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UNIVERSITY OF ILLINOIS LIBRARY AT URBANA- CHAMPAIGN CLASSICS The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN JUL 3 liSZ NOV 3 19J2 L161—O-1096 ILLINOIS CLASSICAL STUDIES VOLUME VI.2 Fall 1981 Miroslav Marcovich, Editor SCHOLARS PRESS ISSN 0363-1923 ILLINOIS CLASSICAL STUDIES, VOLUME VI. 2 Copyright ©1981 Scholars Press 101 Salem Street P.O. Box 2268 Chico, California 95927 ICS VI. 1-2 (1981). CONTENTS 1. Archilochus, Fr.4 West: A Coimmentary 1 DOUGLAS E. GERBER 2. Pythian 5.72-76, 9.90-92, and the Voice of Pindar 12 GORDON M. KIRKWOOD 3. Versumstellungen in der griechischen TragOdie 24 HARTMUT ERBSE 4. Classification of MSS of the Scholia of Aeschylus 44 OLE L. SMITH 5. The End of the Traahiniae 56 P. E. EASTERLING 6. Ein neues Sophoklesfragment bei Eustathios? 75 STEFAN L. RADT 7. On the Aloestis and Andromache of Euripides 82 JAMES DIGGLE 8. The Academic and the Alexandrian Editions of Plato 102 FRIEDRICH SOLMSEN 9. The Title of Plato's Republic 112 L. G. WESTERINK 10. Intorno al codice Patavinus di Teocrito 116 CARLO GALLAVOTTI 11. Notes critiques aux Argonautiques Orphiques 136 FRANCIS VIAN 12. Arrian's Extended Preface 157 PHILIP A. STADTER 13. Ps. -Justin, Cohortatio : A Lost Editio Princeps? 172 MIROSLAV MARCOVICH ^ 14. Le texte de la Vie de Pythagore de Porphyre 175 J EDOUARD DES PLACES, S.J. \ 15. The critiques of Isocrates' Style in Photius 182 ^j JOHN J. BATEMAN IV ICS VI. 1-2 (1981), Contents 16. Ein Papyrus aus dem unruhigen Alexandreia am Vor- abend der arabischen Eroberung {Pap. Vindob. Gr. 19938) 197 HERBERT HUNGER 17. Peace, the Symposium and the Poet 205 W. J. SLATER 18. Verita e accordo contrattuale in Pindaro, fr.205 Sn. 215 BRUNO GENTILI 19. Observations on the Commentary on Euripides' Phoenissae in the MSS Parma 154 and Modena, a. U.9.22 221 BJARNE SCHARTAU 20. Inutilis sibi, perniciosus patriae: A Platonic Argument Against Sophistic Rhetoric 242 HELEN F. NORTH 21. Mysticism and Apocalyptic in Ezekiel's Exagoge 272 HOWARD JACOBS ON 22. Cicero's Style for Relating Memorable Sayings 294 H. C. GOTOFF 23. Asop und Menipp als Hofnarren 317 BRUNO SNELL 24. Ovidianum quintum: Das Diluvium bei Ovid und Nonnos 318 HANS HERTER 25. Ovid vs. Apuleius 356 DAVID F. BRIGHT 26. The Wedding Hymn of Acta Thomae 367 MIROSLAV MARCOVICH 27. Old Breton in Bede 386 GERALD M. BROWNE 28. Byzantium's Impact on the West: The Linguistic Evidence 389 HENRY and RENEE KAHANE 29. Une ^criture d' imitation: le Palatinus Vatiaanus graeous 186 416 JEAN IRIGOIN 17 PEACE, THE SYMPOSIUM AND THE POET W. J. SLATER Beazley, coiranenting on a Siana cup in Berlin, showing three dolphins in the tondo, made a brilliant but daring interpre- tation; the painter was portraying the inside of the cup as a round harbour. Another similar cup in the Villa Giulia was to confirm this view, but one of the three dolphins has arms and plays the flute. Greifenhagen 2) commented: probably the painter had in mind the dolphin's notorious love of music, and he compared Pindar fr. 140 b Snell, 13-17: fepeOL^ouai. Tip6Q duTd[v] / dAuou SeAcptvoQ undxpLaLV, Tov u^v dKuuovog ev rL6vTou neAdYei- auXcov exLvrio' epaT6v v-^Xoq. But the most penetrating observation came from Erika Simon, 3) that the sea in which the musical dolphins play is a calm sea like Pindar's, and that the artist is representing the idea that calm is a prerequisite for the dolphin's song. I hope in the following pages to show that this is but one aspect of a theme that has a much wider significance. The dolphin in Pindar sings in a waveless sea, and we can assume that dolphins were not observed to sing save in calm weather. It may seem to stretch the limits of analogy to com- pare here the west pediment of the temple of Zeus at Olympia, showing the battle of the Lapiths and Centaurs with Apollo as the central figure, but here is the interpretation of Bernard Ashmole: 4) The scene is appropriate to the temple of Zeus in that Peirithoos was a grandson of Zeus; but its deeper signi- ficance lay in the presence of Apollo, the son of Zeus, patron of all the arts, and of all that makes life humane and decent. His presence ensures that civilized men shall prevail." 2 - 206 Illinois Classical Studies, VI . In these examples we have I suggest the expressions of a general idea, that civilized peace, represented by metapho- rical calm, dolphins, Apollo, his representatives or any other culture hero, must triumph over disorder symbolized by turbu- lent waves. Centaurs, or any of the other exempla for dis- orderly behaviour such as Giants or Titans. The basic under- lying idea is that peace is a precondition for civilization and culture. It was indeed an obvious thought that a city at war could not hold its festivals regularly, and Homer illus- trates this on the shield of Achilles [Iliad 18. 