Geography, Exploration, and Fiction, by J. Romm
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Cambridge University Press 978-1-108-48303-2 — the Moon in the Greek and Roman Imagination Karen Ní Mheallaigh Index More Information
Cambridge University Press 978-1-108-48303-2 — The Moon in the Greek and Roman Imagination Karen ní Mheallaigh Index More Information Index Achilles’ shield. See Homer Callimachus, – Aëtius, – celestial bowls, – Aglaonice, – Cicero, Somnium Scipionis, –, , See Alcmaeon of Croton, , – selēnoskopia (or ‘view from Moon’) Alcman Cleomedes, , Partheneia (Maiden Songs), – cognitive estrangement. See selēnoskopia (view from Alexander of Abonouteichos, – Moon) amphiphōntes, Colin Webster, , – analogical drift, Corinna, – Anaxagoras of Clazomenae, , –, –, cup of Helios, – Cyrano de Bergerac, , n Anaximander of Miletus, – Anaximenes of Miletus, – Demetrius Triclinius, n, , – Ancient Greek calendar, See also parapēgmata Democritus of Abdera, –, Antiphanes of Berge, – Diogenes of Apollonia, antiphraxis, – dioptra. See Lucian, True Stories Antonius Diogenes, The incredible things beyond Thule earthshine, – and scholarly hoax, – Earthy Moon Theory (EMT), –, –, and the Arctic, – See Plutarch, De facie and the Moon, – problems/challenges, , – narrative complexity, – eclipse Apollo Noumēnios, lunar eclipse, – Apuleius mechanism of eclipse, – lunam despumari, – solar eclipse, , – Aristarchus of Samos, , Empedocles of Acragas, –, , – Aristotle Empedotimus, fire creatures on the Moon, – Endymiones, , – on nature of Moon, Ennius’ dream, – theory of elements, Epimenides of Crete, – Astraeus, Eratosthenes of Cyrene, astral travel. See soul projection Hermes. See selēnoskopia (or ‘view from astronomical observation, , See mountains Moon’) astronomy -
Scylax of Caryanda on the Bosporus and the Strait at the Pillars
Hyperboreus Vol.11 (2005) Fasc.2 SCYLAX OF CARYANDA ON THE BOSPORUS AND THE STRAIT AT THE PILLARS For Francesco Prontera We owe due to the Ora maritima by Avienus a number of valuable references to early authors and explorers. One of them presents the statement of Scylax concerning the Strait of Gibraltar (Or. mar. 370 ff. = 709 FGrHist F 8): sed ad columnas quidquid interfunditur undae aestuantis stadia septem vix ait Damastus esse; Caryandeus Scylax medium fluentum inter columnas adserit tantum patere quantus aestus Bosporo est. This piece of information about the man famous through his explora- tion of India and subsequent sail from Indian shores to Egypt (c. 518– 515 BC) has not impressed scholars.1 Moreover, the text of Avienus was cited to prove that Scylax had never been at the Strait of Gibraltar.2 I shall argue that the evidence implies the contrary, which entails rather impres- sive conclusions. It was repeatedly pointed out that since maximal breadth of the Bosporus is about 4,5 km and minimal breadth is just above 700 m, while the Strait of Gibraltar is 14,2 km broad at the narrowest, their likening is out of the mark.3 This fair observation was not supplemented, however, by the ques- 1 For Scylax in general and his Indian expedition in particular see: W. Reese, Die griechischen Nachrichten über Indien bis zum Feldzuge Alexanders des Grossen (Leipzig 1914) 39–52; F. Gisinger, “Skylax”, RE III A (1927) 619-646; H. Schiwek, “Der Persische Golf als Schiffahrts– und Seehandelsroute in Achämenidischer Zeit und in der Zeit der Alexanders des Grossen”, Bonner Jahrbücher 162 (1962) 4–97; A. -
Greek Campaign to the East
Ancient Sindh, 13, 2014-15: 81-8785-103 ZAIN-UL-WAHAB & ABRO T.A. GREEK CAMPAIGN TO THE EAST ABSTRACT – This article summarizes the influence of the Greek dynasty under the Alexander the Great on the subcontinent region. They have affected this corner of the world in terms of civilization who developed art and culture according to their own framework. This paper will provide a glimpse of the Greek Era and their indebted control over this area, because Gandhara civilization has redefined itself in line with Greek style. Key Words: Greak in Asia, Greek history, Greek campaign INTRODUCTION The first Greek expedition to Indus Valley (now Pakistan) came into contact with the people of this area first time during the reign of the Achaemenian emperor Darius I (522-486 B.C). Darius I sent Scylax of Caryanda to explore this river flowing in the Indus Valley. Scylax stared his voyage from the city of (Kaspaptyros), and sailed down the River Indus and discovered the place where it emptied itself into the sea. The Greeks as traversed by Scylax, named this country, India. Subsequently, this name was applied to the whole of the South Asian Subcontinent(Britai1973). The second contact was more vigorous and generated a more durable effect. It was Alexander’s military campaign in 326 BC which temporarily brought the entire Indus Valley under Greed control 2. Though it was a short-lived phenomenon, but it opened the gates for subsequent invaders from control Asia. Alexander’s march through Pakistan may be traced on the basis of Aryan’s account supplemented by those of others Greek historians. -
