Select Epigrams from the Greek Anthology
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2012.02.01 Jeffrey RUSTEN, the Birth of Comedy
CJ -Online, 2012.02.01 BOOK REVIEW The Birth of Comedy: Texts, Documents, and Art from Athenian Comic Competitions, 486–280 . Edited by Jeffrey RUSTEN . Baltimore and London: Johns Hopkins University Press, 2011. Pp. xx + 794. Hardcover, $110.00/£57.00. ISBN 978-0- 8018-9448-0. The world of Greek comedy has always been a mysterious universe for amateurs. The naive enthusiasm of Renaissance intellectuals, who, immediately after the publication of the editio princeps of the eleven Aristophanic comedies, edited their complete translations (without footnotes!) in Latin (Andreas Divus) and Italian (the Rositini brothers), has decreased as time has passed. In contrast to the fate of Greek tragedies, Aristophanes’ and Menander’s comedies have always been rare- ly performed; even the most recent translations cannot refrain from using ex- planatory notes if they want their readers to understand the nuances of the Greek text. Apart from the two main authors, the other comic poets (Cratinus, Eupolis, Alexis, Diphilus, Philemon) are almost unknown, in spite of the good reputation they had in the ancient world. From this point of view the difference with tragedy is even greater: among the majority of people, the three tragic poets of the fifth century BCE enjoy a much wider popularity than the single representative of ancient Greek comedy; Menander’s popularity (a fairly recent one, based on the papyrological discoveries of the last century) cannot compete with that of his Roman followers, Plautus and Terence. But things are changing: since the end -
Didactic Poetry: the Hellenistic Invention of a Pre-Existing Genre
in Richard Hunter, Antonios Rengakos, and Evina Sistakou (eds.), Hellenistic Studies at a Crossroads: Exploring Texts, Contexts and Metatexts, Trends in Classics, Supplementary Volume 25 (Berlin 2014) David Sider Didactic poetry: The Hellenistic invention of a pre-existing genre For all that it is almost a cliché that Hellenistic poets were acutely aware of genre —who before Callimachus would or could have boasted of his πολυείδεια?—,¹ discussions, let alone definitions, of didactic poetry as a genre are scarce. Why bother, when it seems so obvious? Look at Aratus and Nicander, whose model was Hesiod, and nothing more need be said. Nonetheless, that will be my aim here. There have of course been many useful studies of classical didactic poetry,² some of which offer various classifications (see below); yet I have long felt that insufficient attention has been paid, both by the ancients themselves and by us today, to the development of the poems called didactic, although modern termi- nology and the ancients are not in complete agreement as to what constitutes a Bibliography at end. Some earlier poets did in fact write in more than one genre, but could have boasted of it only in particular terms, i.e., by specifying “I write poems of type X and Y,” as we see at the end of the Symposium 223d ὁμολογεῖναὐτοὺςτοῦαὐτοῦἀνδρὸςεἶναι κωμῳδίαν καὶ τραγῳδίαν ἐπίστασθαι ποιεῖν, καὶ τὸν τέχνῃ τραγῳδοποιὸν ὄντα <καὶ> κωμῳδοποιὸνεἶναι (“They agreed that the same man can know how to compose both comedy and tragedy, and that the skilled tragic poet is also a skilled writer of comedies”)—to which one can add that Plato has himself done this within this very dialogue, adding satyrography, as Bacon (1959) shows. -
Peter Constantine
Peter Constantine ————————————————————————————- Literary Translation Program Department of Literatures, Cultures, and Languages University of Connecticut Storrs, CT 06269-1057 ACADEMIC POSITIONS • Director, Literary Translation Program, Department of Literatures, Cultures, and Lan- guages, University of Connecticut. 2016 — Present. • Humanities Institute, University of Connecticut. Fellow. 2015 — 2016. • Columbia University, Program in Hellenic Studies. Fellow. 2007 – 2015. • Princeton University, Program in Hellenic Studies. Translation Workshop in Paros, Greece. Instructor. 