User talk:BeckAnn B/LucretiaDraft

Instructor Comments on Peer Review/Draft 2
100145119d thanks for your peer review, and your suggestions for improvement with regard to the content (info on Roman writers) and for your grammatical/proofreading suggestions. Good work! Grade: 12/15 (13/15 -1 late) Gardneca (talk) 15:41, 23 March 2020 (UTC)

BeckAnn B good work updating your article and addressing the revisions from your first peer review. I'm sure your 2nd peer reviewer appreciated the note at the top of the page explaining the changes you'd made, as well as the comments throughout. We've already talked about the plagiarized section from the original article and I think you are going to rewrite that (right?), and as for the two sections you have questions about (the biblical art & the aftermath sections), do your best to follow up on that info, and if you can't track anything down, please let me know and I'll try to help. The biblical art info at least has a citation so you can pursue that. In addition to the changes you said you'd make in your response to your 2nd peer reviewer, there are a few areas I'd like you to address: 1) "At the form, the committee " --> Forum, not form? 2) where you include English translations of primary sources, be sure to add the bibliographic info for the translator, as well as a reference to the passage; 3) proofread for sentence clarity. With regard to the last point, there are lots of areas where your sentences can be simplified and clarified - keep in mind that people will be reading this article who have no background so write for an audience with no prior knowledge. For example, the sentence: "Prior to the rape, while her husband was an man of excellent social standing, he had no political power or standing in Rome." Did his standing change after the rape? Why is 'prior to the rape' a part of that sentence? Also, consider taking out the second 'standing' for clarity. This sort of thing. The final thing I want to mention is your comment to the 2nd reviewer about removing the sections you weren't working on - even if you aren't working on them, the 1st peer reviewer did do a lot of editing/proofreading to those sections and you should incorporate those changes into your final draft to make the entire article as good as possible (and not just the parts you worked on). Overall, you're doing an excellent job and I'm really looking forward to seeing how the final article turns out! (Oh, and you're right about leaving red links!) Grade: 14/15 Gardneca (talk) 15:41, 23 March 2020 (UTC)

Peer Review 2
Hi BeckAnn B, looks like you really improved since the last peer review, great job! The diction used throughout the article is very good. In the first part (Early Life and Marriage), you mentioned the famous Roman writer Livy. I think it would be good to talk about Livy and other Roman writers (Ovid and Dionysus) in a brief paragraph. A regular person reading this would not understand the impact Livy had on this story. Also “separates her from the rest of the Roman women in a story about the men returning home from a battle” delete “the” and make it “separates her from the rest of Roman women in a story about the men returning home from a battle.” I think it is really good that you are finding more evidence to support the writings in the “Aftermath” section. Good on you for finding mistakes in the previous Wikipedia article. The “Subject in art” section, the art should be capitalized since it is a title. For the “Subject in Art” section, contact Dr. Gardner for help fact checking the previous information stated. It is excellent that you are going to take the initiative to fix it. Throughout the article there are also multiple hyperlinks that do not work. Try to fix them or delete the hyperlink so it is not red. This would help make the article page up to date. Otherwise, great work.

100145119d (talk) 00:13, 17 March 2020 (UTC)

Response to Peer Review 2
Thank you for your feedback! I plan to take your advice and provide more background information about Livy and the other Roman writers that wrote on Lucretia. Helping the reader understand the importance of distinguishing between the depictions would be a great addition to the page. I also corrected the grammar mistake with the word "the" like you suggested above and will fix the "Subject in Art" title. I will do more research to fact check the information in the "Subject in Art" section and make sure the information on the page is updated and accurate. For your suggestion about the hyperlink, this is something I will take a closer look at. While I clearly do not want many red ones, leaving a few will actually help the page, as it gives other Wikipedia editors the opportunity to create a page for that word. My plan going forward is to correct my work using your suggestions and spend more time doing research to back up the existing information on the page that isn't cited or accurate. I also want to expand the art section further by adding more modern receptions of Lucretia. BeckAnn B (talk) 02:01, 19 March 2020 (UTC)