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon ASHLI J.E. BAKER Bucknell University Eros is “…δεινὸς γόης καὶ φαρμακεὺς καὶ σοφιστής…” (Plato, Symposium 203d) Introduction In the beginning of Book Two of Achilles Tatius’ Leucippe and Clitophon, the clever but thus far failed lover Clitophon witnesses a remarkable – and useful – scene. He passes by just as Clio, Leucippe’s slave, is stung on the hand by a bee. He sees Leucippe soothe Clio’s pain by singing incantations (ἐπᾴδω) she says she learned from an Egyptian woman.1 When Clitophon, determined to woo Leu- cippe, finds himself alone with her on the following day, he pretends that he too has been stung by a bee. Leucippe approaches, asking where he has been stung. In reply, Clitophon says, ————— 1 παύσειν γὰρ αὐτὴν τῆς ἀλγηδόνος δύο ἐπᾴσασαν ῥήματα· διδαχθῆναι γὰρ αὐτὴν ὑπό τινος Αἰγυπτίας εἰς πληγὰς σφηκῶν καὶ μελιττῶν. Καὶ ἅμα ἐπῇδε· καὶ ἔλεγεν ἡ Κλειὼ μετὰ μικρὸν ῥᾴων γεγονέναι. (2.7 - “…she would, she said, stop her pain by chanting two spells; she had been taught by an Egyptian woman how to deal with wasp- and bee-stings. As she had chanted, Clio had said that the pain was gradually relieved.”). All Greek text of Leu- cippe and Clitophon is that of Garnaud 1991. All translations are cited, with occasional alterations, from Whitmarsh 2001. I want to give special thanks to Catherine Connors for her insightful comments throughout the drafting of this paper. Thanks too to Alex Hollmann and Stephen Trzaskoma for feedback on earlier versions of this project. -
GREEK IMAGE of the INDIAN SOCIETY Indians Were Not
GREEK IMAGE OF THE INDIAN SOCIETY Indians were not mentioned in classical literature till a comparative by late period of Greek History. It is doubtful if any information regarding the Indians reached Greece before the rise of the persian empire. In Homer ’s Odys sey there is a mention of the dark-skinned Ethiopians as remote peoples, one part of them living towards the setting sun, while the other towards the rising1 . The latter, i.e., the Eastern Ethiopians have been identified by some as Homer ’s conception of the Indians12 . It is true the Indians were often confused with the Ethiopians in Ancient Greek literature 3, but to speculate of them in Homer ’s reference of Eastern Ethiopians is untenable. It seems to be poet ’s imagina tion, for it was thought that the sun being closer to the Earth at its rising and setting points, would darken the complexion of the people in those areas. The Greeks seem to have been acquainted with the Indians at a very late stage, for neither Homer, nor Pindar, nor the Greek dramatists like Sophocles and Euripides had mentioned anything about them. The Greek knowledge of the Indians began as a result of the rise of Per sian Empire, which had touched Greece at one extremity and India at the other. The Indians of the Indus region and the Greeks of the colonized Ionian cities were together serving in the persian Court. This condition provided an oppor tunity, which was more favourable for the interchange of the ideas, knowing the advanced civilizations of the orient the colonized Greeks of Ionia had wi dened their horizon more than those of their brothers living on the mainland. -
Reading for Pleasure: Narrative, Irony, and Erotics in Achilles Tatius
READING FOR PLEASURE: NARRATIVE, IRONY, AND EROTICS IN ACHILLES TATIUS Tim Whitmarsh Leucippe & Clitophon is exceptional among the corpus of extant Greek novels in that it is almost entirely narrated by a central pro- tagonist in the narrative.1 The opening words are those of an un- named figure explaining how he met Clitophon lamenting his experi- ences in love; and in response to his request, Clitophon narrated his tale. That tale then becomes the remainder of the novel (there is no return to the outer frame at the conclusion). This feature—so-called ‘ego-narration’ (or, to use a technical phrase, ‘character-bound nar- ration’2)—has often been remarked upon from a narratological per- spective: commentators have shown how subtly Achilles manipulates his readers’ knowledge and ignorance of events for the purposes of narrative tension and drama.3 In this essay I want to take a rather dif- ferent approach. What sort of narrator is Clitophon? How does his identity affect his selection and interpretation of material? And what pleasures are to be had from observing his partisanship and blind- spots? In other words, does Clitophon’s narrative dramatise a certain kind of approach to novel-reading, an approach that is itself explored, distanced, problematised, ironised? Ego-narratives are not in and of themselves ironical, they become so when they are read as such; when, that is, a gap (be it cognitive, moral or intellectual) opens up between the focalization of the nar- rator and that of the reader. But for a narrative to be read as ironical (rather than, say, simply contemptible), the reader must recognise a complicity with a figure (not necessarily a character, but an identifi- able perspective) within the text who shares her perspective.4 The 1 If we restrict the corpus to the canonical five, that is. -
