DOCSLIB.ORG

Upon Aeschylus—I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Upon Aeschylus—I View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ZENODO The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Upon Aeschylus—I W. Headlam The Classical Review / Volume 14 / Issue 02 / March 1900, pp 106 - 119 DOI: 10.1017/S0009840X00079440, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00079440 How to cite this article: W. Headlam (1900). Upon Aeschylus—I. The Classical Review, 14, pp 106-119 doi:10.1017/S0009840X00079440 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 142.104.240.194 on 15 Nov 2015 106 THE CLASSICAL REVIEW. from Suidas is not improbable ; but it in no inclined to suspect that Tyrtaeus lived way supports the attribution to Tyrtaeus of neither in the seventh century, nor in the these lines, which Dr. Christ recognises as fifth, but in the sixth; a supposition, which, written ' in the spirit of' Callinus, an I think, may possibly meet some of Dr. admission pointing to their authenticity. Verrall's objections to the traditionary For it cannot be conceded that any of the view, and at the same time satisfy the other poems which he includes in this requirements of Mr. Macau's very able appreciation, that is, any of the undoubted argument in reply. poems of Tyrtaeus, are written 'in the But leaving Tyrtaeus, I would return, for spirit of Callinus'; they are written, a moment, to Callinus. Whether he actu- largely, in his words; his spirit, his inspira- ally invented Elegy, or adopted the form tion is exactly what they lack. from some earlier unknown1 poet or minstrel, Having sought to show how Tyrtaeus he wrote it in words which were part of the made his elegiacs, I have not ventured here vocabulary of his own native dialect. He to touch the question when he wrote them; was an original poet. His theme was his a question which has recently been raised own; and he said what he said out of the by Dr. Verrall in his interesting articles on fulness of his heart. Except the metre ' Tyrtaeus' in a form involving the recon- there was nothing artificial in the process. sideration of historical data, but not Of the majestic rhythm and all the music necessarily affecting the discussion of the of his lines when taken together, it has not literary relationship between Callinus and seemed needful to speak. On such a matter Tyrtaeus. argument is either superfluous or uncon- Whether Tyrtaeus lived twenty years or vincing. two hundred years after Callinus, his debt J. M. SCHULHOP. to him is the same. It may, perhaps, be 1 That is, of course, apart from the old claim, allowable to say that, as a result of fresh which requires separate discussion, of Archilochus to investigation of the date of Callinus, I am the fatherhood of Elegy as well as of Iambics. UPON AESCHYLUS—I. PROMETHEUS rmv foisted in. Now what is the likeliest word to have been omitted here? Nothing would 370 TVc/>(ova Oovpov ira/riv o<s avreorr) Oeols be easier to omit before OC than 0?, that EVER since I began to study the phenomena is 0e6<s, which gives good rhythm and sense, of texts, I have felt sure that iraa-iv is an for 0eos os avriarrj 0eoTs is a peculiarly interpolation; for on the slightest warrant Greek manner of expression, as <£A.os <t>C\.ois, the text-makers were as ready to insert /tovos /iovw, low io"a>, Koivbs «v KOIVOIS, o£i' d£«i)V Travres as modern printers to insert commas. and so on; e.g. in this play, 29 0«os OeS>v The way to learn the nature of corruptions yap..., 92 ola IT/JOS Otwv irdo-^o) 0t6<s, 92, 120. that take place is to study various readings ; The doubt will occur whether Typhon or the way to understand their reasons is to Typhoeus is properly described as 0eos. study scholia. This is the kind of thing Hesiod, who ought to know, had no such you find: Eur. Phoen. 