=Instructor Comments of Draft/Peer Review 1=

PolluxMariusPetrus thanks for your incredibly detailed, thoughtful review. It's clear that you've spent a lot of time on this, which is much appreciated, particularly since you also edited the portions of the article which your peer hasn't worked on yet. You make some really great suggestions for improvement which I will reiterate for your peer, below. You are absolutely right that a lot of this article needs to be cited, especially for clarification of the original source, but not every single line. I will address this in class, but it is okay to present a version of a story or an argument, for example, and cite the source at the end of a paragraph. In terms of your suggestions for deleting sentences that present an argument, this is tricky because a lot of the sentences you flagged for removal don't actually present an argument, they just reflect the current scholarship on the topic. For example, the sentence 'Lucretia therefore died in 508 BC. The other historical sources tend to support this date, but the year is debatable within a range of about five years': the sentence itself can be improved to explain why it is debatable (i.e. it is 'debated in scholarship'), specifying that different primary sources provide different accounts or that different historians argue for different chronologies, etc. - but it is not making an argument. If this distinction is still unclear, please let me know! Otherwise, really excellent work and effort on your review. Grade: 20/20 Gardneca (talk) 17:58, 5 March 2020 (UTC)

BeckAnn B make sure to read the comments I left for your reviewer, above, because there is some relevant info in there for you with regard to the citations and the sentences they flagged for removal due to arguments. They give you some really great suggestions for overall improvement, and have contributed to copyediting the remainder of the article for you. I think the biggest takeaway from your peer review should be critically thinking about how to best present the stories of Lucretia so that they are properly cited, but in a way that avoids putting a footnote at the end of every single sentence. I think the best way to go about this is is to add lines at the beginning of sections that state whose version of the myth follows. You may want to even think about reorganizing the presentation of the sections, to present the versions of the stories first. That's completely up to you, but it will require some mulling over. Otherwise, I like the info you've added, so just keep adding as much content as possible, take your reviewer's suggestions into consideration, and work on that organization. Grade: 18/20 Gardneca (talk) 17:58, 5 March 2020 (UTC)

=Peer Review=

Hi BeckAnn B

I reviewed your article and I noticed a few issues. (i put my corrections in brackets.

The Majority of the issues I found were that things were not cited (there are entire sections that I noticed that had no citations whatsoever) or else entire paragraphs only had one citation. This seemed to be a major issue for most of the article. You should either find citations for these or else delete them, even if they are entire sections. This was also an issue in sections that had little or nothing to do with History. ie Lucretia in literature and plays and pop culture. I would speak to Dr. Gardner about what she wants done with these and next peer review, let me or whoever else reviews it know what she says.

I also noticed that generalizations (example: saying" some sources say" without saying which source) was quite common, even in sections which you had made. Try to be more specific about which source, (that being said there were areas where clearly an effort was made).

Making arguments also seemed to be an issue here. For example, when Brutus' speech is being described the tone sounds less than neutral. True, in the speech he was making an argument that the Kings were tyrannical, but still it should probably be reworded.

I also noticed a few things later on that were on the page that were simply false (for example the Biblical figure Susanna who was compared to lucretia was NOT suicidal). perhaps deleting or saying something like, "this paper argues that Susana and Lucretia were alike because both were suicidal" but as it stands it should be removed.

And while I forget the minimum number of sources you are supposed to use, I wouldn't mind seeing a few more. I would also recommend looking at already existing sources on the page. I noticed in my article that one of them was completely taken out of context so i decided to remove it.

Your corrections of grammar were also pretty good, though you missed quite a few areas that need improvement (i pointed them out in bolded italics)

To sum it up, The information that you put in there was good, but you need to cite things more, double check existing citations and rearrange a large chunk of the previous wording. I would also check the words in the sources to make sure that they are not taken word for word or being simply paraphrased while keeping the original structure of original sentence.

Regardless, ok effort for the first time, but you did seem to overlook most of the article where there were areas in obvious need of correction that you should have noticed.

Anyways, I have bolded them all for you below and have kept you're original edits where they were.

Find here your attached peer reviewed article.

According to Roman tradition, Lucretia (/luːˈkriːʃə/ loo-KREE-shə, Classical Latin: [lʊˈkreːtɪ.a]; died c. 510 BC), anglicized as Lucrece, '(citation needed) was a noblewoman in ancient Rome whose rape by Sextus Tarquinius (Tarquin), an Etruscan king's son, was the cause of a rebellion that overthrew the Roman monarchy and led to the transition of Roman government from a kingdom to a republic. (citation needed) There are no contemporary sources; information regarding Lucretia, her rape and suicide, and the consequence of this being the start of the Roman Republic, come from the later accounts of Roman historian Livy and Greco-Roman historian Dionysius of Halicarnassus. (citation needed)

The incident kindled the flames of dissatisfaction over the tyrannical (non-neutral language) methods of the last king of Rome, Lucius Tarquinius Superbus. (citation needed) As a result, the prominent families instituted a republic, drove the extensive royal family of Tarquin from Rome, (citation needed) and successfully defended the republic against attempted Etruscan and Latin intervention. (citation needed) As a result of its sheer impact, (non-neutral language) the rape itself became a major theme in European art and literature.