Euanthes and the World of Rhetoric in Achilles Tatius' Leucippe And
Euanthes and the World of Rhetoric in Achilles Tatius’ Leucippe and Cleitophon KATHERINE A. MCHUGH The University of Edinburgh In Book Three of Achilles Tatius’ Leucippe and Cleitophon there is an ekphrasis of a painting, one of three within the entirety of the novel. The description takes place after the protagonists’ arrival at Pelusium, as they happen upon the Temple of Zeus and come across “double images” (εἰκόνα διπλῆν, 3,6,3) which have been signed by the artist Euanthes (3,6,3).1 The main aim of this article is to consider the name of this artist, as opposed to the painting itself; it seeks to prove that Euanthes was not a real figure, but a name created by Achilles which is imbued with rhetorical references in keeping with the intellectual climate of 2nd Century AD Greek literature. The name Euanthes and its possible rhetorical connotations will be explored in conjunction with a detailed consideration of Achilles’ use of ekphrasis throughout Leucippe and Cleitophon and his interest in rhetorical edu- cation in order to assert that some of the author’s playful in-jokes have been un- derstudied, and that they can provide us with a clearer picture of how the author strives to appeal to his reader; that is, a reader who is steeped in a rhetorical edu- cation himself. The article also considers the other two ekphraseis of paintings in Leucippe and Cleitophon (which occur in Books One and Five) in order to aid with an understanding of Achilles’ use of the rhetorical technique and how sig- nificant rhetoric is to his novel as a whole. -
Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES
Early Greek Alchemy, Patronage and Innovation in Late Antiquity CALIFORNIA CLASSICAL STUDIES NUMBER 7 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrolog- ical and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) was supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Meta- physics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 Number 6: Donald J. Mastronarde, Preliminary Studies on the Scholia to Euripides, 2017 Early Greek Alchemy, Patronage and Innovation in Late Antiquity Olivier Dufault CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2019 by Olivier Dufault. -
A Re-Examination of Some Structural Problems in Achilles Tatius’ Leucippe and Clitophon
A Re-examination of Some Structural Problems in Achilles Tatius’ Leucippe and Clitophon SAIICHIRO NAKATANI Swansea This paper is concerned with some structural problems in Achilles Tatius’ Leucippe and Clitophon. These were formerly ascribed to authorial incom- petence, but as the study of Achilles Tatius has made progress in the past twenty years, especially from a rhetorical point of view, the sophistication of this writer has been more and more appreciated. However the meaning of these features is not yet satisfactorily explained. If they are not badly han- dled, why are they still regarded as problematic? Do they have any meaning? I can summarize three main structural problems as follows. First Tyche and Eros, which have repeatedly appeared and acted as prime movers of the plot in the first half of the novel, begin to vanish after book 6. Secondly the oracular or proleptic use of the description of pictures at the head of book 1, 3, and 5, i.e. at the beginning of odd-numbered volumes, disappears in book 7. Thirdly, the text never returns to the frame of a conversation between the unnamed narrator and Clitophon, but ends at the end of the narrative of Cli- tophon. 1. The Disappearance of Tyche and Eros We shall begin by considering the fact that the names of Tyche and Eros begin to disappear after book 6. This might be regarded as clear evidence that Achilles Tatius forgot the initial plan for the structure of his novel at this midpoint,1 but I shall argue that it is necessary for Tyche and Eros to disap- pear; in other words, these elements go missing as a necessary prelude to the ————— 1 Hikichi 1965, 122; 124. -
