Latin Translations and Originals of Christmas Songs

These translations used to be hosted on my Geocities site but are now posted here because Geocities is going to be shut down.

Jingle Bells

Nives, glacies, nox pueritia!
Risus decet nunc, decent carmina!
Laetos iuvat nos, ire per agros,
Traha fert velociter, et cachinnemus nos!
Tinniat, tinniat, tintinnabulum!
Labimur in glacie post mulum curtum!

O Come All Ye Faithful (The Latin is the original version of this song.)

Adeste, Fideles
Laeti triumphantes
Venite, venite
In Bethlehem!
Natum videte
Regem angelorum.
Venite, adoremus!
Venite, adoremus!
Venite, adoremus
Dominum!

Silent Night

Silens nox, sancta nox
Placida, lucida,
Virginem et puerum,
Dulcem atque tenerum,
Somno opprime,
Somno opprime.

O Little Town of Bethlehem

O Bethlehem in collibus
Quam tacite dormis,
Et spectant alta sidera
De caeruleis caelis!
Sed in obscuris viis
Tu hodie tenes,
Aeterna luce fulgente,
Annorum omnes spes!

Joy to the World

Laetissimus
Accipiat
Iam mundus Dominum
Dum omnia
In corda nos
Accipimus illum!
Accipimus illum!
Accip-, Accip- imus
Illum!

We Three Kings

Orientis reges tres
Procul dona portantes
Per campos et montes imus
Stellam illam sequentes.
O stella potens et mira,
Stella regalis pulcra,
Semper movens ad occasum
Duc nos ad claram lucem.

Hark the Herald Angels

En canentes angeli:
"Gloria Regi infanti;
Pax in terra, et Deus
Concors cum mortalibus."
Laeti, omnes populi,
Cum caelestibus iuncti,
Praedicate, "Nunc Christus
Est in Bethlehem natus."
En canentes angeli:
"Gloria Regi infanti."


Veni, Veni, Emmanuel
(Original Latin, words from traditional 8th century antiphons)

1. Veni, O Sapientia,
Quae hic disponis omnia,
Veni, viam prudentiae
Ut doceas et gloriae. Refrain

Refrain:
Gaude, gaude, Emmanuel
Nascetur pro te, Israel.

2. Veni, Veni Adonai!
Qui populo in Sinai
Legem dedisti vertice,
In Majestate gloriae. Refrain

3. Veni, O Jesse virgula,
Ex hostis tuos ungula,
De specu tuos tartari
Educ et antro barathri. Refrain

4. Veni, Clavis Davidica,
Regna reclude caelica,
Fac iter tutum superum,
Et claude vias inferum. Refrain

5. Veni, Veni O Oriens!
Solare nos adveniens,
Noctis depelle nebulas,
Dirasque noctis tenebras. Refrain

6. Veni, Veni, Rex gentium,
veni, Redemptor omnium,
Ut salvas tuos famulos
Peccati sibi conscios. Refrain

7. Veni, Veni Emmanuel!
Captivum solve Israel!
Qui gemit in exsilio,
Privatus Dei Filio.

Latin Translations of English Children's Songs

These translations used to be hosted on my Geocities site but are now posted here because Geocities is going to be shut down.


Mica, Mica, Parva Stella ("Twinkle, Twinkle, Little Star")

Mica, mica, parva stella
Miror quaenam sis tam bella
Splendens eminus in illo
Alba velut gemma caelo.

I, I In Lintre ("Row, Row, Row Your Boat")
This one is my own translation.

I, i in lintre
Lente sub flumen
Laete, laete, laete, laete
Vita (e)st somnium.


I, II, III Barbari ("1 Little, 2 Little, 3 Little Indians")

Unus duo tres barbari
Quattour quinque sex barbari
Septem octo novem barbari
Et decem barbari

Nonne Dormis? ("Are You Sleeping?")

Nonne dormis, nonne dormis?
Frater mi, frater mi.
Sona matutinas, sona matutinas
Ding dong ding
Ding dong ding

Agricola Habet Fundum ("Old Macdonald Had a Farm")

Agricola habet fundum.
I-AE-I-AE-O
In hoc fundo est ____
I-AE-I-AE-O
Cum ____ ____ hic
______ _____ illic
Hic ____ illic______
Ubique _____ _____
Agricola habet fundum.
I-AE-I-AE-O
pig/porcus(sus)- oenc, oenc
donkey/asinus- i au, i au
cow/vacca(bos)- mu, mu
horse/equus- ne, ne
dog/canis- wuf, wuf
chicken/gallina- cluc, cluc
cat/feles- miau, miau
duck/anas- quec, quec
goose/anser- haunc, haunc
got/caper- maa, maa



Iac et Iill ("Jack and Jill")

Iac et Iill quaerentes fontem
Ascendebat parvum montem.
Ille, cadens, fregit frontem
Trahens secum hanc insontem.

Tres Caeci Mures ("Three Blind Mice")

Mures tres, mures tres
Caeci currunt, caeci currunt
Sequuntur sponsam agricolae
Ab ea abscissae sunt caudulae
Est plenius nihil stultitiae
Quam mures tres, mures tres.

