Wesleyan Undergraduate Jouznal of Classical Studies Third Edition 2011-12Métis The Wesleyan Undergraduate Journal of Classical Studies Editors Elizabeth Damaskos Nathaniel Durant Linda Kung Portia Lundie Alexandra Ozols ‘Adam Peck Chery! Waker Votan 202012 Comet latmanMens Mission Statement _Metis was a Greek tan and the mother of Athena by Zeus, She was the go des of wisdom and deep thought bt alny embodied eckte qualities ike Pr imetheus. Her ae in Greek also mean “wisdom combined with cunaing” a highly desirable personality tlt tothe arcent Athenians Te gal of the Mets editorial board was to draw onthe abilities and crestiityof Weseyan students to showcase their nowledge and interest in Clases. In this stein, we've pooled sx works of those submited tou that we thought were the best exan- ples of ndergradate Clstis welting, We hope it gives apectrum ofthe di ferent approaches students have taken tovwstng abot the Classica Wesleyan. Peruse and enjoy. Acknowledgments “The Métis editorial board would like toast thank the faculty and staf ofthe CClasial Studies department for tei encouragement and ongoing suppor for thisproject. Adaitonally we woud ike 0 thank our authors aswell asall those ‘who submited places tothe jours], Trmendows thanks are de ls to Dylan ‘Grin for handling the layout of Metis. We sincerely appreciate your elp in making this concep intoa tangible prodsct Mens Table of Contents The Inept Paterfamilias Veronica Alvarado The Apotheosis of Alexander Max Shafer Landau ‘Motum Civicum et Bellum Natty Durant The Malleus Maleficarum Translated by Jesse Mangiardi Gatsby, Trimalchio, and the Life of the Party ‘Adam Peck Imagines Animalium: Libellus Carminum Catullum Alexandra Ozols Pagan Imagery and Influencein the Wall Paintings of the Christian Catacombs in Rome Molly Foxworth 14 20 23 31 35Nens The Inept Paterfamilias Veronica Alvarado “The pose of his pape, writen or "The Roman arty” a Clas Stad- ses cous taught by Profesor Louren Caldew drug dave reading and anal, determine whether or not the aractr Teale of Perens’ Satryion Corbi the characterises of «Roman patente Roman rapa nis, the male head of th fay, warren to embody rng god tas, ee lin and good pudgent My paper pec eat to roe that Timalehio was ‘rime example ofan ince patra a eis dei of el the aforementioned hrc: Dil gant tes ad comple cles ring in not nly aap pte but en entering ay haat Tho he Mat fo ong tb ype and hep ha rade fd enjoyable Icha bre a common Bray cael cot alkane to nck the n- cptandncompetntn power, ch enpt of ancient Romeo expen 0 Oh tod Tie Rosa scat dor Peni nis ore The Sap com pots font hs cra ald edn wh der oto ow to comes oti his nwound wealth, Throoghout he pao, Talo ‘pin ad agin eva aenton to ony oping Wheter hog i ectnt or pnd dceaton ois perveted knowlege of Grek ml Temi cannot idee pat evolu ate th character of ene Fefris Talo to nee propel sod he want fc found Feary ofthe Roman nurene ihe ‘in oxer to fily comprehend th enh foci fu pas tha Tena ho commis vie bstng ht nanos ne pry Th Seton mu St. ‘Sumi ow austen wold seas tao. As Rios “ica Sale enplny, Tke Roman pte served a pri of tical author and soci ede patter been senha tee Eosiment ofartaryeen yan power (102) Ata Roman pts sravmetto np loli and devon trnghoathishwscol He baa {histo verbena end and en exec poe pee fp pot to un wayward pogeny. alco ts none of ne important ity undo he iy awl bakgound cog ie. fons wo appear sa repaid sophie pte tions of appearing eter dln neta food vith decor Non an bon fteligece lineal hhh hi upengagas ase sods comple lack of especsce aahesdofboucial 4 Mrns ‘Asa slave, Timalehiowoald have tad very few examples of tt poise and las. Hisentre household, allhough making an efor to appear stately and diy fe, is uncouth and dovold of any sor ofrefinement. Tis ined appar- entin the Petroniuss descriptions ofthe household. Teimalchio taste fr tack ness is obvious ass008 a visitor wale