at Athens in the 6th Century BCE. Choerilus, Pratinas...
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...Unity and Variety 1 The Concepts of Unity and Variety Let's begin by listening to two fundamental concepts that make a piece of music "work"—the concepts of unity and variety. Most people like hearing sounds that they find pleasing, memorable, and familiar. Within a given composition, the feeling of familiarity—fostered by, among other things, reiterations of a music idea—lends a sense of unity to the music. Whereas unity satisfies the human need for sameness and familiarity, variety sustains our interest and appeals to our need for, and enjoyment of, the new, different, and unexpected. To illustrate the relevance of these concepts, listen to how they are used in a piece of music by George Frideric Handel, a very famous musician who lived between the 17th and 18th centuries and whose music remains popular to this day. George Frideric Handel See Here the Conqu'ring Hero Comes George Frideric Handel Born: 1685 Died: 1759 Period: Baroque (1600-1750) Country: Germany/England See Here the Conqu'ring Hero Comes is one of Handel's most popular pieces. Three minutes and three seconds (3:03) long, it is a movement within a longer composition entitled Judas Maccabaeus written for an ensemble (group) of musicians. If you think of Judas Maccabaeus as a book, then See Here the Conq'ring Hero Comes acts as a chapter in that book. A movement may be enjoyed by itself; however, like a chapter in a book, it also fits into the structure of a larger composition. While you listen...
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...L OE B CLASS ICAL LIBR ARY 2013 Founded by JAMES LOEB 1911 Edited by JEFFREY HENDERSON NEW TITLES XENOPHON Volume IV. Memorabilia. Oeconomicus. Symposium. Apology AND SALLUST Volume I. The War with Catiline. The War with Jugurtha TRANSLATED BY J. C. ROLFE REVISED BY JOHN T. RAMSEY Sallust, Gaius Sallustius Crispus (86–35 BC), a Sabine from Amiternum, acted against Cicero and Milo as tribune in 52, joined Caesar after being expelled from the Senate in 50, was restored to the Senate by Caesar and took part in his African campaign as praetor in 46, and was then appointed governor of New Africa (Numidia). Upon his return to Rome he narrowly escaped conviction for malfeasance in office, retired from public life, and took up historiography. Sallust’s two extant monographs take as their theme the moral and political decline of Rome, one on the conspiracy of Catiline and the other on the war with Jugurtha. For this edition, J. C. Rolfe’s text and translation of the Catiline and Jugurtha have been thoroughly revised in line with the most recent scholarship. Vol. I. ISBN 978-0-674-99684-7 LCL TRANSLATED BY E. C. MARCHANT O. J. TODD REVISED BY JEFFREY HENDERSON This volume collects Xenophon’s (c. 430 to c. 354 BC) portrayals of his associate, Socrates. In Memorabilia (or Memoirs of Socrates) and in Oeconomicus, a dialogue about household management, we see the philosopher through Xenophon’s eyes. Here, as in the accompanying Symposium, we also obtain insight on life...
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...Moldenhauer Archives at the Library of Congress | Table of Contents Music History from Primary Sources An Introductory Essay Alfred Mann A vellum leaf, 22 by 17 cm., from a prayer book. The letter forms of early Gothic script suggest the twelfth century, or a period even earlier. Neumes (marked in red) are placed above the first four lines of the Latin text. The entire page is richly illuminated in black, red, and blue, with a heavy gold layer decorating the initial A for the phrase beginning "Adoro te." The leaf was obtained for the Moldenhauer Archives from the music dealer and publishing firm Schneider, Tutzing. The Art of Musical Notation In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with the visual record. Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources of music reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation...
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...A Company of Swans Chapter One There was no lovelier view in England, Harriet knew this. To her right, the soaring towers of King's College Chapel and the immaculate lawns sloping down to the river's edge; to her left, the blue and gold of the scillas and daffodils splashed in rich abundance between the trees of the Fellows' Gardens. Yet as she leaned over the stone parapet of the bridge on which she stood, her face was pensive and her feet— and this was unusual in the daughter of a professor of classics in the year 1912— were folded in the fifth position. She was a thin girl, brown-haired and brown-eyed, whose gravity and gentleness could not always conceal her questing spirit and eagerness for life. Sensibly dressed in a blue caped coat and tarn o'shanter bought to last, a leather music case propped against the wall beside her, she was a familiar figure to the passers-by: to ancient Dr. Ferguson, tottering across the willow-fringed bridge in inner pursuit of an errant Indo-Germanic verb; to a gardener trimming the edges of the grass, who raised his cap to her. Professor Morton's clever daughter; Miss Morton's biddable niece. To grow up in Cambridge was to be fortunate indeed. To be able to look at this marvelous city each day was a blessing of which one should never tire. Harriet, crumbling bread into the water for the world's most blase ducks, had told herself this again and again. But it is not cities which make the destinies of eighteen-year-old girls, it is people— and...
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