2009, 2011. • Banff International Literary Translation Centre. Instructor, Consulting Specialist, 2011. • Princeton University, Program in Hellenic Studies. Writer-in-Residence, 2002 - 2003. • Princeton University, Program in Hellenic Studies. Stanley J. Seeger Fellow, 2002. AWARDS • Honorary Doctorate of Humane Letters, University of Connecticut, 2016. • PEN Translation Prize (citation), 2008, for The Essential Writings of Machiavelli. • Helen and Kurt Wolff Translation Prize, 2007, for The Bird is a Raven by Benjamin Lebert. • National Jewish Book Award, 2002, (citation) for The Complete Works of Isaac Babel. • The Koret Jewish Literature Award, 2002, for The Complete Works of Isaac Babel. • Hellenic Association of Translators of Greek Literature Prize. 2001. • National Translation Award, 1999, for The Undiscovered Chekhov: Thirty-eight New Sto- ries. • PEN Translation Prize, 1998, for Thomas Mann—Six Early Stories. FELLOWSHIPS • Institute for the Liberal Arts, Boston College, Residency, October 2014. • Fellowship of the Austrian Literature Society, Vienna, 2013. • Ellen Maria Gorrissen Berlin Prize Fellow at the American Academy in Berlin, 2012. • Guggenheim Fellowship, 2011. • Cullman Center Fellowship, New York Public Library, 2011. !2 • National Endowment for the Arts Literature Fellowship for Translation, 2011. • Literary Colloquium Berlin. 2008. • National Endowment for the Arts Literature Fellowship for Translation, 2004. -
Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
Phaedrus Plato
Phaedrus Plato TRANSLATED BY BENJAMIN JOWETT ROMAN ROADS MEDIA Classical education, from a Christian perspective, created for the homeschool. Roman Roads combines its technical expertise with the experience of established authorities in the field of classical education to create quality video courses and resources tailored to the homeschooler. Just as the first century roads of the Roman Empire were the physical means by which the early church spread the gospel far and wide, so Roman Roads Media uses today’s technology to bring timeless truth, goodness, and beauty into your home. By combining excellent instruction augmented with visual aids and examples, we help inspire in your children a lifelong love of learning. Phaedrus by Plato translated by Benjamin Jowett This text was designed to accompany Roman Roads Media's 4-year video course Old Western Culture: A Christian Approach to the Great Books. For more information visit: www.romanroadsmedia.com. Other video courses by Roman Roads Media include: Grammar of Poetry featuring Matt Whitling Introductory Logic taught by Jim Nance Intermediate Logic taught by Jim Nance French Cuisine taught by Francis Foucachon Copyright © 2013 by Roman Roads Media, LLC Roman Roads Media 739 S Hayes St, Moscow, Idaho 83843 A ROMAN ROADS ETEXT Phaedrus Plato TRANSLATED BY BENJAMIN JOWETT INTRODUCTION The Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. -
The Idea of 'Celtic Justice' in the Greco-Roman Lighter Literature
Cruel and Unusual? The Idea of ‘Celtic justice’ in the Greco-Roman Lighter Literature Antti Lampinen Abstract This article seeks to demonstrate that dramatically illustrated examples of the Celts’ sense of justice emerge as a minor trope in Greek and Roman ‘lighter literature’. In sources ranging from the Hellenistic to the Imperial era, novelistic narratives taking their cue from the register of lighter literature—with its emphasis on pathos, cultural difference, and romantic themes—feature several barbarian characters, characterised as ‘Celts’ or ‘Galatae’, who act according to a code of conduct that was constructed purposefully as barbarian, archaic, and alien. This set of motifs I venture to call the trope of ‘Celtic justice’. While almost certainly devoid of historical source value to actual judicial cultures of Iron Age Europeans, neither are these references mere alterité. Instead, their relationship with other literary registers demonstrate the literariness of certain modes of thought that came to inform the enquiry of Greek and Roman observers into the Celtic northerners. Their ostensibly ethnographical contents emerge as markers of complex textual strategies and vibrant reception of literary motifs. While lacking ‘anthropological’ source value, these texts demonstrate the variety and intensity with which the contacts between Greeks and Celts affected the epistemic regime of the Mediterranean societies.* From the 270s onwards the Hellenistic era witnessed among the Greeks an intense and emotionally charged interest in Celts. -
GREEK HOMOSEXUALITY Blank PAGE GREEK HOMOSEXUALITY Updated and with a New Postscript
