Neural Engineering Techniques For Autism Spectrum Disorder, Volume 2 Jasjit S. Suri
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NEURAL ENGINEERING TECHNIQUES FOR
AUTISM SPECTRUM DISORDER, VOLUME 2
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NEURAL ENGINEERING
TECHNIQUES FOR
AUTISM SPECTRUM
DISORDER, VOLUME 2
DIAGNOSIS AND CLINICAL ANALYSIS
Edited by
Ayman S. El-Baz
University of Louisville, Louisville, KY, United States; University of Louisville
at Alamein International University (UofL-AIU)
Jasjit S. Suri
ATHEROPOINT, Roseville, CA, United States
Academic Press is an imprint of Elsevier
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This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may
be noted herein).
MATLABs is a trademark of The MathWorks, Inc. and is used with permission. The MathWorks does not warrant the
accuracy of the text or exercises in this book. This book’s use or discussion of MATLABs software or related products
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use of the MATLABs software.
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our
understanding, changes in research methods, professional practices, or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any
information, methods, compounds, or experiments described herein. In using such information or methods they should be
mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any
injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or
operation of any methods, products, instructions, or ideas contained in the material herein.
ISBN: 978-0-12-824421-0
With love and affection to my mother and father, whose loving spirit sustains me still
Ayman El-Baz
vii
viii Contents
10.2.2 Face stimuli 220 12.3.1 Commonly used datasets for machine
10.2.3 Gaze-following stimuli 224 learning-based behavioral assessment of
10.3 Action behavior phenotype 228 autism spectrum disorder 258
10.3.1 Dataset and analysis 228 12.3.2 Dimensionality reduction 258
10.3.2 Methods and results 228 12.3.3 Commonly used dimensionality reduction
10.4 Drawing behavior phenotype 231 techniques 258
10.4.1 Dataset 231 12.3.4 Classification algorithms 259
10.4.2 Analysis 231 12.3.5 Model selection 260
10.4.3 Results and discussion 233 12.3.6 Confusion matrix 264
10.5 Discussion and conclusion 233 12.4 Conclusion 265
References 235 References 266
xiii
xiv List of contributors
Author: Virgil
Language: English
THE
ÆNEID OF VIRGIL
BY
JOHN CONINGTON, M.A.
LATE CORPUS PROFESSOR OF LATIN IN THE UNIVERSITY OF OXFORD
NEW YORK
THE MACMILLAN COMPANY
1917
All rights reserved
Copyright, 1910,
By THE MACMILLAN COMPANY.
Set up and electrotyped. Published February, 1910.
Reprinted June, 1914; September, 1917.
Norwood Press
J. S. Cushing Co.—Berwick & Smith Co.
Norwood, Mass., U.S.A.
CONTENTS
PAGE
Introduction
The Æneid ix
Virgil’s Life x
Influence of the Æneid xiii
The Epic Itself xvii
The Story xix
Sources xxi
The Translation xxi
Chronological Table xxv
Verse Translations Recommended xxvi
Books for Reference xxvii
Subjects for Investigation xxvii
The Æneid
Book I. 1
II. 26
III. 51
IV. 74
V. 96
VI. 122
VII. 150
VIII. 176
IX. 198
X. 222
XI. 250
XII. 277
Notes 305
Index to Notes 345
INTRODUCTION
The Æneid
When Rome, torn and bleeding from a century of civil wars,
turned to that wise judge of men, the second Cæsar, and acquiesced
as, through carefully selected ministers, he gathered the reins of
power into velvet-clad fingers of steel, she did wisely. Better one-
man power than anarchy! It became the part of true patriotism for
the citizen and of statesmanship for the politician to bring to the aid
of the First Man of the state all the motives that could harmonize the
chaotic elements, and start Republican Rome on the path of a new
unity—the unity of the Empire.
For already “far away on the wide Roman marches might be
heard, as it were, the endless, ceaseless monotone of beating
horses’ hoofs and marching feet of men. They were coming, they
were nearing, like footsteps heard on wool;[A] there was a sound of
multitudes and millions of barbarians, all the North, mustering and
marshalling her peoples.” In his great task Augustus, with the aid of
Mæcenas, very cleverly drew to his help writers whose work has
since charmed the world. We can almost pardon fate for destroying
the Republic—it gave us Virgil and Horace.