685 <£i'A.a Aa/ian/p doubt : Theog. 824 Kpartpov Oeov, 871 his sons Oed] schol. irao-iv. Med. 1185 = 1196 irkyv are IK 6eo<j>w ytveq. Hesych. gives Tv<ptoevs : T(3 TiKovn Kapra SvarfiaOrjS iSeiv] schol. keiTru Bio's TIS yiyyev^s, and Aeschylus himself TO irao-i: and thus in Soph. O.T. 118 a late supposed so too: Theb. 497 £wourerov Se MS. gives 6vrj<TKov(Ti yap iraWes irXr/v ets TISJTOAC/XIOU. S eir' do-7Ti'8o)V Oeovs, 6 /xev yap But it was only the other day I discovered that TTvpirvoov Tv<j>utv e\ei, ... in the schol. on Blomfield p. 31 quotes from Porson a cloud which, TOUS 0eovs oik iv rais do-jria-i <f>opovo~a>, of examples of this word inserted into texts. cod. M. omits ovs for the same reason that Thus if a word had dropped out after Oovpov, 0eos was omitted here. iraxriv was ready to their hand to patch the Exactly the same thing I believe took place metre with ; just as a well-known fragment in Soph. Philoct. 727 of Euripides appears thus in Apostol. XV 81 tv' 6 x<£AKaoTris avrjp C a~6 h* 5 KO.KIO~T£ wavTuw Otwv T€ KavOpunriov, rj Tr\d$«. 5rao"i 6ti<t> irvpl $J fir] SiSaovce .... *Epa>9 being omitted and irdv- Oircts xnrep oO THE CLASSICAL REVIEW. 107 The corresponding verses are 323 (Archilochian, Hephaest. 15).1 565-6 X.€V(rar<ov h" orrov yvotrj oraTov £is v8u>p should be, as I have printed them, one aitl verse. Other verses where the division in the MSS. still remains to be corrected are Hermann was the first to eject irSo-i and Theb. 729-30 ( = 722-3) restore the omitted 6e6s, reading irA.d0ei Otbs Oeuo . (Oebs | irXdOei 0eois Schneidewin). irapf3a<riav WKVTTOIVOV aluiva o" « TpCrov fnivu This is very simple ; though it has occurred Gho. 595-6 ( = 586-7) to me that OTTOV yvoiiy was—it certainly iravroA./toys epomis wrawi o~vvv6fi.ovi ftporiov. might be—an interpolation, and iraxri 6iim insertions to correspond, in which case we 596 Schol. dXk' OIK ifiol... is rightly re- should have ferred by Kueck to wTri/oSdrav in 597 ' sleep- \tV<T(TWV 8e OTOTOV €tS vS(I>p giving—but not to me.' alel 599 TTOI fi.' ayovo~i <.\0ovbs> would seem the natural thing to write; and the OtTas {nrep 6 reason for the omission would be that the scribe was looking for the subject of mere glyconic metre. I confess that I iyovcri. prefer this, and it affords a reason for the choice of the word oraTov, to lengthen 8e. 778 rj SUOTTETSS av TOVS <y'> ifiovs aiOkovs Lucian i. 746 Hennot. 7 avepxerai Sxnrep i <jxwl TOV 'HpoxXca ev rfj OITJ; KaraicavOevTa y is habitually omitted, and after the letter Oebv yevecrOar Kal yap CKEIVOS aTrofiaktov C is particularly easy to omit. So in Eur. mrotrov avOpioireiov ci^e irapa TI}S /iijTpos Kai Hipp. 413 oTav yap ato-^pa TOICTIV io-OXoio-iv KaOapov re Kal OKrjpaTov (peptov TO Otiov dvor- SoKrj, r) Kapra Sotjei TOIS KaKots y etvai KaXa raTO es TOVS Ocovs 8uvKpwr)6ev m TOV TTUDOS. I find what I expected, ' jcaKois y AB, i. 402-405. omissum y in ceteris.' But where y« has 561 As at present advised, it appears to been used in the first clause, perhaps it is me that metre requires the following ar- less readily used in »the second : Soph. rangement : Ant. 66 tpep' OTTUK x^PK "• X"*PK> " </>'A.os, ehre, wov ei yap Si] T<£ y eyyevrj <pvo~ei Tis OXKOL}; a.KO<Tfia Opaf/a, Kapra rous eftu y£vovs TI'S i<f>afJL€p(wv apri^is; oih" eSep^ijs though there too it has a place prepared for it. 565 oXiyoBpavtav aKiicuv "uxoveipov a TO (fxarlov oXabv yevos c/A7T£7ro8io"/i£vov; ovirore 910 The schol. may be corrected from dvarmv Totv Atos apfiavlav irapt^lxttri schol. rec. /3ou\at'. PERSAE. Here I have altered the position of 6varS>v. In the concluding verses of the antistrophe 13 v£ov 8' avSpa /3av££t: since /3av£uv I eject ISVOLS and read iren-iOhv for iru$wv or means ' to growl at', latrare, I do not see 9J who can be referred to by VEOV avSpa except 575 TO8' exeivd & or' afn,<pl Xovrpa. xal \E^OSXerxes, who VEOS iu>v v«i ^povei 784, 746. o~bv vfxevaiovv 276-80 ...