Tvsculanarvm Dispvtationvm

Total Page:16

File Type:pdf, Size:1020Kb

Tvsculanarvm Dispvtationvm M. TVLLI CICERONIS TVSCULANARVM DISPVTATIONVM DE LIBRO PRIMO COMMENTARIVS dissertatio quam ad summos in philosophia honores ab amplissimo doctorum ordine exoniensi rite impetrandos scripsit Steven M. Kennedy Submitted to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Classics in October 2010. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: Acknowledgements I wish to express my deepest thanks to Professor Christopher Gill for his help and sharp editorial eye. He encouraged me to roam freely in my topic, cuius auctoritas non obest mihi qui discere volo, if I may borrow from my author. I am also very grateful to the entire Department of Classics and Ancient History for their continual support over the years. I owe much to Matthew Wright, Karen Ni Mheallaigh, and Rebecca Langlands for their guidance in teaching and their friendship and kind advice in all matters both academic and otherwise. And to the exuberant graduate community I worked in; to Genevieve Hill for her love and beauty; to Sharon Marshall who freely took on the weighty task of proofreading and whose soundness of mind saved me from many errors; to Rowan Fraser, Jodi Flores, Kyle Erickson, Kiu Yue, Elizabeth Dollins, James Smith for their energy, their learning, and their example, I greatly indebted. Finally, to my parents for their unending faith I dedicate my labour. Contents Introduction 4 1 Circumstances of composition and general character of the work . 4 2 The Style of the Tusculans and Paideia Romana . 7 3 Cicero’s Treatment of Philosophy . 10 4 On the Text . 10 Conventions and Abbreviations 13 Editionum Sigla 15 TEXT AND COMMENTARY 19 3 Introduction § 1.—Circumstances of composition and general character of the work. It is generally agreed that Cicero wrote the Tusculan Disputations1 sometime between July and August of 45B.C.2, even if the date of composition cannot be determined precisely. Most of our evidence for its dating is internal. There are some hints in his letters that he could have been working on it as early as May3 but at least we know that Cicero was working on it during June 45B.C. The De Finibus had been completed by the end of this month and its fourth book is mentioned in the Tusc. as having lately been read.4 Additionally, at Tusc. 1.8 Cicero recalls Brutus’ recent departure from the Tusculan villa, which Schmidt (Briefwechsel, p. 53) argued occurred on July 20, 45B.C.,5 but there can be no certainty to whether the purported date of the dialogue was true to life. In the later Div. 2.3, Cicero states that the three books of the De Natura Deorum were finished (perfectis) after the publication of the Tusc. Cicero had started collecting material for that work on August 5th, and so we can can assume the composition of the Tusc. was taking place sometime between July 20th and August 5th. However, I do not find that these dates can be accurate since it would mean that Cicero had worked at nearly twice the rate at which he composed the De Finibus by writing each book of the Tusc. in three days. Cicero was usually at work on more than one philosophical text at a time and it is likely that during this period he had finished his Consolatio, was largely finished with the Fin., and was also working on both the N. D. and the Tusc., as well as collecting material for his proposed Sen. Indeed, as I discuss below, we do see that these works show a remarkable internal resemblance. The eventual publication of the Tusc. was not until over a year later, on May 23, 44B.C.6 As for the fictional date of the dialogue, Pohlenz has argued that the five days on which these disputations supposedly took place were June 16–20 45B.C., shortly after the departure of Brutus (nuper discessum) while Cicero was in the company of several friends.7 Because of its close connection with Cicero’s Consolatio, I favour the earlier dating, at least for the first book. Schmidt, however, placed the dramatic date later, sometime between July 15–20. More recently, scholars have argued that the dates of the letters which Schmidt used to arrive at his own dating were incorrect; the letters which spoke of Brutus’ departure were not in written in July but in August.8 Because of these discrepencies, there still remain some serious difficulties in matching the dates 1The title comes from Cicero himself who refers to the work in Div. 2.3 cited below; for the commonly appendend subtitle de contemnenda morte, cf. Att. 15.4.2, and my n. on 1, 1. 2Marione: Cronological Ciceroniana, p. 215. 3Att. 13.32.2. 4Tusc. 4.32, quia legi tuum nuper quartum de Finibus. 5cf. Att. 13.1 6We read that on May 18, 44B.C. Cicero expressed his pleasure that Atticus enjoyed the first book Att. 15.2.4, quod prima disputatio Tuscualana te confirmat sane gaudeo. Also Att. 15.4.2, redeamus ad Tusculanas disputationes. 7Pohlenz: Tusculanae disputationes, p. 24. 