Martin Litchfield West
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HCS — History of Classical Scholarship
ISSN: 2632-4091 History of Classical Scholarship www.hcsjournal.org ISSUE 1 (2019) Dedication page for the Historiae by Herodotus, printed at Venice, 1494 The publication of this journal has been co-funded by the Department of Humanities of Ca’ Foscari University of Venice and the School of History, Classics and Archaeology of Newcastle University Editors Lorenzo CALVELLI Federico SANTANGELO (Venezia) (Newcastle) Editorial Board Luciano CANFORA Marc MAYER (Bari) (Barcelona) Jo-Marie CLAASSEN Laura MECELLA (Stellenbosch) (Milano) Massimiliano DI FAZIO Leandro POLVERINI (Pavia) (Roma) Patricia FORTINI BROWN Stefan REBENICH (Princeton) (Bern) Helena GIMENO PASCUAL Ronald RIDLEY (Alcalá de Henares) (Melbourne) Anthony GRAFTON Michael SQUIRE (Princeton) (London) Judith P. HALLETT William STENHOUSE (College Park, Maryland) (New York) Katherine HARLOE Christopher STRAY (Reading) (Swansea) Jill KRAYE Daniela SUMMA (London) (Berlin) Arnaldo MARCONE Ginette VAGENHEIM (Roma) (Rouen) Copy-editing & Design Thilo RISING (Newcastle) History of Classical Scholarship Issue () TABLE OF CONTENTS LORENZO CALVELLI, FEDERICO SANTANGELO A New Journal: Contents, Methods, Perspectives i–iv GERARD GONZÁLEZ GERMAIN Conrad Peutinger, Reader of Inscriptions: A Note on the Rediscovery of His Copy of the Epigrammata Antiquae Urbis (Rome, ) – GINETTE VAGENHEIM L’épitaphe comme exemplum virtutis dans les macrobies des Antichi eroi et huomini illustri de Pirro Ligorio ( c.–) – MASSIMILIANO DI FAZIO Gli Etruschi nella cultura popolare italiana del XIX secolo. Le indagini di Charles G. Leland – JUDITH P. HALLETT The Legacy of the Drunken Duchess: Grace Harriet Macurdy, Barbara McManus and Classics at Vassar College, – – LUCIANO CANFORA La lettera di Catilina: Norden, Marchesi, Syme – CHRISTOPHER STRAY The Glory and the Grandeur: John Clarke Stobart and the Defence of High Culture in a Democratic Age – ILSE HILBOLD Jules Marouzeau and L’Année philologique: The Genesis of a Reform in Classical Bibliography – BEN CARTLIDGE E.R. -
Petr Eben's Oratorio Apologia Sokratus
© 2010 Nelly Matova PETR EBEN’S ORATORIO APOLOGIA SOKRATUS (1967) AND BALLET CURSES AND BLESSINGS (1983): AN INTERPRETATIVE ANALYSIS OF THE SYMBOLISM BEHIND THE TEXT SETTINGS AND MUSICAL STYLE BY NELLY MATOVA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Associate Professor Donna Buchanan, Chair Professor Sever Tipei Assistant Professor David Cooper Assistant Professor Ricardo Herrera ABSTRACT The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal- instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. -
The Classicism of Hugh Trevor-Roper
1 THE CLASSICISM OF HUGH TREVOR-ROPER S. J. V. Malloch* University of Nottingham, U.K. Abstract Hugh Trevor-Roper was educated as a classicist until he transferred to history, in which he made his reputation, after two years at Oxford. His schooling engendered in him a classicism which was characterised by a love of classical literature and style, but rested on a repudiation of the philological tradition in classical studies. This reaction helps to explain his change of intellectual career; his classicism, however, endured: it influenced his mature conception of the practice of historical studies, and can be traced throughout his life. This essay explores a neglected aspect of Trevor- Roper’s intellectual biography through his ‘Apologia transfugae’ (1973), which explains his rationale for abandoning classics, and published and unpublished writings attesting to his classicism, especially his first publication ‘Homer unmasked!’ (1936) and his wartime notebooks. I When the young Hugh Trevor-Roper expressed a preference for specialising in mathematics in the sixth form at Charterhouse, Frank Fletcher, the headmaster, told him curtly that ‘clever boys read classics’.1 The passion that he had already developed for Homer in the under sixth form spread to other Greek and Roman authors. In his final year at school he won two classical prizes and a scholarship that took him in 1932 to Christ Church, Oxford, to read classics, literae humaniores, then the most * Department of Classics, University of Nottingham, NG7 2RD. It was only by chance that I developed an interest in Hugh Trevor-Roper: in 2010 I happened upon his Letters from Oxford in a London bookstore and, reading them on the train home, was captivated by the world they evoked and the style of their composition. -
