DOCSLIB.ORG

The Modalities of Roman Translation: Source-Representative, Allusive, and Independent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Modalities of Roman Translation: Source-Representative, Allusive, and Independent Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-11-2014 12:00 AM The Modalities of Roman Translation: Source-representative, Allusive, and Independent James Kruck The University of Western Ontario Supervisor Dr. Debra Nousek The University of Western Ontario Graduate Program in Classics A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © James Kruck 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Classical Literature and Philology Commons Recommended Citation Kruck, James, "The Modalities of Roman Translation: Source-representative, Allusive, and Independent" (2014). Electronic Thesis and Dissertation Repository. 2167. https://ir.lib.uwo.ca/etd/2167 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. i The Modalities of Roman Translation: Source-representative, Allusive, and Independent. A monograph by James Kruck Graduate Program in Classical Studies A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © James Kruck 2014 ii Abstract In my dissertation I argue that Roman translators promote themselves and their work by programmatic statements that indicate a relationship with a source author. Whereas the traditional understanding of translations has focused on ad uerbum and ad sensum translations, I deemphasize the binary division between ad uerbum and ad sensum translations since these terms are insufficient for appreciating the roles that translation can play in a literary system. By focusing on the statements of translators rather than the form of the translations, I elevate the translator as an agent who evaluates his socio-literary conditions and develops a response that capitalizes on those conditions. I argue that there are three different styles of promotion that the Roman translator uses: the source-representative, the allusive, and the independent. The source-representative translator associates himself closely with the source, establishing his translation as the primary avenue to an accurate representation of a foreign author. The allusive translator strengthens his own position as an artist and asserts his own creative ability by encouraging comparison with established writers before distinctively embedding his own original material into the translation. Finally, the independent translator rejects the authority of the source author and endorses himself as more knowledgeable than the source. My first chapter contextualizes the statements of Roman translators by examining similar statements from post-Classical translators who promote their own form of translation as the superior way in which to access the source author. In my second chapter I analyze source- representative translation in Livius Andronicus’ Odusia and Ennius’ Annales. Chapter 3 reviews source-representative translation in Roman comedy with a focus on how Terence uses his translations to displace the drama of Plautus. In my fourth chapter I address allusive translation by showing how Catullus symbolically rejects translation and how Horace advertises his poetry as Roman songs played on a Greek instrument. In my final chapter, which concentrates on independent translation, I discuss how Cicero advertises his role as a judicious translator whose translation enhances and even replaces the source work. In each chapter I identify the programmatic statements that the translator uses to encourage the acceptance of his translation. iii Keywords: Translation theory, Roman translation, Latin literature, Livius Andronicus, Ennius, Plautus, Terence, Catullus, Horace, Cicero iv Table of Contents Abstract ............................................................................................................................... ii Table of Contents ............................................................................................................... iv List of Abbreviations ........................................................................................................ vii Acknowledgments............................................................................................................ viii 1 Introduction .................................................................................................................... 1 2 Translation as Promotion ............................................................................................. 16 2.1 Ad uerbum Translation in the Church ................................................................... 17 2.2 Ad sensum translation in the Church ..................................................................... 22 2.3 The judgment of the translator .............................................................................. 25 2.4 Imitation as a close relationship with the source .................................................. 28 2.5 Criticism of imitation and Service to the Source .................................................. 34 3 Source-representative, Epic.......................................................................................... 44 3.1 Situating source-representative translation ........................................................... 46 3.2 The socio-literary conditions of 3rd century Rome .............................................. 48 3.3 Livius Andronicus ................................................................................................. 52 3.4 Gnaeus Naevius .................................................................................................... 61 3.5 Quintus Ennius ...................................................................................................... 65 4 Source-Representative, Comedy .................................................................................. 76 4.1 Plautus’ prologues: uortit barbare ........................................................................ 79 4.2 The Greek scene .................................................................................................... 84 4.3 Language ............................................................................................................... 87 v 4.4 Characters ............................................................................................................. 92 4.5 Deconstruction ...................................................................................................... 95 4.6 Prologues of Terence: uerbum de uerbo expressum ........................................... 100 4.7 Language ............................................................................................................. 111 4.8 Characters ........................................................................................................... 114 4.9 Adelphoe ............................................................................................................. 115 4.10 The Eunuchus .................................................................................................... 123 4.11 Conclusion ......................................................................................................... 129 5 Allusive Translation ................................................................................................... 133 5.1 Catullus ............................................................................................................... 133 5.2 Catullus, Poem 51 ............................................................................................... 134 5.3 Poem 66 .............................................................................................................. 142 5.4 Poem 68 .............................................................................................................. 144 5.5 Conclusion on Catullus ....................................................................................... 146 5.6 Horace ................................................................................................................. 148 5.7 Horace and his source: the Epodes ..................................................................... 152 5.8 Epode 11 ............................................................................................................. 153 5.9 Epode 12 ............................................................................................................. 157 5.10 Epode 15 ............................................................................................................ 160 5.11 The Odes ........................................................................................................... 163 5.12 Odes 1.9 ............................................................................................................. 166 5.13 Odes 1.37 ........................................................................................................... 169 5.14 Odes 1.12 ........................................................................................................... 173 5.15 Horace Conclusions........................................................................................... 176 5.16 Conclusion ........................................................................................................
