66 research outputs found
Il sacrificio di ifigenia : osservazioni
No full textUn esencial excursus acerca de las vicisitudes del personaje de Ifigenia en el mito es la premisa para el análisis dedicado por el autor a la presencia de lo divino –particularmente, a la intervención de Artemisa y a la influencia de las artes adivinatorias– en las Ifigenias de Eurípides. La clave de lectura sugerida por las dos tragedias ofrece un nuevo aporte a la controversial cuestión acerca de la relación entre el dramaturgo ateniense y la religión.An essential excursus about the vicissitudes of the character of Iphigenia in the myth is the preamble for the analysis dedicated by the author to the presence of the divine – particularly to the intervention of Artemis and to the influence of the divinatory art – in the Iphigenias by Euripides: the reading key suggested for the two tragedies adds a new tessera to the controversial question relevant to the relationship between the Athenian dramatist and the religion.Fil: Perotti, Pier Angelo
Enea : eroe poliedrico
No full textLa tradicional división de la Eneida en dos partes, la ‘odiseica’ y la
‘iliádica’, es aproximada, porque en ciertos aspectos también la segunda
mitad del poema virgiliano corresponde a la segunda parte de Odisea. Por
otra parte, los primeros seis libros constituyen un nostos, si bien singular,
tal como el poema griego. En lo que se refiere a la novedad de Eneas
respecto de los héroes homéricos, me animo a señalar que aquel es una
especie de híbrido de al menos tres personajes homéricos: Odiseo, Héctor
y Aquiles. Del primero replica el viaje hacia la patria, del segundo la
defensa de la familia y de su tierra, del último la venganza contra el
asesino del joven amigo (respectivamente, Patroclo y Palante). De esto se
concluye que el Eneas virgiliano es un personaje, por así decirlo,
poliédrico, es decir, una especie de feliz amalgama de héroes
precedentes.The traditional partition of the Aeneid in two parts -the ‘odysseic’ and
the ‘illiadic’- is approximate because in certain ways the second half of
the virgilian poem corresponds to the second part of the Odyssey itself.
Furthermore, the first six books are a nostos, although a particular one,
just lilce its greelc model. About the main novelty Aeneas brings as a
character, it is my opinión that he is some kind of a hybrid made of, at
least, three homeric characters: Odysseus, Héctor and Achilles. He
resembles the first of these in his travel to the homeland, the second, inthe defense of his family and country and the third, in the revenge for the death of his young friend (Patroclus and Pallas). Therefore, the virgilian Aeneas is, in way, a poliedric character, a good mixture of previous heroes.Fil: Perotti, Pier Angelo
Perotti, per una definizione di Zeus-Luce: spunti esiodei
No full textStarting from the relevant passages of the Theogony by Hesiod, the author has tried to point out the close relation between Zeus and the light, considered both in physical and spiritual sense, as some of the divinities that originated from Zeus-light seem to demonstrate. Looking through the differences as regards the tire and the lightning -Zeus' specific attribute-, you might recognize, in this property of the lord of gods, a kind of fifth primeval element, besides air, water, earth and tire.Prendendo le mosse dai relativi passi della Teogonia esiodea, I'autore ha cercato di mettere in evidenza lo stretto rapporto tra Zeus e la luce, intesa in senso sia tisico sia spirituale, come sembrano dimostrare alcune delle divinità che da Zeus-luce hanno avuto origine. Osservate le differenze rispetto al fuoco, e al fulmine -attributo specifico di Zeus-, si potrebbe riconoscere, in questa proprietà del signore degli dei, una sorta di quinto elemento primordiale, oltre ad aria, acqua, terra e fuoco
Sul proemio dei poemi omerici e dell’Eneide
No full textThe author of this article has tried to demonstrate that the last three verses of the Odyssey’s proem have been added later, at least after Christ’s birth, as it appears –besides other element– from the comparison between the Iliad’s and the Odyssey’s proems, as well as from the fact that neither Virgil nor Horace seem to have knowledge of them. Besides the author has shortly dwelt upon the proems of some of the most renowned epic poems of antiquity.The author of this article has tried to demonstrate that the last three verses of the Odyssey’s proem have been added later, at least after Christ’s birth, as it appears –besides other element– from the comparison between the Iliad’s and the Odyssey’s proems, as well as from the fact that neither Virgil nor Horace seem to have knowledge of them. Besides the author has shortly dwelt upon the proems of some of the most renowned epic poems of antiquity