through the door An “impressive gold «casket in which che master’ ist beard was preserved (53) ands golden cage fom which ser spotted magpie gested visitors? (52) connote the oven. se His reptton gute trl preceds him in ths nove gusts the Forty teat Nk (end the rade) on amertment afraguctnd tetramers {Bout Gaby pat is alla connects and everyting in between, Soc aa exeaded introduction significant ease forms prt ofthe exten f- Gade tint Gatsby hela ait. When Guisby unexpectedly ts up icone "eration with Nick the eader is dear beganing to question what oof ‘prion Gatsby eal The web fis Gay has ocestated to caver is eve ‘ground comprises anther part ofhis fade Ins caron the wayolinch, ‘Gatsby even manages to temporal convince Nck that he i ae chime an ‘Oxford man fom a wealthy fay. This vented selfs the clare silty ‘between Gatsby nd Timah, who skis csims education and Likewise ves considerable thought a haw other ree hi. F The Great Gott,ans ny reputation san font oie constant underoiney 8 re ea hei aotwhal eee: Hiafeced eo ldpt* a Ee fs eaunnaamiy wea sed Bets ection shy ten eae chonly fermen aby "Tefal exeion el sh Non tanh and wh rearing bed ay shoe “toile react Cay a ia” et ato mater ese Bee eek icentf Nek or be eae) some cst a Cay waa be soe Some tbe ys i eee ncaa shams Gust se Nik obser “wae > Se ele ie n Normandy whe he any beat 3 io elytra by2 unin Egan” The hr icin oe oly opulat pens Tiahiopoteses While far erp eke exresineporneveseen Seer Den me pray, ay mpm ato het a elon th tn hierar ne ered tr aoe ecrmgt th mero resoas ew ri et a sa amine a neatiacngiy bres the sv iy th at fle iy, ad he an Cay vey rraedobe ait yf anes Gatun he ender must eggs with den oe sn Pash. Ts rth cos ot ow ae ey hs mod beings ad nal his ep deine Serer orden ae and tere Jes Gx) the nro ses wher he a eer Gay soy iced aid eer wc Se Cas ed nlc a ves he der Woo cafe Gey oe soy of sy Cashews tat es i seer othe sree ice Yt fr Tah any te Tal ek eporaton fh chart ae anafpteaon, Wh sty ote ater and rte rE pu nd ponay oe is oil ts ad sr rl cdr hi orb peepions of Cay and he i he sented cua g chante The rt Geach compe fhe a aoa. WH Tom, Days Jorn Hoge comes a es ofchreteraaton foun ae ancet sor en a pes wol Dont pce tere. The thre espond J The reat Gatsby 6 6 The Great Gatsby, 11 7 The Great Gatsby. 89 % Mens cventsin the plot much the reader would expect ther to bised soley oa thee introductions. itzgerald presets Tom as forceful stubborn snd given to Vio- Teace. When the pot reaches is clay, Tom actions confirm is Nick’ nial appraisal of him. Nick recognizes hs poychologcal immebilty, commenting ‘on Tom oe in Gatsby's deth that, “what he had done was to him, entirely sted" Jordan, who rarely acknowledges Nick's entrancea their frst meet , continies tobe detached. Inthe hotel oom, se physically assumes the same uninterested pos, hea ited backs ifhslancing an objet omer chia as using Nicks entrance? Even Day, the olyone ofthe ree who seems to de ‘velop at all during the novel, nds auch as ske began, Ficle and ieresponsible, ricken by fear of change and the unfamli, Daisy allows Gatsby to take the ame for Myrtle Wilsons death, fl to ackaowiedge is murder and remains ‘with her cheating husband. ‘itzgeals methods of characterlastion die from the ancient nove, but etfestively dra the reader’ fous moe intssely on the profigacy enjoyed by Some eleients of allient society, the sine seve Petrone engages dheough “Trinalchios banquet. Fitzgerald links The Czat Gatsby tothe Satyricon when [Nek refers to Gatsby “career a Teimalehio"® Gatsby is not Tumalcho inca nate, but rather another memb ofthe nouvza riche who asumes carer as “rmalchio by throwing saualy decadent parties. Carthy and Tinalehio are lel quite ferent a individuals tithe bvsh events that ink the two nov tls Tha in adiiton tothe characters in The Great Gtsby and the Satyricon, fone mast examine the shared motif ofthe cetentatios display