Felix Dies ("Happy Birthday")

Felix dies tibi
Felix dies tibi
Felix dies, ____
Felix dies tibi

Attis, Catullus 63

This translation used to be hosted on my Geocities site but has been reposted here because Geocities is going to be shut down.


"Attis" Poem 63 of Catullus
copyright by Abram Ring (April 2005)

The square brackets [] around alternate translations indicate places where the correct text is subject to scholarly debate.

Over the deep sea, Attis, sped in a swift ship,
has just touched the Phrygian grove with quickened foot
and to the dark, wood-crowned haunts of the goddess flown—
he, driven there by maddening rage, wand'rer of mind,
hacked off the groin's burden with sharp flint,
and just then felt the remnant limbs are not a man's,
and, while yet spotting the ground with fresh blood,
quickened she snatches the light drum in white hand,
Your light drum, Cybebe, Your sacriments, Mother.
Shaking the hollow hide of young bull in hand
she trembling begins her song with her company,
"Come, fly to Cybebe's high groves, Gallae, now!
Now fly you errant flocks of the Dindym Mistress
seeking strange places just as exiles wandering
Following my cult, my comrades, by my lead,
you've come cross the crashing deep thru storm,
you've unmanned yourself for great hate of Love.
Cheer your heart, ladies, with quickened wand'ring.
Leave off delay, go now, follow on with me
to the Phrygian home of Cybebe, and to her groves
where sounds the noise of the cymbal and drums
where blows the Phrygian flute and its slender reed
where Maenad heads ivy-bound toss madly about,
and they sing the sacred rites with the harsh "ululu",
where her errant band so often dances quick--
here must we run in our quickened rompings."
As Attis bastard woman sings to her comrades,
the band fast ululates with quivering tongue;
The light drum resounds; the cymbal crashes;
The quick band races to green Ida in a run.
Raging, gasping, erring she goes, taking breath,
Attis, leader, through the dark grove with drum
like an untrained heifer shirking weight of yoke,
and swift Gallae follow their fast-footed leader
and so tired now come at last to Cybebe's home
and take rest without bread from too much labor.
Lazy sleep covers their eyes with weariness.
The crazy madness of mind leaves in soft rest,
but as the golden face of the Sun with his rays
takes sacred trip thru sky over earth 'nd wild sea
and drives out shades of night on stallions sped.
So now sleep fast fleeing leaves Attis awoken,
from Pasithea's quivering breast recovered.
Here thru easy rest, now without quick craze,
Attis fast now self-takes his [or "her"] acts to heart
and with liquid mind sees what's lost for him [or "her"].
Mind pulsing, still back he [or "she"] raced to the shore;
there scanning the sea's expanse with teary eyes,
he [or "she"] sad addressed his [or "her"] land with wailing calls
"O my father, my mother, my source, my land,
I am fugitive as house-slaves are who choose
to flee their master; I took foot to Ida's groves
so to be among snow and cold beast-haunts
and to come maddening to their dark caves.
Yet now where, whither am I to think you lie;
my very eye stretches to find you for itself.
Still for a brief span mind is free of mad rage.
Am I truly traveled to groves faraway from home?
Will I always miss country, friends, and kin?
Will I not see forum, gym, or stadium again?
Ah me, poor soul, tears must fall still more-
for what kind of form have I never enjoyed-
I've been woman [or "young man"], youth, lad, and boy;
I once was flower of the gym, star of the games.
Doors were packed; steps were warm for me.
Houses were blossom-wreathed by my admirers.
And then when sun rose I still had my bedrooms.
Now shall I be called the gods' maid, Cybebe's slave?
I, a maenad, half-myself, shall I be a gelded man?
Shall I cherish green Ida's cold slopes dressed in snow?
Shall I spend life under the Phrygian's lofty peaks,
where wood-dwelling stag, and tree-roving boar now live?
Just now feeling pain I've inflicted, now I wish else..."
And there the sound quick left from the ruby lips
bearing its weird words to the ears of the gods,
Thence Cybele freeing her cats from their chains
goading the cruel foe of flock she commanded:
"Leave-- Fly, beast, to make him know my rage,
to drive back his step to my grove with your fury--
he who too freely seeks to flee my own commands.
Go beat your back with tail, bear your own lashes!
Make all this land resound with your pained roar;
Toss, my beast, your golden mane on muscled neck!"
So, in threat, spoke Cybebe and loosed bonds from hand.
The very beast drives himself to craze, raging in spirit...
He stalks, he roars, and breaks twigs 'neath errant foot.
Yet, when come to watery stretches of glistening shore
with soft [m. or f.] Attis sighted near the marbled plain of sea--
he attacks. Then mad he [or "she"] flees to those wild groves;
There ever as slave she stays for the span of life.

Great goddess, god Cybebe, god Lady of Dindym,
May your rage ever be far my home, Mistress,
Drive others to fury; Drive others to madness.

April 29, Paper Due Date and Maeve's and Jordann's Day

Ah Romance!

