Homer Hesiod Hymns Tragedy Remythologizing Tools Blackboard Info

Deprecated: Function split() is deprecated in /www/www-ccat/data/classics/myth/php/tools/dictionary.php on line 64

Deprecated: Function split() is deprecated in /www/www-ccat/data/classics/myth/php/tools/dictionary.php on line 64
The act of the Roman pontifices, in virtue of which a thing was pontifices as sacer, i.e. belonging to, or forfeited to, the gods. (On the rite of consecratio associated with the solemn dedication of a sanctuary, see DEDICATIO; on consecratio as the apotheosis of the emperor, see APOTHEOSIS.) In case of certain offences, sentence of consecratio capitis et bonorum was pronouned upon the offender, whose person and property were then made over as a sacrifice, to some deity. A married man who sold his wife was devoted to the gods below; a son who beat his father, to the household gods; one who removed his neighbour's landmark to Terminus; a patronus who betrayed his client, or a client who betrayed his patronus, to Jupiter; one who stole rorn in the ear, to Ceres. To kill a homo sacer was riot accounted as murder, but as the fulfilment of the divine vengeance.

Deprecated: Function split() is deprecated in /www/www-ccat/data/classics/myth/php/tools/dictionary.php on line 64
The act of placing a human being among the gods, of which the Greeks have an instance as early as Homer, but only in the single case of Leucothea. The oldest notion was that of a bodily removal; then arose the idea of the mortal element being purged away by fire, as in the case of Heracles. There was a kind of deification which consisted in the decreeing of heroic honours to distinguished men after death, which was done from the time of the Peloponnesian War onwards, even in the case of living men (see HEROES). The successors of Alexander the Great, both the Seleucidae and still more the Ptolemies, caused themselves to be worshipped as gods. Of the Romans, whose legend told of the translation of Eneas and Romulus into heaven, Caesar was the first who claimed divine honours, if not by building temples to himself, yet by setting his statue among the gods in every sanctuary at Rome and in the empire, and by having a special flamen assigned to him. The belief in his divinity was confirmed by the comet that shone several months after his death, as long as his funeral games lasted; and under the triumvirate he was formally installed among the deities of Rome, as Divus Iulius, by a decree of the senate and people. His adopted son and successor Octavian persistently declined any offer of public worship, but he accepted the title of Augustus (the consecrated), and allowed his person to be adored in the provinces. On his death the senate decreed divine honours to him under the title of Divus Augustus, the erection of a temple, the founding of special games, and the establishment of a peculiar priesthood. After this, admission to the number of the Divi, as the deified emperors were called, becomes a prerogative of the imperial dignity. It is, however, left dependent on a resolution of the senate moved in honour of the deceased emperor by his successor. Hence it is not every emperor who obtains it, nor does consecration itself always lead to a permanent worship. Empresses too were often consecrated, first Augustus' wife Livia as Diva Augusta, and even other members of the imperial house. The ceremony of Apotheosis used from the time of Augustus was the following. After the passing of the senate's decree a waxen image of the dead, whose body lay hidden below, was exhibited for seven days on an ivory bed of state in the palace, covered with gold-embroidered coverlets; then the bier was borne by knights and senators amidst a brilliant retinue down the Via Sacra to the ancient Forum, where the funeral oration was delivered, and thence to the Campus Martius, where it was deposited in the second of the four stories of a richly decorated funeral pile of pyramid shape. When the magistrates sacred and secular, the knights, lifeguard, and others concerned, had performed the last honours by processions and libations, the pile was set on fire, and as it burned up, an eagle soared from the topmost storey into the sky, a symbol of the ascending soul.
HEBE 61.10%
Daughter of Zeus and Hera, goddess of eternal youth. She was represented as the handmaiden of the gods, for whom she pours out their nectar, and the consort of Heracles after his apotheosis. She was worshipped with Heracles in Sicyon and Phlius, especially under the name Ganymede or Dia. She was represented as freeing men from chains and bonds, and her rites were celebrated with unrestrained merriment. The Romans identified Hebe with Iuventas, the personification of youthful manhood. As representing the eternal youth of the Roman State, Iuventas had a chapel on the Capitol in the front court of the temple of Minerva, and in later times a temple of her own in the city. It was to Jupiter and Juventas that boys offered prayer on the Capitol when they put on the toga virilis, putting a piece of money into their treasury.
