Commentaries on the Occult Philosophy of Agrippa by Willy Schrodter

By Willy Schrodter

AGRIPPA, THE 16TH-CENTURY thinker, released a widely known and infrequently referenced esoteric vintage -- 3 Books of Occult Philosophy (Natural Magic, Celestial Magic, and Ceremonial Magic). until eventually lately those 3 volumes have been tough to discover in English, even if that they had been translated within the seventeenth century and released in England. Willy Schrodter observed the price in those texts from a latest standpoint, and compiled copious notes and statement on a few of the matters pointed out in Agrippa's opus. His examine makes Agrippa comprehensible, delivering medical affirmation for Agrippa's possible outlandish claims with conscientiously documented parallel circumstances. it truly is Schrodter's illuminating examples, taken from the main assorted fields of analysis, that represent the genuine and lasting worth of this compilation.

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The Homeric Centos of the Empress Eudocia bring to the fore the cultural synergism of reading and performing the Classics. Acknowledgments Some debts are a pleasure to pay. My heaviest and most pleasant one is to Laura Slatkin——for her inspiration, insight, and constant support. My thanks go out also to other readers: Bob Kaster, Chris Faraone, and Michael Roberts, for their generous contributions of time, counsel, and energy; to Elizabeth Asmis, for the research opportunity that led to my discovery of this fascinating poem; to Bob Allison, for his role in obtaining access to the manuscript on which this study is based; to Robert Lamberton, Mark Edwards, and Gregory Nagy, for carefully reading and commenting on various parts of this project.

For what people find meaningful determines what will make them curious and pleased, anxious and fearful, distant and hostile. The reception of new, unusual, and difficult art—in all the arts—depends on interpreters who will speak as much to the culture as to the work of art. (Perin 1994:193) The Homeric Centos are new, unusual, and sometimes difficult. They have not been well received, in either ancient or more modern times. 6 Eudocia’s poem has especially much to contribute to the ongoing debate about the effects of orality and textuality in verbal art forms, and much to teach us about the aural and performative aspects of ancient reading, the processes of human memory, and the reception of Homeric poetry as oral poetry in later antiquity.

Accommodation takes several forms in the Homeric Centos, but most often it is a response to the syntax set up by a verse the poet has already chosen to appropriate as she moves from one verse to another. ”37 Such instances usually involve a semantic change and must be judged on a case-by-case basis. 38 There are two basic types of accommodation used by Eudocia to make Homeric verses fit together in their new context: the grammatical and the semantic (cf. Alfieri 1988:140-1). The two are distinguished by various sigla in the Cento text cited throughout this book.

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