April 27, Jerome's Life of Paul and Severus' Life of St. Martin of Tours

Jerome's Life of Paul

Jerome (his full Greek name is "Eusebius Hieronymus") c. 347-420 AD was one of the most famous early church fathers. He was from Illyria (Northwestern Greece) and lived under the late Roman Empire. He was well educated in Latin and Greek literature and also studied Hebrew and other semitic languages extensively and studied in the East to complete his masterful translation of the Bible into Latin (the Vulgate).
His _Life of Paul_ was written in the year 374 or 375 during his stay in the desert of Syria, as is seen from ch. 6, and was dedicated to Paulus of Concordia as stated in Jerome's Epistle 10.3.

Sulpicius Severus' Life of St. Martin of Tours

c. 363-425 AD, Severus was from Aquitania (southwstern France near Spain) which was part of the Late Roman empire, and he was well educated in Latin literature. He had excellent rhetorical and legal training and was himself a historian who knew Latin historiography well. For example, he alludes to Sallust's history in the Life of Martin.

These are examples of what we now call hagiography ("sacred-writing") which seems to be a play on biography, since hagiography is writing about lives of holy men and women.

See here for more on the genre:
http://en.wikipedia.org/wiki/Hagiography

It is interesting to note that our basic idea of what a legend is comes from medieval collections of stories about saints--these collections were called "legenda" which means "things to be read" because they were read out loud on the saints' days.

As always, consider how to situate these works in the context of other genres and texts that we have encountered.
Why were these texts written? How might they have been received?
What themes and narrative strategies do you see here that we have seen before?
Can you think of any modern day parallels for this kind of narrative?

April 24, Friday, Pete's Day

Scientology reading, I think, as a comparison with some of the religious fiction we have read.

Wednesday, April 22, Acts of Thomas

Acts of Thomas (Don't read section 4 and 7 or the lengthy "Hymn of the Soul")
http://www.gnosis.org/library/actthom.htm

Wikipedia has some useful background on this work: http://en.wikipedia.org/wiki/Acts_of_Thomas

Original language was Syriac or perhaps Greek for some parts
Culturally from the Near Eastern or Mesopotamian area
4th cent. AD or earlier
Author: supposedly Leucius Charinus but this is probably a fictional person derived from a character in the Gospel of Nicodemus.

Consider the question of genre again. These fictive Christian texts are usually called Acts (Latin "Acta") or Gospels (Latin and Greek "Euangelia"), but scholars sometimes refer to them by the modern title "romances". How does that title fit? Do they resemble the ancient romances that we have read? if so, how?

What themes, story patterns, and narrative styles or strategies do you see here that you have seen before?

Does this work seem more or less believable than the Gospel of Nicodemus? Why?

Can you think of any modern retellings of the story of Christ or any apostles or saints? How do they compare with The Gospel of Nicodemus and the Acts of Thomas?

Monday, April 18, Gospel of Nicodemus

Gospel of Nicodemus
http://www.earlychristianwritings.com/text/gospelnicodemus.html

We have already seen the Fictional Letters of Christ and Abgar as well as those of Paul and Seneca, but now we will be reading some longer example of fictive Christian prose.

The Gospel of Nicodemus was a fictive account inspired by other accounts of Christ such as the four canonical gospels. It claims to be by Ananias but this may be a fictional name. The complete version we are reading is not earlier than 5th cent. AD. The core of the work known as the Acts of Pontius Pilate was probably written in Greek in the late 2nd cent., but it was translated into many languages including Latin, Armenian, and Coptic and various additions were made in these later versions.

Like Luke and to a lesser extent the other gospels, it adopts a history-like approach to the story. Pay special attention to the prologue. If you have read one or more of the New Testament gospels before, make note of any details included here that are not in the NT. Be ready to explain why these details might have been included.

How would you classify this work's genre?
What themes or narrative strategies in this work are familiar from our other readings?
Why would someone have written this? How might the original audience have received it?

See here for an interesting overview of the work:
http://en.wikipedia.org/wiki/Gospel_of_Nicodemus

Friday, April 17, Rich's Day

For Friday's class we will be reading passages from Dan Brown's novel, The Da Vinci Code, as well as The Batrachomyomachia. The author of The Batrachomyomachia is unknown but is "supposed" to be Homer. While reading pay close attention to common themes and ideas that we have studied throughout the semester, specifically our most recent work with Dares and Dictys. Also, keep in mind the context of Lucian's "True History" during your reading. I'll also have a couple interesting video clips to show in class. Hopefully we can get the clips out of the way first so that we may enjoy the rest of the class outside (weather permitting). See you all on Friday!

-Rich Rodd

Here are the readings:


Da Vinci Code: pages 162-172 and 242-256. Please ignore the pages skipped, the preview shows all of the important content.

http://books.google.com/books?id=ohZ1wcYifLsC


The Batrachomyomachia: Story is first chapter of document.

http://books.google.com/books?id=6x4AAAAAYAAJ

Lucian's True History, Wednesday, April 15

Reading is Lucian's True History, Book 1:
I found a less archaic (though still old) translation of Lucian's True
History. We are reading the Intro and Book 1:

Intro
http://www.sacred-texts.com/cla/luc/wl2/wl211.htm
Book I
http://www.sacred-texts.com/cla/luc/wl2/wl212.htm

Lucian was a Syrian who wrote in Greek under the Roman Empire, 2nd cent. AD. He was well educated in Greek philosophy, rhetoric, and literature and is widely recognized as one of the greatest wits of the ancient world. His style and content were very influential on Renaissance scholars who read him after the west "rediscovered" Greek literature, and the _True History_ (which gave me the name for this course) particularly inspired all manner of (dys)utopian and fantastic voyage narratives. It is also considered an early example (perhaps the earliest) of science fiction and indeed has much in common with 19th and early 20th century science fiction.
Consider why Lucian might have written this work and why any of his contemporaries might have read it. What themes and literary strategies do you see here that you have seen before in this course? Would it be useful to classify this work under a genre? If so, what genre?
Can you think of any later or even modern narratives that are similar in their themes, literary strategies, or general tone? Be ready to share specific parallels in class.

