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In the final book of the Georgics, Virgil digresses into a nostalgic and regretful explanation of his inability to include a proper discussion of gardening because he is spatiis exclusus iniquis (147). Often deemed “the skeleton of a fifth book of the Georgics” the exact meaning and intent behind this passage is still largely contested. In this paper I will attempt to de-strange this passage by examining it philosophically and allegorically, particularly by means of numerical symbolism.

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<p>This thesis offers a consideration of Ovid’s portrayal of Medea - in <em>Heroides</em> 6 and 12, <em>Metamorphoses</em> 7, and in <em>Tristia</em> 3.9. Although several scholars have examined the myth as Ovid presents it, no one has yet offered a literary appreciation of Ovid’s various accounts of the myth – one that examines his use of characterization, humour, audience response, and one that treats his Medea as a consistent, albeit complex, character.</p> <p>The first chapter focuses on the sources for Ovid’s Medea, the ways he makes changes and, as far as we can tell, innovations to his predecessors. The second begins with a general introduction to the <em>Heroides</em>, followed by a close reading of <em>Heroides</em> 6, showing how this letter is an oblique reference to Medea’s letter and myth, and I point out the links between the two poems, arguing that Hypsipyle’s letter must be read as a foreshadowing of Medea’s. The third chapter examines <em>Heroides </em>12 – Medea’s letter - where I concentrate on Ovid’s characterization of Medea and specifically look at elements of black humour and foreshadowing. The fourth – and longest – chapter deals with the Medea of the <em>Metamorphoses</em>, where I propose that the real metamorphosis of this story is Medea herself, who moves from the state of an innocent young girl to that of a witch, yet noting that all of the changes take place within a work that is marked by its sense of playfulness – its <em>perpetua festivitas</em> – and note Ovid’s use of wit and irony even as his characterization appears to grow dark. The fifth and final chapter deals with the Medea in Ovid’s <em>Tristia</em>, where I place the Medea of this work within the context of Ovid’s exile poetry, while showing that he is working with a complex character and is in no way contradicting himself.</p> / Doctor of Philosophy (PhD)

<p>The role of realism in the depiction of animals in Greaco-Roman fable is investigated. The crow and the raven have been chosen as the prism through which the investigation is carried out. Fable will be shown to be a genre founded on a contextually realistic depiction of animals, and this may especially be seen in the corvid fables. Realism must, however, be understood contextually, as what constitutes a realistic depiction of crows and ravens in Graeco-Roman times is quite different than what one would encounter at present. As a result of which the crow and raven are marked by attributes ranging from cleverness, parenting ability, resistance to weather, vocal mimicry, longevity, and augural significance, amongst a host of other characteristics which sometimes coincide with modern views but often do not. Thus Graeco-Roman fables dealing with crows and ravens can be broadly divided into two categories: fables dealing in various ways with their intelligence, and fables dealing with their augural significance.</p> / Master of Arts (MA)

This paper explores the Hellenistic Ideal of the good or virtous life by looking at historical backround, the philosophical writings of Plato and Aristotle, and the literary works of Euripides.

This paper addresses the causes and effects of grief within Homer's Iliad. In addition, this paper argues that error, both committed and suffered, is the primary cause of grief, and that grief is particularly transformative in regard to Achilles, both in his motivations and his physicality.

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