The Attic Nights of Aulus Gellius
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The Rhetoric of Corruption in Late Antiquity
UNIVERSITY OF CALIFORNIA RIVERSIDE The Rhetoric of Corruption in Late Antiquity A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics by Tim W. Watson June 2010 Dissertation Committee: Dr. Michele R. Salzman, Chairperson Dr. Harold A. Drake Dr. Thomas N. Sizgorich Copyright by Tim W. Watson 2010 The Dissertation of Tim W. Watson is approved: ________________________________________________________ ________________________________________________________ ________________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS In accordance with that filial piety so central to the epistolary persona of Q. Aurelius Symmachus, I would like to thank first and foremost my parents, Lee and Virginia Watson, without whom there would be quite literally nothing, followed closely by my grandmother, Virginia Galbraith, whose support both emotionally and financially has been invaluable. Within the academy, my greatest debt is naturally to my advisor, Michele Salzman, a doctissima patrona of infinite patience and firm guidance, to whom I came with the mind of a child and departed with the intellect of an adult. Hal Drake I owe for his kind words, his critical eye, and his welcome humor. In Tom Sizgorich I found a friend and colleague whose friendship did not diminish even after he assumed his additional role as mentor. Outside the field, I owe a special debt to Dale Kent, who ushered me through my beginning quarter of graduate school with great encouragement and first stirred my fascination with patronage. Lastly, I would like to express my gratitude to the two organizations who have funded the years of my study, the Department of History at the University of California, Riverside and the Department of Classics at the University of California, Irvine. -
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Faliscan Personal Names
W. D. C. de Melo Faliscan Personal names The Indo-European system There are two types of names: a) names consisting of two stems, often praising the qualities of the person concerned: Πατρο-κλέης; these can be shortened (in either stem), but a suffix has to be added: Πάτρο-κλ-ος; b) names consisting of one stem, often nicknames, sometimes praising good qualities, but more often mocking bad characteristics. In the original system, a single name is enough: Greek Αἰσχύλος, Vedic Bh¯ımasena (name of a hero), Celtic Dumnor¯ıx. But in order to distinguish between people of the same name, the father’s name can be added; this is optional; cf: a) genitive: Greek Δημοσθένης Δημοσθένου, Old High German Hadubrant Hiltibrantes sunu; b) adjective: Greek Αἴας Τελαμώνιος, Old English Wulf Wonr´eding. Occasionally what began as a patronymic continues in a family; cf. the kings of Pylos: Νηλεύς, son Νέστωρ Νηλήϊος, grandson ᾿Αντίλοχος Νηλήϊος. This then becomes a clan name, cf. the mythical Τανταλίδαι or the Vedic singers K¯an. v¯as. The Latin system The Latin system is very different from the Indo-European system. Systems similar to the Latin one can be found in Faliscan, Oscan and Umbrian, but also in Etruscan. We are presumably dealing with a regional phenomenon. The full form of a Roman name can be seen in CIL I2 827: M (arcus) Herennius M (arci) f (ilius) Mae(cia tribu) Rufus. This consists of: praenomen, nomen (=nomen gentile / nomen gentilicium), genitive of father’s name + ‘son’, name of the tribe (ablative), cognomen. Usage: Cicero uses the combination praenomen + nomen + cognomen only in highly official contexts; praenomen + nomen or praenomen + cognomen is used in formal contexts; a single name is informal. -
Xerox University Microfilms 77-2336 AM3LER, Mark Eugene, 1949- the THEORY of LATIN ETYMOLOGIA in the EARLY MIDDLE AGES; from DONATUS to ISIDORE
3NF0RIVIAT10ISI TO USERS T!;is material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". if it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
The Epic Vantage-Point: Roman Historiographical Allusion Reconsidered