of wealth and considerhaw Fitrgerald and Petron approich the topic The narrator recounts Gatsby’ parties in vivid deta. Theat of teary ic tion has obviously improved since Peroni time, and Ftsgeld takes advan tage ois adeptnes wth English pote to ihstrate Gatsby’ “ile paty”™ He makes extensive we of visual and aurelingory, particularly inthe description ‘ofcolr and igtng, musical accompaniment, laughter and overheard conver ‘ations. Ihe sytanin these descriptions envances the effec, with lng, com plex sentences contrasting with short statements, matching the ebb and ow of {gust and banter. The language echoes the chatic atmosphere ofthe party yet because itll comes through the naztos he ngartsa sense of detachment aif ‘beneathallthe petty soil encounters exist total lack ofan interaction. In therevelrydesebed, Fageald ems ta dra herilyon Trimalchio’ fondness for performance entertainment. Gateby hie fill orchets, while the guests The Great Gatsby 170 9 The Gren Gatsby 14, 120, 30 The Greot Gatsby 108, ML The Great Gatsby 43Mens themschres provide numerous sideshows of songs piano rectal, stage ats, and stants hat eal the acrobaticss and poetry readings of Cena Trinalcioni Gatsby isnot the only caractertohost outrageous partes While izgral ‘certainly doesnot intend tha: the reader admire ther, their exces almost reach «the point of sbsurdity. The small gathering in'Tom and Myrtle clandestine [New York City apartment on the other hand, takes a darker fone, Nick’ wat ral discomfort with Tor inidelity shapes the proceeding, and he dats that ‘ts the second and last tne he was drunk (long with most ofthe guest) ‘The altered perspective of Nek’ drunken stats in conjunction with the smoky room, imparts an otherworily atmosphere tothe party. Shril voices and suf focating hace replace the lawyer, music and bright colors ofthe Gatsby man sion. The asic takes vile: turn when Tom viciously breaks Myrtle’ nose for ‘mentioning Dasysname. The party demonstrates level of degeneracy akin to “Trimlchio treatment ofhisslaves and shows a more sneer ide tothe word ofthe socal elit. Another important consideration is how Gatsby and Trimalchio engage withthe social snes they construct. Teimalchio isthe inescapable focal point of his banquet; there exits no better example ofthis than hls mock faneral er ‘ice in which he commands lhis gust to "ty nice things" about him. Gatsby, ‘on the other hands ely ebscured bythe party around hm. In fact very few ‘otis "guests" can cli to knaw anything certain about their host Moreover a= we have sen, the reader comes to understand Gatsby as more than the mysteri- ‘ous source of avis festivities. Encountering him awey fom the party and dis covering his origin forces the reader to acknowledge the humanity ofthe man ‘ooce called Jimmy Gaz independently fom the persons of sy Gate. ‘This separation ofan and habitalo brlags to light how Gatsby in any ‘ways vitim ofhis own protigacy. Hiswelt,ostentation, lect and pretense are not meant, ike Timalchig to gua the admiration ofthe public. Gatsby eres bout ony one opinion, that his astlove Daisy. Ina show of desperation he ses criminal means to achieve his weal buyshishouse tobe near her, ana fils ‘twit people to impress hee His desc for Daisy amplifies his dive to achieve ‘wealth, The moment he ebndles his relationship with Dla his “creer as Te imalchio"s over Yeallalong stain semblance of my Gat, even fue fed deeply, As Nick points cn, [Gatsby] bedroom ws the simplest room of all~ except where the dreser was garished with set of pure dul gold-" [Nik personal development also grants perspective oa lif in West Egg, ‘is opinion of Gatsby swings ack and forth ashe exposes anew ie and ts ‘by responds by surprising hin. The ead like Nick, howly begins to separate Gatsby from West Egg, to apyreciate Gatsby despite all hie fas, and to reo 17 The Great Gatsby 289 28 Mens sie he lak el hidden behind th bright tan