One of the first two consuls of the Roman Republic, Lucius Tarquinius Collatinus was Lucretia's husband. (citation needed) All the numerous(remove generalizes) sources on the establishment of the republic reiterate the basic events of Lucretia's story, though accounts vary slightly. (citation needed) Lucretia's story is not considered a myth by most historians, but rather a historical legend about an early history that was already a major part of Roman folklore before it was first written about. (citation needed) The evidence points to the historical existence of a woman named Lucretia and a historical incident that played a critical part in the real downfall of a real monarchy. Many of the specific details, though, are debatable, and vary depending on the writer. Post-Roman uses of the legend typically became mythical in portrayal, being of artistic rather than historical merit. (makes an arguments. remove)

As the events of the story move rapidly, the date of the incident is probably the same year as the first of the fasti.( citation needed.) Dionysius of Halicarnassus, a major source, sets this year "at the beginning of the sixty-eighth Olympiad ... Isagoras being the annual archon at Athens";[1] that is, 508/507 BC (the ancient calendars split years over modern ones). (citation needed) Lucretia therefore died in 508 BC. The other historical sources tend to support this date, but the year is debatable within a range of about five years. [2] (makes an argument. remove)

Contents 1	Early Life and Marriage 2	Rape 3	Consequences 4	Revolution 5	Aftermath 6	In Literature and Music 7	Subject in art 8	See also 9	References 10	External links Early Life and Marriage[edit] Lucretia is the daughter of Spurius Lucretius and wife of Lucius Tarquinius Collatinus. (citation needed) Prior to the rape, while her husband was an man of excellent social standing, he had no political power or standing in Rome. (citation needed) He lacked both the power and the wealth of his Tarquinius relatives. (citation needed) Her marriage was depicted as being the ideal Roman marriage as both Lucretia and Lucius were faithfully devoted to one another. (citation needed) She was described as beautiful and virtuous by Roman writer Livy. (citation needed) While her husband was away at battle, Lucretia would stay at home and pray for his safe return. (citation needed) Similar to Livy, Dionysius' depiction of Lucretia, separates her from the rest of the Roman women in a story about the men returning home from a battle. (citation(s) needed )The narrative begins with a bet between the sons of Tarquinius and their kinsmen, Brutus and Collantinus. The men fight over which of their wives best exemplified sophrosyne.[3] The men return home to find the women socializing with each other, presumably drinking and in conversation. In contrast, they find Lucretia home alone working with her wool in silence. (citation needed) Her status as an ideal Roman women, increased with her actions following her death. (making and argument. remove setence)Roman writers such as Livy, Ovid and Dioysius,(Dionysus may be spelled incorrectly, check) described Lucretia as being the role model for Roman girls because of her devotion to her husband. [4]

Rape[edit]

Lucrecia, 1525, Monogrammist I.W. active in the Cranach studio c. 1520–40. The most common type of depiction. Lucius Tarquinius Superbus, last king of Rome, being engaged in the siege of Ardea, sent his son, Tarquin, on a military errand to Collatia. (citation needed) Tarquin was received with great hospitality at the governor's mansion, home of Lucius Tarquinius Collatinus, son of the king's nephew, Arruns Tarquinius, former governor of Collatia and first of the Tarquinii Collatini. (citation needed) Collatinus' wife, Lucretia, daughter of Spurius Lucretius, prefect of Rome, "a man of distinction,"[5] made sure that the king's son was treated as became his rank, although her husband was away at the siege. (citation needed)

In a variant of the story,[6] (what variant of the story? generalizes. remove or state which variation) Tarquin and Collatinus, (were) at a wine party on furlough (what does furlough mean???), were debating the virtues of (their) wives when Collatinus volunteered to settle the debate by (having) all of them riding (consider replacing with "ride") to his home to see what Lucretia was doing.( citation needed, also i believe they checked in on all of their wives) She was weaving with her maids. (consider rewording this setence)The party awarded her the palm of victory and Collatinus invited them to visit, but for the time being they returned to camp. (citation needed, also rather flowery language)

