The Ancient Mediterranean Religions Index Database

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18 results for "augustus"

1. Sophocles, Antigone, 450 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

2. Sophocles, Oedipus The King, 410 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

3. Sallust, Catiline, 54.6 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 231

4. Ovid, Tristia, 2.528 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 231

2.528. et modo maternis tecta videtur aquis,

5. Juvenal, Satires, 8.229 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

6. Dio Chrysostom, Orations, 32.41-32.43 (1st cent. CE - missingth cent. CE) Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

32.41. What, then, do you suppose those people say when they have returned to their homes at the ends of the earth? Do they not say: "We have seen a city that in most respects is admirable and a spectacle that surpasses all human spectacles, with regard both to beauty and sanctuaries and multitude of inhabitants and abundance of all that man requires," going on to describe to their fellow citizens as accurately as possible all the things that I myself named a short while ago â all about the Nile, the land, and the sea, and in particular the epiphany of the god; "and yet," they will add, "it is a city that is mad over music and horse-races and in these matters behaves in a manner entirely unworthy of itself. For the Alexandrians are moderate enough when they offer sacrifice or stroll by themselves or engage in their other pursuits; but when they enter the theatre or the stadium, just as if drugs that would madden them lay buried there, they lose all consciousness of their former state and are not ashamed to say or do anything that occurs to them. 32.42. And what is most distressing of all is that, despite their interest in the show, they do not really see, and, though they wish to hear, they do not hear, being evidently out of their senses and deranged â not only men, but even women and children. And when the dreadful exhibition is over and they are dismissed, although the more violent aspect of their disorder has been extinguished, still at street-corners and in alley-ways the malady continues throughout the entire city for several days; just as when a mighty conflagration has died down, you can see for a long time, not only the smoke, but also some portions of the buildings still aflame." 32.43. Moreover, some Persian or Bactrian is likely to say: "We ourselves know how to ride horses and are held to be just about the best in horsemanship" â for they cultivate that art for the defence of their empire and independence â "but for all that we have never behaved that way or anything like it"; whereas you, who have never handled a horse or mounted one yourselves, are unable to restrain yourselves, but are like lame men squabbling over a foot-race. That may explain why, cowards and slackers though you are, you have won so many cavalry battles in the past!

7. Appian, The Illyrian Wars, 30 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30

8. Pliny The Elder, Natural History, 7.126, 34.39, 35.102, 35.136 (1st cent. CE - 1st cent. CE) Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30, 231

9. Suetonius, Augustus, 85.2 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •nan Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30, 231

10. Suetonius, Nero, 21.3, 46.3 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

11. Philostratus The Athenian, Life of Apollonius, 2.22 (2nd cent. CE - missingth cent. CE) Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 231