res of Cay’ ren Nl anspor ae witht dent dB ‘Sdetanding bot le om Wet gg Te Est Cont wich er he or ed Prom ispollted by hs expesences Nekevesdllsooed witha manaer {Clving trary rating rt fda ne re const than eins end at As Thome Hane pots ou, aly Ne ‘Sine oualgh theca anditvarmate ho ew eke bt “ld wich Ete inthe ab sa” Gayo eed, ter Rapni ceaue fhe poi eof the aly he ean "hough Cay maybe syed“ of We ig ary end seat dfereces parte Hage Arcane om eon Sety- ‘rand te ane! are Te bos of charter not, ovat far norte an the cig aged employe 0 Bh ot Hist Movers sll betwen Cty nd alo ar pia ex tera eapesedin he miner in wich hy present ther andthe ae ofthe pares Taking edentae oh gor edo to elo chances [sore ad emotions, Hager cosas a viion of Gay ote of diol Tilton engl an trough he ees of Nik Carey tod lene the ede fo chev the pare amotio lion In dng 0 Fae provider se conpeling cena on the dep andy angels ofmmestined ary 1 Hanoa"The Theme nd th Nartor of The Great Gaby" in Twentieth Century Interpretations of The Great Gatsby: acollection of ertial essays od Bnet ackdge »Mers Works Cited Beggs Ward. "Petron and Viglin The Great Gatsby” International our o ‘he Classical Tradition 62 (1999): 26-35, Pit. 7” Bracco, Matthew J, ed. New Esays on The Gret Gathy. Cambridge: Cam Deidge UP H 1985. Pett a a ‘itagerald, Scot. The Gret Gat. London: Penguin, 2000, Pit. Fuse, Masime, “Modemity and post modernity” The Cambridge Compan fon to the Greek and Roman Novel Ed, Tan Whitmarsh. Casnbrdge Uni ‘vatsity Pres, 2008. Canbridge Collections Online. Cambvdge University Press Lockaidge,Exaest, d, Teteth Century Interpretations of he Great Gatsby: Colleton of Critical sys, Englewood Clif NJ Prentice Hall, 1968, Print Prigory, Rath “The Carbiidge Companion to F.Scott Reageral” The Cam ‘bridge Companion to F. Scott Rtagesld. Cambridge University Press 2001. Cazabridge Collections Online. Cambridge Univesity Pres ‘Whitmarsy Tim and ShadiBartsch. "Nantiv The Cambridge Companion to ‘the Greele and Roman Novel. Ed. Tim Whitmarsh. Cambridge University Press, 2008, Cambridge Collections Online, Cambridge University Pres. Mer: Imagines Animalium: Libellus Carminum Catullum 2:"Passer, deliciae meae puellae" 3: “Lugete, o Veneres Cupidinesque” 60:*Num te leaena montibus Libystinis” 69:’Noli admirari, quare tibi emina nulla” 97:"Non (ita me di ament) quicquam referre putavi" 99: “Surripui tibi, dum ludis, mellite luventi” Alexandra Ozols ‘Callus was certainly an antl poet who employed an expansive amamn- tac of eary devices in corps that las a wide range of themes. I both bis ‘tient ports and invective ves, e made metaphorical se of animals 0 hone bis nesnge, level izing animalimagery as the focus ois thease orto teublsh dhe tne he wished to convey. Tis bells comprises series of poems th which Cais incorporated anil nagery. Iiaclades poems 2,3, 60, 6,97, nd 99. While the anna sinaispenible othe poe canta theme in sei ‘thers its used o support a smile po: oto impart the mood or favor of his message {have chosen the poems included i this ibelus because they contain overaltypes of anil imagery, ech combating to the multisensory fel ofits ‘Poco The nial images tha appear in is bells appeal tothe visual ator, story tants, and tactile senses of the rede, and consbute in varying degrees tothe sucess of these diverse poems bad seference appar ever of Ctl poems, but nowhere ia bist more ett the core message othe oem than Les passer” ist the en {nena poems’ and laboth the sprrwin ental tote poets emotional con ‘ection wih ilove lnpoem 2, Catallusadreses Lesbit passer the wordap ‘euingonly once atthe begining ftheintline Hisdiret adres ofthesall, ‘str esi holds in het ap, tee sul imag, creates sense ofntimacy ‘etween Cats andthe sparon and by extension Lesa, at the outset. The fact that Catala only mentions the word "per" inthe it line suggest that ver course of the poem the sparrow sheds identity san animal and