8See Taylor (Chronology of Cicero’s Letters, p. 231) and my n. to 4, 8. Circumstances of composition and general character of the work 5 mentioned in the Tusc. to those of the calendar. We are left in some doubt when it was written and the actual time of year in which the dialogue was supposed to take place. It may seem a small point but the dates of Cicero’s fictional dialogues can be significant. For example, Cato had committed suicide in 46B.C., yet in the dramatic dialogue of Fin. 3.8, Cicero portrays him as alive and well. He is busy reading Stoic philosophy during a holiday while the public games are being held in Rome, and has gone to the country for relaxation (ludis commissis ex urbe). These games were the ludi uictoriae Caesaris first held in 45B.C. and such a coincidence invests the text with deep political significance when we hear Cato begin his discussion of the highest Stoic good. But in the Tusc., we are unable to set down firmly the time of year in which it occurs. This obscurity of time was appealing to Gildenhard.9 He observed that many of Cicero’s dialogues take place during a public holiday, but the Tusc. by contrast could take place at any time in the summer or autumn. This fact, he claims, implies that Cicero had plenty of free time to hold these conversations now that he had been removed from his duties of public business by Caesar’s reign. So he argued that Pohlenz’s earler dating to June 45B.C. is void of any political significance, whereas the departure of Brutus in July 45B.C. was to meet Caesar returning victorious from Spain. Gildenhard’s position seems attractive but I do not think that we can really attribute our inability to determine the date of the Tusc. accurately to Cicero’s deliberate design. Scholarly work on the Tusc. has, in my opinion, placed far too much emphasis on the broader ‘political’ context in which it was written. After Caesar’s African victory, and his subsequent victory in Spain, Cicero’s political position remained relatively unchanged though his attitude towards it did not. In 46B.C., the year previous to the writing of the Tusc., we read in Cicero’s correspondence that he is holding ‘school’ with some of his younger contemporaries, and his description of these seem to be the model which created the dramatic setting for our dialogue.10 During this time, he was instructing many of this younger contemporaries in the art of speaking, and yet many of these men were firmly in the Caesarian camp, including his son-in-law Dolabella. Though Cicero had ‘lost his own public kingdom’ he found an outlet for his energies and talent for oratory in these schools.11 Cicero was surrounded by Caesar’s men and yet he was able to speak his mind even then quite freely, and though often warned that this looseness of his speech might land him in trouble with the dictator, he said that he had no need to worry since he was quite safely in the hands of a number of men close to Caesar. I do not doubt that the political situation had been bitter in many ways to Cicero, and all the more so because he had lost many friends in the wars. But at this time he did seem to enjoy his new activities.12 His new position and all this activity was driven away in the following year by the death of his daughter Tullia. In April of 45B.C., only one month before Cicero wrote his Consolatio whose material formed so much of the foundation of the Tusc. we read Servius’ gentle chastisement during Cicero’s deepest period of mourning, noli committere, ut quisquam te putet non tam filiam quam rei publicae tempora et aliorum victoriam lugere.13 How else can we understand this phrase except that Cicero had placed politics far beneath his own personal grief? The degree to which Cicero had been affected by the loss of this daughter offended the sensibilities of numerous Romans who were beginning to question the reason for his absence from Rome.
Recommended publications
  • The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; Proquest Pg
    The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; ProQuest pg. 387 The Conditions of Dramatic Production to the Death of Aeschylus N. G. L. Hammond TUDENTS of ancient history sometimes fall into the error of read­ Sing their history backwards. They assume that the features of a fully developed institution were already there in its earliest form. Something similar seems to have happened recently in the study of the early Attic theatre. Thus T. B. L. Webster introduces his excellent list of monuments illustrating tragedy and satyr-play with the following sentences: "Nothing, except the remains of the old Dionysos temple, helps us to envisage the earliest tragic background. The references to the plays of Aeschylus are to the lines of the Loeb edition. I am most grateful to G. S. Kirk, H. D. F. Kitto, D. W. Lucas, F. H. Sandbach, B. A. Sparkes and Homer Thompson for their criticisms, which have contributed greatly to the final form of this article. The students of the Classical Society at Bristol produce a Greek play each year, and on one occasion they combined with the boys of Bristol Grammar School and the Cathedral School to produce Aeschylus' Oresteia; they have made me think about the problems of staging. The following abbreviations are used: AAG: The Athenian Agora, a Guide to the Excavation and Museum! (Athens 1962). ARNon, Conventions: P. D. Arnott, Greek Scenic Conventions in the Fifth Century B.C. (Oxford 1962). BIEBER, History: M. Bieber, The History of the Greek and Roman Theatre2 (Princeton 1961).
