DOCSLIB.ORG

Starting with Anacreon While Preparing a Compendium of Essays on Sappho and Her Ancient Reception

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Starting with Anacreon while preparing a compendium of essays on Sappho and her ancient reception The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2021.02.06. "Starting with Anacreon while preparing a compendium of essays on Sappho and her ancient reception." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/starting-with-anacreon- while-preparing-a-compendium-of-essays-on-sappho-and-her- ancient-reception/ Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37367198 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. Classical Inquiries is published under a Creative Commons Attribution-NonCommercial 4.0 In- ternational License. Every efort is made to use images that are in the public domain or shared under Creative Commons licenses. Copyright on some images may be owned by the Center for Hellenic Studies. Please refer to captions for information about copyright of individual images. Citing Articles from Classical Inquiries To cite an article from Classical Inquiries, use the author’s name, the date, the title of the article, and the following persistent identifer: http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. For example: Nagy, G. 2019.01.31. “Homo Ludens at Play with the Songs of Sappho: Experiments in Comparative Reception Teory, Part Four.” Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Starting with Anacreon while preparing a compendium of essays on Sappho and her ancient reception Gregory Nagy FEBRUARY 6, 2021 | By Gregory Nagy 2021.02.06 | By Gregory Nagy §0. In consultation with the editorial team of Classical Inquiries, I am preparing to submit to them, for a hoped-for free-standing online publication, a compendium of my published essays on the topic of Sappho’s ancient reception. In essays I have published more recently on this vast topic, especially in Classical Inquiries, I have tried to track, more thoroughly than in my less recent essays, other topics that are at least in part relevant to my overall project, which aims to reconstruct not some hypothetical prototype of Sappho’s supposedly original text but, instead, what I am calling the “ancient reception” of Sappho’s songs as they were being performed in earlier phases and as they were being performed or read in later phases and as they were being merely read as texts in still later phases. When I say “ancient” here, I am referring, in the most general terms possible, to a premodern era extending from the late seventh century BCE all the way to the early Byzantine era, where intellectuals like Paul the Silentiary (“Paulus Silentiarius”), who lived in the late sixth century CE, were still imitating what they were reading in their transmitted texts of Sappho. To be contrasted is today’s impoverished state of aairs, where all we have left of the ancient textual tradition is a frustratingly small number of quotations found either in other ancient texts or in fragments of papyri dating from Hellenized phases of Egypt. My project aims at reconstructing considerably more than the textual remnants, concentrating on what I have just dened as her “ancient reception.” For this kind of reconstruction, as I said at the beginning, I need to delve into other topics—which may not always be relevant to what little has actually survived directly from the songs of Sappho but which can still lead to a fuller understanding of the overall reception of her songmaking. In this essay, I track one such topic, which centers on questions about sexual preferences or attractions as expressed or at least implied by female beauties in the poetics of Sappho. And I start by focusing on a song attributed to Anacreon, an old male poet who was supposedly in love with Sappho—according to at least some ancient traditions about the lives of Sappho and Anacreon. Eugène Delacroix (1798–1863), Anacreon and a Young Woman. Paris, musée national Eugène Delacroix. Photo via Wikimedia Commons. §1. Why do I start with a song of Anacreon and not with some surviving song of Sappho as I begin to track the topic of