GREEK HOMOSEXUALITY BlANK PAGE GREEK HOMOSEXUALITY Updated and with a new Postscript K.J. Dover Harvard University Press Cambridge, Massachusetts Copyright © 1978, 1989 by K.J. Dover All rights reserved Printed in the United States of America 10 9 8 7 6 5 4 Library of Congress Cataloging-in-Publication Data Dover, Kenneth James. Greek homosexuality I K.J. Dover.-Updated and with a new postcript. p. em. Bibliography: p. Includes indexes. 1. Homosexuality-Greece-History. 2. Homosexuality Law and legislation-Greece-History. 3. Homosexuality in art-History. 4. Homosexuality in literature-History. 5. Greece-Civilization-To 146 B.C. I. Title. HQ76.3.G8D68 1989 306.76'6'09495-dc20 89-34289 CIP ISBN 0-674-36261-6 ISBN 0-674-36270-5 (pbk.) Illustrations Thanks are due to the many museums holding vases reproduced in this book (see List of Vases, pp. 205-226), who have been most helpful in providing prints. Special permission is acknowledged from the following: National Museum, Copenhagen for B 16, R 1027; the Director of Antiquities and the Cyprus Museum for B65; Musee du Louvre, Paris, and Chuzeville, Paris., for B 166, B462, B4 70, B494, C19,, R59, R348, R422, R454, R659; Museum of Fine Arts, Boston for B342, B598a and b. R223, R456, R577, R603, R651, R783; Antikenmuseum, Staatliche Museum Preussischer Kulturbesitz, Berlin (West) for BB24, R196a, R259, R303, R970, R1127; Musee du Petit l>alais, Paris, and Etablissements Bulloz, Paris, for R414; Mr Walter Bareiss and the Metropolitan Museum of Art, New York for R462; Tony Raubitschek for R547; the Fitzwilliam Museum, Cambridge for R684; the Fogg Art Museum, Harvard University (David M. -
Excerpts from Iliad Six (Hector Is the Oldest Son of Troy's King Priam, And
EXCERPTS FROM HOMER Excerpts from Iliad Six (Hector is the oldest son of Troy’s King Priam, and the chief defender of the city. He leaves battle temporarily to return to the city.) Focus questions: 1. What are the main roles of women in this section – i.e., what are the actions of the Trojan women, Theano, Hecuba (the queen, Hector’s mother) and Andromache? 2. How do women’s roles support the survival of the city – or do they? 3. In what ways do women contribute to or detract from a man’s honor? 4. Hector and Andromache’s relationship is perfect in Greek terms – how do they relate to one another? What is the balance of “power”? What roles does each play in the family? Now when Hector reached the Scaean gates and the oak tree, the wives and daughters of the Trojans came running towards him to ask after their sons, brothers, kinsmen, and husbands: he told them to set about praying to the gods, and many were made sorrowful as they heard him. Presently he reached the splendid palace of King Priam, adorned with colonnades of hewn stone. In it there were fifty bedchambers- all of hewn stone- built near one another, where the sons of Priam slept, each with his wedded wife. Opposite these, on the other side the courtyard, there were twelve upper rooms also of hewn stone for Priam's daughters, built near one another, where his sons-in-law slept with their wives. When Hector got there, his fond mother came up to him with Laodice the fairest of her daughters. -
Xerox University Microfilms 77-2336 AM3LER, Mark Eugene, 1949- the THEORY of LATIN ETYMOLOGIA in the EARLY MIDDLE AGES; from DONATUS to ISIDORE
3NF0RIVIAT10ISI TO USERS T!;is material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". if it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Posidippus' Equestrian Angelia
Mouseion, Series III, Vol. 16 (2019) 433–452 © 2019 Mouseion (published in 2019) Horse and Herald: Posidippus’ Equestrian Angelia Peter J. Miller Abstract / Résumé Posidippus’ epigrams for equestrian victors (the Hippika, AB 71–88) build on epi- nician convention by maintaining the central role of the herald’s proclamation— the angelia—in the representation of athletic achievement. In a few of these epigrams, however, Posidippus embeds the horse itself in postvictory rituals. For example, the horse brings the crown to the victor, replacing the figure of the herald who announced and crowned victors; or, in a narrative of the race’s aftermath, the horse, incredibly, chooses the victor. Posidippus’ horses, there- fore, act as causal agents for the glory of their owners, and his detailed descrip- tions transform the horse from flesh-and-blood equine to everlasting (literary) monument. Les épigrammes de Posidippe sur les victoires équestres (les Hippiques, 71-88 A.