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Mary Ever‐Virgin? Jovinian and Marian Heresy

David G. Hunter

in Marriage, Celibacy, and Heresy in Ancient Christianity: The Jovinianist Controversy

A survey of the history of the idea of Mary's virginitas in partu shows that the notion had only marginal support in the tradition of the first three centuries. Associated with both docetism and ... More

A survey of the history of the idea of Mary's virginitas in partu shows that the notion had only marginal support in the tradition of the first three centuries. Associated with both docetism and encratism, the doctrine was opposed even by ascetically minded teachers, such as Tertullian and Origen. In the late fourth century, however, the notion of Mary's virginitas in partu reappeared in the sermons of Zeno of Verona and the ascetical treatises of Ambrose; Jerome, by contrast, was more reticent about embracing the idea. Jovinian's opposition to the virginitas in partu, therefore, stood squarely in the mainstream of Christian opinion, as it had developed by the late fourth century.Less

Mary in Childbirth

Jennifer A. Glancy

in Corporal Knowledge: Early Christian Bodies

Chapter 4 examines the earliest representations of Mary in childbirth in writings dating from the second and early third centuries, including Odes of Solomon, Ascension of Isaiah, Protevangelium of ... More

Chapter 4 examines the earliest representations of Mary in childbirth in writings dating from the second and early third centuries, including Odes of Solomon, Ascension of Isaiah, Protevangelium of James, and works by Tertullian. In a period in which Mary is not yet canonized as a uniquely sinless Eve, her virginity is interpreted in multiple and complex ways. Mary’s childbearing body is located in the context of both ancient and modern discourses about childbirth. Drawing theoretically on the work of Maurice Merleau-Ponty as well as feminist philosophers including Elizabeth Grosz, Luce Irigiray, and Julia Kristeva, chapter 4 considers the parturient body—Mary’s body and, by extension, the bodies of other childbearing women—as a site of corporal knowledge. Corporal knowing begins in the womb.Less

Velleius Mythistoricus

T. P. Wiseman

in Ancient Historiography and its Contexts: Studies in Honour of A. J. Woodman

This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the ... More

This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the foundations of cities and colonies, and the succession of monarchical power (imperium) in Greece and Asia. The discussion concentrates on Velleius' interest in Hercules, whose apotheosis he even uses as a dating marker like the Trojan War or the foundation of Rome. Comparison with Diodorus's narrative of Hercules' deeds, and with the first Nemean Ode of Pindar (written for a Sicilian patron), suggests that Velleius may have been following a western tradition in which Hercules became a god after the defeat of the Giants in Campania. Velleius himself was Campanian, as was his patron M. Vinicius, whose family's presence there can be traced back to the 5th century BC.Less

The Social and Religious Context of Early Confucian Practice

Mark Csikszentmihalyi

in Teaching Confucianism

This chapter begins with an introduction that surveys some of the ways that the Confucian Analects has been read and argues that any attempt to reconstruct an original meaning of the text must locate ... More

This chapter begins with an introduction that surveys some of the ways that the Confucian Analects has been read and argues that any attempt to reconstruct an original meaning of the text must locate it in its historical context. It proceeds to examine three quotations from the text—one on the Odes, one on sacrifice, and one on Confucius's relationship with his disciples—with some remarks on the way these quotations have been read. Once these aspects of the Analects are recontextualized, it becomes clear that despite the fact that these passages have been read in variety of ways, they originally expressed a religious vision that differed from the norm at the time of its composition.Less

Lyric Flexibility: Literary Form in Horace's Odes

S.J. Harrison

in Generic Enrichment in Vergil and Horace

Horace's re-invention of archaic Greek lyric for Augustan Rome raises many issues of generic complexity, which are deliberately foregrounded by the texts. The boundaries of lyric are severely probed ... More

Horace's re-invention of archaic Greek lyric for Augustan Rome raises many issues of generic complexity, which are deliberately foregrounded by the texts. The boundaries of lyric are severely probed and tested by the incorporation and admixture of other literary genres (e.g., epic, epigram, prophecy, and tragedy).Less

Look your last on lyric: Horace, Odes 4.15

Jasper Griffin

in Classics in Progress: Essays on Ancient Greece and Rome

Quintus Horatius Flaccus brought his first three books of Odes before the public in 23 bc. They came with impressive sponsors, addressed to Maecenas, the second to the Princeps himself, the fourth to ... More