female sexual preferences and to consider how this topic applies to the songmaking of Sappho? My answer is simple: given that my aim is to analyze the ancient reception of Sappho, I consider my choice of Anacreon to be most appropriate. The song of Anacreon that I am about to quote and translate is, I argue, the second-earliest attested reference to the songs of Sappho. I have presented an earlier version of this argument in another essay (Nagy 2007:226–246, linked here), where I also argued that a song of Alcaeus, reportedly a contemporary of Sappho, is the rst-attested reference to her. I have my reasons, however, for choosing not Alcaeus but Anacreon here, since the second of the two poets, conventionally dated almost a century after the reported life and times of Sappho, is a bridge for her later reception in Athens, whereas no such claim can be made for the rst poet. §2. Here, then, is the song of Anacreon, which is my starting point for analyzing the ancient reception of Sappho: σφαίρῃ δηὖτέ με πορφυρέῃ βάλλων χρυσοκόμης Ἔρως νήνι ποικιλοσαμβάλῳ συμπαίζειν προκαλεῖται. ἣ δ’ (ἐστὶν γὰρ ἀπ’ εὐκτίτου Λέσβου) τὴν μὲν ἐμὴν κόμην (λευκὴ γάρ) καταμέμφεται, πρὸς δ’ ἄλλην τινὰ χάσκει. Once again [dēute] this time with a purple ball I am hit —it was thrown by the one with the golden head of hair, Eros, and—with a young girl wearing pattern-woven sandals —to play-with [sun-paizein] her does he [= Eros] call on me. But, you see, she is from that place so well settled by settlers, Lesbos it is. And my head of hair, you see, it’s white, she nds fault with it. And she gapes at something else—some girl. Anacreon F 358 in PMG (ed. Page) §3. This song is quoted in a context that has much to tell us about the reception of not only Sappho but also Anacreon himself. The context is provided in a source dated to the second/third century CE, Athenaeus (13.598b-c), who stages a learned discussion about the poet Hermesianax of Colophon (early third century BCE). This poet refers to the love professed for Sappho by Anacreon. The poem of Hermesianax describes Sappho as an aēdōn ‘nightingale’ (F 7 49 ed. Powell), the most beautiful of all the women of Lesbos, and it goes on to tell how a lovelorn Anacreon often journeyed from Samos to Lesbos in seemingly vain attempts to succeed in winning her love (F 7 50–57 via Athenaeus 13.598c). After the quotation of the poem by Hermesianax comes to an end in the text of Athenaeus (13.599b), the learned discussion turns to a questioning of what the poet says about Anacreon. It is claimed that Hermesianax made a big mistake by ‘synchronizing’ Anacreon with Sappho: ἐν τούτοις ὁ Ἑρμησιάναξ σφάλλεται συγχρονεῖν οἰόμενος Σαπφὼ καὶ Ἀνακρέοντα, τὸν μὲν κατὰ Κῦρον καὶ Πολυκράτην γενόμενον, τὴν δὲ κατ’ Ἀλυάττην τὸν Κροίσου πατέρα. Χαμαιλέων δ’ ἐν τῷ περὶ Σαπφοῦς καὶ λέγειν τινάς φησιν εἰς αὐτὴν πεποιῆσθαι ὑπὸ Ἀνακρέοντος τάδε· In these lines Hermesianax is making a mistake in thinking that Sappho and Anacreon are contemporaries. For he [= Anacreon] lived in the time of Cyrus and Polycrates while she [= Sappho] lived in the time of Alyattes the father of Croesus. But Chamaeleon in his work On Sappho [F 26 ed. Wehrli] even says that the following verses were composed by Anacreon and addressed to her [= Sappho]. And it is in this context that Athenaeus quotes the song of Anacreon that I have just quoted. §4. But now things get more complicated. In the text of Athenaeus, we now read further about the source just mentioned, Chamaeleon of Heraclea Pontica, who is dated to the fourth/third centuries BCE. In his work On Sappho (F 26 ed. Wehrli), as we have just seen from Athenaeus, Chamaeleon interpreted what we know as Song 358 of Anacreon to be the words of the poet’s declaration of love for Sappho. After quoting the words supposedly spoken by Anacreon in professing his love, Chamaeleon then quotes the words supposedly spoken by Sappho in talking back to Anacreon (Adespota 35 = F 953 in PMG ed. Page): καὶ τὴν Σαπφὼ δὲ πρὸς αὐτὸν ταῦτά φησιν εἰπεῖν· κεῖνον, ὦ χρυσόθρονε Μοῦσ’, ἔνισπες ὕμνον, ἐκ τᾶς καλλιγύναικος ἐσθλᾶς Τήιος χώρας ὃν ἄειδε τερπνῶς πρέσβυς ἀγαυός.
Recommended publications
  • Euripides” Johanna Hanink