2.22. ὃν δὲ διέτριβεν ἐν τῷ ἱερῷ χρόνον, πολὺς δὲ οὗτος ἐγένετο, ἔστ' ἂν ἀγγελθῇ τῷ βασιλεῖ ξένους ἥκειν, “ὦ Δάμι” ἔφη ὁ ̓Απολλώνιος, “ἔστι τι γραφική;” “εἴ γε” εἶπε “καὶ ἀλήθεια.” “πράττει δὲ τί ἡ τέχνη αὕτη;” “τὰ χρώματα” ἔφη “ξυγκεράννυσιν, ὁπόσα ἐστί, τὰ κυανᾶ τοῖς βατραχείοις καὶ τὰ λευκὰ τοῖς μέλασι καὶ τὰ πυρσὰ τοῖς ὠχροῖς.” “ταυτὶ δὲ” ἦ δ' ὃς “ὑπὲρ τίνος μίγνυσιν; οὐ γὰρ ὑπὲρ μόνου τοῦ ἄνθους, ὥσπερ αἱ κήριναι.” “ὑπὲρ μιμήσεως” ἔφη “καὶ τοῦ κύνα τε ἐξεικάσαι καὶ ἵππον καὶ ἄνθρωπον καὶ ναῦν καὶ ὁπόσα ὁρᾷ ὁ ἥλιος: ἤδη δὲ καὶ τὸν ἥλιον αὐτὸν ἐξεικάζει τοτὲ μὲν ἐπὶ τεττάρων ἵππων, οἷος ἐνταῦθα λέγεται φαίνεσθαι, τοτὲ δ' αὖ καὶ διαπυρσεύοντα τοῦ οὐρανοῦ, ἐπειδὰν αἰθέρα ὑπογράφῃ καὶ θεῶν οἶκον.” “μίμησις οὖν ἡ γραφική, ὦ Δάμι;” “τί δὲ ἄλλο;” εἶπεν “εἰ γὰρ μὴ τοῦτο πράττοι, γελοία δόξει χρώματα ποιοῦσα εὐήθως.” “τὰ δ' ἐν τῷ οὐρανῷ” ἔφη “βλεπόμενα, ἐπειδὰν αἱ νεφέλαι διασπασθῶσιν ἀπ' ἀλλήλων, τοὺς κενταύρους καὶ τραγελάφους καὶ, νὴ Δί', οἱ λύκοι τε καὶ οἱ ἵπποι, τί φήσεις; ἆρ' οὐ μιμητικῆς εἶναι ἔργα;” “ἔοικεν,” ἔφη. “ζωγράφος οὖν ὁ θεός, ὦ Δάμι, καὶ καταλιπὼν τὸ πτηνὸν ἅρμα, ἐφ' οὗ πορεύεται διακοσμῶν τὰ θεῖά τε καὶ ἀνθρώπεια, κάθηται τότε ἀθύρων τε καὶ γράφων ταῦτα, ὥσπερ οἱ παῖδες ἐν τῇ ψάμμῳ;” ἠρυθρίασεν ὁ Δάμις ἐς οὕτως ἄτοπον ἐκπεσεῖν δόξαντος τοῦ λόγου. οὐχ ὑπεριδὼν οὖν αὐτὸν ὁ ̓Απολλώνιος, οὐδὲ γὰρ πικρὸς πρὸς τὰς ἐλέγξεις ἦν, “ἀλλὰ μὴ τοῦτο” ἔφη “βούλει λέγειν, ὦ Δάμι, τὸ ταῦτα μὲν ἄσημά τε καὶ ὡς ἔτυχε διὰ τοῦ οὐρανοῦ φέρεσθαι τόγε ἐπὶ τῷ θεῷ, ἡμᾶς δὲ φύσει τὸ μιμητικὸν ἔχοντας ἀναρρυθμίζειν τε αὐτὰ καὶ ποιεῖν;” “μᾶλλον” ἔφη “τοῦτο ἡγώμεθα, ὦ ̓Απολλώνιε, πιθανώτερον γὰρ καὶ πολλῷ βέλτιον.” “διττὴ ἄρα ἡ μιμητική, ὦ Δάμι, καὶ τὴν μὲν ἡγώμεθα οἵαν τῇ χειρὶ ἀπομιμεῖσθαι καὶ τῷ νῷ, γραφικὴν δὲ εἶναι ταύτην, τὴν δ' αὖ μόνῳ τῷ νῷ εἰκάζειν.” “οὐ διττήν,” ἔφη ὁ Δάμις “ἀλλὰ τὴν μὲν τελεωτέραν ἡγεῖσθαι προσήκει γραφικήν γε οὖσαν, ἣ δύναται καὶ τῷ νῷ καὶ τῇ χειρὶ ἐξεικάσαι, τὴν δὲ ἑτέραν ἐκείνης μόριον, ἐπειδὴ ξυνίησι μὲν καὶ μιμεῖται τῷ νῷ καὶ μὴ γραφικός τις ὤν, τῇ χειρὶ δὲ οὐκ ἂν ἐς τὸ γράφειν αὐτὰ χρήσαιτο.” “ἆρα,” ἔφη “ὦ Δάμι, πεπηρωμένος τὴν χεῖρα ὑπὸ πληγῆς τινος ἢ νόσου;” “μὰ Δί'” εἶπεν “ἀλλ' ὑπὸ τοῦ μήτε γραφίδος τινὸς ἧφθαι, μήτε ὀργάνου τινὸς ἢ χρώματος, ἀλλ' ἀμαθῶς ἔχειν τοῦ γράφειν.” “οὐκοῦν,” ἔφη “ὦ Δάμι, ἄμφω ὁμολογοῦμεν μιμητικὴν μὲν ἐκ φύσεως τοῖς ἀνθρώποις ἥκειν, τὴν γραφικὴν δὲ ἐκ τέχνης. τουτὶ δ' ἂν καὶ περὶ τὴν πλαστικὴν φαίνοιτο. τὴν δὲ δὴ ζωγραφίαν αὐτὴν οὔ μοι δοκεῖς μόνον τὴν διὰ τῶν χρωμάτων ἡγεῖσθαι, καὶ γὰρ ἓν χρῶμα ἐς αὐτὴν ἤρκεσε τοῖς γε ἀρχαιοτέροις τῶν γραφέων καὶ προϊοῦσα τεττάρων εἶτα πλειόνων ἥψατο, ἀλλὰ καὶ γραμμὴν καὶ τὸ ἄνευ χρώματος, ὃ δὴ σκιᾶς τε ξύγκειται καὶ φωτός, ζωγραφίαν προσήκει καλεῖν: καὶ γὰρ ἐν αὐτοῖς ὁμοιότης τε ὁρᾶται εἶδός τε καὶ νοῦς καὶ αἰδὼς καὶ θρασύτης, καίτοι χηρεύει χρωμάτων ταῦτα, καὶ οὔτε αἷμα ἐνσημαίνει οὔτε κόμης τινὸς ἢ ὑπήνης ἄνθος, ἀλλὰ μονοτρόπως ξυντιθέμενα τῷ τε ξανθῷ ἀνθρώπῳ ἔοικε καὶ τῷ λευκῷ, κἂν τούτων τινὰ τῶν ̓Ινδῶν λευκῇ τῇ γραμμῇ γράψωμεν, μέλας δήπου δόξει, τὸ γὰρ ὑπόσιμον τῆς ῥινὸς καὶ οἱ ὀρθοὶ βόστρυχοι καὶ ἡ περιττὴ γένυς καὶ ἡ περὶ τοῖς ὀφθαλμοῖς οἷον ἔκπληξις μελαίνει τὰ ὁρώμενα καὶ ̓Ινδὸν ὑπογράφει τοῖς γε μὴ ἀνοήτως ὁρῶσιν. ὅθεν εἴποιμ' ἂν καὶ τοὺς ὁρῶντας τὰ τῆς γραφικῆς ἔργα μιμητικῆς δεῖσθαι: οὐ γὰρ ἂν ἐπαινέσειέ τις τὸν γεγραμμένον ἵππον ἢ ταῦρον μὴ τὸ ζῷον ἐνθυμηθείς, ᾧ εἴκασται, οὐδ' ἂν τὸν Αἴαντά τις τὸν Τιμομάχου ἀγασθείη, ὃς δὴ ἀναγέγραπται αὐτῷ μεμηνώς, εἰ μὴ ἀναλάβοι τι ἐς τὸν νοῦν Αἴαντος εἴδωλον καὶ ὡς εἰκὸς αὐτὸν ἀπεκτονότα τὰ ἐν τῇ Τροίᾳ βουκόλια καθῆσθαι ἀπειρηκότα, βουλὴν ποιούμενον καὶ ἑαυτὸν κτεῖναι. ταυτὶ δέ, ὦ Δάμι, τὰ τοῦ Πώρου δαίδαλα μήτε χαλκευτικῆς μόνον ἀποφαινώμεθα, γεγραμμένοις γὰρ εἴκασται, μήτε γραφικῆς, ἐπειδὴ ἐχαλκεύθη, ἀλλ' ἡγώμεθα σοφίσασθαι αὐτὰ γραφικόν τε καὶ χαλκευτικὸν ἕνα ἄνδρα, οἷον δή τι παρ' ̔Ομήρῳ τὸ τοῦ ̔Ηφαίστου περὶ τὴν τοῦ ̓Αχιλλέως ἀσπίδα ἀναφαίνεται. μεστὰ γὰρ καὶ ταῦτα ὀλλύντων τε καὶ ὀλλυμένων, καὶ τὴν γῆν ᾑματῶσθαι φήσεις χαλκῆν οὖσαν.”