Quintus Horatius Flaccus brought his first three books of Odes before the public in 23 bc. They came with impressive sponsors, addressed to Maecenas, the second to the Princeps himself, the fourth to L. Sestius and M. Agrippa. Horace did not repeat, in books 1 to 3, the bold stroke of directly addressing the Princeps; that was reserved for book 4, odes 5 and 15. This chapter describes his relation to Augustus, and the relation of his poetry to the imperial propaganda. What is called ‘Augustan poetry’ is so intimately connected with the estimate of the crucial event in Roman history, the change from Republic to Empire, that both historians and literary scholars find the question fascinating.Less

The Publication and Individuality of Horace's Odes Books 1–3 *

G. O. Hutchinson

in Talking Books: Readings in Hellenistic and Roman Books of Poetry

This chapter argues against the normal view that Odes 1-3 had their first publication together in 23 BC and should be read as a single entity. Book 1, and then Book 2, were first published ... More

This chapter argues against the normal view that Odes 1-3 had their first publication together in 23 BC and should be read as a single entity. Book 1, and then Book 2, were first published separately: so it is contended on the basis of detailed consideration of metre, chronology, etc. Approaching the three books as successive and deliberately differing entities produces a much more satisfying and distinctive understanding of the individual books, and the cumulative entity which they build up. The differences between the three books are presented under headings; Book 3 in a sense conjoins Books 1 and 2, to create conflicts of its own.Less

Horace and Archaic Greek Poetry *

G. O. Hutchinson

in Talking Books: Readings in Hellenistic and Roman Books of Poetry

The discussion of Horace's lyric is taken beyond the previous chapter. The book of Epodes and each book of Odes are seen to have a dynamic structure, to move decisively. Horace uses Archilochus and ... More

The discussion of Horace's lyric is taken beyond the previous chapter. The book of Epodes and each book of Odes are seen to have a dynamic structure, to move decisively. Horace uses Archilochus and Hipponax and Alcaeus, Sappho, and other Greek lyric poets in the creation of structures which revolve around the relation of and tension between art and the narrator. These are metaliterary books, concerned with themselves. Papyri of lyric and related texts are used to show the scholarly and critical tradition which would have shaped Horace's reading and study of lyric. The arrangement of poems in lyric papyri is considered, and Horace's intertextuality with a complex tradition explored.Less

Horace Odes Book 1 and the Alexandrian Edition of Alcaeus 1 (2005)

R.O.A.M. Lyne

in R. O. A. M. Lyne: Collected Papers on Latin Poetry

This paper argues that the opening sequence of Horace's first book of Odes picks up that of Alcaeus' lost first lyric book.

The Performance of Horatian Lyric: The Limits of Reference

Michèle Lowrie

in Writing, Performance, and Authority in Augustan Rome

The performance of Horace's Odes offers a test case for determining the interrelation between a poet's own self-definition and the actual reception of his poetry. Debate has raged in the 20th century ... More

The performance of Horace's Odes offers a test case for determining the interrelation between a poet's own self-definition and the actual reception of his poetry. Debate has raged in the 20th century over whether the language of song in this body of poetry is literal or metaphoric. Speech act theory starting with J. L. Austin offers a tool that helps understand the problematics of referentiality, but cannot in the end determine whether any particular utterance means what it says.Less

Horatian Lyric and Metaphorical Truths

Michéle Lowrie

in Writing, Performance, and Authority in Augustan Rome

This chapter moves beyond the previous one in attempting to unify aestheticizing and sociological approaches to Horace's language of performance and performativity. The rhetoric of inability in the ... More

This chapter moves beyond the previous one in attempting to unify aestheticizing and sociological approaches to Horace's language of performance and performativity. The rhetoric of inability in the Epodes and the claims to song in the Odes are strategies of self-authorization that serve different political ends. An analysis of Odes 3. 30 closes the chapter. Although Horace appears to ground his poetic immortality in a book that will live on as a physical object embedded in ritual repetition, in fact, his literary monument (monumentum) surpasses both physical embodiment and the specific occasions of his culture.Less

Jesus' Descent to the Underworld

Jeffrey A. Trumbower

in Rescue for the Dead: The Posthumous Salvation of Non-Christians in Early Christianity