Load more

Recommended publications
  • The Asàrotos Òikos Mosaic As an Elite Status Symbol 5
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert Ehud Fathy The asàrotos òikos mosaic as an elite status symbol 5 The asàrotos òikos mosaic as an elite status symbol Ehud Fathy Tel Aviv University Recibido: 31/03/2017 / Evaluado: 25/04/2017 / Aprobado: 08/05/2017 Abstract: This article focuses on theasarotos oikos theme in roman mosaics, and aims at exploring the social significance these depictions have held during the late Imperial age, and their relation to the proceedings of the banquet. This study suggests that disguised symbolism and erudite references rest behind the representation of these seemingly daily objects, which could only be fully understood by members of the Roman cultural elite, who possessed the proper education for the task. The mosaic served as a starting point for the elitist practice of an erudite discourse and as a reminder of the brevity of life. Keywords: asàrotos òikos, unswept floor, roman elitist art, Heraclitus mosaic, carpe diem, roman banquet, Sosos of Pergamon. ne of the less common themes of roman mosaics is the asàrotos òikos or «unswept floor», depicting titbits of a luxurious meal, scattered evenly onO the room’s floor. According to Pliny this theme was originally created by the mosaicist Sosos in Pergamon,1 presumably in the second century BCE.2 1. This contribution is part of the author's doctoral thesis carried out at Tel Aviv University under the supervision of Dr. Talila Michaeli. I would like to express my gratitude to Dr.
    [Show full text]
  • NAEVIUS After Livius Andronicus, Naevius1 Was the Second
    CHAPTER THREE NAEVIUS Dispositio. The Clash of Myth and History Double Identity: Campanian and Roman After Livius Andronicus, Naevius1 was the second Latin epic poet. He was of "Campanian" origin (Gellius 1. 20. 14), which, according to Latin usage, means that he was from Capua,2 a city allegedly founded by Romulus, and his thoughts and feelings were those of a Roman, not without a large admixture of Campanian pride. Capua in his day was almost as important economically as Rome and Carthage and its citizens were fully aware of this (though it was not until the Second Punic War that it abandoned Rome). Naevius himself tells us (Varro apud Gell. 17. 21. 45) that he actively participated in the First Punic War. The experience of that great historical conflict led to the birth of the Bellum Poenicum, the first Roman national epic. Similarly, Ennius would write his Annales after the Second Punic War and Virgil his Aeneid after the Civil Wars. In 235 B.C., only five years after the first performance of a Latin play by Livius Andronicus, Naevius staged a drama of his own. Soon he became the greatest comic playwright, unsurpassed until Plautus. He did not restrain his sharp tongue even when speaking of the noblest families. Although he did not mention anyone by name, he unequivocally alluded to a rather unheroic moment in the life of the young Scipio (Com. 108-110 R), and his quarrel with the Metelli (ps.­ Ascon., Ad Cic. Verr. 1. 29), formerly dismissed as fiction,3 is accepted today as having some basis in fact.
    [Show full text]
  • The Palmyrene Prosopography
    THE PALMYRENE PROSOPOGRAPHY by Palmira Piersimoni University College London Thesis submitted for the Higher Degree of Doctor of Philosophy London 1995 C II. TRIBES, CLANS AND FAMILIES (i. t. II. TRIBES, CLANS AND FAMILIES The problem of the social structure at Palmyra has already been met by many authors who have focused their interest mainly to the study of the tribal organisation'. In dealing with this subject, it comes natural to attempt a distinction amongst the so-called tribes or family groups, for they are so well and widely attested. On the other hand, as shall be seen, it is not easy to define exactly what a tribe or a clan meant in terms of structure and size and which are the limits to take into account in trying to distinguish them. At the heart of Palmyrene social organisation we find not only individuals or families but tribes or groups of families, in any case groups linked by a common (true or presumed) ancestry. The Palmyrene language expresses the main gentilic grouping with phd2, for which the Greek corresponding word is ØuAi in the bilingual texts. The most common Palmyrene formula is: dynwpbd biiyx... 'who is from the tribe of', where sometimes the word phd is omitted. Usually, the term bny introduces the name of a tribe that either refers to a common ancestor or represents a guild as the Ben Komarê, lit. 'the Sons of the priest' and the Benê Zimrâ, 'the sons of the cantors' 3 , according to a well-established Semitic tradition of attaching the guilds' names to an ancestor, so that we have the corporations of pastoral nomads, musicians, smiths, etc.