2.22. While he was waiting in the Temple, — and it took a long time for the king to be informed that strangers had arrived, — Apollonius said: O Damis, is there such a thing as painting? Why yes, he answered, if there be any such thing as truth. And what does this art do? It mixes together, replied Damis, all the colors there are, blue with green, and white with black, and red with yellow. And for what reason, said the other, does it mix these? For it isn't merely to get a color, like dyed wax. It is, said Damis, for the sake of imitation, and to get a likeness of a dog, or a horse, or a man, or a ship, or of anything else under the sun; and what is more, you see the sun himself represented, sometimes borne upon a four horse car, as he is said to be seen here, and sometimes again traversing the heaven with his torch, in case you are depicting the ether and the home of the gods. Then, O Damis, painting is imitation? And what else could it be? said he: for if it did not effect that, it would voted to be an idle playing with colors. And, said the other, the things which are seen in heaven, whenever the clouds are torn away from one another, I mean the centaurs and stag-antelopes, yes, and the wolves too, and the horses, what have you got to say about them? Are we not to regard them as works of imitation? It would seem so, he replied. Then, Damis, God is a painter, and has left his winged chariot, upon which he travels, as he disposes of affairs human and divine, and he sits down on these occasions to amuse himself by drawing these pictures, as children make figures in the sand. Damis blushed, for he felt that his argument was reduced to such an absurdity. But Apollonius, on his side, had no wish to humiliate him, for he was not unfeeling in his refutations of people, and said: But I am sure, Damis, you did not mean that; rather that these figures flit through the heaven not only without meaning, but, so far as providence is concerned, by mere chance; while we who by nature are prone to imitation rearrange and create them in these regular figures. We may, he said, rather consider this to be the case, O Apollonius, for it is more probable, and a much sounder idea. Then, O Damis, the mimetic art is twofold, and we may regard the one kind as an employment of the hands and mind in producing imitations, and declare that this is painting, whereas the other kind consists in making likenesses with the mind alone. Not twofold, replied Damis, for we ought to regard the former as the more perfect and more complete kind, being anyhow painting and a faculty of making likenesses with the help both of mind and hand; but we must regard the other kind as a department that, since its possessor perceives and imitates with the mind, without having the delineative faculty, and would never use his hand in depicting its objects. Then, said Apollonius, you mean, Damis, that the hand may be disabled by a blow or by disease? No, he answered, but it is disabled, because it has never handled pencil nor any instrument or color, and has never learned to draw. Then, said the other, we are both of us, Damis, agreed that man owes his mimetic faculty to nature, but his power of painting to art. And the same would appear to be true of plastic art. But, methinks, you would not confine painting itself to the mere use of colors, for a single color was often found sufficient for this purpose by our older painters; and as the art advanced, it employed four, and later, yet more; but we must also concede the name of a painting to an outline drawn without any color at all, and composed merely of shadow and light. For in such designs we see a resemblance, we see form and expression, and modesty and bravery, although they are altogether devoid of color; and neither blood is represented, nor the color of a man's hair or beard; nevertheless these compositions in monochrome are likenesses of people either tawny or white, and if we drew one of these Indians with a pencil without color, yet he would be known for a negro, for his flat nose, and his stiff curling locks and prominent jaw, and a certain gleam about his eyes, would give a black look to the picture and depict an Indian to the eyes of all those who have intelligence. And for this reason I should say that those who look at works of painting and drawing require a mimetic faculty; for no one could appreciate or admire a picture of a horse or of a bull, unless he had formed an idea of the picture represented. Nor again could one admire a picture of Ajax, by the painter Timomachus, which represents him in a state of madness, unless one had conceived in one's mind first an idea or notion of Ajax, and had entertained the probability that after killing the flocks in Troy he would sit down exhausted and even meditate suicide. But these elaborate works of Porus we cannot, Damis, regard as works of brass founding alone, for they are cast in brass; so let us regard them as the chefs d'oeuvre of a man who is both painter and brass-founder at once, and as similar to the work of Hephaestus upon the shield of Achilles, as revealed in Homer. For they are crowded together in that work too men slaying and slain, and you would say that the earth was stained with gore, though it is made of brass.