At night, Tarquin entered her bedroom by stealth, quietly going around the slaves who were sleeping at her door.(citation needed) (when) She awakened. (comma not period) He (he) identified himself and offered her two choices: she could submit to his sexual advances and become his wife and future queen (did her offer her this??? check the accounts. he may have just told her to let him rape her. double check. ), or he would kill her and one of her slaves and place the bodies together, then claim he had caught her having adulterous sex (citation needed. also consider rewording sentence) (see sexuality in ancient Rome for Roman attitudes toward sex). In the alternative story, (which version???) he (Tarquin???) returned from camp a few days later with one companion to take Collatinus up on his invitation to visit and was lodged in a guest bedroom. He entered Lucretia's room while she lay naked in her bed and started to wash her belly with water, which woke her up. (citation needed)

Consequences[edit] Following the assault, Tarquin returned to camp. (citation needed) Depending on the version, (which version???) the following day Lucretia dressed in black and went to her father's house in Rome and cast herself down in the supplicant's position (embracing the knees), weeping. (citation needed) Asked to explain herself, she insisted on first summoning witnesses and after disclosing the rape, called on them for vengeance, a plea that could not be ignored, as she was speaking to the chief magistrate of Rome.(citation needed also by saying it would not be ignored you are making an argument. reword) While they were debating the proper course of action, she drew a concealed dagger and stabbed herself in the heart. (citation needed) She died in her father's arms, with the women present keening (keening????) and lamenting. (citation needed) "This dreadful scene struck the Romans who were present with so much horror and compassion that they all cried out with one voice that they would rather die a thousand deaths in defence of their liberty than suffer such outrages to be committed by the tyrants."[7]

In the Livy's version, Lucretia did not go to Rome, but sent for her father and her husband asking them to bring one friend each. (citation needed) Those selected were Publius Valerius Publicola from Rome and Lucius Junius Brutus from the camp at Ardea. (citation needed) They found Lucretia in her room. She explained what had happened and after exacting an oath of vengeance—"Pledge me your solemn word that the adulterer shall not go unpunished."—[8] (consider rewording) and while they were discussing the matter, drew the poignard and stabbed herself in her heart. (citation needed)

In Dio's version, Lucretia's request for revenge is: "And, whereas I (for I am a woman) shall act in a manner which is fitting for me: you, if you are men, and if you care for your wives and children, exact vengeance on my behalf and free your selves and show the tyrants what sort of woman they outraged, and what sort of men were her menfolk!" (rather long quote. consider shortening and paraphrasing) She follows her statement by plunging the dagger into her chest and promptly dying. (citation needed)

In an alternative version (which version???) Collatinus and Brutus were encountered returning to Rome unaware of the incident, were briefed (consider rewording), and then brought to the death scene. (citation needed) Brutus happened to be a politically motivated participant. (citation needed) By kinship he was a Tarquin on his mother's side, the son of Tarquinia, daughter of Lucius Tarquinius Priscus, the third king before last. (citation needed) He was a candidate for the throne if anything should happen to Superbus. (citation needed) By law, however, as he was a Junius on his father's side, and thus he was not a Tarquin and therefore could later propose the exile of the Tarquins without fear for himself. (citation needed) Superbus had taken his inheritance and left him a pittance, keeping him at court for entertainment.[9]

(the above underlined section seems to be making an argument ie that there was motive for removing the Tarquins other than Lucretia's death. also, it seems to go off topic from Lucretia. it should either be reworded so that it does not or removed entirely.)