Histos () – THE EPIC VANTAGE-POINT: ROMAN HISTORIOGRAPHICAL ALLUSION RECONSIDERED Abstract: This paper makes the case that Roman epic and Roman historiographical allusive practices are worth examining in light of each other, given the close relationship between the two genres and their common goal of offering their audiences access to the past. Ennius’ Annales will here serve as epic’s representative, despite its fragmentary state: the fact that the epic shares its subject-matter with and pre-dates most of the Roman historiographical tra- dition as we know it suggests that the poem may have had a significant role in setting the terms on which the two genres interacted at Rome; and what the first surviving generation of its readers, as principally represented by Cicero, have to say about the epic rather con- firms that suggestion (§I). Points of contact between the genres on which the paper focuses are: extended repetition of passages recognisable from previous authors (§II); allusion that is contested among the speakers of a given text (§III); citation practices (§IV); and the recur- rence of recognisable material stemming from the Annales in the historiographical tradition’s latter-day, when all sense of that material’s original context has been lost, along with its ability to generate new meaning (§V). n this paper,1 I consider how reading Ennius’ Annales can shed light on the extent to which allusion, as it operates in historiography, is differentiable I from allusion in other genres. David Levene has made the argument that historiography -
“At the Sight of the City Utterly Perishing Amidst the Flames Scipio Burst Into
Aurelii are one of the three major Human subgroups within western Eramus, and the founders of the mighty (some say “Eternal”) “At the sight of the city utterly perishing Aurelian Empire. They are a sturdy, amidst the flames Scipio burst into tears, conservative group, prone to religious fervor and stood long reflecting on the inevitable and philosophical revelry in equal measure. change which awaits cities, nations, and Adding to this a taste for conquest, and is it dynasties, one and all, as it does every one any wonder the Aurelii spread their of us men. This, he thought, had befallen influence, like a mighty eagle spreading its Ilium, once a powerful city, and the once wings, across the known world? mighty empires of the Assyrians, Medes, Persians, and that of Macedonia lately so splendid. And unintentionally or purposely he quoted---the words perhaps escaping him Aurelii stand a head shorter than most unconsciously--- other humans, but their tightly packed "The day shall be when holy Troy shall forms hold enough muscle for a man twice fall their height. Their physical endurance is And Priam, lord of spears, and Priam's legendary amongst human and elf alike. folk." Only the Brutum are said to be hardier, And on my asking him boldly (for I had and even then most would place money on been his tutor) what he meant by these the immovable Aurelian. words, he did not name Rome distinctly, but Skin color among the Aurelii is quite was evidently fearing for her, from this sight fluid, running from pale to various shades of the mutability of human affairs. -
Handout Name Yourself Like a Roman (CLAS 160)
NAME YOURSELF LIKE A ROMAN Choose Your Gender 0 Roman naming conventions differed for men and women, and the Romans didn’t conceive of other options or categories (at least for naming purposes!). For viri (men): Choose Your Praenomen (“first name”) 1 This is your personal name, just like modern American first names: Michael, Jonathan, Jason, etc. The Romans used a very limited number of first names and tended to be very conservative about them, reusing the same small number of names within families. In the Roman Republic, your major options are: Some of these names (Quintus, Sextus, • Appius • Manius • Servius Septimus, etc.) clearly originally referred • Aulus • Marcus • Sextus to birth order: Fifth, Sixth, Seventh. Others are related to important aspects of • Decimus • Numerius • Spurius Roman culture: the name Marcus probably • Gaius • Postumus • Statius comes from the god Mars and Tiberius from the river Tiber. Other are mysterious. • Gnaeus • Publius • Tiberius But over time, these names lost their • Lucius • Quintus • Titus original significance and became hereditary, with sons named after their • Mamercus • Septimus • Vibius father or another male relative. Choose Your Nomen (“family name”) 2 Your second name identifies you by gens: family or clan, much like our modern American last name. While praenomina vary between members of the same family, the nomen is consistent. Some famous nomina include Claudius, Cornelius, Fabius, Flavius, Julius, Junius, and Valerius. Side note: if an enslaved person was freed or a foreigner was granted citizenship, they were technically adopted into the family of their “patron,” and so received his nomen as well. De Boer 2020 OPTIONAL: Choose Your Cognomen (“nickname”) Many Romans had just a praenomen and a nomen, and it was customary and polite to address a 3 person by this combo (as in “hello, Marcus Tullius, how are you today?” “I am well, Gaius Julius, and you?”). -