Dares and Dictys, Monday, April 13

The texts we are reading this time are two fictional or forged "contemporary" accounts of the events of the Trojan War. What connections do you see between the methods and themes of these writers? What connections do you see with narratives that we have already discussed, specifically epic poetry and history?

Think about why someone would take the trouble to write such a long, fictive retelling of the Trojan War, as if from an eyewitness. Also how do you think the original Greek and Latin audiences would have responded?

By the way, these two texts were incredibly influential on all medieval Trojan stories. Homer's Iliad and Odyssey were not known directly until the Renaissance.

Dares Phrygius or "Dares the Phrygian"
Latin 5th cent. AD, based on an earlier Latin or Greek original of 2nd cent. AD or earlier

For Dares Phrygius, read the whole thing introductory letter through section 44:
http://www.theoi.com/Text/DaresPhrygius.html

Dictys Cretensis or "Dictys the Cretan"
Latin 4th cent. AD, based on and earlier Greek version

For Dictys Cretensis, read the preface and Book 3.
http://www.theoi.com/Text/DictysCretensis1.html#Preface
http://www.theoi.com/Text/DictysCretensis3.html

Friday, April 10, Andrew's Day

Comparative satire, I think. Andrew will let us know the assignment.

Fictional Letters, Wednesday, April 8

1) a number of letters of Phalaris (a famous Greek tyrant), of
Socratics (friends of Socrates), Diogenes and Krates (famous Cynic
philosophers), and Chion (a friend of Plato).

2) letters of Euripides the famous Greek tragedian who wrote the Medea
and the Bacchae among others

3) letters of Jesus Christ and Abgar (a local potentate)

4) letters of the Apostle Paul and Seneca, the Roman philosopher and
author of the Apocolocyntosis

While reading these, try to think of why they would have been written
in the first place. Also consider any modern fictional works that you
know which use fictional letters. Why do they do this? What does
this format have to offer in fictional literature?

CLS 276 Seneca's Apocolocyntosis, Monday April 6

Seneca was a Roman writing in the mid-first century AD.

Read the whole satyrical essay (in Sullivan) which presents itself as what really happened to emperor Claudius after his death. You should know that Seneca did not like Claudius much since this emperor had exiled him from Rome.

We have seen a lot of "immortalization" in this course and mentioned that as early as Gilgamesh and the Egyptian pharaohs some men were worshiped as gods after their deaths. Alexander was worshiped and so were many Roman emperors. Seneca here presents a comical alternate view of the "reality" of deification. His title Apocolocyntosis ("Pumpkinification" or "Gourdification")is a parody of the Greek Apotheosis ("Deification").

CLS 276- Friday April 3- Berossus and Modern Alternate History

Here is a short fragment of Berossus a Chaldean or Babylonian historian of the 3rd cent. BC who wrote in Greek but based his account on Sumerian and/or Babylonian records. This story was the basis for an episode of Stargate- SG1 which you will be watching on Friday April 3 while I am gone. Zander has said that he can show it for you. It is 43 minutes so you should be able to watch the whole thing. Stargate the movie and Stargate SG-1 are both good examples of alternate history, a kind of genre that presents a new, "true" version of the past that we were all ignorant of. The Alexander Romance's "true" story of Alexander is like an alternate history. Many modern alternate histories include elements of fantasy (magic, etc.) or science fiction (aliens and space travel) in periods of history where we don't expect them. See here for more on alternate history: http://en.wikipedia.org/wiki/Alternate_history. Other alternate histories try to present a new, more believable version like the King Arthur flick that Katie showed us.

Much of the reading for the rest of the course will be different kinds of alternate history from the ancient world. While watching the SG-1 episode think about why people are interested by alternate history stories, since they seem to have been popular at least since the Greeks and Romans.

One thing that you should know about this fragment is that scholars recognize that Berossus partially based his account on the Enuma Elish which we read at the beginning of the course. Remember Tiamat was the great water goddess who was defeated by Marduk, who is sometimes known as Baal (Greek Belos, Latin Belus) which means "Lord". Look for parallels to the Enuma Elish and thematic parallels with other narratives we have discussed.


FRAGMENTS OF CHALDÆAN HISTORY, BEROSSUS: FROM ALEXANDER POLYHISTOR:

BEROSSUS, in the first book of his history of Babylonia, informs us that he lived in the age of Alexander the son of Philip. And he mentions that there were written accounts, preserved at Babylon with the greatest care, comprehending a period of above fifteen myriads of years: and that these writings contained histories of the heaven and of the sea; of the birth of mankind; and of the kings, and of the memorable actions which they had achieved.