SENECA 23.03%
Lucius Anncaeus, the philosopher, son of (1), born at Corduba, about 5 B.C. In early youth he came to Rome, where, besides studying rhetoric, he devoted himself particularly to philosophy. While still young he entered active life as an orator, and in the service of the government. In 1 A.D. he was banished to Corsica by Claudius, at the instigation of Messalina, on the ostensible charge of being a participator and an accomplice in the debaucheries of Julia, the daughter of Germanicus. Not till eight years later did Claudius recall him at the request of Agrippina the younger, the emperor's niece and wife, and appoint him tutor to the youthful Nero, Agrippina's son by a former husband. After the young prince had ascended the throne in 54 A.D., Seneca still remained in the circle of those most closely attached to him, especially during the first five years of the reign, and exercised a beneficial influence over his former pupil, who manifested his thanks by making him valuable presents, and conferring upon him the consulship for 57. In 62 the intrigues of his opponents caused him to withdraw completely from the court and from public life. The conspiracy of Piso in 65 finally afforded Nero the early desired pretext for removing him. As the mode of his death was left to himself, he had his veins opened, and as death did not ensue with sufficient rapidity, he finally had himself put in a vapour-bath. During his lifetime he had often been reproached for finding more pleasure than a philosopher should in the good things of life. How little value he really set upon them was shown by the readiness with which he parted from them and the composure with which he met his end. Next to Cicero, he is the most famous philosophical writer of Rome, and one of the most gifted and original of Roman authors in general. As a philosopher, he was essentially a follower of the Stoics; but he directed his attention less to abstract speculation than to practical wisdom, which undoubtedly, as in his own instance, verges closely on mere prudence in the conduct of life. His writings are in a popular style, but they are characterized by copious knowledge and wide acquaintance with the human heart, and are remarkable for their richness in aphorisms that are at once profound in thought and terse in expression. The moral tone of his writings caused Christian tradition to represent him as a friend of the Apostle Paul, and even to invent a correspondence between them. [Cp. Lightfoot's Philippians, 1868, pp. 260-331] In versatility of genius, ease of production, and elegance of form, Seneca may be compared with Ovid. In style he accommodated himself completely to the taste of the times, which strained after rhetorical effect, though he fully recognised its degeneracy. Among his numerous prose writings are the following: (1) three letters of condolence (De Consolatione)--to his mother Helvia, to Polybius (the favourite of Claudius), and to Marcia (the daughter of Cremutius Cordus. The two first were composed in Corsica. (2) A series of discourses on philosophy and morals, the most important being those on Mercy (De Clementia), in two books, addressed to Nero; on Anger (De Ira), in three books; on Giving and Receiving Favours (De Beneficus), in seven books. (3) A collection in twenty books of 124 letters to his young friend Lucilius, mostly on questions of philosophy. (4) Investigations in Natural Science (Quaestiones Naturales,) in seven books, dedicated to the same Lucilius, the the first and only text-book on physics in Roman literature. In addition to these he wrote a biting satire on the death of the emperor Claudius (Ludus de Morte Claudii) entitled the Pumpkinification (Apocolocyntosis), instead of deification (apotheosis), in which prose and verse are mingled after the manner of Varro's Menippean Satires. We have express testimony that Seneca was also a poet [Tacitus, Ann., xix 52]. Besides certain epigrams, the following tragedies are ascribed to him: Hercules Furens, Thyestes, Phoedra, (Edipus Troades, Medea, Agamemnon, Herecules OEtoeus, three fragments upon the Theban myth united under the title of Thebais or Phoenissoe, and the fabula proetextata (q.v.) entitled Octavia. These are the only tragedies in all Roman literature that have come down to us. It may be taken as proved, that the last of these dramas, which treats of the tragic end of Octavia, the daughter of Claudius and wife of Nero, and in which Seneca himself appears, cannot be attributed to him, but belongs to a later date, though there are no decisive reasons for doubting the genuineness of the remainder. Their matter and form are borrowed from the Greek; [but their general character probably resembles that of the tragedies written in the Augustan age by Pollio and by Varius, rather than that of the ancient dramatists, such as Ennius and Pacuvius]. In their pointed expression they exhibit the same talent for style as his prose works, the same copiousness, philosophical bent, and rhetorical manner (the last frequently carried beyond the limits of taste). They seem to have been designed more as declamatory exercises than for actual performance on the stage.