Pleasant indeed had it been for Virgil to sing in emulation of his
great teacher Lucretius! “As for me,” he says, “first of all I would
pray that the charming Muses, whose minister I am, for the great
love that has smitten me, would receive me graciously, and teach
me the courses of the stars in heaven, the various eclipses of the
sun and the earth, what is the force by which the deep seas swell to
the bursting of their barriers and settle down again on themselves—
why the winter suns make such haste to dip in ocean, or what is the
retarding cause which makes the nights move slowly.” Pleasant, too,
to spend his “chosen coin of fancy flashing out from many a golden
phrase” in picturing “the liberty of broad domains, grottos and
natural lakes, cool Tempe-like valleys, lawns and dens where wild
beasts hide, a youth strong to labor and inured to scanty fare.” “Let
me delight in the country and the streams that freshen the valleys—
let me love river and woodland with an unambitious love.” “Then,
too, there are the husbandman’s sweet children ever hanging on his
lips—his virtuous household keeps the tradition of purity.” Ah, yes, to
Virgil most attractive was the simple life of the lover of nature, and
charmingly did he portray it in his Eclogues and Georgics!
But Augustus, recognizing the genius of Virgil, and realizing the
supreme need of a reinvigorated patriotism, urgently demanded an
epic that should portray Rome’s beginnings and her significance to
the world. Reluctantly then Virgil took up this task. Even at his death
he considered it unfulfilled. Indeed it was his wish that the
manuscript be destroyed. Almost immediately the Æneid became the
object of the closest study, and ever since it has evoked the deepest
admiration. Perhaps no other secular writing has so profoundly
affected literature.
Virgil’s Life
Virgil (Publius Vergilius Maro), born in the rural district near
Mantua, a farmer’s son, was given by his loving father a careful
education. Of his father Virgil says, “those whom I have ever loved
and above all my father.” The regard of his hero Æneas for his father
Anchises not merely illustrates the early Roman filial affection—it
suggests Virgil’s relation to his own parent. In north Italy Virgil
studied at Mantua, Cremona, and Milan, and at seventeen took up
his wider studies at Rome itself in the year 53 b.c. Catullus had died
the year before, Lucretius was dead two years. At Rome Virgil had
the best masters in Greek, rhetoric, and in philosophy, a study in
which he especially delighted. In forming his own poetic style Virgil
was profoundly influenced by Lucretius, whose great poem On
Nature treated of the wondrous physical universe, and by the subtly
sweet young Catullus,
“Tenderest of Roman poets.”
—Tennyson.
had already spent some ten years on the Æneid, when in 19 b.c. he
decided to devote three years to its revision and improvement amid
the “famous cities” and scenes of Greece and Asia. It is in
anticipation of this voyage that his friend Horace prays the winds to
“Speed thee, O ship, as I pray thee to render
Virgil, a debt duly lent to thy charge,
Whole and intact on the Attican borders
Faithfully guarding the half of my soul.”
—Wordsworth.
Influence of the Æneid
As to the success of the Æneid, it was immediate with poets and
people. Two years after Virgil’s death Horace writes in his Secular
Hymn:—
“If Rome be all thy work, if Trojan bands
Upon the Etruscan shore have won renown,
That chosen remnant, who at thy command
Forsook their hearths, and homes, and native town;
If all unscathed through Ilion’s flames they sped
By sage Æneas led,
And o’er the ocean waves in safety fled,
Destined from him, though of his home bereft,
A nobler dower to take, than all that they had left.”
—Translated by Martin.
—F. Q., II., xi., 18; cf. Æn. II., 304 ff.
Bacon calls Virgil “the chastest poet and royalest that to the memory
of man is known.” “Milton,” writes Dryden, “has acknowledged to me
that Spenser was his original.” But beside this indirect influence, and
that through the Italian school, Virgil’s direct influence on Milton is
attested by many an allusion. Dryden, Cowper, with his “sweet
Maro’s matchless strain,” Wordsworth, Matthew Arnold, with his
“sweet, tender Virgil,” freely acknowledge the debt they owe our
poet. Dryden and Morris translated the Æneid into verse.