At Babylon there was (in these times) a great resort of people of various nations, who inhabited Chaldæa, and lived in a lawless manner like the beasts of the field. In the first year there appeared, from that part of the Erythræan sea which borders upon Babylonia, an animal destitute of reason, by name Oannes, whose whole body (according to the account of Apollodorus) was that of a fish; that under the fish's head he had another head, with feet also below, similar to those of a man, subjoined to the fish's tail. His voice too, and language, was articulate and human; and a representation of him is preserved even to this day.

This Being was accustomed to pass the day among men; but took no food at that season; and he gave them an insight into letters and sciences, and arts of every kind. He taught them to construct cities, to found temples, to compile laws, and explained to them the principles of geometrical knowledge. He made them distinguish the seeds of the earth, and shewed them how to collect the fruits; in short, he instructed them in every thing which could tend to soften manners and humanize their lives.

From that time, nothing material has been added by way of improvement to his instructions. And when the sun had set, this Being Oannes, retired again into the sea, and passed the night in the deep; for he was amphibious. After this there appeared other animals like Oannes, of which Berossus proposes to give an account when he comes to the history of the kings. Moreover Oannes wrote concerning the generation of mankind; and of their civil polity; and the following is the purport of what he said:

There was a time in which there existed nothing but darkness and an abyss of waters, wherein resided most hideous beings, which were produced of a two-fold principle. There appeared men, some of whom were furnished with two wings, others with four, and with two faces. They had one body but two heads: the one that of a man, the other of a woman: and likewise in their several organs both male and female.

Other human figures were to be seen with the legs and horns of goats: some had horses' feet: while others united the hind quarters of a horse with the body of a man, resembling in shape the hippocentaurs. Bulls likewise were bred there with the heads of men; and dogs with fourfold bodies, terminated in their extremities with the tails of fishes: horses also with the heads of dogs: men too and other animals, with the heads and bodies of horses and the tails of fishes. In short, there were creatures in which were combined the limbs of every species of animals.

In addition to these, fishes, reptiles, serpents, with other monstrous animals, which assumed each other's shape and countenance. Of all which were preserved delineations in the temple of Belus at Babylon.

The person, who presided over them, was a woman named Omoroca; which in the Chaldæan language is Thalatth; in Greek Thalassa, the sea; but which might equally be interpreted the Moon. All things being in this situation, Belus came, and cut the woman asunder: and of one half of her he formed the earth, and of the other half the heavens; and at the same time destroyed the animals within her.

All this (he says) was an allegorical description of nature. For, the whole universe consisting of moisture, and animals being continually generated therein, the deity above-mentioned took off his own head: upon which the other gods mixed the blood, as it gushed out, with the earth; and from thence were formed men. On this account it is that they are rational, and partake of divine knowledge.

This Belus, by whom they signify Jupiter, divided the darkness, and separated the Heavens from the Earth, and reduced universe to order. But the animals, not being able to bear the prevalence of light, died. Belus upon this, seeing a vast space unoccupied, though by nature fruitful, commanded one of the gods to take off his head, and to mix the blood with the earth; and from thence to form other men and animals, which should be capable of bearing the air. Belus formed also the stars, and the sun, and the moon, and the five planets.

(Such, according to Polyhistor Alexander, is the account which Berossus gives in his first book.)

CLS 276- Philo and Josephus

Josephus and Philo (1st cent. AD) were Jews writing in Greek under the Roman empire. The reading from Josephus is from 2 sources.

The first, is a passage of his _Jewish Antiquities_, a history of the Jews (based on many of the sources that later became the Old Testament). Here he attacks Greek historians for connecting the rest of the world's peoples to Greeks by foundation myths (all the stories that said Heracles and other heroes founded foreign races--remember Herodotus' stories about Scythes, the son of Heacles, and Candaules who was descended from Heracles). Instead, Josephus uses Genesis to show that the Hebrew tradition presents the "true" origins of all the peoples of the world.

The second, Against Apion is an essay that Josephus wrote to defend his history of the Jews (written in Greek) from the criticisms made by the Greek historian Apion. In the course of this short essay, we learn much about how ancient historians wrote and specifically about some of the historians who told the histories of non-Greek peoples such as Manetho an Egyptian and Berossus a Chaldean. Both of these men, like Josephus, knew their native records and stories but wrote Greek histories about their home countries. Through these authors we can see more examples of history as a way of explaining the connections between different peoples in the world. Josephus in particular is trying to prove the antiquity of the Jews by connecting them with various stories in other histories as far back as Herodotus.

