By David Hollins Osprey
To aid her common troops, Austria made large use of auxiliary forces throughout the progressive and Napoleonic Wars. The Balkan Grenzers played a mixture of army Frontier shield, box military and lightweight roles, and have been separated into the nationwide Grenz regiments in 1798. French ?migr?s, Belgian and varnish volunteers, German J?ger and Balkan refugees shaped volunteer devices within the 1790s, that have been in general regularised into mild Battalions (1798-1801).The defense force garrison troops of 1800 have been built into the conscript Landwehr of 1808, even though volunteers (Freiwillige) joined the sphere military in 1809. Hungary and Croatia supplied conventional rebel militias that fought at Raab in 1809. This name examines the several histories, supplier and vibrant uniforms of those multi-national troops.
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47 But the last parallel also points up a major, typical distinction between the two poets. 48 He may express delight in the ceremony of sacriﬁce upon Numida’s return, and urge that the subsequent Time and Place • 43 celebration not stint in wine, dance, or ﬂowers. But he claims no share in the two erotic liaisons of which he tells, ﬁrst, the male bonding of Numida with his sodales, especially Lamia, then the heterosexual union that is implied between Numida and Damalis in the poem’s ﬁnal stanzas.
O Pontic Amastris and Cytorus, bearer of boxwood, the boat says that this was and is most well known to you: it says that at its very beginning (15) it stood on your crest, and dipped its oars in your waters, and from there it bore its master through so many wild seas, whether the breeze called on the left or on the right, or whether a favorable Jupiter (20) fell on each sheet at once, and no vows were 28 • Chapter 1 made by it to gods of the shore, when it came from the sea most recently all the way up to this clear lake.
As we progress in the poem from travelogue to the destructiveness as well as the fragility and beauty of love, we move ﬁrst to the sheer vulgarity of Lesbia’s sexuality, then to the sphere of metaphor and symbol, as the speaker describes his affection. This progress takes us from physical to Time and Place • 37 spiritual in a poem dealing with the bitter communication of a wordsmith writing in Sappho’s meter to a woman whose name complements Sappho’s own. Both Catullus 11 and C. 22 are therefore songs about song, but in making the transition from Lesbia to Lalage, we leave behind the problematics of eroticism and embrace the imagined realm of a sacrosanct poet fully devoted to the lyre and its authority.