^y«s<Mp£o-0ai...; Arr.CAOC loraTi yaixunr ore Tav ofunrdTpiov OVSEV yap rjpKei ro£a... All the editions I ayayes 'Howav w « TT 10 o) v Sd/xapra KOWO- have seen put a full stop at 280, making it X.tKTpov. a statement. If it had been so, we should Exact correspondence would be given here have had <pep6/ieva: the infinitive shows it by ISvoi; ayayes 'Hciovav Sd/jLapra KoivoXeKTpov: is a question. This does not appear to have but that degree of exactness is not required been recognised. Thus the critics have been with a dactylic phrase; and it appears more troubled with Ar. Plut. 705 likely that cSvois (as Lachmann thought) is an explanatory interpolation, for the schol. TY. Aeyeis aypoiKOV apa o-v y tirai TOV 6eov; is •Ktfflwv Sa/xapra : ISvots Treffltov rrjv taofi.€vqv KA.
Load more

Recommended publications
  • Some Problems in Prosody
    1903·] Some Problems in Prosody. 33 ARTICLE III. SOME PROBLEMS IN PROSODY. BY PI10PlCSSOI1 R.aBUT W. KAGOUN, PR.D. IT has been shown repeatedly, in the scientific world, that theory must be supplemented by practice. In some cases, indeed, practice has succeeded in obtaining satisfac­ tory results after theory has failed. Deposits of Urate of Soda in the joints, caused by an excess of Uric acid in the blood, were long held to be practically insoluble, although Carbonate of Lithia was supposed to have a solvent effect upon them. The use of Tetra·Ethyl-Ammonium Hydrox­ ide as a medicine, to dissolve these deposits and remove the gout and rheumatism which they cause, is said to be due to some experiments made by Edison because a friend of his had the gout. Mter scientific men had decided that electric lighting could never be made sufficiently cheap to be practicable, he discovered the incandescent lamp, by continuing his experiments in spite of their ridicule.1 Two young men who "would not accept the dictum of the authorities that phosphorus ... cannot be expelled from iron ores at a high temperature, ... set to work ... to see whether the scientific world had not blundered.'" To drive the phosphorus out of low-grade ores and convert them into Bessemer steel, required a "pot-lining" capable of enduring 25000 F. The quest seemed extraordinary, to say the least; nevertheless the task was accomplished. This appears to justify the remark that "Thomas is our modem Moses";8 but, striking as the figure is, the young ICf.
    [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]
  • 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]
  • METRE and TEXT* Andromache Has Spoken the Prologue (1–55)
    CHAPTER TWENTY-SEVEN EURIPIDES, ANDROMACHE 103–125: METRE AND TEXT* (Αν.) Ἰλίωι αἰπεινᾶι Πάριϲ οὐ γάµον ἀλλά τιν’ ἄταν ἀγάγετ’ εὐναίαν ἐϲ θαλάµουϲ ῾Єλέναν· · · · · · · · · · · πρὸϲ τόδ’ ἄγαλµα θεᾶϲ ἱκέτιϲ περὶ χεῖρε βαλοῦϲα 115 τάκοµαι ὡϲ πετρίνα πιδακόεϲϲα λιβάϲ. ΧΟΡΟΣ ὦ γύναι, ἃ Θέτιδοϲ δάπεδον καὶ ἀνάκτορα θάϲϲειϲ δαρὸν oὐδὲ λείπειϲ, Φθιὰϲ ὅµωϲ ἔµολον ποτὶ ϲὰν Ἀϲιήτιδα γένναν, εἴ τί ϲοι δυναί µ 120αν ἄκοϲ τῶν δυϲλύτων πόνων τεµεῖν, οἵ ϲε καὶ ῾Єρµιόναν ἔριδι ϲτυγερᾶι ϲυνέκληιϲαν τλάµον’ ἀµφὶ λέκτρων διδύµων ἐπίκοινον †ἐοῦϲαν† ἀµφὶ παῖδ’ Ἀχιλλέωϲ· 125 104 ἀγάγετ’ Dindorf: ἠγ- codd. 121 rectius ταµεῖν? 123 τλάµον’ P: -µων L, -µονα cett.; τλᾶµον Ald. Andromache has spoken the prologue (1–55), followed by dialogue with a maidservant (56–90) and further soliloquy (91–102), from which she proceeds to sing an unusual elegiac lament (103–16).1 This in turn serves as a proem to the Parodos,2, whose first stanza contains ——— * Mnemosyne 54 (2001), 724–30. 