12. Cassius Dio, Roman History, 44.17.2, 59.5, 63.9.4, 63.10.2, 63.22.6 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •augustus, writes an ajax •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165; Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30

44.17.2. Moreover, omens not a few and not without significance came to him: the arms of Mars, at that time deposited in his house, according to ancient custom, by virtue of his position as high priest, made a great noise at night, and the doors of the chamber where he slept opened of their own accord. 59.5. 1. This was the kind of emperor into whose hands the Romans were then delivered. Hence the deeds of Tiberius, though they were felt to have been very harsh, were nevertheless as far superior to those of Gaius as the deeds of Augustus were to those of his successor.,2. For Tiberius always kept the power in his own hands and used others as agents for carrying out his wishes; whereas Gaius was ruled by the charioteers and gladiators, and was the slave of the actors and others connected with the stage. Indeed, he always kept Apelles, the most famous of the tragedians of that day, with him even in public.,3. Thus he by himself and they by themselves did without let or hindrance all that such persons would naturally dare to do when given power. Everything that pertained to their art he arranged and settled on the slightest pretext in the most lavish manner, and he compelled the praetors and the consuls to do the same, so that almost every day some performance of the kind was sure to be given.,4. At first he was but a spectator and listener at these and would take sides for or against various performers like one of the crowd; and one time, when he was vexed with those of opposing tastes, he did not go to the spectacle. But as time went on, he came to imitate, and to contend in many events,,5. driving chariots, fighting as a gladiator, giving exhibitions of pantomimic dancing, and acting in tragedy. So much for his regular behaviour. And once he sent an urgent summons at night to the leading men of the senate, as if for some important deliberation, and then danced before them. 63.22.6. They were held by Augustus and by Claudius, whereas this fellow might most properly be termed Thyestes, Oedipus, Alcmeon, or Orestes; for these are the characters that he represents on the stage and it is these titles that he has assumed in place of the others. Therefore rise now at length against him; succour yourselves and succour the Romans; liberate the entire world!"

