A Comet during the Trojan War?

2008 ◽  
pp. 341-356
Author(s):  
S. P. Papamarinopoulos
Keyword(s):  
Trojan War

Ulysses and the Devils: The Unity of Book 2

2017 ◽  
Author(s):  
David Quint
Keyword(s):  
Paradise Lost ◽  
Trojan War

This chapter focuses on book 2 of Paradise Lost. In book 2, Milton continues the story of the demilitarization of the fallen angels and of his epic more generally when he bases all of its action around the figure of Ulysses, the hero of eloquence and fraud, whose own epic comes in the aftermath of the Trojan War. The chapter demonstrates that the Odyssey, imitated and parodied in Satan's voyage through Chaos to God's newly created universe in the book's last section, is just one of the classical stories about the career of Ulysses that Milton evokes as models for its different episodes. The various parts of book 2 are held together by this pattern of allusion, as well as by the Odyssean figures of Scylla and Charybdis, the emblem of bad choices, or of loss of choice itself.

The Roman de Troie by Benoît de Sainte- Maure: A Translation. Translated by Glyn S. Burgess, Douglas Kelly. Woodbridge, UK, and Rochester, NY: D. S. Brewer, 2017. Gallica, 41. 486 pp.

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 394-396
Author(s):  
Raymond J. Cormier
Keyword(s):  
Middle Ages ◽  
British History ◽  
Geoffrey Of Monmouth ◽  
Poetic Form ◽  
Trojan War ◽  
Roman De Troie ◽  
History Of ◽  
Extensive Introduction ◽  
Roman De Brut ◽  
Roman De Thebes

In his Roman de Brut (1155), the Norman Robert Wace of Caen recounts the founding of Britain by Brutus of Troy to the end of legendary British history, while adapting freely the History of the Kings of Britain (1136) by Geoffrey of Monmouth. Wace’s Brut inaugurated a new genre, at least in part, commonly known as the “romances of antiquity” (romans d'antiquité). The Roman de Troie by Benoît de Sainte-Maure, dating to around 1165, is, along with the Roman de Thèbes and the Roman d’Énéas, one of the three such romances dealing with themes from antiquity. These creations initiated the subjects, plots and structures of the genre, which subsequently flowered under authors such as Chrétien de Troyes. As an account of the Trojan War, Benoît’s version of necessity deals with war and its causes, how it was fought and what its ultimate consequences were for the combatants. How to explain its success? The author chose the standard and successful poetic form of the era—octosyllabic rhyming couplets; he was fond of extended descriptions; he could easily recount the intensity of personal struggles; and, above all he was fascinated by the trials and tribulations of love, a passion that affects several prominent warriors (among them Paris and his love for Helen, and Troilus and his affection for Briseida). All these elements combined to contour this romance in which events from the High Middle Ages were presented as a likeness of the poet’s own feudal and courtly spheres. This long-awaited new translation, the first into English, is accompanied by an extensive introduction and six-page outline of the work; two appendices (on common words, and a list of known Troie manuscripts); nearly twenty pages of bibliography; plus exhaustive indices of personal and geographical names and notes. As the two senior scholars assert (p. 3), By translating Benoît’s entire poem we seek to contribute to a greater appreciation of its composition and subject-matter, and thus to make available to a modern audience what medieval readers and audiences knew and appreciated.

Rhodes

2018 ◽  
Author(s):  
Simon Hornblower
Keyword(s):  
South Italy ◽  
Trojan War

Rhodes in Lykophron is a puzzle. The poet believes that Rhodians from the east Aegean tried to settle in the Croton region of south Italy after the Trojan war, and implies that they failed. But there is little or no evidence from archaeology, inscriptions or coins for a Rhodian presence in Italy as opposed to Sicily. An explanation is offered for this anomalous tradition. The Romans did successfully colonize Croton in 194 BC, at a time when they were friends of the Rhodians. They were symbolically retrieving a mythical Rhodian failure.