1 The transition from speech to song without speaker-change is already unusual. There are no other elegiacs in tragedy; but the words ἐλεγεῖον (the earliest attestations referring to epitaphs) and ἔλεγοϲ (first attested of elegiacs in Calli- machus) are certainly cognate. A hypothesis of precedents in 7th–6th century N. Peloponnesian poetry (D. L. Page in Greek Poetry and Life (Oxford, 1938), 206–30) is plausible, but does little to account for the form here. More certainly relevant are the elevated quality of dactylic metre (with epic colour) on Andromache’s lips; the appropriateness of repetition in threnody (here ‘epodic’); and (last but not least) the juxtaposition of 103–16 with 117 ff.
    [Show full text]
  • An Introduction to Latin Literature and Style Pursue in Greater Depth; (C) It Increases an Awareness of Style and Linguistic Structure
    An Introduction to Latin Literature and Style by Floyd L. Moreland Rita M. Fleischer revised by Andrew Keller Stephanie Russell Clement Dunbar The Latin/Greek Institute The City University ojNew York Introduction These materials have been prepared to fit the needs of the Summer Latin Institute of Brooklyn College and The City University of New York. and they are structured as an appropriate sequel to Moreland and Fleischer. Latin: An Intensive Course (University of California Press. 1974). However, students can use these materials with equal effectiveness after the completion of any basic grammar text and in any intermediate Latin course whose aim is to introduce students to a variety of authors of both prose and poetry. The materials are especially suited to an intensive or accelerated intermediate course. The authors firmly believe that, upon completion of a basic introduction to grammar. the only way to learn Latin well is to read as much as possible. A prime obstacle to reading is vocabulary: students spend much energy and time looking up the enormous number of words they do not know. Following the system used by Clyde Pharr in Vergil's Aeneid. Books I-VI (Heath. 1930), this problem is minimized by glossing unfamiliar words on each page oftext. Whether a word is familiar or not has been determined by its occurrence or omission in the formal unit vocabularies of Moreland and Fleischer, Latin: An Intensive Course. Students will need to know the words included in the vocabularies of that text and be acquainted with some of the basic principles of word formation.
    [Show full text]
  • The Poems of Dracontius in Their Vandalic and Visigothic Contexts
    The Poems of Dracontius in their Vandalic and Visigothic Contexts Mark Lewis Tizzoni Submitted in accordance with the requirements for the degree of Doctor of Philosophy. The University of Leeds, Institute for Medieval Studies September 2012 The candidate confinns that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2012 The University of Leeds and Mark Lewis Tizzoni The right of Mark Lewis Tizzoni to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Acknowledgements: There are a great many people to whom I am indebted in the researching and writing of this thesis. Firstly I would like to thank my supervisors: Prof. Ian Wood for his invaluable advice throughout the course of this project and his help with all of the historical and Late Antique aspects of the study and Mr. Ian Moxon, who patiently helped me to work through Dracontius' Latin and prosody, kept me rooted in the Classics, and was always willing to lend an ear. Their encouragement, experience and advice have been not only a great help, but an inspiration. I would also like to thank my advising tutor, Dr. William Flynn for his help in the early stages of the thesis, especially for his advice on liturgy and Latin, and also for helping to secure me the Latin teaching job which allowed me to have a roof over my head.