The less common subject of Brutus holding the dead Lucretia and swearing the oath Collatinus, seeing his wife dead, became distraught. He held her, kissed her, called her name and spoke to her. (citation needed) Seeing the hand of Destiny in these events, his friend Brutus called the grieving party to order, explained that his simplicity had been a sham, and proposed that they drive the Tarquins from Rome. (citation needed. seems to be making an argument. and has biased view/non-neutral language) Grasping the bloody dagger,[10] he swore by Mars and all the other gods that he would do everything in his power to overthrow the dominion of the Tarquinii and that he would neither be reconciled to the tyrants himself nor tolerate any who should be reconciled to them, but would look upon every man who thought otherwise as an enemy and till his death would pursue with unrelenting hatred both the tyranny and its abettors; and if he should violate his oath, he prayed that he and his children might meet with the same end as Lucretia. (citation needed. sounds like it may be quite similar to the original source. may need to be broken up a bit)

He passed the dagger around and each mourner swore the same oath by it. The primary sources agree on this point: Livy's version is:[11]

By this blood—most pure before the outrage wrought by the king's son—I swear, and you, O gods, I call to witness that I will drive hence Lucius Tarquinius Superbus, together with his cursed wife and his whole blood, with fire and sword and every means in my power, and I will not suffer them or anyone else to reign in Rome. (citation needed)

(what are the other primary sources are why are they not cited?)

Revolution(consider renaming "Aftermath")[edit]

Lucretia by Lucas Cranach the Elder

The rape, by Artemisia Gentileschi Main article: Overthrow of the Roman monarchy The newly sworn revolutionary committee paraded the bloody corpse of Lucretia to the Roman Forum where it remained on display as a reminder of the dishonor committed. (citation needed) At the form, the committee heard grievances against the Tarquins and began to enlist an army to abolish the monarchy. (citation needed) Brutus "urged them to act as men and Romans and take up arms against their insolent foes."[11] The gates of Rome were blockaded by the new revolutionary soldiers and more were sent to guard Collatia. (citation needed) By now a crowd had gathered in the forum; the presence of the magistrates among the revolutionaries kept them in good order. (citation needed)

Brutus was the Tribune of the Celeres, a minor office of some religious duties, which as a magistracy gave him the theoretical power to summon the curiae, an organization of patrician families used mainly to ratify the decrees of the king.(citation needed) Summoning them on the spot he transformed the crowd into an authoritative legislative assembly and began to harangue (note to self, consider changing word, hard language in this context) them in one of the more noted and effective speeches of ancient Rome. (citation needed)

He began by revealing that his pose as fool was a sham designed to protect him against an evil king. (citation needed) He levelled a number of charges against the king and his family: the outrage against Lucretia, whom everyone could see on the dais, the king's tyranny, the forced labor of the plebeians in the ditches and sewers of Rome. He pointed out that Superbus had come to rule by the murder of Servius Tullius, his wife's father, next-to-the-last king of Rome.(citation needed. also, sounds like this sentence is arguing that the King was bad. I know that that is what the speech was saying, but perhaps something like "he listed numerous charges against the king, such as tyranny, killing his father in law etc etc etc" also how close is this to anoriginal source. double check and possibly reword.) He "solemnly invoked the gods as the avengers of murdered parents." (citation needed) The king's wife, Tullia, was in fact in Rome and probably was a witness to the proceedings from her palace near the forum. (citation needed) Seeing herself the target of so much animosity she fled from the palace in fear of her life and proceeded to the camp at Ardea.[11]

Brutus opened a debate on the form of government Rome ought to have, a debate at which many patricians spoke. (citation needed) In summation he proposed the banishment of the Tarquins from all the territories of Rome and appointment of an interrex to nominate new magistrates and conduct an election of ratification. (citation needed) They decided on a republican form of government with two consuls in place of a king executing the will of a patrician senate. (citation needed) This was a temporary measure until they could consider the details more carefully. Brutus renounced all right to the throne. (citation needed) In subsequent years the powers of the king were divided among various elected magistracies.

A final vote of the curiae carried the interim constitution. (citation needed) Spurius Lucretius was swiftly elected interrex; (citation needed) he was prefect of the city already. (citation needed) He proposed Brutus and Collatinus as the first two consuls and that choice was ratified by the curiae. (citation needed) Needing to acquire the assent of the population as a whole,(consider rewording?) they paraded Lucretia through the streets summoning the plebeians to legal assembly in the forum. (citation needed) Once there they heard a constitutional speech by Brutus not unlike many speeches and documents of western civilization subsequently. (citation needed) It began:[12]

In as much as Tarquinius neither obtained the sovereignty in accordance with our ancestral customs and laws, nor, since he obtained it—in whatever manner he got it—has he been exercising it in an honourable or kingly manner, but has surpassed in insolence and lawlessness all the tyrants the world ever saw, we patricians met together and resolved to deprive him of his power, a thing we ought to have done long ago, but are doing now when a favourable opportunity has offered. And we have called you together, plebeians, in order to declare our own decision and then ask for your assistance in achieving liberty for our country (citation needed. may be the # 12 citation above, consider moving it. but be sure to check first)....