Eye Witnesses

2019 ◽  
pp. 194-208
Author(s):  
M. David Litwa
Keyword(s):  
Contemporary Literature ◽  
Fourth Gospel ◽  
Trojan War ◽  
Literary Convention ◽  
Literary Device

This chapter introduces the idea of an eyewitness as a literary device of authentication. It compares the use of such an eyewitness in the fourth gospel and other contemporary literature (namely the Life of Apollonius by Philostratus and the Diary of the Trojan War by Dictys of Crete). It is argued that the literary convention of presenting a fictional eyewitness authority is a well-attested device of authentication, and satisfactorily explains why and how the author of John employed it.

scholarly journals Pandarus Quotes Ovid in Geoffrey Chaucer’s Book One of Troilus and Criseyde

2019 ◽  
Vol 29 (2) ◽  
pp. 71-83
Author(s):  
Antoni Bobrowski
Keyword(s):  
Literary Tradition ◽  
Courtly Love ◽  
Troilus And Criseyde ◽  
Trojan War ◽  
Epic Poem ◽  
History Of ◽  
The Way

The medieval epic poem Troilus and Criseyde by Chaucer describes the history of unhappy love with the Trojan War in the background. The story is constructed in the convention of courtly love, and the author draws abundantly from a range of plot motifs preserved in the ancient literary tradition. The article discusses the way of intertextual use of Ovid’s Heroides 5 in the course of events told in Book One of the poem.

scholarly journals Otkrivanje homerovskog koda / Discovering the Homeric code

2020 ◽  
pp. 67-82
Author(s):  
Salmedin Mesihović
Keyword(s):  
Archaic Period ◽  
Late Archaic ◽  
Modern Times ◽  
Trojan War ◽  
Alter Ego ◽  
And Behavior ◽  
Made In

From the late Archaic period of Hellenic history to modern times, a large number of papers, studies, and books dealing with the Iliad and the Odyssey have been published. One reason for this is that Homer’s epics offer so many opportunities for exploration. This was also the motivation for writing this paper which deals with the question of the appearance of Thersites in the Iliad. Thersites appears in only one episode, with unusual speech and behavior in relation to what other characters in the epic say and do. This conspicuous and unique appearance of his must have been the result of a certain hidden desire of the author of the Iliad himself. It is possible that in fact Thersites in this case served as a kind of alter ego of the author who sought to conceal, within the aristocratic and elitist milieu for which the epic itself was made, in a very skillful way his real opinion of the Trojan War and the aristocracy. Thersites and his rage could also represent a kind of hidden Homeric code, of which there may be several more in the Iliad.

Facial trauma in the Trojan War

2014 ◽  
Vol 19 (2) ◽  
pp. 191-194 ◽  
Author(s):  
Ioanna Ralli ◽  
Panagiotis Stathopoulos ◽  
Konstantinos Mourouzis ◽  
Mara Piagkou ◽  
George Rallis
Keyword(s):  
Facial Trauma ◽  
Trojan War

The Fall of Carthage: The Punic Wars 265–146 BC,Adrian GoldsworthyThe Trojan War: A New History,Barry Strauss

2008 ◽  
Vol 27 (3) ◽  
pp. 319-322
Author(s):  
Marcia Kmetz ◽  
Shane Borrowman
Keyword(s):  
Trojan War ◽  
Punic Wars

Auge and Telephus

2021 ◽  
pp. 223-234
Author(s):  
Emma Griffiths
Keyword(s):  
Trojan War ◽  
Foundation Myth ◽  
The Mediterranean ◽  
A Chain

Heracles’ role as the father of Telephus involves significant elements for our understanding of the wider myth. The conception of Telephus is variously depicted as a “rape” or a “seduction” of Auge and starts a chain of events that portray Heracles as a caring father who rescues his abandoned child, providing a model for the Roman foundation myth. It also projects Heracles’ role in the First Trojan War into the Second. The story unfolds across several different locations in the Mediterranean, from Arcadia to king Teuthras’ kingdom in Mysia, and indicates Heracles’ role as a connecting figure for historical and cultural societies.

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