Hi so I ship Antony x Octavian them being my two and only I think they are the coolest & maddest i love them sm❤️ do u know they were actually lovers for real?
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1. [Augustus] … We still require some explanation of why his choice fell on this name alone. … The coins of Mark Antony … regularly bear the legend ANT · AVG · III · VIR R · P · C. Here AVG is, of course, an abbreviation of augur; but at the same time it is the most natural abbreviation of Augustus. … Once created, the name did not spread into ordinary society; apart from derivatives, it remained almost wholly confined to the actual rulers of the empire, as though the victor had permanently sealed the old AVG inside his own proper name.
2. An augustus place is a sacred place: according to one explanation, it is so called from the movements or signs of birds—that is, because it was indicated by birds; according to another, from the birds’ tasting, because, once the sacred birds had fed, they ratified the decision and made it binding.
3. … He kept it [the raven that was trained to cry, “Hail, Antony the Victor!”], and now and then amused himself by listening to both birds at once. … An entertainment worthy of a philosopher: like a magician who had summoned Venus’s two sons from a Syrian well [an allusion to Iamblichus summoning Eros and Anteros, the gods of love and love returned], he set upon a single perch two chances that could come true only one in place of the other.
4. … I would conjecture that what prompted—rather, invited—Augustus to write Ajax was the fate and death of M. Antony. The two men’s ways of life and death were not unlike: as Ajax contended for the arms of Achilles, Antony contended for the empire; both lost their case; both turned violence upon themselves and fell upon the sword. … As Augustus followed with his own pen the story of Ajax, son of Telamon, the exceedingly fortunate outcome of that struggle…
5. “You have fallen, son of Oebalus, robbed of your youth at its very beginning,” Phoebus said. “I see your wound—it is my crime. You are my grief and my guilt; your death must be inscribed upon my right hand, for I am the author of your funeral. Yet what is my fault, unless play too can be called a fault, unless love too can be called a fault? Ah, if only I might die with you, or give you back your life! But the law of fate binds me. You shall always be with me and dwell upon the lips that remember you; my lyre and my songs shall resound with you. A new flower shall imitate my lament in written signs. And the time will come when a hero most valiant shall join this flower and be read upon the same petal.”
“Let no one be able to conquer Ajax except Ajax himself.” … The blood itself thrust out the sword, and the earth, reddened with blood, brought forth from the green turf a purple flower—the same that had once been born from the wound of the Oebalian youth. The same letters were inscribed in the middle of the petals for boy and hero alike: for Ajax, his name; for Hyacinthus, a cry of grief.
6. … and Hyacinthus: Caesar Augustus took such delight in the painting that, after the capture of Alexandria, he carried it away with him; for that reason Tiberius Caesar later dedicated the picture in the temple of Augustus…
7. Odysseus: I do not know what more to say. Though he is my enemy, I still pity the wretched man, so tightly is he yoked to this evil madness. I look upon his fate no more than upon my own; for I see that all of us who live are nothing but phantoms, or a weightless shadow.
8. Montezuma cuts through real space … so as to make the invisible gush forth. The wall of the stage is unevenly stuffed with heads and throats; strangely cracked and severed melodies, and replies to those melodies, appear like stumps of limbs. Montezuma himself seems cut in two, duplicated; parts of him are half-lit, others blinding with light; many hands emerge from his robes, and many gazes are painted upon his body, like a multiple exposure of consciousness…
9. … Against the sunset sky, Antony … like a vivid and unforgettable dream … You alone, beautiful and forever young, raised a single altar…
1. F. Haverfield, “The Name Augustus,” The Journal of Roman Studies 5 (1915): 249–250, esp. 250. (Penelope)
2. Paulus Diaconus, Excerpta ex libris Pompei Festi de verborum significatu, s.v. “Augustus,” in Sexti Pompei Festi De verborum significatu quae supersunt cum Pauli epitome, ed. Wallace M. Lindsay (Leipzig: B. G. Teubner, 1913), 2. (Hochschule Augsburg)
3. Roman Shmarakov, “The Book of Starlings,” Novy Mir, 2015, no. 6, journal version (Flibusta)
4. Jonathan August Weichert, Imperatoris Caesaris Augusti scriptorum reliquiae, fasc. 1 (Grimma: J. M. Gebhardt, 1841), 96–98. (Internet Archive)
5. P. Ovidi Nasonis, Metamorphoses 10.196–208; 13.390, 394–398; see R. J. Tarrant, ed., P. Ovidi Nasonis Metamorphoses, Oxford Classical Texts (Oxford: Clarendon Press, 2004). (Scaife Viewer)
6. C. Plini Secundi, Naturalis historia 35.131; H. Rackham, ed. and trans., Pliny: Natural History, vol. 9, Loeb Classical Library 394 (Cambridge, MA: Harvard University Press, 1952). (Attalus)
8. Antonin Artaud, “The Conquest of Mexico,” act III, “The Convulsions,” in The Theatre and Its Double (Paris: Gallimard, 1938). (Internet Archive)
9. Valery Yakovlevich Bryusov, “Antony,” April 1905, in Στέφανος: A Garland. Poems, 1903–1905, cycle “Those Led Forth from Hell,” IX (Moscow: Skorpion, 1906), 71. (ru.wikisource.org)
Antony x Octavian pseudo-amphora art commissioned by me from the kind and talented @roa2112.
