Euphorion

THIS IS NATURE SIGNALING THE END OF DUALITY 
THIS IS HUGE - CHANGE THE ENTIRETY OF CREATION - NO DUALITY ANYWHERE.
IT IS VERY CLEARLY A PREDETERMINED ADVANCEMENT OF HUMAN CONSCIOUSNESS - THIS BUBBLE IS TOO WELL DESIGNED - EUPHORIA CANCELS KARMA

"THE HORNS" ESSAY
DARKNESS ENGENDERS AND FOISTS THE FEELING OF FEAR ON MOST PEOPLE.  LOVE COMES FROM BEING ACCEPTED – IT IS AN AFFIRMATION OF “I AM THAT I AM”

AND BECAUSE OF THE LOOSH VS LOVE IN OUR BAT SHIT BRAINS, WE ARE CUT OFF FROM ALL-KNOWING – BY DESIGN – RESULTING IN ENTERTAINMENT VIA SEPARATION.  CUTS US OFF FROM COMMUNICATING WITH THE TREES, ANIMALS, ROCKS, ALIENS AND DISINCARNATE ENTITIES.

Ovid (Fast. V 493-544) narrates the birth of Orion
in according to a particular version that goes
back at least to Euphorion of Chalcis. This version
is incompatible with the archaic conception
of Orion’s birth in epics. The article discusses the
story from Ovid’s text and from the scholium of
the Iliad which contains Euphorion’s version. From
a structural perspective, the story contains ritual
motifs that may relate to a fertility rite attested
in a Hittite text, the so-called Paškuwatti’s ritual
against sexual impotence (CTH 406). The cultic
substratum shared by both, European and Asiatic,
Aegean banks, suggests the survival of certain features
of ritual origin transfigured into some of the
mythemes of the story discussed.
Key words: Euphorion of Chalcis; Ovid; Fasti; Orion;
Hyrieus; Mythography.

Abstract. Il confronto tra Prop. 2, 3, 91-92 e Virg. ecl. 10, 18 permette di sostenere con buona plausibilità che Gallo avesse trattato di Adone nella sua elegia erotica e che gli avesse dato una funzione di exemplum, utilizzando il mito come avrebbero fatto i suoi continuatori. La probabilità che egli avesse imitato Euphor. fr. 43 Pow. su Adone fa immaginare il suo rapporto con i modelli e la sua libertà nell’adattarli al nuovo genere elegiaco.

Parole chiave: Adone; elegia erotica latina; Gallo; Euforione; translatio; exemplum.

Abstract. The comparison between Prop. 2, 3, 91-92 and Virg. ecl. 10, 18 allows to argue that Gallus treated Adonis in his love elegy and that he used this character as an exemplum, in the same way of his future followers, in particular Propertius and Ovid. It is possible that he imitated Euphor. fr. 43 Pow., and for this reason we can try to reconstruct his relationship with the models and his freedom in in adapting them to the new elegiac poetry.

Key words: Adonis; Latin love elegy; Gallus; Euphorion; translatio; exemplum.

The purpose of this presentation is to emphasize various aspects of naming in Augustan poetry, and to link them to the Hellenistic attitude towards both epic anonymity and learned etymological play. To be named is an important aspect of kleos for epic characters. In Iliad 10, Homer gives but a mere account of thirteen (or fourteen) Thracian warriors slain by Diomedes. In the Vergilian list of Rutulian warriors (Aen. 9), the poet emends his Homeric model by giving a name to each
victim. This is to be compared with the typical attitude of ancient critics, who did not abide anonymity in Homeric poetry, as Eustathius and the scolia show. The same trend shows up in the zètèma of Protesilaus’ murderer in Heroide 13. The last part of the presentation focuses on two cryptic etymologies for Iphigeneia in Heroide 5 (131‑132) and for Circe in Aeneid 7 (14), with references to Euphorion and Seleucus.

À travers les parcours qu'ils proposent dans l'œuvre d'Euphorion, les
auteurs des contributions rassemblées dans ce volume nous permettent
de faire progresser la connaissance de la technique poétique d'Euphorion, de confronter (lorsque c'est possible) ses versions des mythes à celles que
l'on peut observer dans l'iconographie, d'étudier la manière dont cet
auteur suscite la création d'images mentales chez son lecteur, de rendre
lisible, à travers les fragments qui nous sont parvenus, une géographie
poétique par laquelle Euphorion semble se distinguer des autres poètes
hellénistiques, de mettre en évidence des aspects méconnus de sa
réception à Rome et de porter une attention nouvelle aux problèmes que
soulève la chronologie habituellement supposée pour cet auteur.