Greek and Roman

1. Greek and Roman The Classical Period

2. Archaic Period: • 8th century – 480 BC • Homer and epic narratives (oral literary tradition by cyclic poets: Arctinus) • Didactic (instructional poetry) and Hesiod – teaches morals • Lyric: choral (Alcman) and mournful/reflective elegiac • Iambic (pairs of syllables, unstressed followed by stressed) • Classical Period • 480-323 BC • Lyrical poetry (Pindar) • Tragedy (Aeschylus, Sophocles, Euripides) and Comedy (Aristophanes) • Raise in prose (Herodotus, Thucydides, Demosthenes) with speeches and history • Hellenistic Period • 323-37 BC • Philosophical schools (Epicurus) • Comedy (Menader) • Mime (Sophron) • Bucolic – pastoral poetry (Theocritus) • Epigrams (Meleager) • Jewish writers (New Testament) • Roman Period • 27 BC- AD 330 • Grammar and Literary Criticism (Demetrius) • Theology (Clement) • Compilations (Aelianus) • Rhetoric (Aelius Aristides) • Moral satire (Lucian) • Novel (Heliodorus) What exemplifies Ancient Greek and Roman Works?

3. The Greek Period took place between 800-400 BC • The Roman Period took place between 250 BC – AD 150 • Took place many in Greece and Rome, though it spread all over the known Roman Empire (see picture) Where and When Did this Take Place?

4. Who are Important Figures and What are Important Works?

5. Credited author of The Iliad and The Odyssey – oral heroic epics • Followed the Trojan War and aftermath • Delves deeply into Greek Mythology • Utilizes Invocations • Deus ex machina • In medias res • Blind Homer

6. 630 or 612 BCE - 570 BCE • Clarity of language • simplicity of thought • images are sharp • quotes the direct words of conversations real or imaginary and so gains immediacy • when the subject is the turbulence of her emotions, she displays a cool control in their expression • words are chosen for their sheer melody: the skill with which she placed her vowels and consonants • Sang poetry Sappho

7. In love with married woman Lesbia • (ca. 84–54 BC) • Influenced Virgil and Ovid • hendecasyllabic and elegiac couplets (common in love poetry) • shows strong and occasionally wild emotions • demonstrates a great sense of humor Catullus

8. Rise of political unrest • Rise of flocculating morality • Increased exposure to other civilizations • Decline of belief in deities • Rise in importance of kings/emperors What was the Historical/Social Environment?

9. Greek timeline

10. Greek timeline

11. A Hymn To Venus • O Venus, beauty of the skies,To whom a thousand temples rise,Gaily false in gentle smiles,Full of love-perplexing wiles;O goddess, from my heart removeThe wasting cares and pains of love.If ever thou hast kindly heardA song in soft distress preferred,Propitious to my tuneful vow,A gentle goddess, hear me now.Descend, thou bright immortal guest,In all thy radiant charms confessed.Thou once didst leave almighty JoveAnd all the golden roofs above:The car thy wanton sparrows drew,Hovering in air they lightly flew;As to my bower they winged their wayI saw their quivering pinions play. • The birds dismissed (while you remain)Bore back their empty car again:Then you, with looks divinely mild,In every heavenly feature smiled,And asked what new complaints I made,And why I called you to my aid?What frenzy in my bosom raged,And by what cure to be assuaged?What gentle youth I would allure,Whom in my artful toils secure?Who does thy tender heart subdue,Tell me, my Sappho, tell me who?Though now he shuns thy longing arms,He soon shall court thy slighted charms;Though now thy offerings he despise,He soon to thee shall sacrifice;Though now he freezes, he soon shall burn,And be thy victim in his turn.Celestial visitant, once moreThy needful presence I implore.In pity come, and ease my grief,Bring my distempered soul relief,Favour thy suppliant's hidden fires,And give me all my heart desires. Poem to Analyze

12. 1.When, O Catiline, do you mean to cease abusing our patience? How long is that madness of yours still to mock us? When is there to be an end of that unbridled audacity of yours, swaggering about as it does now? Do not the nightly guards placed on the Palatine Hill—do not the watches posted throughout the city—does not the alarm of the people, and the union of all good men—does not the precaution taken of assembling the senate in this most defensible place—do not the looks and countenances of this venerable body here present, have any effect upon you? Do you not feel that your plans are detected? Do you not see that your conspiracy is already arrested and rendered powerless by the knowledge which every one here possesses of it? What is there that you did last night, what the night before— where is it that you were—who was there that you summoned to meet you—what design was there which was adopted by you, with which you think that any one of us is unacquainted? [2]Shame on the age and on its principles! The senate is aware of these things; the consul sees them; and yet this man lives. Lives! aye, he comes even into the senate. He takes a part in the public deliberations; he is watching and marking down and checking off for slaughter every individual among us. And we, gallant men that we are, think that we are doing our duty to the republic if we keep out of the way of his frenzied attacks. • You ought, O Catiline, long ago to have been led to execution by command of the consul. That destruction which you have been long plotting against us ought to have already fallen on your own head. [3] • What? Did not that most illustrious man, Publius Scipio, 1 the Pontifex Maximus, in his capacity of a private citizen, put to death Tiberius Gracchus, though but slightly undermining the constitution? And shall we, who are the consuls, tolerate Catiline, openly desirous to destroy the whole world with fire and slaughter? For I pass over older instances, such as how Caius ServiliusAhala with his own hand slew SpuriusMaelius when plotting a revolution in the state. There was—there was once such virtue in this republic, that brave men would repress mischievous citizens with severer chastisement than the most bitter enemy. For we have a resolution 2 of the senate, a formidable and authoritative decree against you, O Catiline; the wisdom of the republic is not at fault, nor the dignity of this senatorial body. We, we alone,—I say it openly, —we, the consuls, are waiting in our duty. Prose to Analyze

13. http://www.talktalk.co.uk/reference/encyclopaedia/hutchinson/m0001588.htmlhttp://www.talktalk.co.uk/reference/encyclopaedia/hutchinson/m0001588.html • http://www.poemhunter.com/poem/a-hymn-to-venus/ • D.A. Campbell, Greek lyric poetry: a selection of early Greek lyric, elegiac and iambic poetry, 1967, p. 262. Sources