takes on the denty of something se. As Leshia pet bird becomes the responsive object fhe tender stokes, Catal rnsfone i into a phali metaphor fo ther fis pen or ber ctor: He then eet swift shift tone inthe mid of the »Mens erotic poem, and the spar’ dlct, playfl image morphsinta something hat fosters a sense of scnes in esis, (perhaps because she misses Cats), anda seclusion itive pat) Tn poem 3, Cals laments the passing of Lesia “pase In contrastto the ‘ingle pearance ofthe woud “passer” in poem 2 thee ae repetitive referenesto the sparrow that produce ing composition ia poem 3. Having sppeatd ia ines 3 andthe "paser"reemecgesinlines 1S and 16 eretingan echo toward the end ‘ofthe poem that may reflect undying, eveasting quali we understand the sparrow asasymbol ofthe ots phalis one istmpted tose is demise asarep- "esenation ofthe pets impotence. The epetiton in ine 13 015 "ale ma- ‘ae and "bella... bellm) i reminiscent of words one might ws when ordering & _etanimal to perform. Thus the puser” becomes seapegoat, blamed fart fi- ‘ty ofits creator's passion. lteatvely ive view the sparow as metaphor for Lesbis genta, the los ofthe “poser” may represent Cullis etangement Frombislover “ving used delicate sparow asa vehicle to describe Lesbian desrable termsin poems 2.and3, Catlus employs duet of more menacing beast to depict ‘the unattractive side ofhisloverin poor 60. Unlike the other poezsin myles, this invective poe directy dooms Lesbi to be two direst wild creatures. AS Gavison suggests the poem rebuke of Lesa, chastising her for having a cruel heartan vilenatre, Calls use ofan animal specially aTeaens” (ones) in line 1 to describe er revelshis deste to dehumanie her and characteree eras a beast ThisimageofLesbiccontats rety with thove ofr in poems 2 and 3. Jn porn? sheis rendered aspesky ad cheefl andi poe she isportzayed as cas to above-ground land for Burial. Thus above ground cemeteries now be- ume the primary location for Christian bails As a esl, catacomb burials ‘tually cee thecal ® century CP. Webly xl). “Likewise withthe removal ofthe sins’ and marty relics, there was no reed fo plgrins to lock othe catacombs, Therefore, the oaly people ef vis ing the extacomle were family eer of-hose buried theres family mem bers themselves began tod, there was no one Tet ovis the catacombs, and the catacombs were soon lot fot the manory ofthe Christian community. aMens ‘But while the catacombs were in use between the end of the 2 century CE, sd the beginning ofthe S* entury CE. they were of gest importance tthe Cristian commnity. There are 40 known catacombs in and around Rome, ‘spanning combined 22,500,000 square et, and housing over 1,752,000 bur. als (Lanciani, 320). In ato its believed that there are still many catacomb ‘hich remain undiscovered. For example, the Via Latina Catacomb was not ds covered until 1980 (Feu 3). “Te catacombs themsehes are dark and dismal places. From his exptionce 4 the catacombs Feerua wis, “The impression i of making one’ way down ‘nto a dark, nysterous Kingdom into another word made up of tal row galleries comer and sudden bends, openings with other tunnels branching of Stairways and shafts (Ferua 9) The eatacomibs were bul by digging ng um Aengrounpitsin ares that were rch in tu, natural depos that is balfench nd hlfstone. Tu sinially soft and eary to dig but, afte prolonged exposure to alt becomes very hard thus, i provided excellent relnforemeat for un derground stuctores, and was essentl tothe construction of the catacombs (eb, x). The fst phase of constuction was the building ofthe stairway that led down ato the main galery. These stairways usally reached betwee 30 and $0 feet below ground level (Vatican). Next was the construction af the galleries hich were made up of long and nareow pasageways. The pasageseys were originally st up ina gid pattern connected by sharp ight anges (Eg 1) but as the catacombs expanded ovr the