    Euripides” Johanna Hanink

    The Life of the Author in the Letters of “Euripides” Johanna Hanink N 1694, Joshua Barnes, the eccentric British scholar (and poet) of Greek who the next year would become Regius Professor at the University of Cambridge, published his I 1 long-awaited Euripidis quae extant omnia. This was an enormous edition of Euripides’ works which contained every scrap of Euripidean material—dramatic, fragmentary, and biographical —that Barnes had managed to unearth.2 In the course of pre- paring the volume, Barnes had got wind that Richard Bentley believed that the epistles attributed by many ancient manu- scripts to Euripides were spurious; he therefore wrote to Bentley asking him to elucidate the grounds of his doubt. On 22 February 1693, Bentley returned a letter to Barnes in which he firmly declared that, with regard to the ancient epistles, “tis not Euripides himself that here discourseth, but a puny sophist that acts him.” Bentley did, however, recognize that convincing others of this would be a difficult task: “as for arguments to prove [the letters] spurious, perhaps there are none that will convince any person that doth not discover it by himself.”3 1 On the printing of the book and its early distribution see D. McKitterick, A History of Cambridge University Press I Printing and the Book Trade in Cambridge, 1534–1698 (Cambridge 1992) 380–392; on Joshua Barnes see K. L. Haugen, ODNB 3 (2004) 998–1001. 2 C. Collard, Tragedy, Euripides and Euripideans (Bristol 2007) 199–204, re- hearses a number of criticisms of Barnes’ methods, especially concerning his presentation of Euripidean fragments (for which he often gave no source, and which occasionally consisted of lines from the extant plays).
  • Remembering Music in Early Greece

    Remembering Music in Early Greece

    REMEMBERING MUSIC IN EARLY GREECE JOHN C. FRANKLIN This paper contemplates various ways that the ancient Greeks preserved information about their musical past. Emphasis is given to the earlier periods and the transition from oral/aural tradition, when self-reflective professional poetry was the primary means of remembering music, to literacy, when festival inscriptions and written poetry could first capture information in at least roughly datable contexts. But the continuing interplay of the oral/aural and written modes during the Archaic and Classical periods also had an impact on the historical record, which from ca. 400 onwards is represented by historiographical fragments. The sources, methods, and motives of these early treatises are also examined, with special attention to Hellanicus of Lesbos and Glaucus of Rhegion. The essay concludes with a few brief comments on Peripatetic historiography and a selective catalogue of music-historiographical titles from the fifth and fourth centuries. INTRODUCTION Greek authors often refer to earlier music.1 Sometimes these details are of first importance for the modern historiography of ancient 1 Editions and translations of classical authors may be found by consulting the article for each in The Oxford Classical Dictionary3. Journal 1 2 JOHN C. FRANKLIN Greek music. Uniquely valuable, for instance, is Herodotus’ allusion to an Argive musical efflorescence in the late sixth century,2 nowhere else explicitly attested (3.131–2). In other cases we learn less about real musical history than an author’s own biases and predilections. Thus Plato describes Egypt as a never-never- land where no innovation was ever permitted in music; it is hard to know whether Plato fabricated this statement out of nothing to support his conservative and ideal society, or is drawing, towards the same end, upon a more widely held impression—obviously superficial—of a foreign, distant culture (Laws 656e–657f).
  • Anacreon - Poems