    [Show full text]
  • Greek Tragedy Themes and Contexts 1St Edition Ebook, Epub
    GREEK TRAGEDY THEMES AND CONTEXTS 1ST EDITION PDF, EPUB, EBOOK Laura Swift | 9781474236836 | | | | | Greek Tragedy Themes and Contexts 1st edition PDF Book For help and support relating to the University's computing resources:. After dialogue based interactions were eventually brought into development, the percentage of scripts read by the chorus tended to decrease in regards to their involvement in the play. Get A Copy. Refresh and try again. For a small book it packs a hefty punch, with a clear and engaging style that should be accessible to a wide audience. The philosopher also asserted that the action of epic poetry and tragedy differ in length, "because in tragedy every effort is made for it to take place in one revolution of the sun, while the epic is unlimited in time. Another novelty of Euripidean drama is represented by the realism with which the playwright portrays his characters' psychological dynamics. The Greek chorus of up to 50 men and boys danced and sang in a circle, probably accompanied by an aulos , relating to some event in the life of Dionysus. As elsewhere in the book, the chapter kicks off with contextual information, this time on the prevalence of choruses in ancient Greek life, and proceeds to a discussion of their tragic manifestation. After a brief analysis of the genre and main figures, it focuses on the broader questions of what defines tragedy, what its particular preoccupations are, and what makes these texts so widely studied and performed more than 2, years after they were written. Visit the Australia site. The theatre voiced ideas and problems from the democratic, political and cultural life of Athens.
    [Show full text]
  • Download Thesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Ancient Greek folksong tradition begging, work, and ritual song Genova, Antonio Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 Ancient Greek Folksong Tradition Begging, Work, and Ritual Song by Antonio Genova A Thesis submitted for the degree of Doctor of Philosophy in Classics King’s College London November 2018 Abstract This dissertation investigates whether and in what sense the concept of folksong can be applied to the ancient Greek texts.
    [Show full text]
  • Antiquariato Greco
    BIBLIOTECA TITO LIVIO GRECO Titolo Autore Luogo di Editore Anno Nuova pubblicazione Segnatura Obseruations sur les Grecs, rerum cognoscere causas. Mably, Gabriel Geneue par la 1749 ANT.GRECO.A.1 Virg. Par ... Mably Bonnot : de Compagnie des Libraires Aristotelis Rhetoricorum libri tres, Hermolao Barbaro Aristoteles Basilae (Basileae : ex 1545 ANT.GRECO.A.2 patricio Veneto interprete. Danielis Barbari in eosdem officina libros commentarij. Cum locuplete rerum & uerborum Bartholomaei indice VVesthemeri, 1545 mense martio) Aristotelis De moribus ad Nicomachum libri decem. Nunc Aristoteles Venezia Ex officina 1558 ANT.GRECO.A.3 primum e Graeco et Latinè & fideliter, quod vtrunque Erasmiana, querebantur omnes praestitisse adhuc neminem, a apud Dionysio Lambino expressi. Eiusdem Dionys. Lambini in Vincentium eosdem libros annotationes, quibus cùm obscuri loci Valgrisium multi illustrantur, deprauatique emendantur, tum, quid (\Venezia : inter hanc & ceteras horum librorum conuersiones Vincenzo intersit, aliqua ex parte ostenditur Valgrisi! Rhetoricorum Aristotelis libri tres, interprete Hermolao Aristoteles Lugduni apud 1558 ANT.GRECO.A.4 Barbaro P.V. Quae deprauata plerisque in locis erant, Theobaldum adhibita nuperrimè non mediocri diligentia, in gratiam Paganum studiosorum castigatiora reddita sunt Aristotelous Technēs rētorikēs biblia g. Aristotelis Artis Aristoteles Francofurti apud heredes 1588 ANT.GRECO.A.5 rhetoricae libri tres; ab Antonio Riccobono Latine Andreae conuersi. Eiusdem Rhetoricae paraphrasis, interiecta Wecheli, rerum explicatione, & collata Riccoboni multis in locis Claudium conuersione cum Maioragij, Sigonii, Victorii & Mureti Marnium & conuersionibus, separatim est edita Ioannem Aubrium Pagina 1 Titolo Autore Luogo di Editore Anno Nuova pubblicazione Segnatura Aristotelis ... operum ommnium pars prima -septima!, Aristoteles Venezia Gioachino 1585 ANT.GRECO.A.6 quam Logicam, seu organum appellant: cui addidimus Brugnolo, argumenta, ac potius paraphrases, & annotationes ex (Venetiis : apud Boethi, Ammonij, Simplicij, Io.