centuries and grew in complenity the patter of passageways in many catacombs often bectme more iregulae The ceilings ofthe passageways were usually between 10-13 feet in height, while {hele width was barely age enough to accommodite two grave diggers carrying a fanera bier (Webb 29), ‘When the catacombs became too crowded, and more space was needed of ten vertical expansion was used as well Workers would dig another layer unde neath the original level an coasract star ways and ladders lading down tothe new level Some catacombs were so lage that they included as many ans tovien «ch story bul below the previous one. Therefore, the oldest section ofa ete ‘combs actually the leve closet to the surface and the mos recent constuction isactuallythe bottom mast low ofthe catacomb (Retr, 23). “Ther ae th stint becal structures within the catacombs; lc e- sala and cubicle. Local are ectangslar graves hallowed out fom the gallery ‘walls These graves were very rartow and were Barely large enough for ae in dividual though it was not uncommon to bary two people ina single louse (Webb, xr) Loa graves were arranged in rows along the gallery wall, nd a single row ofen consisted of between 6 and 8 lc graves (Lancia, 320), The body was placed inthe lewis. speiekled with lime and covered with «sheet 28 Mens ef white ine. The ls asthe seed witha da, ely made of ther intl octet (2). "crn arg niches tat costed ofan ech ees cared nto the wll Te rched ees was en usted (3). Alogh there are sgl ae Toll the catcombe mt fe thy ate od wit cba for “fetoo'),ge arial ante comange mie oons ad mull ow (ig) hebrls thin ls cn ake th fom fe alo ‘ovat Cala were ommissnedly wey india uly for ‘he bel ofits aed ee hi dct wth pug Hat completely lth wale (We) : ‘Dyfi the etacomb withthe os walang ithe Via Latins Cat cant er dts alg og bat aig ooh nt ery bcs ofthese ber png swith mos cacy a oon valuing Vaated gene sry CE Be Causes number ofa painting he Via atin servers pode oregon wl tap “he walls are eso pli ade with wo layers of laste The Iris song stron nd porsolnn sped dey tothe rock val Thesecnd erie stacohicwa pited ve angie plgmets Fem 5). “ “The images depicted onthe wal paintings are largely Christian and feature scenes of oureston aoe ser dah sft nog Laas om the dead and Josh ene fom te wale However metone befor thee res numberof papan ings inh ViaLatis Catacm ch sims of Prop ind Cound the retu fAet nade to eporete trans of hee psa ins in Chriten oar islnporan eae Slevle opp. athe Roman wold : Tromthcntte cen tothbegnig fie cnt, tye peo nh the combs wer Rs yin ined fron pnt Christan, review otha trarson, pga the fecal eign a the sate had «ge inflence on Roman pt ie Forex topic experts were nat ony the nnd ote, tals the pot, thighs Roman pit (Be, 199), There ae noeros other empl of th col a popu nthe Rona sa ching te nw eo ‘hosanedas uote enper ors xh fly te eng the tear of Vicor wich emai’ ren the Rema Senas ol ft enor! in 387 Cb (Bec 33). gave also he odes ona an Fran fx peering the rich an at emp Lewis, ove rerun oat and Vicor bere altar epeos nthe sere redler ee acon he Verio Printed by these tose te poder Very, unde heated fae 2°Mens represented dometictangltyn Rome, making the he se theRemunboueiad (Won 9). ne nm ne ae stars of Chey gis inetd many spect fhe Roan ate af bt She pled aig Roman plead och The gat ro fe Romi worLiy Dap Hearn Ov ia sr at gin ad lyn he ory (Be 72) Atoigh sc uhos were wing gf the prio ete eco di woe vere stil een and wo! av bee ed Grin tat ine Furr Grecophiles the Roman elie wereavid readers of Homer'sepic poems The iad sn he Oy Hae wr wee rat gal sk nla dats Reman who wee ly hey nd ie. Tht ot apg hat ngs epleing myth pee found inthe aba th demain ofthe wey who wold have deca a shee Grek In atin oc oot eferences to pagans hess ringin Rome wold have sen tol sens deste elie ats nd ves en cect Sgt cp enone Chin tha aol ayo ima tnd ares aes whl gy Grenpapnispmiet in bth