    Anacreon - Poems

    Classic Poetry Series Anacreon - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Anacreon(570 BC – 488 BC) Anacreon ((570 BC – 488 BC) was a Greek lyric poet, notable for his drinking songs and hymns. Later Greeks included him in the canonical list of nine lyric poets. Anacreon wrote all of his poetry in the ancient Ionic dialect. Like all early lyric poetry, it was composed to be sung or recited to the accompaniment of music, usually the lyre. Anacreon's verses were primarily in the form of monody, which means that they were to be performed by a single voice rather than by a chorus. In keeping with Greek poetic tradition, his poetry relied on meter for its construction. Metrical poetry is a particularly rhythmic form, deriving its structure from patterns of phonetic features within and between the lines of verse. The phonetic patterning in Anacreon's poetry, like all the Greek poetry of the day, is found in the structured alternation of "long" and "short" vowel sounds. The Ionic dialect also had a tonal aspect to it that lends a natural melodic quality to the recitation. Anacreon's meters include the anacreonteus. The Greek language is particularly well suited to this metrical style of poetry but the sound of the verses does not easily transfer to English. As a consequence, translators have historically tended to substitute rhyme, stress rhythms, stanzaic patterning and other devices for the style of the originals, with the primary, sometimes only, connection to the Greek verses being the subject matter. More recent translators have tended to attempt a more spare translation which, though losing the sound of the originals, may be more true to their flavor.
  • What Were Works Περὶ Βίων ?

    What Were Works Περὶ Βίων ?

    Philologus 2016; 160(1): 59–83 Gertjan Verhasselt* What Were Works Περὶ βίων? A Study of the Extant Fragments DOI 10.1515/phil-2016-0004 Abstract: For a long time, the exact nature of Περὶ βίων literature and its relation to biography has been debated. Scholars have considered such works collections of biographies or philosophical treatises on the right way of life. This paper studies all extant fragments across various philosophical schools. Epicurus and Chrysippus seem to have given practical instructions on the right lifestyle. Clearchus, Dicaearchus and the imperial writers Timotheus and Seleucus, by contrast, took a more anecdotal approach. However, the fragments do not support a reconstruction of biographies in the sense of a description of the life of an individual from birth to death. The anecdotes in Clearchus were probably moralis- ing exempla. Moreover, not all biographical fragments of Dicaearchus necessarily belong to his work On Lives. I also argue that Περὶ βίων works were probably the ideal place for debate and polemic against competing schools. Keywords: Περὶ βίων, biography, philosophy, fragments 1 Introduction Biography emerged as a historiographical genre in the Hellenistic period. One type of work whose connection with this genre has often been debated is entitled Περὶ βίων (On Lives or On Ways of Life). Such works are attested for several Hellenistic philosophers: Xenocrates (F 2,12 Isnardi Parente), Heraclides Ponticus (F 1,87 Schütrumpf),1 Theophrastus (F 436,16 FHS&G), Strato (F 1,59 Sharples), Clearchus, Dicaearchus, Epicurus and Chrysippus (on the latter four, cf. infra). 1 Wehrli (1969a) 17–18; 72 attributed Diog.
  • Introduction: Ancient Lyric Poetry Marianina Olcott

    Introduction: Ancient Lyric Poetry Marianina Olcott

    Humanities 1A Reader Introduction: Ancient Lyric Poetry Marianina Olcott ncient lyric poetry, as its name in Greek implies, was originally intended to be accompanied, usually, by the lyre, a stringed instrument shaped like a small harp. Unlike the stately A dactylic hexameters of the Homeric epics, the Iliad and Odyssey, the meters of lyric poetry are more varied and thus well-suited to the more personal themes and intimate psychological states of the short lyric stanza. Thus, the majority of our poems celebrate themes of every day life — love poems, drinking songs , songs of farewell, odes to spring — rather than the heroic exploits of the epics and the tragic situations of the drama, another complex poetic form. As with other poetic forms, the original musical accompaniment, in addition to the complex metrical patterns of the original Greek and Latin lyrics, is but a small part of what has been lost both through time and translation into a modern language. Moreover, many of the longer lyric poems were meant for choral performance. Thus, another dimension, that of the dance, has also been lost to us. The so-called Age of Lyric Poetry in Greece followed the period of Homeric composition, but unlike the Homeric epic, the period of lyric poetry's creative growth, the seventh and sixth centuries BCE, coincided with the widespread adoption and use of writing in Greece. Thus, the Greek lyric poems were written down and spread the fame of their composers throughout Greece of the Archaic Period (circa 650 - 500 BCE). When we turn our attention to Roman lyric poetry, it is generally agreed that the period of its greatness dates from the first century BCE to the end of the first century CE.
  • The Image of a 'Drunken Scythian' in Greek Tradition