-B.) s’appuient sur une convention poétique propre aux épinicies qui maintient le rôle de la proclamation du héraut – l’angelia – dans la représentation de la réussite athlétique. Cependant, dans quelques-unes de ces épigrammes, Posidippe intègre le cheval lui-même au rituel marquant la victoire. Par exemple, le cheval apporte la couronne au vainqueur en remplacement de la figure du héraut qui annonce et cou- ronne les vainqueurs ; ou encore, dans le récit de l’après-course, le cheval choisit, de façon surprenante, le vainqueur. Les chevaux de Posidippe interviennent donc en tant qu’agents causaux dans la gloire de leur propriétaire. Ses descriptions détaillées trans- forment ainsi l’être de chair et de sang qu’est le cheval en un monument (littéraire) éternel. -
On the Arrangement of the Platonic Dialogues
Ryan C. Fowler 25th Hour On the Arrangement of the Platonic Dialogues I. Thrasyllus a. Diogenes Laertius (D.L.), Lives and Opinions of Eminent Philosophers 3.56: “But, just as long ago in tragedy the chorus was the only actor, and afterwards, in order to give the chorus breathing space, Thespis devised a single actor, Aeschylus a second, Sophocles a third, and thus tragedy was completed, so too with philosophy: in early times it discoursed on one subject only, namely physics, then Socrates added the second subject, ethics, and Plato the third, dialectics, and so brought philosophy to perfection. Thrasyllus says that he [Plato] published his dialogues in tetralogies, like those of the tragic poets. Thus they contended with four plays at the Dionysia, the Lenaea, the Panathenaea and the festival of Chytri. Of the four plays the last was a satiric drama; and the four together were called a tetralogy.” b. Characters or types of dialogues (D.L. 3.49): 1. instructive (ὑφηγητικός) A. theoretical (θεωρηµατικόν) a. physical (φυσικόν) b. logical (λογικόν) B. practical (πρακτικόν) a. ethical (ἠθικόν) b. political (πολιτικόν) 2. investigative (ζητητικός) A. training the mind (γυµναστικός) a. obstetrical (µαιευτικός) b. tentative (πειραστικός) B. victory in controversy (ἀγωνιστικός) a. critical (ἐνδεικτικός) b. subversive (ἀνατρεπτικός) c. Thrasyllan categories of the dialogues (D.L. 3.50-1): Physics: Timaeus Logic: Statesman, Cratylus, Parmenides, and Sophist Ethics: Apology, Crito, Phaedo, Phaedrus, Symposium, Menexenus, Clitophon, the Letters, Philebus, Hipparchus, Rivals Politics: Republic, the Laws, Minos, Epinomis, Atlantis Obstetrics: Alcibiades 1 and 2, Theages, Lysis, Laches Tentative: Euthyphro, Meno, Io, Charmides and Theaetetus Critical: Protagoras Subversive: Euthydemus, Gorgias, and Hippias 1 and 2 :1 d. -
Roman Literature from Its Earliest Period to the Augustan Age
The Project Gutenberg EBook of History of Roman Literature from its Earliest Period to the Augustan Age. Volume I by John Dunlop 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 http://www.gutenberg.org/license Title: History of Roman Literature from its Earliest Period to the Augustan Age. Volume I Author: John Dunlop Release Date: April 1, 2011 [Ebook 35750] Language: English ***START OF THE PROJECT GUTENBERG EBOOK HISTORY OF ROMAN LITERATURE FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. VOLUME I*** HISTORY OF ROMAN LITERATURE, FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. IN TWO VOLUMES. BY John Dunlop, AUTHOR OF THE HISTORY OF FICTION. ivHistory of Roman Literature from its Earliest Period to the Augustan Age. Volume I FROM THE LAST LONDON EDITION. VOL. I. PUBLISHED BY E. LITTELL, CHESTNUT STREET, PHILADELPHIA. G. & C. CARVILL, BROADWAY, NEW YORK. 1827 James Kay, Jun. Printer, S. E. Corner of Race & Sixth Streets, Philadelphia. Contents. Preface . ix Etruria . 11 Livius Andronicus . 49 Cneius Nævius . 55 Ennius . 63 Plautus . 108 Cæcilius . 202 Afranius . 204 Luscius Lavinius . 206 Trabea . 209 Terence . 211 Pacuvius . 256 Attius . 262 Satire . 286 Lucilius . 294 Titus Lucretius Carus . 311 Caius Valerius Catullus . 340 Valerius Ædituus . 411 Laberius . 418 Publius Syrus . 423 Index . 453 Transcriber's note . 457 [iii] PREFACE. There are few subjects on which a greater number of laborious volumes have been compiled, than the History and Antiquities of ROME.