A general election was held and the vote won in favor of the republic. (citation needed) This ended the monarchy, and during these proceedings Lucretia was still displayed in the forum. (citation needed)

The constitutional consequences of this event were, formally at least, to reverberate for more than two thousand years. (making an argument. remove) Rome would never again have a hereditary "king," even if later emperors were absolute rulers in all but name. (citation needed. sound slike making argument. consider removing.) This constitutional tradition prevented both Julius Caesar and Octavian Augustus from accepting a crown; instead they had to devise a confluence of several republican offices onto their persons in order to secure absolute power. (citation needed) Their successors both in Rome and in Constantinople adhered to this tradition in form if not in essence, and even the office of German Holy Roman Emperor remained typically elective rather than hereditary—up to its abolition in the Napoleonic Wars, over 2300 years later. (last underlined part is making an argument. consider removing it as well as most of the previous paragraph. also, i know for a fact that later byzantine emperors did indeed see themselves as being royal hereditary rulers even eventually abolishing the senate.)

Aftermath[edit]

Detail of The Story of Lucretia (c. 1500–01), by Sandro Botticelli. Here citizens with swords are swearing the overthrow of the monarchy.[13] Hearing of the doings at Rome, the king, his sons and a party of retainers rode post-haste for the city, leaving Titus Herminius and Marcus Horatius in command of the troops at Ardea. (citation needed) The gates of Rome were barred and armed with men on the wall, so they were forced to returned to camp. (citation needed) Meanwhile, letters had arrived from the revolutionary committee and were read to the troops by Herminius and Horatius. (citation needed)The men were assembled by unit for a vote, by which the revolution was confirmed. (citation needed) In one story the Tarquins escaped to Gabii. A 15-year truce was made with Ardea. The troops returned to Rome. (which account? and citation needed)

Superbus was not long in Gabii. He had to retire with his men to Tarquinii, where he raised the standard of intervention among the Etruscans. (citation needed) In an alternative story (Note sure which story this is, need to fact check and find sources for their information here as they have none for this section) he went directly to Tarquinii with two of his sons; the third, Tarquin, attempted to resume control of Gabii, but was assassinated. (citation needed) The Romans had to face one intervention by the Etruscans (Horatius Cocles) and another by the Latin League (Battle of Lake Regillus). Sentiment ran high against the Tarquins. Collatinus was asked to resign over constitutional issues. He complied and was replaced by Publius Valerius Publicola. (citation needed)

(i would seriously recommend removing "The constitutional consequences of this event were" until the end of this section where I am writing this. It has no citations that I can see, makes arguments, some of which are highly debatable and most importantly, has very little to do with Lucretia herself. Basically remove the last paragraph of revolution and all of the section currently titled "aftermath." It may be a good idea to rename the section titled "Revolution" "Aftermath" as the Revolution wa sthe aftermath of Lucretia's death.)

In Literature and Music[edit]

Marcantonio Raimondi's 1534 engraving of her suicide Livy's account in Ab Urbe Condita Libri (c. 25–8 BC) is the earliest surviving full historical treatment. (citation needed) In his account her husband has boasted of the virtue of his wife to Tarquin and others. Livy contrasts the virtue of the Roman Lucretia, who remained in her room weaving, with the Etruscan ladies who feasted with friends. (citation needed) Ovid recounts the story of Lucretia in Book II of his Fasti, published in 8 AD, concentrating on the bold over-reaching character of Tarquin. (citation needed) Later, St. Augustine made use of the figure of Lucretia in The City of God (published 426 AD) to defend the honour of Christian women who had been raped in the sack of Rome and had not committed suicide. (citation needed)

(Dio's account wasn't mentioned here, consider adding in, breifly dates and just general summary of what they are. )

The story of Lucretia was a popular moral tale in the later Middle Ages. Lucretia appears to Dante in the section of Limbo reserved to the nobles of Rome and other "virtuous pagans" in Canto IV of the Inferno. (citation needed) Christine de Pizan used Lucretia just as St. Augustine of Hippo did in her City of Ladies, defending a woman's sanctity. (citation needed) It is recounted in Geoffrey Chaucer's The Legend of Good Women, John Gower's Confessio Amantis (Book VII), and John Lydgate's Fall of Princes. (citations needed...and what is recounted? reword seriously consider removing. does not make sense)