The reading from Philo is different. It is an interpretative account or commentary on part of the Torah. We have talked about rationalization as a way to explain myths by removing the fantastic aspects of the stories (for example, Hecataeus of Miletus made Cerberus a poisonous snake in a cave instead of a three-headed dog in the underworld), but another technique which Greeks sometimes used to explain Homer and other myths is to take the stories as allegories. Greek philosophers particularly liked to treat myths this way--for example, the golden apples that Heracles got from the Garden of Hesperides were treated as allegorical symbols for virtues. This method of understanding myths and early stories was particularly common among ancient Jewish scholars of the Torah. From both Greek and Jewish practice early Christians inherited this interpretative strategy which has remained important for many Christian and Jewish scholars. Allegorical interpretation became so popular in the middle ages that many fictional stories were purposefully written as allegories. If you don't know what allegory is, see here: http://en.wikipedia.org/wiki/Allegory

CLS 276- Diodorus Siculus, Monday March 30

Hey all,

Diodorus Siculus or Diodorus of Sicily was a Greek writing under Roman rule in the 1st century BC. We read some of a later book of his history which dealt with Alexander the Great (in Mensch and Romm). His work is called the Library of History and it is a 44 book universal history. Universal history is a specific sub-genre of history in the ancient world that tried to tell the history of the whole world from the earliest times. In many ways Herodotus' long digressions on other cultures such as Egyptians, Persians, and Lydians inspired the universal historians. In fact, the universal historians often tried to validate their new histories by showing how Herodotus and other previous historians had been wrong and so "improving" on earlier histories. Another influence on universal historians came from the mythographers including the early ones like Hecataeus of Miletus (6th bc) who predated Herodotus and later ones like the author of Pseudo-Apollodorus' Library (2nd AD?) which we read earlier in the course. These mythographers had sometimes rationalized the myths to make them suitable for history.
Diodorus like other universal historians saw the world as a common or universal home for all mankind. He tells early history in a way akin to how many ancient philosophers described it. It is a story of how ambitious great men used their strength and intelligence to benefit all of mankind by killing large or monstrous beasts by killing bandits and tyrants to bring order out of chaos and peace out of violence. Furthermore, these benefactors of mankind bring civilization in the form of agriculture, astronomy, religion, architecture, medicine, metal working, and in short all good arts and sciences that make life better for human beings. At times, Diodorus shows that he knows there are multiple versions of a story that conflict. However, he seems little concerned with such conflicts when examining the earliest periods, since he apparently is more concerned with presenting the ideals and imagined precedents of these proto-historical or legendary figures so that they can be models for contemporary men.
Because he is concerned with the whole world, he and other universal historians often show connections between various cultures--some of these connections are found in what we consider the mythical period where Heracles, Aeneas, and other heroes are seen as world traveling founders of other states around the world. Such world-traveling heroes thus connect the world together, showing that we are all related if you go far enough back in time--an important claim if one wants to suggest that we are all one.

The sections to read are: 4.1-39

Things to look for this time (make note of section numbers for discussion)...
1) Diodorus' self-glorification or criticism of other historians (a key trait of most ancient historiography)

2) Examples of euergesia or benefactions of heroes that better the world

3) Examples of nations, peoples, and institutions that are created by these culture heroes

4) After reading my description of how Diodorus wrote and reading the assignment, how would you describe what Diodorus is doing? Why does he write the way he does? Do you think he is trying to tell the truth? If so, what did truth mean to him?

CLS 276- Katie's Day

Arthurian Readings? TBA

CLS 276- Origo Gentis Romanae, March 25

You will see many similarities to Livy's account here so let's try to concentrate on differences. Pick out a few key differences and be ready to explain why you think Livy or the later author of the _Origo_ would have told the story the way they did.

CLS 276 Monday March 23, Livy Book 1 and Book 4

CLS 276: March 11 Sara's Day, Topic TBA

CLs 276: Monday March 6, Xenophon of Ephesus, Ephesian Tale

Read pp. 1-49 in Hansen.

Keep in mind that there was no genre title for novels and romances in the ancient world, so this, like the Alexander Romance, would have been called a "narrative" (diegema) using the same word as applied to ancient histories.

Besides the 5 core questions we always keep in mind, note the following.

How does this narrative seem similar or dissimilar to the other ancient romance we read?

How does the role of love here compare to the ideas and manifestations of love we have seen in our earlier readings (Gilgamesh & Enkidu & the harlot and Ishtar, Plato's Symposium, Odyssey, Shakespeare's Tempest, Achilles and Briseis and the Amazon Penthesilea, Alexander and Hephaestion, Potiphar's wife & Bellerophon)?

How does this romance seem similar or dissimilar to more recent novelistic depictions of love? Think of some particular examples of modern love stories to compare.

CLS 276 March 6- Alexander Romance

I have managed to shorten the Alexander Romance reading assignment slightly. It will still be rather large, but this will help some.

Friday March 6, we will discuss the following selections from the Anonymous _Alexander Romance_ also called the _Life and Deeds of Alexander of Macedon_. The date of the work or rather works (there are many different versions of the "novel" in existence) is not clearly known. The original Greek composition was between 300 BC and 300 AD (a huge 600 year span), but the version we are reading is based on so-called Recension B, which was in existence at least by the 5th or 6th cent. AD. The romance shows signs of dependence on earlier collections of fictional letters, maybe even an epistolary novel, and shows embellished connections to various historical sources about Alexander.

Note that my reading assignment includes the introduction which will provide useful background.

pp. 163-225 (intro to end of book 2), 238-9 (3.25-26 Amazons), 245-6 (3.33-35 The Death)

Make specific note of any specific divergences from the historical traditions and especially any examples of where the historical tradition has been exaggerated, perverted, or recast. Why do you think these changes are made? What literary themes and story patterns do you see in the romance that we have seen before? Did these occur in the historical sources?