    The Image of a 'Drunken Scythian' in Greek Tradition

    1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- THE IMAGE OF A ‘DRUNKEN SCYTHIAN’ IN GREEK TRADITION Joanna Porucznik, MA University of Liverpool/Uniwersytet Wrocławski, UK/Poland Abstract: Since the Greeks first came into contact with Scythian populations (who should be understood as a great conglomerate of various groups of peoples inhabiting the north Pontic steppes), many negative clichés concerning the Scythians occurred in Greek tradition. One of them is the stereotype of drunkenness among the Scythians and their lack of urbane manners that were commonly accepted by Greek society. This image of a drunken Scythian may have been created in Greek tradition due to the fact that the Scythians (Scythian aristocracy in particular) adopted the Greek tradition of the drinking of wine. This is visible in archaeological material from the northern Black Sea areas, where many amphorae and wine jars have been found in Scythian tombs. However, written sources indicate that the Scythians did not mix wine with water and this did not correspond with Greek customs, according to which drinking unadulterated wine was extremely ‘barbarian’ and inappropriate. This in turn may have become a catalyst behind the concept of drunkenness amongst the Scythians. Key Words: Scythians, Greeks, symposion, wine, the Black Sea Introduction: When studying the issue of the image of the Scythians in antiquity, the first thing that should be mentioned is the fact that the ancient Greeks used the name ‘Scythians’ to describe all nomadic populations inhabited vast territories of the steppes north of the Black Sea. In turn, in the territories of Asia, the Scythians were known as Saka.
  • The Image of a 'Drunken Scythian' in Greek

    The Image of a 'Drunken Scythian' in Greek

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by European Scientific Journal (European Scientific Institute) 1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- THE IMAGE OF A ‘DRUNKEN SCYTHIAN’ IN GREEK TRADITION Joanna Porucznik, MA University of Liverpool/Uniwersytet Wrocławski, UK/Poland Abstract: Since the Greeks first came into contact with Scythian populations (who should be understood as a great conglomerate of various groups of peoples inhabiting the north Pontic steppes), many negative clichés concerning the Scythians occurred in Greek tradition. One of them is the stereotype of drunkenness among the Scythians and their lack of urbane manners that were commonly accepted by Greek society. This image of a drunken Scythian may have been created in Greek tradition due to the fact that the Scythians (Scythian aristocracy in particular) adopted the Greek tradition of the drinking of wine. This is visible in archaeological material from the northern Black Sea areas, where many amphorae and wine jars have been found in Scythian tombs. However, written sources indicate that the Scythians did not mix wine with water and this did not correspond with Greek customs, according to which drinking unadulterated wine was extremely ‘barbarian’ and inappropriate. This in turn may have become a catalyst behind the concept of drunkenness amongst the Scythians. Key Words: Scythians, Greeks, symposion, wine, the Black Sea Introduction: When studying the issue of the image of the Scythians in antiquity, the first thing that should be mentioned is the fact that the ancient Greeks used the name ‘Scythians’ to describe all nomadic populations inhabited vast territories of the steppes north of the Black Sea.
  • Herodotus and the Heroic Age: the Case of Minos