ON the SUBLIME Alain Billault Longinus' on the Sublime Entered
ON THE SUBLIME Alain Billault Longinus' On the Sublime entered the history of French literature in 1674, when Boileau's translation of the Greek text was published in Paris. The title of the book read Traité du Sublime ou Du mervàlleux dans le discours, traduit du grec de Longin. Its publication enabled the well-read audience to rediscover an ancient treatise which had been neglected for a very long time. It was also a turning-point in Boileau's literary career and a path-breaking event of some consequence in the history of aesthetics. This is why the context, the making, the contents, the purpose and the influence of this translation are worth studying. The Context of the Publication of Boileau's Translation The rediscovery of Longinus' On the Sublime in Europe at the time of the Renaissance was difficult and slow.1 In 1554, Francesco Robortello published in Basel the editio princeps of the Greek text. Paul Manuce, the famous Venetian publisher, followed in his foot steps the year after. But in 1605, the great scholar Isaac Casaubon commenting on Persius' Satires remarked that Longinus was seldom read: "Longe plura Longinus in aureolo nee satis unquam lecto libello."2 Then came Franciscus Portus whose edition was published in Geneva in 1669 and became the source of all the subsequent edi tions through the eighteenth century. But the treatise was not paid much attention, even after 1663, when Tanneguy Le Fèvre's edition was published in Saumur.3 In 1694, Jacobus Tollius released his own edition in Utrecht. He had actually finished his work in 1677, but he had beeen unable to find a publisher for seventeen years. -
EDWARD COURTNEY 1932-2019 Edward
EDWARD COURTNEY 1932-2019 Edward Courtney was born on 22 March 1932 in Belfast, Northern Ireland, to George, an administrator in the court system, and Kathleen. He had a sister and many cousins, of whom three became university lecturers. In 1943, at the age of eleven, he entered the Royal Belfast Academical Institution, which was also to produce J.C. McKeown, J.L. Moles and R.K. Gibson. When Gibson was a research student in Cambridge and met Ted (as he was universally known) for the first time, he asked him how he had retained his Belfast accent; ‘I never listen to anybody else!’ was the perhaps surprising (and certainly misleading) reply. At ‘Inst.’ Ted was taught by H.C. Fay, later to produce a school edition of Plautus’ Rudens (1969), and John Cowser, who, by lending him Housman’s editions of Juvenal and Lucan, instilled in him a preference for Latin over Greek. Three decades later, in 1980, Ted would publish the standard commentary on Juvenal, followed after four years by a critical edition of the text; and, after moving to Charlottesville in the 1990s, he would drive around town in a car whose licence-plate was ‘JUVENAL’, bought for him as a birthday present by his wife. At Inst. Ted was introduced to the verse composition in Greek and Latin which was to stand him in such good stead in later years, and he was taught to play chess by a friend: in 1950 he won the Irish Junior Championship and the Irish Premier Reserves tournament, and captained the Irish schoolboy team against England and Wales. -
P. Tavonatti, Le Congetture Di Franciscus Portus Alle Eumenidi