    [Show full text]
  • Ancient Macedonians
    Ancient Macedonians This article is about the native inhabitants of the historical kingdom of Macedonia. For the modern ethnic Greek people from Macedonia, Greece, see Macedonians (Greeks). For other uses, see Ancient Macedonian (disambiguation) and Macedonian (disambiguation). From Wikipedia, the free encyclopedia ANCIENT MACEDONIANS ΜΑΚΕΔΌΝΕΣ Stag Hunt Mosaic, 4th century BC Languages. Ancient Macedonian, then Attic Greek, and later Koine Greek Religion. ancient Greek religion The Macedonians (Greek: Μακεδόνες, Makedónes) were an ancient tribe that lived on the alluvial plain around the rivers Haliacmonand lower Axios in the northeastern part of mainland Greece. Essentially an ancient Greek people,[1] they gradually expanded from their homeland along the Haliacmon valley on the northern edge of the Greek world, absorbing or driving out neighbouring non-Greek tribes, primarily Thracian and Illyrian.[2][3] They spoke Ancient Macedonian, a language closely related to Ancient Greek, perhaps a dialect, although the prestige language of the region was at first Attic and then Koine Greek.[4] Their religious beliefs mirrored those of other Greeks, following the main deities of the Greek pantheon, although the Macedonians continued Archaic burial practices that had ceased in other parts of Greece after the 6th century BC. Aside from the monarchy, the core of Macedonian society was its nobility. Similar to the aristocracy of neighboring Thessaly, their wealth was largely built on herding horses and cattle. Although composed of various clans, the kingdom of Macedonia, established around the 8th century BC, is mostly associated with the Argead dynasty and the tribe named after it. The dynasty was allegedly founded by Perdiccas I, descendant of the legendary Temenus of Argos, while the region of Macedon perhaps derived its name from Makedon, a figure of Greek mythology.
    [Show full text]
  • Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
    Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its ‘export’ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet’s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved.
    [Show full text]
  • Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
    Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its „export‟ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet‟s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved.
    [Show full text]
  • Problems of Early Greek Tragedy: Pratinas, Phrynichus, the Gyges Fragment
    PROBLEMS OF EARLY GREEK TRAGEDY: PRATINAS, PHRYNICHUS, THE GYGES FRAGMENT by Hugh Lloyd-Jones No chapter in the history of Greek Uterature is more obs- cure than the origins of tragedy, and indeed its whole history before the second quarter of the fifth century. The beginnings are veiled in darkness; even the statement of Aristotle that tragedy originated from the dithyramb is not universally accep- ted; and those who do accept it disagree about the nature of the early dithyramb and its influence on tragedy. Recent ac• cessions to our knowledge have only made this darkness dar• ker. Till 1952 it was widely believed that we possessed a play written by Aeschylus early in his career, perhaps as early as about 500 B. C, when he was some twenty-five years old. In that year the publication of a scrap of papyrus ^ put paid to that delusion. We must now recognise that the Suppliants of Aeschylus was in all probability produced in 464 or 463, and is therefore later than the Persians, produced in 472, and the Seven Against Thebes, produced in 467. For the century and a half between the date given for the first performance of Thespis at the Dionysia and that of the production of the Per^ sians, we have no specimen of a tragedy. » P. Oxy. 2256, fr. 3. published as £r. 288 in SMYTH-LLOYD-JO- NES, Aeschylus, II, London, 1957 (Loeb CI. Libr.), 595-598, with dis• cussion and bibliography; see also LLOYD-JONES, The "Supplices" of Aeschylus: The New Date and Old Problems (Ant.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. 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 affect 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 com er 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. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 MENANDER AND THE SUBVERSION OF TRAGEDY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Paul A.