    [Show full text]
  • Latin Grammar for Schools and Colleges, By
    The Project Gutenberg EBook of A Latin Grammar for Schools and Colleges, by George M. Lane This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: A Latin Grammar for Schools and Colleges Author: George M. Lane Editor: Morris H. Morgan Release Date: January 20, 2014 [EBook #44653] Language: English Character set encoding: PDF *** START OF THIS PROJECT GUTENBERG EBOOK LATIN GRAMMAR FOR SCHOOLS, COLLEGES *** This PDF file is made to accompany Project Gutenberg e-book 44653: A Latin Grammar by George Lane. It covers parts of section D (Numerals) and E (Prosody) in the Appendix. APPENDIX. (D.) NUMERALS. 2404. Numerals are divided into Adjectives: Cardinal, ūnus, one, duo, two, &c.; Ordinal, prīmus, first, secundus, second, &c.; Distributive, singulī, one each, bīnī, two each, &c.; and Numeral Adverbs: semel, once, bis, twice, &c. For the inflection of numerals, see 637-643. 440 2405. List of Numerals. 441 ARABIC. CARDINALS. ORDINALS. DISTRIBUTIVES. NUMERAL ROMAN. ADVERBS. 1 ūnus, one (638) prīmus, first (643) singulī, one each semel, once I (643) 2 duo, two (639) secundus, second bīnī, two each bis, twice II 3 trēs, three (639) tertius, third ternī, trīnī, three ter, thrice III each 4 quattuor, four quārtus, fourth quaternī, four each quater, four times IIII or IV 5 quīnque, five quīntus, fifth quīnī, five each quīnquiēns, five V times 6 sex, six sextus,
    [Show full text]
  • Archilochus Fr. 34 West
    2. Cf. also J.C. Kamerbeek and W.J. Verdenius, Bloemlezing uit de oudste Griekse lyriek, Zwolle 1969, 2nd ed., 11: 'De bedoeling moet zijn: het is niet uit geringschat­ ting van het leed, dat burger of stad zich met feestelijkheid vermaken zal'. '3. ·Cf. C.A. Van Rooy in: J.H. Barkhuizen, W.J. Henderson, & C.A. Van Rooy, I<alliope I, University of South Africa, Pretoria 1986, 10 on 'tATJ[.lOCJUVTJ. 4. See also the discussion of fragment 128W by J .H. Barkhuizen in: I< alliope I ( op. cit.), 27-29. 5. See in this regard H. Frankel, Early Greek Poetry and Philosophy (translated by M. Hadas & J. Willis, Oxford 1975), 493 note 16. J.H. BARKHUIZEN University of Pretoria ARCHILOCHUS FR. 34 WEST The trimeter is quoted by Apollonius Dyscolus because of the short final iota in &[.. ucrEJ[ and he gives no indication of the context. It is not surprising, therefore, that critics have postulated a variety of contexts, and it is the purpose of this note both to assess their arguments and to defend what seems to me to be the likeliest interpretation. In 1846 Friedrich Schneidewin,l who has been followed by many others right up to the present, saw in this fragment a reference to the myth of the Centaur Nessus who ferried Deianeira across the river Euenus. Nessus is addressing Deianeira and &t-ttcrEl[ is said to have a 'doppelsinnige Bedeu­ tung'. Schneidewin does not elaborate on the nature of this ambiguity, but presumably he means that Nessus, who was accustomed to demand pay­ ment (t-ttcr96c;) for his ferry-service,2 was prevailed upon in this instance to provide his service without a fee and that he spoke this line to Deianeira just before he attempted to violate her: In other words, Nessus is say­ ing that if he cannot have his usual t-ttcr96c;, he will have Deianeira herself instead.
    [Show full text]
  • Illinois Classical Studies
    View metadata, citation and similarbrought papers to you at bycore.ac.uk CORE provided by Illinois Digital... lambe/Iambos and the Rape of a Genre: A Horatian Sidelight ^ J. KEVIN NEWMAN Do nomen quodlibet illi. Horace, Sfl/. 1. 2. 126 Quis devium scortum eliciet . ? Odes 2. 11.21 Not the least task for the recent bimillennial commemorations of Horace's death was to clarify his relations with half the human race.'^ Are they typified by a certain crudity in understanding the iambic genre? Archilochum propria rabies arnmvit iambo (Horace, A. P. 79). The student of the iambos is confronted with a paradox. On the one side, the exponent of the iambic style par excellence for Greeks and Romans alike is certainly Archilochus, notorious for his aggressive ("rabid") attacks on the daughters of Lycambes, which ultimately, as was said, drove them and their father to suicide. On the other, the misty origins of the pre-literary iamb are linked with Eleusis and the successful effort by lambe to reconcile Demeter to the loss of her daughter, Persephone. It seems unlikely that lambe can have prevailed on the grieving goddess by abusing in any Archilochian sense the ways of women—or of anyone else, since that would have served only to intensify an anger already intense enough. Yet the commentators knew it was from her name that the iambos took its origin. ^ In its ' Aii; Ei; Tov auxov ouk av Ejipaiiii; poov. This article is an atlempt to refine certain ideas already presented in my Roman Catullus (Hildesheim 1990) in the light of my Augustan Propertius, Spudasmata 63 (Hildesheim 1997).