490 ff.); the city at war is contrasted with the city at peace, dis- tinguished by its festivity. Aristophanes repeatedly points to social festivity as one of the chief benefits of military peace. 5) But I should like to concentrate on another area where I believe that this idea was very much alive. The examples that I gave earlier have also in common a connection with symposia; the cups are drinking cups, whose message was read by the symposiast as he drained each draught, while the battle of the Lapiths and Centaurs resulted from the notorious break- down of order at a wedding celebration, becoming thereby the notorious exemplum for sympotic hybris. It was much easier for Greeks than for us to see in their symposia the same con- flict of peaceful civilized behaviour with disorderly brawling that they deplored in their political life, or in more sanguine moments conceived as Hellenism versus Barbarism. Peace as they were only too well aware is a prerequisite for harmonious convivality and its enemy is hybris. Greeks could see the dining room as a microcosm of the political world, as did Solon, 4.10 West: (oL riveu^ves dSLKoOvxEQ xaL uPpl^ovtes) ou yip tnioxavTai xaxixei-v k6pov o06fe uapouaae eOcppoouvas hoouelv 6aLT6s tv f\o\JXim- Solon moves naturally from the social unit of the polls to the more comprehensible unit of the assembled banqueters: one can extrapolate from the immediate environment to the larger and less appreciable world outside. Both function best in an atmosphere of concord; the word for this ideal is one of the ). ) , VJ. J. Slater 207 Hours, Eunomia, which we know to be a sympotic as well as a political slogan. Plato in fact also plays on its musical 7 8 sense. The opposite of Eunomia is Hybris , and this occurs in its most striking form in the drunken rioting of the sym- posium, for hybris is notoriously the effect of too much drinking. 9) Solon therefore can move easily from political hybris to the uncontrolled behaviour that ruined convival harmony I believe that speculation by poets about the atmosphere of symposia gave such thoughts more precise definition. Greeks took some trouble to ensure that harmony could prevail in their gatherings. Even before the philosophers wrote their sympotic laws, poets constructed a set of ideals to en- sure that their own harmony and music would be appreciated in the proper circumstances. The Graces appear as Euphrosyne Thalia^ Aglaia, the Hours as Eunomia^ Dike^ Eirene^ all of them connected by poets to poetry; to these, abstracts like Paidia and Hesyahia^ Sophrosyne and Euphrosyne , were easily added. But theory constructed an opposition with Hybris, Stasis, Polemos and Aphrosyne. By the end of the fifth century, political prose was producing a new language with words like Homonoia and Philanthropia to express political nuances; this both replaced the poetic mythology, and sepa- 12) rated the language of symposia from politics. Since it was poets who first devised these ideals, it is not surprising that it is in connection with poetry, music, and festivity that they are first used, and reach their greatest influence in the high baroque period of choral lyric. In the view of poets not only is war to be banned from symposia but even thoughts of war and warlike subjects that might inspire such thoughts. 13) Listeners are warned likewise about the effects of strong drink — piaxdiv duTt^Aou TiaL6a — that could lead to Scythian or centaurlike behaviour. They are reminded that Peace and the Horae are the enemies of Hybris, and that they are the prerequisites for song; the symposium will preferably sail on a calm sea. To achieve this, the symposium is placed under the guidance 14) of the Graces and Apollo, creator of good order. Alcaeus : 2 208 Illinois Classical Studies, VI . had composed a poem (fr. 307 L,-P.) in which Zeus sent Apollo to the Greeks to proclaim 5ikt\ and d^ui-S- I suspect that Pindar is guilty of deriving his name from Polemos in P. 5.66: {' ATi6XX(jiv) ... 5l5cl)Ol xe MoUaav olq dv ed^Xriu, dTi6A£uov dyaYcbv / eg npanLdaQ euvoutav . One began the symposium with three activities, pouring li- bations, singing a paean to Apollo, and praying to be able to do xd 5LKai,a.
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