Sul proemio dei Poemi Omerici e dell' Eneide
No full textThe author of this article has tried to demonstrate that the last three verses of the Odyssey's proem have been added later, at least after Christ's birth, as it appears -besides other elements-- from the comparison between the Iliad's and the Odyssey's proems, as well as from the fact that neither Virgil nor Horace seem to have knowledge of them. Besides the author has shortly dwelt upon the proems of some of the most renowned epic poems of antiquity
Eurialo e Niso: fides e perfidia
No full textAfter an hint at the Palladium’s rape by means of Ulysses and Diomedes –an example of Greek unfairness– the author takes into consideration the two episodes of the Aeneid in which Euryalus and Nisus appear: the night expedition across the Rutili’s camp, and the race during the funeral games in memory of Anchises. In the article two opposite features in the two characters are pointed out, loyalty (“fides”) and unfairness or fraud (“perfidia”) in both events. The author therefore thinks that Virgil’s admiration for the two young men is caused not only by their entreprise, but expecially by their even heroic friendship, that leads them to die together, the one for the other.After an hint at the Palladium’s rape by means of Ulysses and Diomedes –an example of Greek unfairness– the author takes into consideration the two episodes of the Aeneid in which Euryalus and Nisus appear: the night expedition across the Rutili’s camp, and the race during the funeral games in memory of Anchises. In the article two opposite features in the two characters are pointed out, loyalty (“fides”) and unfairness or fraud (“perfidia”) in both events. The author therefore thinks that Virgil’s admiration for the two young men is caused not only by their entreprise, but expecially by their even heroic friendship, that leads them to die together, the one for the other
Elementi di Commedia in Omero
No full textWith the assumption that epic poetry is the most complete classical literary genre because it contains themes and hints belonging to other poetic forms - tragedy, comedy, lyric - and prose forms - history, novel, oratory, philosophy - the author has attempted to find out, inside Homeric poems and particularly in the Odyssey, some of the main elements and devices that would have been peculiar, later on, to both Greek and Latin comedies.
This study is, in a certain sense, parallel to another one by the same author (Epos e tragedia, "Vich." 3° s., 4, 1993, pp. 174-196), where the elements and the "tragic" structures in epic poetry, and especially in Homer, were examined
Eurialo e Niso: fides e perfidia
No full textAfter an hint at the Palladium’s rape by means of Ulysses and Diomedes –an example of Greek unfairness– the author takes into consideration the two episodes of the Aeneid in which Euryalus and Nisus appear: the night expedition across the Rutili’s camp, and the race during the funeral games in memory of Anchises. In the article two opposite features in the two characters are pointed out, loyalty (“fides”) and unfairness or fraud (“perfidia”) in both events. The author therefore thinks that Virgil’s admiration for the two young men is caused not only by their entreprise, but expecially by their even heroic friendship, that leads them to die together, the one for the other
Alcune minuzie virgiliane
No full textSome passages of the Aeneid are examined here –mainly the episode about Aquaemenides, the Harpies adventure and the race in the funeral games held in Anchises’s honor- and compared to those similar in the Homeric poems. The author intends to show both the analogy and the diferencies between the Virgilian poem and the Homeric ones, as well as to point out an incongruous detail about Ulysses’ companion left behind in the Cyclops’ island.Se examinan aquí algunos pasajes de Eneida –en particular el episodio de Aqueménides, la aventura de las arpías y la carrera durante los juegos fúnebres en honor a Anquises– en comparación con aquellos otros que se les corresponden, de alguna manera, en los poemas homéricos. El autor trata de ilustrar la analogía y las diferencias entre el poema virgiliano y los homéricos, subrayando también una incongruencia relativa al personaje del compañero de Ulises abandonado en la tierra de los Cíclopes
Vecchiaia e morte in Mimnermo: Nota A 1 W., 2
No full textEn la elegia 1 W., Mimnermo espera que llegue la muerte cuando la vida ya no le ofrezca más amor. Según nos parece, él no desea “morir”, sino “estar ya muerto” cuando lo alcance la vejez, como parece indicar el perfecto del v. 2, que permite intuir también su miedo a la muerte
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