    Herodotus and the Heroic Age: the Case of Minos

    Herodotus and the Heroic Age: The Case of Minos Myth, Truth, and Narrative in Herodotus Emily Baragwanath and Mathieu de Bakker Print publication date: 2012 Print ISBN-13: 9780199693979 Published to Oxford Scholarship Online: September 2012 DOI: 10.1093/acprof:oso/9780199693979.001.0001 Herodotus and the Heroic Age: The Case of Minos Rosaria V. Munson DOI:10.1093/acprof:oso/9780199693979.003.0008 Abstract and Keywords In the fifth century, traditional myths about gods and heroes of a remote age still constituted a shared cultural language for speaking about a variety of more or less specific current issues of a philosophical, ethical, social, and political nature. Other than tragedy and epinician poetry, we should especially remember the role of myth in Thucydides, whose ‘Archaeology’ sets down his fundamental, and ideologically charged, view of history. It is time to reassess Herodotus' participation in this contemporary coded discourse and examine the ways in which he uses the mythical past as well as the cases when he appears to signal his choice not to use it. One dismissive passage in Herodotus (3.122) confirms the significance of Minos — the focus of this chapter — in fifth-century discourse as a precursor or rival of Athenian thalassocracy (Thucydides and Bacchylides). But two additional mentions, in Books 1 and 7 respectively, connect Minos in more interesting ways to present realities of Greeks and non-Greeks in the East and West. How is the treatment of Minos in the Histories representative of Herodotus' ‘myth-speak’? Keywords: Trojan War, heroic age, thucydides, minos, Polycrates, Hearsay, akoê, Historiê, Protesilaus, Theseus I would like to consider the extent to which Herodotus attributes to myth a legitimate role in a work that memorializes the past.
  • 4 Aristoxenus and Music Therapy

    4 Aristoxenus and Music Therapy

    4 Aristoxenus and Music Therapy Fr. 26 Wehrli within the Tradition on Music and Catharsis Antonietta Provenza 1. Introduction The importance of music for the ancient Pythagoreans,1 together with recognition of its therapeutic function, already attested at the * My heartfelt thanks to Professor Carl Huffman and all the participants in the Aristoxenus Conference for their interest in my paper and comments. I will always remember those days at DePauw University as wonderful and happy. I wish also to thank Professor Salvatore Nicosia, my research tutor, for having read and discussed with me this essay at different times. Translations are mine, unless otherwise indicated. 1 Still indispensable for a general overview of Early Pythagoreanism and the ques- tions concerning it is Burkert (1972). Among Burkert’s main emphases are the Pla- tonic contamination of sources on Pythagoreanism since the 4th century BCE and the representation of Pythagoras as a “wise man” with shamanistic features (although the unsuitability of the notion of shamanism for ancient Greek culture has been since highlighted in Bremmer [1983] 29–48 and [2002] 27–40; cf. also Minar [1971]), rather than as a “scientist,” since “scientific Pythagoreanism” is not clearly attested until Philolaus. Most important among the studies opposing Burkert’s “shamanistic” Pythagoras and giving prominence to the “scientific” side of early Pythagoreanism and to its relationship with Near-eastern science are Kahn (1974), van der Waerden (1979) and Zhmud (1997). Also see on Pythagoreanism and its sources: Centrone 91 92 Aristoxenus of Tarentum dawn of Greek literature,2 favored the rise of a long tradition relat- ing to the Pythagoreans and music therapy, which is most famously and richly attested in two Neoplatonic works, The Life of Pythagoras (Vita Pythagorae) by Porphyry of Tyre (ca.
  • Peripatetic Logic: Eudemus of Rhodes and Theophrastus of Eresus

