* Hesiod ’ s Theogony

* Neils, Jenifer, The Girl in the Pithos: Hesiod ’ s Elpis, in " Periklean Athens and its Legacy.

Others present these stories as mythology deriving from Greek cultural influence, deriving arguments mainly from Hesiod ’ s " Works and Days ", which portrays the basic moral foundation and plantation techniques of the citizens of Greece and describes the races of men, created by the Greek deities.

As a classical scholar Heinsius edited many Latin and Greek classical as well as patristic authors, amongst others: Hesiod ( 1603 ), Theocritus, Bion and Moschus ( 1603 ), Aristotle ’ s Ars poetica ( 1610 ), Clement of Alexandria ( 1616 ) and Terentius ( 1618 ).

In Greek mythology, Makedon is the eponymous hero of Macedonia and is mentioned in Hesiod ’ s Catalogue of Women.

It is unknown whether Hesiod and the poet ( s ) of the Iliad and Odyssey would have recognised and accepted the name of rhapsode ; it has been argued by Walter Burkert, and is accepted by some recent scholars, that rhapsodos was by definition a performer of a fixed, written text.

** Works and Days, ascribed to Hesiod ( Greek mythology )

Some scholars have seen Perses as a literary creation, a foil for the moralizing that Hesiod develops in Works and Days, but there are also arguments against this theory.

Hesiod mentions a poetry contest at Chalcis in Euboea where the sons of one Amphidamas awarded him a tripod ( Works and Days ll. 654 – 662 ).

Three works attributed to Hesiod by ancient commentators have survived: Works and Days, Theogony and Shield of Heracles.

For example, the first ten verses of the Works and Days may have been borrowed from an Orphic hymn to Zeus ( they were recognised as not the work of Hesiod by critics as ancient as Pausanias ).

In addition to the Theogony and Works and Days, numerous other poems were ascribed to Hesiod during antiquity.

* George Chapman, The Works of Hesiod, London, 1618, dedicated to Sir Francis Bacon.

* Cooke, Hesiod, Works and Days, Translated from the Greek, London, 1728

* West, Martin Litchfield ( translator ), Hesiod Works & Days, Oxford University Press, 1978, ISBN 0-19-814005-3.

* Athanassakis, Apostolos N., Theogony ; Works and days ; Shield / Hesiod ; introduction, translation, and notes, Baltimore: Johns Hopkins University Press, 1983.

* Hesiod, Works and Days Book 1 Works and Days Book 2 Works and Days Book 3 Translated from the Greek by Mr. Cooke ( London, 1728 ).

** Perseus Classics Collection: Greek and Roman Materials: Text: Hesiod ( Greek texts and English translations for Works and Days, Theogony, and Shield of Heracles with additional notes and cross links.

*** Sacred Texts: Classics: The Works of Hesiod ( Theogony and Works and Days only )

* Hesiod, Theogony, Works and Days.

Hesiod revisits the story of Prometheus in the Works and Days ( lines 42 – 105 ).

* Verdenius, Willem Jacob, " A Commentary on Hesiod: Works and Days, Vv.

* West, M. L., " Hesiod, Works and Days, ed.

In the seventh century BC, Hesiod, both in his Theogony ( briefly, without naming Pandora outright, line 570 ) and in Works and Days, gives the earliest literary version of the Pandora story ; however, there is an older mention of jars or urns containing blessings and evils bestowed upon mankind in Homer's Iliad:

This woman goes unnamed in the Theogony, but is presumably Pandora, whose myth Hesiod revisited in Works and Days.

T. A. Sinclair, commenting on Works and Days argues that Hesiod shows no awareness of the mythology of such a divine " giver ".

* Athanassakis, A. Hesiod: Theogony, Works and Days, Shield ( New York 1983 ).

* Hesiod ; Works and Days, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA., Harvard University Press ; London, William Heinemann Ltd. 1914.

* Hesiod, Works and Days, ed.

* Hesiod, Theogony, and Works and Days ( Oxford 1988 ).

The AMPAS was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer as a professional honorary organization to help improve the film industry ’ s image and help mediate labor disputes.

The International Encyclopedia of the Social Sciences defines psychological altruism as " a motivational state with the goal of increasing another ’ s welfare ".

Psychological altruism is contrasted with psychological egoism, which refers to the motivation to increase one ’ s own welfare.

One way is a sincere expression of Christian love, " motivated by a powerful feeling of security, strength, and inner salvation, of the invincible fullness of one ’ s own life and existence ".

Another way is merely " one of the many modern substitutes for love, ... nothing but the urge to turn away from oneself and to lose oneself in other people ’ s business.

* David Firestone-When Romney ’ s Reach Exceeds His Grasp-Mitt Romney quotes the song

" Swift extends the metaphor to get in a few jibes at England ’ s mistreatment of Ireland, noting that " For this kind of commodity will not bear exportation, and flesh being of too tender a consistence, to admit a long continuance in salt, although perhaps I could name a country, which would be glad to eat up our whole nation without it.

George Wittkowsky argued that Swift ’ s main target in A Modest Proposal was not the conditions in Ireland, but rather the can-do spirit of the times that led people to devise a number of illogical schemes that would purportedly solve social and economic ills.

In response, Swift ’ s Modest Proposal was " a burlesque of projects concerning the poor ", that were in vogue during the early 18th century.

Critics differ about Swift ’ s intentions in using this faux-mathematical philosophy.

Charles K. Smith argues that Swift ’ s rhetorical style persuades the reader to detest the speaker and pity the Irish.

Swift ’ s specific strategy is twofold, using a " trap " to create sympathy for the Irish and a dislike of the narrator who, in the span of one sentence, " details vividly and with rhetorical emphasis the grinding poverty " but feels emotion solely for members of his own class.

Swift ’ s use of gripping details of poverty and his narrator ’ s cool approach towards them create " two opposing points of view " that " alienate the reader, perhaps unconsciously, from a narrator who can view with ' melancholy ' detachment a subject that Swift has directed us, rhetorically, to see in a much less detached way.

Once the children have been commodified, Swift ’ s rhetoric can easily turn " people into animals, then meat, and from meat, logically, into tonnage worth a price per pound ".

Swift uses the proposer ’ s serious tone to highlight the absurdity of his proposal.

In making his argument, the speaker uses the conventional, text book approved order of argument from Swift ’ s time ( which was derived from the Latin rhetorician Quintilian ).

James Johnson argued that A Modest Proposal was largely influenced and inspired by Tertullian ’ s Apology: a satirical attack against early Roman persecution of Christianity.

Johnson notes Swift ’ s obvious affinity for Tertullian and the bold stylistic and structural similarities between the works A Modest Proposal and Apology.

He reminds readers that " there is a gap between the narrator ’ s meaning and the text ’ s, and that a moral-political argument is being carried out by means of parody ".