Mopsus


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Mopsus

seer who interpreted the words of the Argo’s talking prow. [Gk. Myth.: Benét, 684]
References in classic literature ?
Its subject, however, seems to have been the histories of famous seers like Mopsus, Calchas, and Teiresias, and it probably took its name from Melampus, the most famous of them all.
As was the case with Eclogues 2 and 8, the chief correspondence between the third and the seventh poems lies in the structural similarities: both poems consist mainly of amoebaean singing contests: in the third, between Menalcas and Damoetas and in the seventh, between Menalcas and Mopsus.
20) The numerical symmetry may seem farfetched, but balancing two sections of 180 odd lines seems hardly more difficult or more obscure than balancing the two amoebaean singing contests of 48 lines each in Eclogues 3 and 7, the two parallel songs in Eclogue 8 (see Skutsch [note 4] 153-56) and the 25 line songs of Mopsus and Menalcas in Eclogue 5.
Now Hesiod revises the myth as follows, making Calchas propound to Mopsus this question: "I am amazed .
It is obvious that this episode is much closer to the contest between Calchas and Mopsus than it is to the biblical contests, although there are some very significant differences.
Instead he is to be seen, like Calchas and Mopsus, as an individual whose magic is a personal possession, and he wins because it is more powerful than the magic personally possessed by Vandermast, which in turn is more powerful than the magic personally possessed by Bungay.
This contest also seems to resemble the one between Calchas and Mopsus in the apparent absence of a theological dimension.
Unlike the unnamed and undifferentiated collection of magicians, astrologers, and the like, who take on this role in the Bible, it is now a single individual, as in the confrontations between Calchas and Mopsus and between Vandermast and Bacon, and this individual, like them, is reputed to be a "learned" master of the "art" of magic, as we just noted.
However, he does not engage in any prophesying in this play (that "service" is restricted to Cassandra), and his divination contest with Mopsus, which is still far off in the post-Homeric future, may not even have been known to Shakespeare.
Monarchs are present in all of them, except for those between Mopsus and Calchas and between Merlin and the Devil.
46) Still, its allegorized panegyric argument -- that under the Henrician rose England is well -- is carried forward yet further by a historically significant generic innovation that the poem builds around the political allegory: it is a bucolic idyll, a pastoral dialogue between the shepherds Mopsus and Meliboeus, as they tend their flocks.
The first one, based on the story of the Argonauts carrying their ship on their shoulders in the Libyan desert, was presented as a relative novelty,(6) in the sense that it included a rather long versified text: not only songs, but lengthy harangues to be delivered by characters such as Jason, Mopsus, Minerva, and the ship Argo, which was supposed to have come down from the sky in order to be carried again on the shoulders "des Argonautes mesmes"(7) and presented to the new Jason, the imperial hopeful Henri II.