The fifth chapter categorizes various early Christian opinions on who exactly was saved during Christ's descent to the underworld or Hades, an event known in later theology as the “harrowing of ... More

The fifth chapter categorizes various early Christian opinions on who exactly was saved during Christ's descent to the underworld or Hades, an event known in later theology as the “harrowing of hell.” Most early theologians posit that only the righteous of the Old Testament were saved, but some texts, like the Odes of Solomon, infer that a general offer of salvation to all the dead was made at that time. Clement of Alexandria interpreted 1 Peter from the New Testament in the same direction. John Chrysostom and Philaster of Brescia were adamant that no one “converted” in hell; only those who had been righteous in this life were eligible to receive Christ in the underworld. Two different versions of the Gospel of Nicodemus give two different answers to this question.Less

Paradise Restored

Michael Peppard

in The World's Oldest Church: Bible, Art, and Ritual at Dura-Europos, Syria

The conclusion takes up two small fragments not yet analyzed in the book: scenes of paradise and Adam and Eve. Focusing on how the primordial couple was understood in early Syrian Christianity ... More

The conclusion takes up two small fragments not yet analyzed in the book: scenes of paradise and Adam and Eve. Focusing on how the primordial couple was understood in early Syrian Christianity enables a recapitulation of some of the themes of the book, while also showcasing the common initiatory ideas of new creation and paradise restored. The book then ends with a reflective reading of one of the earliest Christian collections of “hymns,” the Odes of Solomon, widely considered to be from second- or third-century Syria. We cannot know for sure exactly what words were on the minds and lips of initiates at Dura-Europos, but many of these odes echo the spiritual themes, biblical narratives, and notions of salvation that were precisely emphasized in this room. Dwelling on representative motifs from these Odes offers a fitting end to this historical reconstruction of the Christian community at Dura-Europos.Less

Vocabulary

Stephen Instone (ed.)

in Pindar: Selected Odes

This chapter provides the vocabulary in Pindar's Odes. It includes αβατος‎, -α‎ (-η‎), -ον‎ uncrossable άβρός‎, -ά‎, όν‎ splendid άγάθεος‎ (ήγάθεος‎), -α‎, -ον ν‎ery holy άγακλεής‎, -ές‎ very ... More

This chapter provides the vocabulary in Pindar's Odes. It includes αβατος‎, -α‎ (-η‎), -ον‎ uncrossable άβρός‎, -ά‎, όν‎ splendid άγάθεος‎ (ήγάθεος‎), -α‎, -ον ν‎ery holy άγακλεής‎, -ές‎ very glorious άγάλλω Ι‎ honour, glorify αγαλμα‎, -ατοο‎, τό‎ glory άγανός‎, -ά‎ (-ή‎), -όν‎ gentle. It also covers άγάνωρ‎ (άγήνωρ‎), -ορος‎ manly, glorious άγγέλλω Ι‎ announce, and άγλαιζω Ι‎ glorify. The chapter lists άγλαόκολπος‎, -ον‎ fair-bosomed άγλαός‎, -ά‎ (-ή‎), -όν‎ splendid, and Άγλαοτρίαινα‎ (-ης‎), -ου‎, ό‎ with splendid trident. It refers to άγνός‎, -ά‎ (-ή‎), -όν‎ holy άγνώς‎, -ωτος‎ ignorant of (+ gen..) άγορά‎, -ας‎, ή‎ agora αγρα‎, -ας‎, ή‎ prey, and "Αγρευς‎, -εος‎ (-έως‎), ό‎ Hunter (cult title of Aristaeus).Less

Abbreviations etc.

Stephen Instone (ed.)

in Pindar: Selected Odes

This chapter shows the abbreviations used in Pindar's Odes, such as Allen for Homeri opera V., Hymnos, Cyclum, fragmenta etc. continens, ed. T. W. Allen (Oxford, 1912). It includes ABV Attic ... More