Romansa ea en reasonably be concluded that early Christians were aware ofthe: aa because it represented such strong part oftheir Roman cultural identity Howe ce pitedsenesin the Via ati Catacomb expe pop tener ast hve {Cheisinn couserpart ox might conde that some el Citas ‘teres hei Cvs beefs andl he ton eat ey by ng pup images in the abi A pine erage of ts comes fs Bian © ith Va Lata Caco Ts unguestnclys Chat ba because of the scenes of Noah Daniel in the Hons den, Moses croesng the Red Sune astg Laas the den Hower bth Pups sed reappear vce within the bln, Powis depitedon tha ghd of theenirane wile Credited onthe lets (Pp Sandi 6 Toa soo spp in one eh ig nthe reins show ingest mage oh celing shows Cees balding The we af agey depicting Pserpna and Ce i not ups one considers the mytog shad tet wo Suc Tope’ the pee sented rebirth and regeneration, very uch akin to the Christian belief inresur ‘ton om he dead Js as Proserpine va he underworld onde staid wih er mote, Chet wil upon the deh be rated eth God in the Kingdom of Heaven (Tron2o, 65). : . 40 Mens ‘The idea of cit sth thread that inks these Christian and pagan im ages one is a oigious way of depetng this theme, while another i cultural shay of depicting this theme. Tronco suggests tha there maybe an even geste ‘Christian message within the nage ofPoserina and Ceres He argues thatthe ‘wheat and grapes held by mother and daughter are an alusion tothe Eucharist “The Eucharist s symbolic ofthe union with Crist and the eventval exon of ai} Christians wit Jesusin Heaven. Fone accept this interpretation thelinkbe {ween pagan imagery aad Christan beliefs becomes even strong (Tronzo, 67). “another cubtalum within the Via Latina Catacomb that contains several pagan mages is cubiclen N. Unlike cubical O,cubiclon N does nt com bine psgan and Christan imagery but nstead the wall paintings oniy depict aga imagery. The images ofthe labors of Hercules dominate the walls, One ‘ofthese images isa depiction of Hercules albngsde a many-headed Cerberus ringing Alcests beck from the underworld 0 her husband Admets (Fg 7). Lie the myth of Proserpina and Ceres, the nyt of Alesis as cles connec tions to Christan themes of rebzth and resection given that Alcets’ body ‘tut from the underworld ands brought back oli, just as Cit’ body is resurrected (Goodenough, 126) ‘Goodenough angues thatthe Chistian endertones inthe myth of Alesis maybe even stronger He Ukeos Heralesto Chris, arguing that Hercules serves Zr savior figure who rescues Alesis from the underworld, Jas as Hercules faves Aleestisfrom the horror ofthe wider ord, Jesus saves Christians from the damnation of Hell (Goodenough, 126) Furthermore the myth of Hercules ‘ing Alesis back rm death has striking slates to the story of Jesus bringing Lazarus ack rom the den. Tike certain images of Hercules inthe ctacombs many scholars ange that sages of Orpheus canbe interpeted as representations of Crit. ln fat the Images of Orpheus support the most widespread view that pagan figures ae thet repeeseat Christ Long belore te buh of Christianity, Orpies served t's popular image i pagan bara, touching upon themes of rebirth and ru Feeton and, thus offering message of hope Orpheus return fom the under ‘word resonates with Chstian themes. Jastas Orpheus reamed from the w= {erword Christ returned from the dead, lending some authors to suggest that nage of Orpheus ae actualy pagan model: of Crist (Hutchinson 69) However, the comparion between Orpheus and Christ goes much deeper Some ators, specifically Hutchnvon and Barker argue that the ‘agus of Orpheus taming the wild beasts canbe ikened to God taming of an ‘Orpheus was knows to cal wld animals wits the sweet sound ofr. Simi lunly, Chest uses the Word of God t tame the wik! minds of mea. Easebius laborsted on this comparison between Orpheus and Christ when he wrote ‘Wherefore the all wise and ll harmonious Word of God, when be healed with a