    [Show full text]
  • Horace - Poems
    Classic Poetry Series Horace - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Horace(8 December 65 BC – 27 November 8 BC) Quintus Horatius Flaccus, known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words." Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences. His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in < a href="http://www.poemhunter.com/john-henry-dryden/">John Dryden's</a> phrase, "a well-mannered court slave".
    [Show full text]
  • Translation, Reputation, and Authorship in Eighteenth-Century Britain
    Translation, Reputation, and Authorship in Eighteenth-Century Britain by Catherine Fleming A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Catherine Fleming 2018 Translation, Reputation, and Authorship in Eighteenth-Century Britain Catherine Fleming Doctor of Philosophy Department of English University of Toronto 2018 Abstract This thesis explores the reputation-building strategies which shaped eighteenth-century translation practices by examining authors of both translations and original works whose lives and writing span the long eighteenth century. Recent studies in translation have often focused on the way in which adaptation shapes the reception of a foreign work, questioning the assumptions and cultural influences which become visible in the process of transformation. My research adds a new dimension to the emerging scholarship on translation by examining how foreign texts empower their English translators, offering opportunities for authors to establish themselves within a literary community. Translation, adaptation, and revision allow writers to set up advantageous comparisons to other authors, times, and literary milieux and to create a product which benefits from the cachet of foreignness and the authority implied by a pre-existing audience, successful reception history, and the standing of the original author. I argue that John Dryden, Alexander Pope, Eliza Haywood, and Elizabeth Carter integrate this legitimizing process into their conscious attempts at self-fashioning as they work with existing texts to demonstrate creative and compositional skills, establish kinship to canonical authors, and both ii construct and insert themselves within a literary canon, exercising a unique form of control over their contemporary reputation.
    [Show full text]
  • Blame As Consolation: Rehabilitating the Iambic in Horace's Post-Actian Symposia" (2014)
    University of Mary Washington Eagle Scholar Student Research Submissions Spring 4-23-2014 Blame as Consolation: Rehabilitating the Iambic in Horace's Post- Actian Symposia Emma C. Oestreicher Follow this and additional works at: https://scholar.umw.edu/student_research Part of the Classics Commons Recommended Citation Oestreicher, Emma C., "Blame as Consolation: Rehabilitating the Iambic in Horace's Post-Actian Symposia" (2014). Student Research Submissions. 109. https://scholar.umw.edu/student_research/109 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. BLAME AS CONSOLATION: REHABILITATING THE IAMBIC IN HORACE'S POST-ACTIAN SYMPOSIA An honors paper submitted to the Department of Classics, Philosophy, and Religion of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Emma C. Oestreicher April 2014 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Emma Oestreicher 05/01/15 (digital signature) BLAME AS CONSOLATION: REHABILITATING THE IAMBIC IN HORACE’S POST-ACTIAN SYMPOSIA A THESIS BY EMMA
    [Show full text]
  • Parchments of the Parthian Period from Avroman in Kurdistan Author(S): Ellis H
    Parchments of the Parthian Period from Avroman in Kurdistan Author(s): Ellis H. Minns Source: The Journal of Hellenic Studies, Vol. 35 (1915), pp. 22-65 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/624522 . Accessed: 02/05/2014 15:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Society for the Promotion of Hellenic Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org This content downloaded from 128.210.130.147 on Fri, 2 May 2014 15:27:03 PM All use subject to JSTOR Terms and Conditions PARCHMENTS OF THE PARTHIAN PERIOD FROM AVROMAN IN KURDISTAN. [PLATES 1.-111.] AVROMANis a town in Persian Kurdistan lying close to the Turkish frontier between the sources of the Lesser Zab and the course of the Diala River some distance to the north of the highway from Bagdad (say Ctesiphon) to Hamadin (Ecbatana). Near it in a cave in the mountain called Kuh-i-Silan, a peasant found about the year 1909 a stone jar hermetically sealed; in it were decayed millet seeds 1 and several documents.