This chapter shows the abbreviations used in Pindar's Odes, such as Allen for Homeri opera V., Hymnos, Cyclum, fragmenta etc. continens, ed. T. W. Allen (Oxford, 1912). It includes ABV Attic black-figure vase-painters, J. D. Beazley (Oxford, 1956) and ARV2 for Attic red-figure vase-painters, J. D. Beazley, 2nd edition (Oxford, 1963). It also covers Davies for Epicorum Graecorum fragmenta, ed. M. Davies, (Gottingen, 1988), K-G for R. Kuhner, Ausfuhrliche Grammatik der griechischen Sprache, 2. Teil besorgt von B. Gerth (Hanover, 1898-1904). The chapter mentions N for Tragicorum Graecorum fragmenta, ed. A. Nauck, 2nd edition 1889, with supplement by B. Snell (Hildesheim, 1964) and Pack for The Greek and Latin literary texts from Greco-Roman Egypt, ed. R.A. Pack, 2nd edition (Ann Arbor, 1965). It lists SEG for Supplementum epigraphicum Graecum (Leiden, 1923-) and SLG for Supplementum lyricis Graecis, ed. D. L. Page, (Oxford, 1974).Less

Horace’s Body, Horace’s Books

Joseph Farrell

in Classical Constructions: Papers in Memory of Don Fowler, Classicist and Epicurean

This chapter attempts to engage in a specific modification of a well-known and widely subscribed-to theory about the representation of the human body in literature and the visual arts. And the Latin ... More

This chapter attempts to engage in a specific modification of a well-known and widely subscribed-to theory about the representation of the human body in literature and the visual arts. And the Latin text with which the chapter will do these things is that of Horace. It compares two generically distinct and self-contained ‘publications’, namely the first book of Sermones and the first three books of Odes. It addresses the question: What sorts of bodies does Horace represent in these two collections?.Less

Lyric Revisited: The Carmen saeculare and the Fourth Book of Odes

Richard Tarrant

in Horace's Odes

This chapter deals with Horace’s late return to lyric, first in the Carmen saeculare, a ceremonial hymn commissioned by Augustus for a grand festival in 17 BCE, and then in the fourth book of Odes, a ... More

This chapter deals with Horace’s late return to lyric, first in the Carmen saeculare, a ceremonial hymn commissioned by Augustus for a grand festival in 17 BCE, and then in the fourth book of Odes, a collection of fifteen poems that appeared around 13 BCE. The discussion of Odes 4 emphasizes differences between it and its lyric predecessor, among them Horace’s enhanced status in Rome and a more marked element of panegyric, much of it directed to Augustus and his family. The poems treated are the Carmen saeculare and Odes 4.1 (to Venus), 4.13 (to Lyce), 4.11 (to Phyllis), 1.4 (to Sestius), 4.7 (to Torquatus), 4.2 (to Iullus Antonius), 4.5 (to Augustus), 4.4 (to Rome), and 4.15 (to Augustus).Less

John Keats:: ‘The Very Word’

Peter Mcdonald

in Sound Intentions: The Workings of Rhyme in Nineteenth-Century Poetry

This chapter looks at the ‘Ode to a Nightingale’ and Keats's return on the word ‘forlorn’, this includes a discussion of how Keats earned the wrath of ‘the rhyming critics’, and his relation in this ... More

This chapter looks at the ‘Ode to a Nightingale’ and Keats's return on the word ‘forlorn’, this includes a discussion of how Keats earned the wrath of ‘the rhyming critics’, and his relation in this to Leigh Hunt. The chapter then looks at anti-Keats reviewers and the question of control and intent in his verse, Keats on poetry as self-attention and attention to sound, and some weak rhymes in early Keats. The chapter discusses Endymion's couplet structure and its employment of repetition, rhyme and the idea of chance in Keats, the influence of Wordsworth's repetitions, Keats and the reaction against Pope's rhyme, and Keats's sense of auditory structure and rhyme within blank verse, with examples from ‘Hyperion’. The chapter then moves on to consider repetition as mirroring of rhyme-schemes, Keats and the sonnet, the sonnet and improvisation, and the influence of Shakespearean performance, with Edmund Kean. Next the chapter analyses Hazlitt's ‘gusto’ in this connection and some Keats sonnets as explorations of improvisatory ‘gusto’. It looks at ‘When I have fears...’ and Shakespeare's Sonnet 64. It further considers Keats's ‘love and fame’ and Pope. It goes on to consider Keats's experimental sonnet rhyme-schemes and the extempore, early nineteenth-century ideas on the sonnet, and Keats's experiments, including the rhymeless sonnet. It finally examines ‘If by dull rhymes...’, and the evolution of Keats's Ode stanzas, and Wordsworth's ‘Surprised by Joy’ and Keats's ‘Ode to a Nightingale’.Less