A Roman poet, born March 21st, 43 B.C., at Sulmo (now Solmona) in the country of the P'ligni, son of a wealthy Roman of an old equestrian family. He came at an early age to Rome, to be educated as a pleader, and enjoyed the tuition of the most famous rhetoricians of the time, Porcius Latro and Arellius Fuscus. It was not long before the instinct for poetry awoke in him with such power that it needed all his father's resolution to keep him to his legal studies; his oratorical exercises were simply poems in prose, as is testified by one of his fellow students, the elder Seneca [Controv. ii 10, 8]. After he had visited Greece and Asia to complete his education, he entered into political life at his father's desire, and filled several subordinate offices. But he soon withdrew again from public business, partly on the ground of his health and partly from an inclination to idleness, and lived only for poetry, in the society of the poets of his day, among whom he was especially intimate with Propertius. He came into note as a poet by a tragedy called the Medea, which is now lost, but is much praised by ancient literary critics, and about the same time he produced a series of amatory, and in parts extremely licentious, poems. When little more than a mere boy, as he says himself [Tristia, iv 10, 69], he was given a wife by his father; but this marriage, like a second one, ended in a divorce. He derived more satisfaction, as well as the advantage of contact with the court and with men of the highest distinction, from a third marriage, with a widow of noble family and high connexions. To her influence, perhaps, should be referred the fact that he turned his attention to more important and more serious works. He had almost completed his best known work, the Metamorphoses, when suddenly, in 9 A.D., he was banished for life by Augustus to Tomi on the Black Sea, near the mouths of the Danube. The cause for this severity on the part of the emperor is unknown; Ovid himself admits that there was a fault on his side, but only an error, not a crime [Tristia i 3, 37]. At all events, the matter directly affected Augustus; and as Ovid describes his eyes as the cause of his misfortune, it is conjectured that he had been an unintentional eyewitness of some offence on the part of the frivolous granddaughter of the prince, the younger Julia, and had neglected to inform the emperor of the matter. His indecent amatory poems, to which he also points as the source of the emperor's displeasure, can at most only have been used as a plausible excuse in the eyes of the public, as they had been published more than ten years before. After a perilous voyage Ovid reached the place of his exile in the winter of 10-11 A.D.; and there, far from his wife and from his only daughter, who had inherited the poetic talent of her father, far from his friends and all intercourse with men of genius, he had to pass the last years of his life in desolation among the barbarous Get'. Even in his exile his poetic talent did not fail him. It was then that he composed his poems of lamentation, entitled the Tristia, and his letters from Pontus, touching proofs of his grief, though also of his failing powers. His ceaseless prayers and complaints had succeeded in softening Augustus, when the latter died. All his efforts to gain forgiveness or alleviation of his condition met with no response from Tiberius, and he was compelled to close his life, broken-hearted and in exile, 17 A.D. His extant works are (1) Love poems (Amores), published about 14 B.C., in five books, and again about 2 B.C. in three books. The latter edition is the one we possess; some of its forty-nine elegies depict in a very sensual way the poet's life, the centre of which is the unknown Corinna. (2) Letters (Epistutloe), also called Heroides, rhetorical declamations in the form of loveletters sent by heroines to their husbands or lovers, twenty-one in number; the last six of these, however, and the fourteenth, are considered spurious. (3) Methods for beautifying the face (Medicamina Faciei), advice to women respecting the art of the toilette; this piece has come down to us in an incomplete form. (4) The Art of Love (Ars Amandi orAmatoria), in three books, published about 2 B.C., advice to men (books 1 and 2) and women (book 3) as to the methods of contracting a love-affair and insuring its continuance, a work as frivolous as it is original and elaborate. (5) Cures for Love (Remedia Amoris), the pendant to the previous work, and no less offensive in substance and tone. (6) The fifteen books of the Transformations (Metamorphoses), his only considerable work. It is composed in hexameter verse; the material is borrowed from Greek and (to a less extent) from Roman sources, being a collection of legends of transformations, very skilfully combining jest and earnest in motley alternations, and extending from chaos to the apotheosis of C'sar. When it was completed and had received the last touches, the work was cast into the flames by Ovid in his first despair at banishment, but was afterwards rewritten from other copies. (7) A Calendar of Roman Festivals (Fasti), begun in the last years before his banishment, and originally in twelve books, corresponding to the number of the months. Of these only six are preserved, probably because Ovid had not quite completed them at Rome, and had not the means to do so at Tomi. It was originally intended for dedication to Augustus. After Augustus' death the poet began to revise it, with a view to its dedication to Germanicus; he did not, however, proceed with his revision beyond the first book. It contains in elegiac metre the most important celestial phenomena and the festivals of each month, with a description of their celebration and an account of their origin according to the Italian legends. (8) Poems of Lamentation (Tristia), to his family, to his friends, and to Augustus, belonging to the years 9-13 A.D., in five books; the first of these was written while he was still on his journey to Tomi. (9) Letters from Pontus (Epistuloe ex Ponto), in four books, only distinguished from the previous poems by their epistolary form. (10) Ibis, an imitation of the poem of the same name by Callimachus, who had attacked under this name Apollonius of Rhodes, consisting of imprecations on a faithless friend at Rome, written in the learned and obscure style of the Alexandrian poets. (11) A short fragment of a didactic poem on the fish in the Black Sea (Halieutica), written in hexameters. Besides these Ovid wrote during his exile numerous poems which have been lost, among them a eulogy of the deceased Augustus in the Getic tongue, a sufficient proof of the strength of his bent and talent for poetry. In both of these respects he is distinguished above all other Roman poets. Perhaps no one ever composed with less exertion; at the same time no one ever used so important a faculty for so trivial a purpose. His poetry is for the most part simply entertaining; in this kind of writing he proves his mastery by his readiness in language and metre, by his unwearied powers of invention, by his ever-ready wit, elegance, and charm, though, on the other hand, he is completely wanting in deep feeling and moral earnestness. By his talent Ovid (as well as Vergil) has had great influence on the further development of Roman poetry, especially with regard to metre. Many imitated his style so closely, that their poems were actually attributed to himself. Among these, besides a number of Heroides (see above), we have the Nux, the nut tree's complaint of the ill-treatment it met with, a poem in elegiac verse, which was at all events written in the time of Ovid.
SENATE 8.97%
Type: Standard
gutter splint
gutter splint
gutter splint