TRADITIONAL POETRY and the ANNALES of QUINTUS ENNIUS John Francis Fisher A
REINVENTING EPIC: TRADITIONAL POETRY AND THE ANNALES OF QUINTUS ENNIUS John Francis Fisher A DISSERTATION PRESENTED TO THE FACULTY OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF CLASSICS SEPTEMBER 2006 UMI Number: 3223832 UMI Microform 3223832 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 © Copyright by John Francis Fisher, 2006. All rights reserved. ii Reinventing Epic: Traditional Poetry and the Annales of Quintus Ennius John Francis Fisher Abstract The present scholarship views the Annales of Quintus Ennius as a hybrid of the Latin Saturnian and Greek hexameter traditions. This configuration overlooks the influence of a larger and older tradition of Italic verbal art which manifests itself in documents such as the prayers preserved in Cato’s De agricultura in Latin, the Iguvine Tables in Umbrian, and documents in other Italic languages including Oscan and South Picene. These documents are marked by three salient features: alliterative doubling figures, figurae etymologicae, and a pool of traditional phraseology which may be traced back to Proto-Italic, the reconstructed ancestor of the Italic languages. A close examination of the fragments of the Annales reveals that all three of these markers of Italic verbal art are integral parts of the diction the poem. Ennius famously remarked that he possessed three hearts, one Latin, one Greek and one Oscan, which the second century writer Aulus Gellius understands as ability to speak three languages. -
Ancient Authors 297
T Ancient authors 297 is unknown. His Attic Nights is a speeches for the law courts, collection of essays on a variety political speeches, philosophical ANCIENT AUTHORS of topics, based on his reading of essays, and personal letters to Apicius: (fourth century AD) is the Greek and Roman writers and the friends and family. name traditionally given to the lectures and conversations he had Columella: Lucius Iunius author of a collection of recipes, heard. The title Attic Nights refers Moderatus Columella (wrote c.AD de Re Coquinaria (On the Art of to Attica, the district in Greece 60–65) was born at Gades (modern Cooking). Marcus Gavius Apicius around Athens, where Gellius was Cadiz) in Spain and served in the was a gourmet who lived in the living when he wrote the book. Roman army in Syria. He wrote a early first centuryAD and wrote Cassius Dio (also Dio Cassius): treatise on farming, de Re Rustica about sauces. Seneca says that he Cassius Dio Cocceianus (c.AD (On Farming). claimed to have created a scientia 150–235) was born in Bithynia. He popīnae (snack bar cuisine). Diodorus Siculus: Diodorus had a political career as a consul (wrote c.60–30 BC) was a Greek Appian: Appianos (late first in Rome and governor of the from Sicily who wrote a history of century AD–AD 160s) was born in provinces of Africa and Dalmatia. the world centered on Rome, from Alexandria, in Egypt, and practiced His history of Rome, written in legendary beginnings to 54 BC. as a lawyer in Rome. -
Herodian History of the Roman Empire Source 2: Aulus Gellius Attic
insulae: how the masses lived Fires Romans Romans in f cus One of the greatest risks of living in the densely populated city of Rome, and particularly in insulae was that of fires. Fires broke out easily (due to people cooking on open flames), spread easily (due to buildings being constructed out of wood, and buildings being built so closely together) and were hard to control. Several times large parts of the city went up in flames. It was not unusual for imperial funds to make good losses of impoverished wealthy citizens in the wake of a fire. Source 1: Herodian History of the Roman Empire In this passage from Herodian riots have broken out in the city of Rome, and soldiers combatting civilians started setting fire to houses. The soldiers did, however, set fire to houses