    [Show full text]
  • Written Texts and the Rise of Literate Culture in Ancient Greece ǢǠ
    Written Texts and the Rise of Literate Culture in Ancient Greece ǢǠ Edited by HARVEY YUNIS Rice University published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211,USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typefaces Apollo MT 11/13.5 pt. and Rusticana System LATEX 2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Written texts and the rise of literate culture in ancient Greece / edited by Harvey Yunis. p. cm. Includes bibliographical references and index. isbn 0-521-80930-4 1. Greek literature – History and criticism. 2. Written communication – Greece – History. 3. Language and culture – Greece – History. 4. Greek language – Written Greek. 5. Literacy – Greece – History. 6. Greece – Civilization. 7. Transmission of texts. I. Yunis, Harvey. pa3009 .w75 2002 880.9’001 –dc21 2002071492 isbn
    [Show full text]
  • Interpretations of Greek Mythology (Routledge Revivals)
    Routledge Revivals Interpretations of Greek Mythology Interpretations of Greek Mythology, first published in1987, builds on the innovative work of Walter Burkert and the ‘Paris school’ of Jean-Pierre Vernant, and represents a renewal of interpretation of Greek mythol­ ogy. The contributors to this volume present a variety of approaches to the Greek myths, all of which eschew a monolithic or exclusively structuralist hermeneutic method. Specifically, the notion that mythology can simply be read as a primitive mode of narrative history is rejected, with emphasis instead being placed on the relationships between mythology and history, ritual and political genealogy. The essays concentrate on some of the best known characters and themes — Oedipus, Orpheus, Narcissus — reflecting the complexity and fascination of the Greek imagination. The volume will long remain an indispensable tool for the study of Greek mythology, and it is of great interest to anyone interested in the development of Greek culture and civilisation and the nature of myth. This page intentionally left blank Interpretations of Greek Mythology Edited by Jan Bremmer Routledge Taylor & Francis Croup First published in 1987 by Croom Helm Ltd This edition first published in 2014 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 1987 Jan Bremmer The right of the Editor Jan Bremmer to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
    [Show full text]
  • Looking Backwards and Forwards
    Doctoral theses at NTNU, 2021:35 Peter Astrup Sundt Peter Astrup Sundt Looking backwards and forwards: Orpheus in love and metapoetical complexities Doctoral thesis Doctoral ISBN 978-82-471-4981-2 (printed ver.) ISBN 978-82-471-4992-8 (electronic ver.) ISSN 1503-8181 (printed ver.) ISSN 2703-8084 (online ver.) Doctoral theses at NTNU, 2021:35 theses at NTNU, Doctoral NTNU and Classical Studies Philosophiae Doctor Faculty of Humanities Thesis for the Degree of Thesis for the Degree Department of Historical Norwegian University of Science and Technology Peter Astrup Sundt Looking backwards and forwards: Orpheus in love and metapoetical complexities Thesis for the Degree of Philosophiae Doctor Trondheim, February 2021 Norwegian University of Science and Technology Faculty of Humanities Department of Historical and Classical Studies NTNU Norwegian University of Science and Technology Thesis for the Degree of Philosophiae Doctor Faculty of Humanities Department of Historical and Classical Studies © Peter Astrup Sundt ISBN 978-82-471-4981-2 (printed ver.) ISBN 978-82-471-4992-8 (electronic ver.) ISSN 1503-8181 (printed ver.) ISSN 2703-8084 (online ver.) Doctoral theses at NTNU, 2021:35 Printed by NTNU Grafisk senter τὸν πέρι μοῦσ᾽ ἐφίλησε, δίδου δ᾽ἀγαθόν τε κακόν τε: (Od. 8.63) … whom the Muse loved above [all other men], and gave him both good and evil (trans. Murray) 1 Contents Preface 5 Abbreviations 7 Editions of ancient sources 8 Translations of ancient sources 10 Thesis statement 15 Introduction I General introduction 17 II Finch’s Orpheus
    [Show full text]