13. Obsequens, De Prodigiis, None (3rd cent. CE - 4th cent. CE) Tagged with subjects: •nan Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30

14. Servius, Commentary On The Aeneid, 7.603 (4th cent. CE - 5th cent. CE) Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30

15. Strabo, Geography, 7.6.1 Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 30

7.6.1. Pontic seaboard The remainder of the country between the Ister and the mountains on either side of Paeonia consists of that part of the Pontic seaboard which extends from the Sacred Mouth of the Ister as far as the mountainous country in the neighborhood of the Haemus and as far as the mouth at Byzantium. And just as, in traversing the Illyrian seaboard, I proceeded as far as the Ceraunian Mountains, because, although they fall outside the mountainous country of Illyria, they afford an appropriate limit, and just as I determined the positions of the tribes of the interior by these mountains, because I thought that marks of this kind would be more significant as regards both the description at hand and what was to follow, so also in this case the seaboard, even though it falls beyond the mountain-line, will nevertheless end at an appropriate limit — the mouth of the Pontus — as regards both the description at hand and that which comes next in order. So, then, if one begins at the Sacred Mouth of the Ister and keeps the continuous seaboard on the right, one comes, at a distance of five hundred stadia, to a small town, Ister, founded by the Milesians; then, at a distance of two hundred and fifty stadia, to a second small town, Tomis; then, at two hundred and eighty stadia, to a city Callatis, a colony of the Heracleotae; then, at one thousand three hundred stadia, to Apollonia, a colony of the Milesians. The greater part of Apollonia was founded on a certain isle, where there is a sanctuary of Apollo, from which Marcus Lucullus carried off the colossal statue of Apollo, a work of Calamis, which he set up in the Capitolium. In the interval between Callatis and Apollonia come also Bizone, of which a considerable part was engulfed by earthquakes, Cruni, Odessus, a colony of the Milesians, and Naulochus, a small town of the Mesembriani. Then comes the Haemus Mountain, which reaches the sea here; then Mesembria, a colony of the Megarians, formerly called Menebria (that is, city of Menas, because the name of its founder was Menas, while bria is the word for city in the Thracian language. In this way, also, the city of Selys is called Selybria and Aenus was once called Poltyobria). Then come Anchiale, a small town belonging to the Apolloniatae, and Apollonia itself. On this coast-line is Cape Tirizis, a stronghold, which Lysimachus once used as a treasury. Again, from Apollonia to the Cyaneae the distance is about one thousand five hundred stadia; and in the interval are Thynias, a territory belonging to the Apolloniatae (Anchiale, which also belongs to the Apolloniatae), and also Phinopolis and Andriake, which border on Salmydessus. Salmydessus is a desert and stony beach, harborless and wide open to the north winds, and in length extends as far as the Cyaneae, a distance of about seven hundred stadia; and all who are cast ashore on this beach are plundered by the Astae, a Thracian tribe who are situated above it. The Cyaneae are two islets near the mouth of the Pontus, one close to Europe and the other to Asia; they are separated by a channel of about twenty stadia and are twenty stadia distant both from the sanctuary of the Byzantines and from the sanctuary of the Chalcedonians. And this is the narrowest part of the mouth of the Euxine, for when one proceeds only ten stadia farther one comes to a headland which makes the strait only five stadia in width, and then the strait opens to a greater width and begins to form the Propontis.

16. Various, Anthologia Planudea, 83 Tagged with subjects: •augustus, writes an ajax Found in books: Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 231

17. Epigraphy, I. Thespiae, 358 Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

18. Philostratus, V.A., 4.38.5, 4.39.2, 7.4.2 Tagged with subjects: •augustus, ajax Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 165

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