    [Show full text]
  • The Educational Theory of Plutarch
    A\. U. C. t A. <h. JC. DEPT. THE LffiRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by tine Internet Arciiive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/educationaltlieorOOwestiala THE EDUCATIONAL THEORY OF PLUTARCH PQR REVIEW THE EDUCATIONAL THEORY OF PLUTARCH K. M. WESTAWAY, D.Lit. (Lond.) STAFF LECTURER IN CLASSICS, ROYAL HOLLOWAY COLLEGE FORMERLY CLASSICAL SCHOLAR, AND LATER MARION KENNEDY STUDENT, OF NEWNHAM COLLEGE, CAMBRIDGE LONDON UNIVERSITY OF LONDON PRESS, LTD. 17 WARWICK SQUARE, E.C.4 1922 U. C. L. A. EDUC. DEPT. U. C. L A. EDLC. DEPT. Education library LB ovroi KOt KoivQ ^vcX^dvT€? airap^v T^ <to^hxk aviOtfTov Tw 'AttoAAwvi cts rof vcwv tov iv ^€\<t}OLS, ypd.\j/avT€9 ravra, a 5^ ttoitcs v/avowii', yvwdi crauTov Kai firfiev ayav, Plato, ProtagoraSy 343 B. opa §€ KOt Tttin"! Ttt irpoypd/xfJuiTa, to 'yvto^i cravTov' Kai to ^/ir)8eva.yav.' oaa^^rjTtj(T€i^ kckcVi/kc <fiiko<r6^ovs Koi o<rov Xoywv jrXrjOo'i &<f> cxaoTOV Kadairtp otto (rirepfxaTO^ avair€<f>VKev. Plutarch, Z)^ E apud Delpbos, 385 D. 827732 PREFACE The popularity of Plutarch as the author of the Parallel Lives has never really waned. It is thus surprising that the other half of his extant work, the essays generally called by the collective title of the Moralia, should for long periods together be almost unread and unremembered. I have found in these essays an interest even greater than I had been led to expect from my love of the " Lives." In the Moralia Plutarch, the philosopher, the priest, the citizen, the father, reveals himself with an intimacy rare among the ancient Greeks.
    [Show full text]
  • Captain of Homer's Guard
    Filippomaria Pontani “Captain of Homer’s guard”: the reception of Eustathius in Modern Europe 1 Eustathius from Politian to Politi (1489‒1730) In the fantastic battle between ancient and modern authors envisaged by the French scholar François de Callières in 1688 (a story that inspired Jonathan Swift’s Battle of the Books, published twelve years later), Eustathius of Thessa- lonica plays a conspicuous role¹. Initially enrolled among the orators (and thus on the far left wing of the ancients’ army), he soon switches to the middle- field upon the request of the old and blind Homer, who desperately needs a lieu- tenant, and thus implores Demosthenes to let the archbishop, however ideolog- ically hostile to war, cross over to the infantry of the poets and help him out in this bloodless fight². Once proclaimed captain of Homer’s guard, Eustathius starts a thorough examination of the troops, consisting of the Iliad and the Odys- sey, and engages in a firm defence of the Shield of Achilles against the attacks of the moderns; shortly after, however, he discovers to his dismay a worrying hole in the ranks of the Iliad, corresponding to the description of Aphrodite’s kestos, “la ceinture de Venus”, which has been stolen overnight by the modern poets Voiture and Sarrasin disguised as Greeks – very painful news for poor Homer, who believed Iliad 14 to be among the highlights of his entire poetical output³. Callières’ parody of the Querelle des Anciens et des Modernes is subtler and less absurd than it may appear at first glance: when Homer greets Eustathius as the worthiest defender of his person and works⁴, this reflects a communis opinio grounded in the wide success of the Parekbolai to Homer’s Iliad and Odyssey since their editio princeps published in Rome in 1542‒1550 – a success that will only be properly appreciated by whoever writes a proper history of the art of commenting Homer, perhaps one of the most urgent desiderata of contempo- Callières 1688.