Tennyson, “the most Virgilian of modern poets,” gives the
following tribute, written at the request of the Mantuans for the
nineteenth centenary of Virgil’s death:—
“Roman Virgil, thou that singest Ilion’s lofty temples robed in fire,
Ilion falling, Rome arising, wars, and filial faith, and Dido’s pyre,
Landscape lover, lord of language more than he that sang the Works and Days,
All the chosen coin of fancy flashing out from many a golden phrase,
Thou that singest wheat and woodland, tilth and vineyard, hive and horse and
herd,
All the charm of all the Muses often flowering in a lonely word,
Poet of the happy Tityrus piping underneath his beechen bowers,
Poet of the poet-satyr whom the laughing shepherds bound with flowers,
Chanter of the Pollio, glorying in the blissful years again to be,
Summers of the snakeless meadow, unlaborious earth and oarless sea,
Thou that seest Universal Nature moved by Universal Mind,
Thou majestic in thy sadness at the doubtful doom of human kind,
Light among the vanished ages, star that gildest yet this phantom shore,
Golden branch amid the shadows, kings and realms that pass to rise no more,
Now thy Forum roars no longer, fallen every purple Cæsar’s dome—
Tho’ thine ocean-roll of rhythm sound forever of Imperial Rome—
Now the Rome of slaves hath perished, and the Rome of freemen holds her place,
I, from out the Northern Island, sundered once from all the human race,
I salute thee, Mantovano, I that loved thee since my day began,
Wielder of the stateliest measure ever moulded by the lips of man.”
It is a lover of Horace (and who is not a lover of Horace?), the
brilliant Andrew Lang, who points out (in his Letters to Dead
Authors) a vital difference that has made Virgil’s the higher
influence: “Virgil might wander forth bearing the golden branch ‘the
Sibyl doth to singing man allow,’ and might visit, as one not wholly
without hope, the dim dwellings of the dead and the unborn. To him
was it permitted to see and sing ‘mothers and men, and the bodies
outworn of mighty heroes, boys and unwedded maids, and young
men borne to the funeral fire before their parents’ eyes.’ The endless
caravan swept past him—‘many as fluttering leaves that drop and fall
in autumn woods when the first frost begins; many as birds that
flock landward from the great sea when now the chill year drives
them o’er the deep and leads them to sunnier lands.’ Such things
was it given to the sacred poet to behold, and the happy seats and
sweet pleasances of fortunate souls, where the larger light clothes
all the plains and dips them in a rosier gleam, plains with their own
new sun and stars before unknown. Ah, not frustra pius was Virgil,
as you say, Horace, in your melancholy song. In him, we fancy, there
was a happier mood than your melancholy patience.”
The Story
The story on which Virgil builds is, briefly, the fall of Troy, the
voyaging of Trojan refugees under Æneas, and the successful wars
of Æneas with Italian barbarians.
According to the ancient legend the Greeks had warred ten years
under Troy’s walls, because the Trojan prince, Paris, having awarded
the prize of beauty to Venus as against Juno and Minerva, and,
having been promised as reward by Venus Helen the beautiful wife
of the Greek Menelaus, had eloped with that fatal beauty to Troy,
and his father King Priam had refused to make restitution.
The story then, as related by Æneas to Queen Dido in her palace
at Carthage, takes up (in the second book of the Æneid) the
downfall and destruction of Troy, with the escape of Æneas, his
father and son, together with a band of Trojans. Then (in the third
book) are depicted their voyagings, unsuccessful attempts to found
cities, and arrival in Sicily. Here father Anchises dies. From Sicily they
sail in the endeavor to reach Latium in Italy.
It is at this point that the epic begins. So after his invocation and
introduction (in Book one), Virgil makes unrelenting Juno, through
the storm-king Æolus, let loose upon the Trojan fleet a fierce
tempest, which drives the remnant of the fleet far away to the
Carthaginian coast. Æneas, directed by his disguised mother Venus,
comes to the court of Dido by whom he is kindly received,
banqueted; and at her request narrates (in Books two and three) his
harsh experiences.