CLS 276 Mensch & Romm on Alexander Part II, March 2

CLS 276 Friday Feb. 27 Mensch & Romm on Alexander Pt. 1

Though Alexander was a historical figure, his history was heavily influenced by earlier myth. Also much of his history became a sort of new myth which influenced the history of later mythical figures. Think of parallels for such a legendary figure from our earlier readings. Make note of any specific recurring themes/story patterns and be ready to share specific parallels. Also Alexander, like many other such figures of myth and history, has been both heroicized and villainized--both of which approaches may be affected by personal bias and thus cause a distortion in the "reality". As you read the various historical accounts, do you tend toward hero or villain in your opinion? If so, why do you feel that way? If not, what keeps you from feeling strongly either way?

Mensch & Romm present a number of historical and biographical sources. We will be reading part of an ancient novel or romance about Alexander on March 6. That will give us a chance to see how Alexander's history transformed into an even more fictionalized version than we see in the historical accounts.

CLS 276- Bryan and Zander's Day, Feb. 25

Bryan and Zander are planning to have us read some other accounts of the afterlife from different cultures--I think they will also have some vid clips to share. They will be sending out Wednesday's assignment by Sunday Feb. 22.

CLS 276 Feb. 23 Plato and Cicero

Post your comments on Feb. 23 here.

CLS 276 Feb. 20 Plato's Symposium

The next few classes we will be reading texts from the ancient genre of philosophy. Ancient philosophical writings, like ancient history, are much different from what we think of as philosophy today. Plato is very influential on Cicero and many others who wrote on philosophy in the ancient world, and Plato wrote dialogues that consist of much fiction and story telling in the guise of factual records. We can sometimes prove that certain events could not have happened as he describes them, and so it is often thought that he made up the stories as a medium for relating his ideas. Sometimes they may be based on real events as with Plato's Apology which is based on Socrates' real defense speech; sometimes they may be total inventions that are simply "possible events" that never actually happened. It is often thought that his earlier writings are closer to what Socrates really thought, and that he later developed his theory of forms which arises in the middle dialogues and is perfected in his last dialogues. In other words, his presentation of Socrates in the middle and especially late dialogues is thought to be heavily influenced by his own thoughts and not historically accurate. It might amuse you to know that there are stories which may or may not be true that Plato was a failed tragic playwright and that he kept a copy of Aristophanes' (the most famous Athenian comedic playwright) complete works with him wherever he went.
Also you should know that Aristophanes, the comic playwright and character in the Symposium, wrote a play called the Clouds which famously criticized Socrates. Whether or not there is truth in the stories about Plato's dramatic obsessions, Plato shows a keen interest in poetry of all kinds, though he often accuses its fictions of leading people away from the truth. Is this fair criticism? Consider ways in which Plato's dialogues resemble plays and other forms of poetry and myth. Why did he write this way?

Some more comments on Friday's reading. This symposium or drinking party is a narrative opportunity for Plato to explore an important theme, Love. At symposia in the Greek world, people would often pass the cup, drink lots of wine, and take turns telling stories or reciting poems. Here they decide not to drink heavily and instead of poems or baudy stories, they share speeches about love. This will be somewhat different than most of what we have read because we are dealing with what will become a new genre, the philosophical dialogue which Plato invented. Still, you will see some stylistic similarities to stories about conversations and debates in Herodotus and Xenophon.

As you take notes, make sure you record the basic gist of each
person's speech, and, of course, pay close attention to Socrates'
speech in which he retells what a lady named Diotima once told him
(Plato is telling a story supposedly told by Apollodorus who heard
from Aristodemus who heard from Socrates who heard from Diotima!!!!).
The various views expressed on love here are very important for
philosophy, religion, and literature. Try to think of comparable
views of love from later literature (including philosophical,
mystical, and religious texts). Also consider if any of these views
of love has occurred in our earlier readings. Finally, what is the
literary point of Alcibiades' appearance? Why doesn't Plato just tell
the story of Diotima? What is the point of all the other characters
and stories in the frame narrative? Where have we seen this kind of
story inside a story inside a story (i.e. multi-level frame
narratives)?

CLS 276 "True" History Fictional/Fictive Prose in the Ancient World, Discussion

February 4

Sara Welish

In the Iliad why doesn't anyone come out to help Hector when he is running from Achilles?
AR- To engage our sympathy for poor, ill-fated Hector?

Priam gives reasons for Hector to come back inside the walls but it does not seem like the usual attitude for men during the time. gods get more physically involved in the war
AR- I'm not sure what you mean about Priam


Zander

In the Iliad why did Athena want Hector to die?
AR-He's on the wrong side; remember Athena and Hera are mad at Paris for not choosing them.

Why did Achilles get so furious about the death of Patroclus, wouldn't he be used to his freinds dying in battle?
AR- As with Gilgamesh and Enkidu, Patroclus is more than a friend. In fact, many ancient Greeks thought they may have been lovers, at least in soul, if not in body. We'll see that Alexander's relationshop with Hephaestion is similar. Theseus and his friend Pirithous are also similar.