Lucretia's rape and suicide is also the subject of William Shakespeare's 1594 long poem The Rape of Lucrece, (citation needed) which draws extensively on Ovid's treatment of the story;[14] he also mentioned her in Titus Andronicus, (citation needed) in As You Like It, (citation needed) and in Twelfth Night in which Malvolio authenticates his fateful letter by spotting Olivia's Lucrece seal, (citation needed)  and alludes to her in Macbeth, (citation needed) and in Cymbeline he further refers to the story, though without mentioning Lucretia by name. Shakespeare's poem, based off the rape of Lucretia, draws on the beginning of the Livy's account of the incident. The poem begins with a bet between husbands about the virtuousness of their wives. Shakespeare draws on the idea of Lucretia as a moral agent, as Livy did, when he explores his characters response to death and her unwillingness to yield to her rapist. A direct excerpt from Livy is used when Shakespeare prefaces his poem with a brief prose called "Argument". This is the internal deliberation Lucrece suffered from, following the rape. [15]

Niccolò Machiavelli's comedy La Mandragola is loosely based on the Lucretia story. (citation needed)

She is also mentioned in the poem "Appius and Virginia" by John Webster and Thomas Heywood, which includes the following lines:

Two fair, but ladies most infortunate, Have in their ruins rais'd declining Rome, Lucretia and Virginia, both renown'd For chastity.[16]

Thomas Heywood's play The Rape of Lucretia dates from 1607. (citation needed) The subject also enjoyed a revival in the mid twentieth century; (citation needed) André Obey's 1931 play Le Viol de Lucrèce [fr] was adapted by librettist Ronald Duncan for The Rape of Lucretia, (citation needed) a 1946 opera by Benjamin Britten which premiered at Glyndebourne. Ernst Krenek set Emmet Lavery's libretto Tarquin (1940), a version in a contemporary setting. (citation needed)

Jacques Gallot (died c. 1690) composed the allemandes "Lucrèce" and "Tarquin" for baroque lute. (citation needed)

In Samuel Richardson's 1740 novel Pamela, Mr. B. cites the story of Lucretia as a reason why Pamela ought not fear for her reputation, should he rape her. Pamela quickly sets him straight with a better reading of the story. (citation needed. also "sets him strait" and "better" are non-neutral words) Colonial Mexican poet Sor Juana Inés de la Cruz also mentions Lucrecia in her poem "Redondillas," a commentary on prostitution and who is to blame. (citation needed)

In 1769, doctor Joan Ramis wrote a tragedy in Menorca entitled Lucrecia. (citation needed) The play is written in the Catalan language (citation needed) using a neoclassical style (citation needed) and is the most important work of the eighteenth century written in this language. (citation needed)

In 1932, the play Lucrece was produced on Broadway starring legendary actress Katharine Cornell in the title part. It was mostly performed in pantomime. (citation needed)

In Donna Leon's 2009 Venetian novel, About Face, Franca Marinello refers to the tale of Tarquin and Lucrezia, as recounted in Ovid's Fasti (Book II, for February 24, "Regifugium") to explain her actions to Commissario Brunetti. (citation needed)

Add information about the Old Arcadia Here

(I would like to see what that information is)

Subject in art[edit] Since the Renaissance, the suicide of Lucretia has been an enduring subject for visual artists, including Titian, (citation needed) Rembrandt,(citation needed) Dürer, (citation needed) Raphael, (citation needed) Botticelli, (citation needed) Jörg Breu the Elder, (citation needed)  Johannes Moreelse, (citation needed)  Artemisia Gentileschi, (citation needed) Damià Campeny, (citation needed) Eduardo Rosales, (citation needed) Lucas Cranach the Elder, (citation needed) and others. (citation needed) Most commonly, either the moment of the rape is shown or Lucretia is shown alone at the moment of her suicide. (citation needed) In either situation, her clothing is loosened or absent, while Tarquin is normally clothed. (citation needed)

The subject was one of a group showing women from legend or the Bible who were either powerless or only able to escape their situations by suicide, such as Susanna, (I am personally familiar with this story, Susanna did NOT commit suicide) Dido of Carthage, and Verginia. (I think Verginia was murdered by her father if i recall correctly) [17] (check citation, consider if there should be two citations or even if this whole above sentence should be deleted) These formed a counterpoint to, or sub-group of, the set of subjects known as the Power of Women, showing female violence against, or domination of, men. These were often depicted by the same artists, and especially popular in Northern Renaissance art. The story of Esther lay somewhere between these two extremes.[18] (check citation)

(I know some of these stories. while it may make a good argument and may be worth keeping it should at the very least be reworded. Susana in her story refused to be taken sexually advantage of by her religious authority figures even when they threatened to falsely charge her with adultery and have her executed, Esther was in no was suicidal. check the link and the source and see what it says and either reword it or remove it.)