Book four continues the Dido episode. The queen madly loves
Æneas—this through the influence of Venus, who else had feared
Carthaginian hostility to her dear Trojans. Juno thinks to thwart the
fates and Jove’s will that Æneas should create the Roman race; and
she plans to hold Æneas as spouse of the Carthaginian queen. Jove
intervenes, sending Mercury with explicit commands to Æneas to
seek Italy. He sails, and Dido slays herself.
In Book five they reach Sicily again, and it being the anniversary
of Anchises’ death, Æneas celebrates it with athletic contests. During
these Juno again attempts to thwart the fates, sending a messenger
to incite the Trojan women to set the fleet on fire. But this attempt is
only successful in so far as it leads Æneas to leave the weaklings
under the kindly sway of their kinsman, the Sicilian chief, Acestes.
The rest sail for Italy, losing the faithful pilot, Palinurus.
Book six details the visit Æneas, under the guidance of the Sibyl,
to the abode of the dead. There he meets again his father Anchises,
who passes in review, as souls about to be reborn into the upper
world, their heroic descendants.
So far, with the exception of Book two, which recorded the fall and
sack of Troy, a theme omitted by Homer, Virgil has recorded the
Odyssey or wanderings of his hero Æneas. Now in the succeeding
six books is given the Iliad or wars of Æneas in Italy. As he lands,
King Latinus is divinely led to promise Æneas his daughter Lavinia.
But she has been betrothed to Turnus. Under Juno’s prompting then
begins this tremendous duel between Æneas and Turnus. And here
we note a curious likeness between Milton and Virgil. As our
sympathies are aroused in the Paradise Lost for Lucifer, so Turnus,
“the reckless one,” looms up a figure of heroic size, doomed by the
fates to die that Rome may live.
Sources
As Virgil’s sources for his story and indeed for no small portion of
his language may be mentioned preeminently:— Homer’s Odyssey
and Iliad; Euripides, “with his droppings of warm tears”; the Greek
epic poets, called the cyclic poets, as dealing with the cycle of story
revolving around Troy; the Greek freedman and teacher, Livius
Andronicus, who translated roughly the Odyssey; Nævius, who
wrote on the First Punic War, tracing Carthaginian hostility back to
the Æneas visit; and especially Ennius, “father of Latin literature,”
who in a great epic traced the history of Rome from Æneas down. Of
Virgil’s borrowings it were enough perhaps to say that, like our
Shakespeare, he ennobled what he borrowed, wove it into the
texture of his song—stamped it Virgilian.
The Translation
Concerning the translation itself, we should perhaps set over
against Emerson’s famous saying, “I should as soon think of
swimming across Charles River when I wish to go to Boston, as of
reading all my books in originals, when I have them rendered for me
in my mother tongue,” that other remark of a great scholar, that “the
thing for the student of language to learn is that translation is
impossible.” Exquisitely done as is this version by Professor
Conington, noble student of Virgil as he was, some faint notion of
what is lost in the process might be gained by comparing a prose
version of, say, Longfellow’s “Evangeline” with his hexameters
themselves:—
This is the forest primeval. The murmuring pines and the hemlocks
Bearded with moss, and in garments green, indistinct in the twilight,
Stand like Druids of eld, with voices sad and prophetic—
Stand like harpers hoar, with beards that rest on their bosoms.
At the very least, “the noblest measure ever moulded by the lips
of man,” Virgil’s “ocean-roll of rhythm,” is lost. That indeed is not
revived for us in Conington’s own poetical version, not in Dryden’s,
nor in Morris’s. Of Virgil also that is true which T. B. Aldrich,
charming poet that he was, wrote me anent his own early
translations, “But who could hope to decant the wine of Horace?”
Yet it may be not without interest to compare some verse
renderings of the initial lines:—
I (woll now) sing (if that I can,)
The armes and also the man,
That first came through his destinie,
Fugitive fro Troy the countrie
Into Itaile, with full much pine,
Unto the stronds of Lavine.