Scylax of Caryanda, Pseudo-Scylax, and the Paris Periplus: Reconsidering the Ancient Tradition of a Geographical Text
SCYLAX OF CARYANDA, PSEUDO-SCYLAX, AND THE PARIS PERIPLUS: RECONSIDERING THE ANCIENT TRADITION OF A GEOGRAPHICAL TEXT Ivan Matijašić1 ABSTRACT: The Periplus preserved in the manuscript Parisinus suppl. gr. 443, and erroneously ascribed to Scylax of Caryanda (sixth century BC), is the oldest extant specimen of ancient Greek periplography: it belongs to the second half of the fourth century. In the present article, all the testimonies on the ancient tradition of both Scylax and the Paris Periplus are carefully evaluated. The aim is to determine when and why the Paris Periplus was mistakenly ascribed to Scylax and to clear any doubts on the alleged authorship of this ancient geographic work. The confusion, or the wilful falsification, is evident in Strabo: he knew of Scylax’s voyage in the East and at the same time was acquainted with the text of the Paris Periplus, which he ascribed to this famous ancient seafarer. Greek and Latin authors of the Roman Imperial age knew the Paris Periplus, but many followed slavishly the erroneous ascription to Scylax of Caryanda. When Marcianus of Heraclea in the early Byzantine age collected his corpus of ancient Greek geographers he also ascribed the Paris Periplus to Scylax, thus handing down the error to the copyist of the Paris. suppl. gr. 443. KEYWORDS: Ancient Greek geography; periplography; Scylax of Caryanda; Marcianus of Heraclea; Paris. suppl. gr. 443. 1. Introduction The Periplus of the so-called Pseudo-Scylax is an ancient clockwise description of the coast of the Mediterranean and of the Pontus Euxinus, beginning with the Pillars of Heracles (Strait of Gibraltar) and ending with an account of the Atlantic coast south of the Pillars. -
Reconstructing Eratosthenes' Map of The
RECONSTRUCTING ERATOSTHENES’ MAP OF THE WORLD: A STUDY IN SOURCE ANALYSIS Cameron McPhail A thesis submitted for the degree of Master of Arts at the University of Otago, Dunedin, New Zealand February 2011 CONTENTS Acknowledgements iii Abstract iv List of Abbreviations v List of Figures viii Introduction 1 1. Contextualising Eratosthenes‘ Map 7 2. The Source Tradition for Eratosthenes‘ Map 31 3. The Size, Shape and Main Parallel of Eratosthenes‘ Map 57 4. Continents, Promontories and Sealstones: The Building 83 Blocks of the Oikoumene 5. Eratosthenes‘ Conception of Ocean and the Caspian Sea 115 6. Pytheas of Massalia‘s Contribution to Eratosthenes‘ 141 Cartography Conclusion 171 Bibliography 175 Cover Illustration: A conjectural rendering of Eratosthenes‘ map of the world. After Roller 2010: Map 1, p. 250. ii ACKNOWLEDGEMENTS I am extremely grateful to all the people who have helped and supported me on this journey. The utmost thanks must go to Professor Robert Hannah for the great deal of time and thought which he has put into the supervision of this thesis. I would also like to thank Dr. Pat Wheatley for introducing me to some valuable sources of information, and all the staff in the Classics Department at the University of Otago for providing a relaxed, friendly and vibrant academic environment. To my parents, Bill and Judith, your support and meticulous proofreading are greatly appreciated. Last but not least, to my fiancé Hol, thanks for all the encouragement, and thank you for having a ‗real job‘ that has prevented yet another year of study from becoming too much of a financial burden. -
The Epic Cycle and the Ancient Novel
The Epic Cycle and the Ancient Novel The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Elmer, David F. 2015. The Epic Cycle and the Ancient Novel. In The Greek Epic Cycle and Its Ancient Reception: A Companion, eds. M. Fantuzzi and C. Tsagalis: 596-603. Cambridge: Cambridge University Press. Published Version http://www.cambridge.org/catalogue/catalogue.asp? isbn=1316308359 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:30803005 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP The Epic Cycle and the Ancient Novel David F. Elmer The “ancient novel” is a diffuse phenomenon, comprising a core of clearly fictional texts generally acknowledged (by classicists, at least) as meeting the criteria for designation as “novels,” and a ‘fringe’ of prose texts that flirt with fictionality to varying degrees.1 If, for the purposes of this brief discussion, we restrict our gaze to the seven extant texts typically assigned to the core—the five Greek romances (Chariton’s Chaereas and Callirhoe, Xenophon’s Ephesiaca, Achilles Tatius’ Leucippe and Cleitophon, Longus’ Daphnis and Chloe, Heliodorus’ Aethiopica) and the two “comic” novels in Latin (Petronius’ Satyrica, Apuleius’ Metamorphoses)—we will find that, in spite of certain promising convergences,