Title is from Shakespeare's Octavian mourning Antony. Loosely inspired by the scene below (translated from ancient Greek by me; I’m still learning so please pardon any mistakes. I’ll explain later why I have not used the official translation):
They gathered together, shouting, and pelted with stones those who would not join them; they also threatened to plunder and burn down their houses. By the time the entire populace had been roused, Caesar [Octavian] came into their midst with his friends and a small number of guards, wishing to meet them face to face and reason through their grievance. But the moment he appeared, they pelted him utterly without restraint. They felt no shame even as he stood his ground, offered himself up to their blows, and was wounded. When Antony heard what was happening, he hurried to his aid. As Antony came down the Sacred Way, they did not at first pelt him too, because he was prepared to negotiate a settlement with Pompeius; instead, they ordered him to withdraw. When he refused to obey, then they pelted him as well. Antony summoned a larger body of heavy-armed troops who were stationed outside the wall. When the crowd would not let him pass even then, the soldiers divided along the sides of the road and the Forum, attacked from the narrow lanes, and killed everyone they encountered. The people could no longer even flee with ease: they were packed tightly together by the crowd and had no open passage left through. There was slaughter and wounding, while wails and cries rose from the rooftops. Antony barely managed to force his way through; and then, most conspicuously of all, it was he who rescued Caesar from danger and brought him safely into the house.
Appian, The Civil Wars, 5.68
Explanation regarding the translation
I would like to suggest a small correction to the Loeb translation of the passage above. The complete sentence appears originally as follows:
[…] καὶ ὁ Ἀντώνιος μόλις τε παρῆλθε, καὶ τοῦ κινδύνου τὸν Καίσαρα περιφανῶς δὴ τότε μάλιστα οὗτος ἐξείλετο καὶ ἐς τὴν οἰκίαν περιέσωσε.
A more accurate translation would be:
Antony only just managed to make his way through; and it was he who, in full view of everyone and at that very moment, rescued Caesar [Octavian] from danger and brought him safely into the house.
Horace White translates the latter part of the sentence as follows:
“…snatched Octavian from the most manifest danger, in which he then was.”
This translation first appeared in White’s English version published by Macmillan in 1899. It was subsequently incorporated into the 1913 Loeb Classical Library edition of Appian’s Roman History, Volume IV. The same wording is reproduced in the University of Chicago online text and retained in Brian McGing’s revised 2020 Loeb edition.
περιφανῶς is an adverb ending in -ως, meaning “clearly,” “conspicuously,” “openly,” or “in full view.” The LSJ entries include clearly, conspicuously, famously, and manifestly. It cannot grammatically function as an adjective modifying “danger.”
The phrase τοῦ κινδύνου consists of the noun “danger” in the genitive and depends on ἐξείλετο, forming a genitive of separation: Antony “rescued Caesar from danger.” There is no adjective in the surrounding text agreeing with κινδύνου in gender, number, and case. Had Appian intended to say “from an evident” or “from a manifest danger,” one would expect a construction such as ἐκ περιφανοῦς κινδύνου, with the adjective περιφανοῦς agreeing with κινδύνου, rather than the adverb περιφανῶς.
Upon reading White’s translation (as a non-native speaker), I initially assumed that “the most manifest danger” was simply an archaic English expression, although it seemed rather redundant—as though the point were that the danger was an exceptionally obvious one. The Greek, however, indicates that White has converted an adverb modifying the act of rescue, or perhaps the assertion as a whole, into an adjective modifying “danger.” He then expands τότε into the relative clause “in which he then was,” although no such clause exists in the original.
This rendering also obscures the emphatic structure of περιφανῶς δὴ τότε μάλιστα οὗτος. The particle δή reinforces the assertion; τότε means “then” or “at that very moment”; μάλιστα adds the sense of “especially,” “above all,” or “precisely”; and the explicitly expressed demonstrative οὗτος means “this man,” or emphatically, “he.” The preceding subject is Antony, and Appian identifies him once again through οὗτος. The point is not that the danger was especially manifest, but that, on this particular occasion, it was conspicuously and unmistakably Antony himself who rescued Octavian.
I also consulted translations in several languages to see if others have shared this interpretation. Maud Étienne-Duplessis’s French translation, published in the 2013 Budé bilingual critical edition, Histoire romaine, tome XII, livre XVII: Guerres civiles, livre V, preserves the structure and emphasis of the Greek accurately:
Ce fut lui qui, aux yeux de tous et à ce moment précis, arracha César au danger.
That is:
It was he who, in full view of everyone and at that very moment, snatched Caesar from danger.
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