    [Show full text]
  • Herodes Atticus: World Citizen, AD 101-177
    This dissertation has been microfilmed exectlv fl<; rp>rpivgcl Mic 60-4127 RUTLEDGE, Harry C arraci. HERODES ATTICUS: WORLD CITIZEN, A.D. 101-177. The Ohio State University, Ph. D., 1960 Language and Literature, classical University Microfilms, Inc., Ann Arbor, Michigan * • > . HERODES ATTICUS: WORLD CITIZEN A. D. 101 - 177 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By HARRY CARRACI RUTLEDGE, B .S c. in Edu., M.A. The Ohio State University I960 Approved by .ser Department of Classical Languages PREFACE Herodes Atticus has frequently been designated as the orator noblllsslmus of the Second Sophistic, the well- known rhetorical movement of the second century A.D. Although his prominence in the Second Sophistic is undoubted, Herodes is scarcely one of the major figures of antiquity; the Second Sophistic itself, because of its lack of recognized literary masterpieces, engages the interest of few but specialists. No literary works at all are extant from the hand of Herodes Atticus; but he has never suffered the artistic eclipse that time has imposed on men like Cornelius Gallus, for example, since Flavius Philostratus, fascinated by the extraordinary variety in Herodes' life, saw fit to give him the paramount position in his Vitae Sophlstarum. Furthermore, Herodes1 name, i f not h is 1 if e - s to r y , has ever been w ell known to archaeologists and historians of ancient art because of the survival of so many traces of his architectural philan­ thropies. Herodes was the most prominent millionaire of the second century; his lavish gift to Athens of the Odeum at the foot of the Acropolis has been a familiar landmark for c e n tu r ie s .
    [Show full text]
  • Horace's Epode 9 and Its Generals' Confusion
    Original citation: Giusti, Elena (2016) Dithyrambic iambics : Epode 9 and its general(s’) confusion. In: Bather, Philippa and Stocks, Claire, (eds.) Horace’s Epodes: Contexts, Intertexts, and Reception. Oxford University Press. ISBN 9780198746058 Permanent WRAP URL: http://wrap.warwick.ac.uk/95093 Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: Specific material reused: Giusti, Elena (2016) Dithyrambic iambics : Epode 9 and its general(s’) confusion. In: Bather, Philippa and Stocks, Claire, (eds.) Horace’s Epodes: Contexts, Intertexts, and Reception. Oxford University Press. ISBN 9780198746058 by permission of Oxford University Press Published version available from Oxford University Press: http://dx.doi.org/10.1093/acprof:oso/9780198746058.003.0006 For more information, please contact the WRAP Team at: [email protected] A note on versions: The version presented here may differ from the published version or, version of record, if you wish to cite this item you are advised to consult the publisher’s version.
    [Show full text]
  • The Oxyrhynchus Papyri Part X
    THE OXYRHYNCHUS PAPYRI PART X GRENFELL AND HUN2 EGYPT EXPLORATION FUND GRAECO-ROMAN BRANCH THE OXYRHYNCHUS PAPYRI PART X EDITED WITH TRANSLATIONS AND NOTES BY BERNARD P. GRENFELL, D.Litt. LITT.D. HON. HON. DUBLIN; PH.D. KOENIGSBERG ; HON. IUR.D. GRAZ FELLOW OF QUEEN'S COLLEGE, OXFORD; FELLOW OF THE BRITISH ACADEMY CORRESPONDING MEMBER OF THE ROYAL BAVARIAN ACADEMY OF SCIENCES AND ARTHUR S. HUNT, D.Litt. IUR.D. ATHENS AND GLASGOW HON. PH.D. KOENIGSBERG ; HON. LITT.D. DUBLIN ; HON. GRAZ; HON. LL.D. PROFESSOR OF PAPYROLOGY IN THE UNIVERSITY OF OXFORD, AND FELLOW OF QUEEN'S COLLEGE ACADEMY OF SCIENCES FELLOW OF THE BRITISH ACADEMY ; CORRESPONDING MEMBER OF THE ROYAL BAVARIAN MEMBER OF THE ROYAL DANISH ACADEMY OF SCIENCES AND LETTERS WITH SIX PLATES LONDON SOLD AT The Offices of the EGYPT EXPLORATION FUND, 37 Great Russell St., W.C. and 527 Tremont Temple, Boston, Mass., U.S.A. KEGAN PAUL, TRENCH, TRUBNER & CO., 68-74 Carter Lane, E.C. BERNARD QUARITCH, 11 Grafton St., New Bond St., W. ASHER & CO., 14 Bedford St., Covent Garden, W.C, and 56 Unter den Linden, Berlin and 100 Princes Edinburgh and MILFORD C. F. CLAY, Fetter Lane, E.C, Street, ; HUMPHREY Amen Corner, E.C, and 29-35 West 32ND Street, New York, U.S.A. 1914 All rights reserved OXFORD HORACE HART PRINTER TO THE UNIVERSITY PREFACE Of the new literary pieces here published, 1231 and 1233-5 pro- ceed from the second of the large literary finds of 1906, with some small additions from the work of the next season.
    [Show full text]