In Herodotus why did the festival mean that the Greeks couldn't fight?
AR- Spartans are typically portrayed as super-religious in most Greek sources. They have strict rules about observing such festivals. The Olympics was a Pan-hellenic (all-Greek) event which drew many Greeks.

And how true of a story is told here?
AR- Wouldn't we all like to know? Opinions vary even among the best classical scholars. What do you think?


Katie Burke
Why is it that the majority of heroes, from the ancient world to current day, are most always prove themselves in either a war or a series of tasks?
AR- I'm not sure if this is true. You may be using circular logic here. Do you define hero based on that criteria? Could we not have a wise hero like Gandhi or Martin Luther King? Or in the ancient world, how about Socrates or Jesus?

Did ancient motifs and oral traditions have an influence on Anglo-Saxon/Early English epics or stories?
AR- Absolutely. There is a ton of scholarship that suggests connections between Vergil and Beowulf, but this is a scholarly hornet's nest. There are Old and Middle English versions of the History of Apollonius of Tyre, based on a later Latin fictional "history" which was in turn based on a Greek novel that was based on earlier Greek and Near-eastern narratives. This story also was the source for Shakespeare's Pericles. I have translated a medieval Latin epic called Waltharius. It is influenced by both classical and late antique Latin sources and early Germanic sources, and it in turn influenced later Latin, Romance, and Germanic narratives. In fact, Tolkein seems to use the Waltharius' motif of the hero who loses his hand for Beren (one-handed) and Frodo (nine-fingered). Chaucer knew lots of Latin stories, either in Latin or through intermediate sources.


Jordann
Why is there a comparison between heroes and animals? Iliad 22.1-365
AR- Did you notice the bit about Leonidas' roar in the movie clip today? In the ancient world, lions and bulls and boars and bears (or the like) were obvious symbols for power and virility. Most humans cannot compare in strength with such animals. Note a lot of myths about heroes deal with the slaying of such monstrous animals, lions and bulls, etc. (e.g. Gilgamesh and the Bull of Heaven and Heracles' lion-slayings). Partly that reflects the prehistorical and early historical reality of a world in which man faced larger and more dangerous creatures in the world. Think of cave men and saber-toothed tigers and wooly mammoths. In fact, in ancient time lions and panthers still roamed the Near-east and parts of Europe, and aurochs (huge cattle, much bigger than cows/bulls today) survived well into the Roman period. Strong men would have been expected to be the human answer to such dangers.


Pat Boyle
Here is my question: How do heroes in modern epics compare to those in ancient epics?
AR- I think you may need to answer that yourself. What is a modern epic? Are you talking like Jake in the Dark Tower book or Batman?

Maeve
The first was that the name of the character Leon (7.179) had significance to his actions and role in the passage we read. What was the significance?
AR- See above on animals and heroes. Leon = "Lion"

Is it an example of Aetiology?
AR- I think it is a play on words but I don't think it is aetiology.

My second question was that in both The Dark Tower (pg.82) and in the Iliad (top of pg. 4) the importance to live and die with honor was mentioned. I was wondering if this was, or was more than just a theme in modern and ancient texts. Was the importance of honor meant as a moral? But if a moral, does that degrade the authenticity of the "historical" text? In The Dark Tower the mention of honor seemed more like a moral, where in the Iliad a common theme. Is there even much difference between the two classifications?
AR- Sorry, I don't understand what you mean by "moral" here.


Krysta Brown
I was intrigued by Priam. It seems that all of the other kings and "great men" we have encountered are strong, heroic warriors, yet Priam is the wise old king. Are there other examples of a more learned, patient leader in Greek epics?

AR- Nestor, Alcinous, Odysseus (to some degree). In Herodotus, we frequently see the wise advisor type figure who has learned from life and shares his knowledge, often to no avail. Of course, I don't know how you are defining epic. Do you mean specifically only in epic poetry?

Doug
I just wanted to point out a #4 Common motif from different times and places. In the Herodotus reading on 7.190 Ameinocles, song of Cretines found all of these Persian treasures being washed up on the shore. His great luck is later followed by bad luck, where he ends up killing his own children. This motif is similar to modern day rural theology of Money does not always bring happiness. It is just very interesting to see a theme touched on within these older readings still hold weight in the modern world.
AR- "rural theology"? Certainly Gilgamesh learned that wealth does not provide happiness. Herodotus tells this kind of story frequently. A life can never be called happy (fortunate), until one dies well--so Herodotus and many others in the ancient and modern world think.


Rich
In the Iliad reading, I noticed a reference to the God Mars who is the Roman God of war. In greek mythology Mars is actually named Ares. How often do the names these Greek and Roman Gods switch and for what purpose?
AR- This is a translational problem. Homer would have said (he didn't write) Ares, but some translators change names to the Roman equivalent.


Stephen
How is Leonidas depicted by Herodotus? He did not seek the kingship, but it was forced upon him, does this make him more or less heroic in the eyes of Herodotus.
AR- Good question. We can't visit Herodotus in the underworld like Heracles would do, so this is a moment for reader response theory--- How did it change your view of him? I personally think it further adds to his glory and highlights his rare (good?) fortune.