The subject of Lucretia spinning, with her ladies, is sometimes depicted, as in a series of four engravings of her story by Hendrick Goltzius, which also includes a banquet.[19]

Examples with articles Tarquin and Lucretia— life-size image of the rape by Titian (citation needed) The Story of Lucretia (Botticelli)—three scenes, of the rape, Brutus arousing the people, and the suicide (citation needed) The Suicide of Lucretia (Dürer)—single figure painting (citation needed) Lucretia and her Husband—distinctive depiction of Lucretia with a knife, and a shadowy male figure just behind. He is either Tarquin or her husband. By either Titian or Palma Vecchio. (citation needed) Lucretia (Veronese) (citation needed) See also[edit] Ancient Rome portal Biography portal Lucretia (gens) Verginia References[edit] ^ D.H. V.1. ^ Cornell, Timothy J (1995). "9. The Beginnings of the Roman Republic: 2. The Problem of Chronology". The Beginnings of Rome: Italy and Rome from the Bronze Age to the Punic Wars (c. 1000–264 BC). The Routledge History of the Ancient World. Routledge. pp. 218–225. ISBN 978-0-415-01596-7. ^ Mallan, C (2014). "THE RAPE OF LUCRETIA IN CASSIUS DIO'S ROMAN HISTORY". The Classical Quarterly (2 ed.). 64: 758–771. ^ Wiseman, T.P (1998). "Roman Republic, Year One". Greece and Rome (1 ed.). 45: 19–26. ^ D.H. IV.64. ^ T.L. I.57. ^ D.H. IV.66. ^ T.L. I.58. ^ D.H. IV.68. ^ D.H. IV.70. ^ Jump up to:a b c T.L. I.59. ^ D.H. IV.78. ^ 'The Tragedy of Lucretia,' c. 1500–01, Sandro Botticelli, Isabella Stewart Gardner Museum, Boston ^ Shakespeare's Poems: Venus and Adonis, The Rape of Lucrece and the Shorter Poems, ed. by Katherine Duncan Jones (Arden Shakespeare, 3rd edn., 2007), 'Introduction', passim. ^ Metzger, Mary Janell (2016). "Epistemic Injustice and the Rape of Lucrece". Mosaic : A Journal for the Interdisciplinary Study of Literature (2 ed.). 49: 19–34. ^ John Webster Appius and Virginia 5.3.224 ^ Russell, Nos 1–14 ^ Russell, Nos 1, 15, 16 ^ British Museum, Story of Lucretia. Sources Dionysius of Halicarnassus (2007) [1939]. "Book IV, sections 64–85". In Thayer, William (ed.). Roman Antiquities. Loeb Classical Library. Translated by Cary, Ernest. Cambridge MA, Chicago: Harvard University, University of Chicago. Livius, Titus. "Book I, sections 57–60". Ab urbe condita. Russell, H Diane (ed), Eva/Ave; Women in Renaissance and Baroque Prints, National Gallery of Art, Washington, 1990, ISBN 1558610391 Donaldson, Ian. The rapes of Lucretia: a myth and its transformations. Oxford 1982. (just a comment on the sources and citations. most of the stuff here seems good, that being said i question how accurately the information from these texts are being presented in the page. ie i'm wondering of the source says one thing and Wikipedia says another. i strongly recommend checking all the sources and if anything does not check out, i'd remove it. and don't forget to add the citations where i suggested.) External links[edit] BeckAnn B/LucretiaDraft at Wikipedia's sister projects Definitions from Wiktionary Media from Wikimedia Commons Texts from Wikisource Data from Wikidata "Lucretia". Encyclopædia Britannica. 17 (11th ed.). 1911.

Best of Luck! PolluxMariusPetrus (talk) 20:18, 29 February 2020 (UTC)