    Peripatetic Logic: Eudemus of Rhodes and Theophrastus of Eresus

    Peripatetic Logic: Eudemus of Rhodes and Theophrastus https://www.historyoflogic.com/theophrastus-eudemus-logic.htm History of Logic from Aristotle to Gödel by Raul Corazzon | e-mail: [email protected] Peripatetic Logic: Eudemus of Rhodes and Theophrastus of Eresus EUDEMUS OF RHODES AND THEOPHRASTUS OF ERESUS CONTRIBUTIONS ON LOGIC “Aristotle's successor as director of the Lyceum was Theophrastus, his friend and disciple; Eudemus, another of the Stagirite's important disciples should also be mentioned. Other philosophers belonging to the Peripatetic school were: Aristoxenus, Dikaiarchos, Phanias, Straton, Duris, Chamaeleon, Lycon, Hieronymus, Ariston, Critolaus, Phormio, Sotion, Hermippus, Satyrus and others. Straton even succeeded Theophrastus as director of the Lyceum but his name and those of the other Peripatetics of Aristotle's old school should not be considered in a history of logic as they were mainly concerned with history and the natural sciences. Theophrastus rejoiced in an enormous prestige at this time and for long afterwards. Diogenes Laertius attributes a tremendous number of works to him. Of them a significant proportion are writings on logic: Analytica Priora (3 books); Analytica Posteriora (7 books); Analysis of Syllogisms (1 book); Summary of the Analytics (1 book); Polemic on the Theory of Euristic Arguments. On Definition (1 book); The First Premises (18 books); The Sophisms (2 books); On the Solution of Syllogisms (1 book); Topics (2 books); On Artless Demonstrations (1 book); On Negation (1 book); On Intellect (1 book); Classifications (2 books); On Entymemes (1 book); On the Appreciation of Syllogism (1 book); On Lies and Truth (1 book); Argumentations (2 books); Theses (3 books); On Definition (2 books); On the Data of Problems (1 book); On the Liar (3 books); Preface to the Topics (1 book); On Arguments proper (1 book); Specifications on The Texts of Syllogisms (1 book).
  • “The Boys Are My Gods”: Anacreon's Pederastic Poetry and Its Moral

    “The Boys Are My Gods”: Anacreon's Pederastic Poetry and Its Moral

    “The boys are my gods”: Anacreon’s pederastic poetry and its moral reception Lorenzo BUCCERONI Pindar refers this to Alcaeus and Ibycus and Anacreon and anyone else before him who may have devoted his attention to his favourite boy: for these writers were older than Pindar. They say that when Anacreon was asked why he did not write hymns to gods but to boys, he replied, “Because they are my gods” (tr. D.A. Campbell).1 Through this anecdote, the scholia to Pindar are aiming to prove Anacreon’s unconditional devotion to extolling his beloved boys: he admits that he composes hymns not to gods but to youths, since they are his deities.2 When interpreted literally, the anecdote goes against the evidence that Anacreon composed hymns to gods: one should therefore judge its meaning in relation to Anacreon’s poetics (1) and the time of the anecdote’s origin (2). 1. A mere glance to the poetic fragments enables us to grasp the symbolic value3 of Anacreon’s “boutade”.4 First, his prayers are usually functional to love for boys. The most striking example is the hymn to Dionysius, where the god of wine is requested to be a good counsellor of the young Cleoubulus, so “that he accept my love”.5 Such a prayer sounds not strange in the erotic poetry, as we can easily see from Sappho (fr. 1 V.); but Anacreon takes the gods of love and wine into his own symposium so concretely and intimately that their divine nature, also due to his playful and soft emotional timbre, comes to be almost deconsecrated.6 In a poem whose content is illustrated by Himerius, Anacreon 1 Schol.
  • From Idyll to Exile: the Transformed Self in the Early Works of Johann Wolfgang Von Goethe

    From Idyll to Exile: the Transformed Self in the Early Works of Johann Wolfgang Von Goethe

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1995 From Idyll to Exile: The Transformed Self in the Early Works of Johann Wolfgang von Goethe Elizabeth Powers The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1442 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilmmaster. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.