    [Show full text]
  • Poetic Predecessors in Epigram
    UvA-DARE (Digital Academic Repository) Poetry as window and mirror : Hellenistic poets on predecessors, contemporaries and themselves Klooster, J.J.H. Publication date 2009 Document Version Final published version Link to publication Citation for published version (APA): Klooster, J. J. H. (2009). Poetry as window and mirror : Hellenistic poets on predecessors, contemporaries and themselves. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 CHAPTER 1: HISTORICAL POETS REPRESENTED: POETIC PREDECESSORS IN EPIGRAM 1.1 Introduction The foundation of the Ptolemaic Library and Museum made Alexandria into the intellectual center of the Hellenistic world, a shrine of Greece’s literary and intellectual heritage, towards which scrolls from all over the known world gravitated, just like the scholars and poets who studied them.
    [Show full text]
  • Louis Macneice: Apprentice and Critic of Horace
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 1999 Louis Macneice: apprentice and critic of horace Devlin, Sean Thomas Devlin, S. T. (1999). Louis Macneice: apprentice and critic of horace (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/16051 http://hdl.handle.net/1880/25455 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca THE UNIVERSITY OF CALGARY Louis MacNeice : Apprentice and Critic of Horace Sean Devlin A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES M PARTIAL FULFILMENT OF THE REQUIREMENTS FOR TKE DEGREE OF MASTER OF ARTS DEPARTMENT OF GREEK, LATIN AND ANCIENT HISTORY CALGARY, ALBERTA AUGUST, 1999 @ Sean Devlin 1999 National Library Bibliotheque nationale )*Iof Canada du Canada Acquisitions and Acquisitions et Bibliographic Services selvices bibliogaphiques 395 Wellington Street 395, rue Wellington Ottawa ON K1 A ON4 Ottawa ON K1 A ON4 Canada Canada Your lYe Votre reference Our rYo Norre rehrence The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive pennettant i la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prgter, distribuer ou copies of hsthesis in microform, vendre des copies de cette these sous paper or electronic formats.
    [Show full text]
  • Horace and the Spirit of Comedy'
    HORACE AND THE SPIRIT OF COMEDY’ I THE START N HIS keen-cutting “Essay on Comedy,” George Mere- I dith revealed to his generation and to all time, so long as man has still the power to laugh, the essence of the Comic Spirit. He wisely attempts no absolute definition of what he has perceived. If the Comic Spirit could be caught and cata- logued it would lose its fluttering life, like a butterfly pressed between glass plates. The highest reaches of the spirit are attained by intuition. Reason, not sentiment alone, is the path to them, but there comes a final plunge, or rather soar- ing, into an air that reason cannot breathe. “If you ask me,” says St. Augustine, “I know not. If you ask me not, I know.” A complete proof of the existence of God would leave God out, for the concepts of our mind would then envelop Him. So it is with the Comic Spirit. And yet we may approach part way, as in the Neoplaton- ist’s scaling of the divine heights, with some positive steps along the via negationis. The laughter of the Comic Spirit is gentle and humble. It has no tinge of irony or derision or indignation. It utters no malediction, and applies no flail of chastisement. It judges not, else it is judged. It forgives 1A course of three public lectures delivered on the Sharp Foundation of the Rice Institute, January 12, 13, and 14, 1937, by Edward Kennard Rand, Ph.D., Litt.D., U.D., Pope Professor of Latin, and Honorary Curator of Manuscripts, at Harvard University.
    [Show full text]