that had wooden balconies (and there were many of this type in the city). Because a great number of houses were made chiefly of wood, the fire spread very rapidly and without a break throughout most of the city. Many men who lost their vast and magnificent properties, valuable for the large incomes they produced and for their expensive decorations, were reduced from wealth to poverty. A great many people died in the fire, unable to escape because the exits had been blocked by the flames. All the property of the wealthy was looted when the criminal and worthless elements in the city joined with the soldiers in plundering. And the part of Rome destroyed by fire was greater in extent than the largest intact city in the empire. -
An Encoded Saturnian Theme Peter Mark Adams
The Sola-Busca Tarocchi An Encoded Saturnian Theme Peter Mark Adams The Sola-Busca is a Ferrarese tarocchi produced at the court of the House of Este, Dukes of Ferrara, Reggio and Modena, and dating from 1491. It is the earliest complete deck of tarocchi cards in existence and its fine detail is attributable to its production from copper engraving plates. The Sola-Busca disguises its true import beneath historical narratives derived from Plutarch, Livy and the Alexander Romance literary tradition; but this carefully prepared ‘surface’ has been rendered unstable and polysemous by the systematic use of ambiguity in the spelling of names and the presence of symbolic counters that point towards deeper, occulted levels of meaning. Trump XVIII Lentulo depicts a figure placing a large, freestanding liturgical candle upon an altar with his left hand, whilst his right hand grips his beard. The figure is richly dressed in a long, single-piece gown whose opulence stands out amongst the austere military-style dress of the majority of trumps. The strange arrangement of the head covering is suggestive of an ancient cap known as a pilleus rather than hair. What does this attention grabbing display portend? In Book XIV of Martial’s Epigrams, On the Presents Made to Guests at Feasts, we learn, “Now, while the knights and the lordly senators delight in the festive robe (Latin: synthesibus), and the cap of liberty (Latin: pillea) is assumed by our Jupiter; and while the slave, as he rattles the dice-box, has no fear of the Aedile … what can I do better, Saturn, on these days of pleasure, which your son himself has consecrated to you”. -
Architectural Encounters Between Idea and Material the 1547 Frontispiece of Walther Hermann Ryff
ARCHITECTURAL ENCOUNTERS 179 Architectural Encounters between Idea and Material The 1547 Frontispiece of Walther Hermann Ryff PAUL EMMONS Virginia Tech The renaissance frontispiece is simultaneously an that presented through a combination of word and encounter between reader and author and inhabit- image the idea of its content^.^ Frontispieces thus ant and building. The idea of the book is personified are excellent visual sources to study the significance into an architectural image. Reader and author are of a text. Architects often drew frontispieces, not face-to-face even though the later is absent and the only for their own books, but also for many other book stands as a physical incarnation of the ideas subjects. The visual threshold of frontispiece for of the author. This paper will examine one notable renaissance architectural treatises was variously renaissance architectural frontispiece in Walther shown as an altar (Palladio), triumphal arch (Bar- Hermann Ryff's Architectur (1547) to reconsider the baro), curtain or veil (Bartoli), window (Vignola), relation between idea and material in architectural or pedimented entry (Scamozzi). theory and practice today. Frontispieces employed allegorical illustrations like The illustrated architectural frontispiece developed emblems. Emblems originated with the renaissance with the early printed book.' At this time, printers humanist attempt to create a modern equivalent only produced the pages and sold them tied in a to Egyptian hieroglyphs. With the rediscovery of bundle which was then taken to a separate leather Horapollo's Hieyroglyphica in the fifteenth century, worker for the book's cover. The cover represented it was thought that the esoteric picture language of the owner while the first page, the frontispiece, the Egyptians could be deciphered and numerous represented the interior of the book.