LE CONGETTURE DI FRANCISCUS PORTUS ALLE ‘EUMENIDI’ Il XVI secolo è l’epoca della riscoperta di Eschilo: l’editio princeps, curata da Francesco Asolano e uscita dalle officine di Aldo Manuzio nel 1518, è seguita dalle edizioni di Francesco Robortello e Adrian Tournebus (entrambe del 1552), di Vetto- ri-Estienne (1557) e di Willem Canter (1580). Tra gli umanisti del ’500 che hanno tentato di emendare il testo eschileo e di renderlo intelligibile figura anche Franci- scus Portus (1511-1581). Costui, di origini italiane, nacque a Rethymnon e, in gio- ventù, fu allievo di Arsenio di Monembasia. Tra il 1527 e il 1561 vagò per le corti dell’Italia settentrionale (Venezia, Modena, Ferrara), dove tenne corsi di greco ed entrò in contatto con i maggiori intellettuali del suo tempo (Giovanni Grillenzone, Ludovico Castelvetro, Martin Crusius, Théodore de Bèze). Negli ultimi vent’anni di vita fu titolare della cattedra di letteratura greca presso l’Università di Ginevra. I suoi vasti interessi riguardavano la tragedia, Esiodo, Omero, Pindaro, i bucolici minori (Bione, Mosco), Tucidide e Senofonte, la Retorica e Poetica di Aristotele, i trattati di Aftonio, Ermogene e Longino, Dionigi di Alicarnasso, nonché studi sul lessico (connessi con il Lexicon graecolatinum di Robert Costantin). L’esegesi al testo eschileo ci è trasmessa dai marginalia all’edizione di Vettori-Estienne (codice 756 D 22 dell’Universiteitsbibliotheek di Leiden) e dal ms. B.P.L. 180. Quest’ulti- mo, un inedito conservato presso l’Universiteitsbibliotheek di Leiden, contiene il commento, fondato sull’edizione di Vettori-Estienne, alle sette tragedie superstiti di Eschilo. Dopo i lavori di Monique Mund-Dopchie1, che lo ha segnalato e rivalutato, esso è stato studiato da Martin L. -
Illinois Classical Studies
ILLINOIS LIBRARY AT URBANA-CHAWIPAIGN Ci ASSICS CL-x ,\'^ t -iK ILLINOIS CLASSICAL STUDIES VOLUME XXI 1996 ISSN 0363-1923 ILLINOIS CLASSICAL STUDIES VOLUME XXI 1996 SCHOLARS PRESS ISSN 0363-1923 ©1996 The Board of Trustees University of Illinois Copies of the journal may be ordered from: Scholars Press Membership Services P. O. Box 15399 Atlanta, GA 30333-0399 Printed in the U.S.A. EDITOR David Sansone ADVISORY EDITORIAL COMMITTEE Gerald M. Browne J. K. Newman James A. Dengate S. Douglas Olson Howard Jacobson Maryline G. Parca CAMERA-READY COPY PRODUCED UNDER THE DIRECTION OF MARY ELLEN FRYER Illinois Classical Studies is published annually by Scholars Press. Camera- ready copy is edited and produced in the Department of the Classics, University of Illinois at Urbana-Champaign. Each contributor receives fifty offprints free of charge. Contributions should be addressed to: The Editor, Illinois Classical Studies Department of the Classics 4072 Foreign Languages Building 707 South Mathews Avenue Urbana, Illinois 61801 Contents "Predicates Can Be Topics" 1 GERALD M. BROWNE, University of Illinois at Urbana-Champaign Manuscript Indications of Change of Speaker in Aristophanes' Peace 5 S. DOUGLAS OLSON, University of Illinois at Urbana-Champaign Plato and Euripides 35 DAVID SANSONE, University of Illinois at Urbana-Champaign Perfume from Peron's: The Politics of Pedicure in Anaxandrides Fragment 41 Kassel-Austin 69 ANDREW SCHOLTZ, Yale University The Amores of Propertius: Unity and Structure in Books 2-A 87 JAMES L. BUTRICA, Memorial University of Newfoundland Ad Ps.-Philonis Librum Antiquitatum Biblicarum 159 GERALD M. BROWNE, University of Illinois at Urbana-Champaign ThQ Monxtnc Versio Latina 161 ROBIN SOWERBY, Stirling University 'Predicates Can Be Topics" GERALD M. -
Commentatio Et Variae Lectiones
COMMENTATIO, Προλεγόμενα ET VARIAE LECTIONES : DIFFERENTS ASPECTS DU COMMENTAIRE HUMANISTE1 La philologie consiste en l’étude historique des textes. Plus particulièrement, en l’étude for- melle de ceux-ci dans les différents manuscrits qui nous ont été transmis, dans le but d’en réa- liser l’édition critique. Ce fut là le travail essentiel des humanistes de la Renaissance. Les com- mentaires ne furent néanmoins pas délaissés. Quelle était la conception du commentaire à cette époque ? Les trois exemples développés ci- après montrent que les humanistes n’avaient pas une idée unique du commentaire. En effet, Joachim Camerarius s’attelle à une explication mot à mot, ou phrase par phrase. François Portus rédige des observations plus générales. Piero Vettori, enfin, n’a pas l’objectif de commenter un auteur, mais plutôt d’expliquer les corrections qu’il apporte au texte. Nous ne voulons pas présenter ici une vision exhaustive du commentaire humaniste. Il s’agit plutôt de montrer trois types de travaux, avec Sophocle comme prétexte, qui sont, selon moi, représentatifs de la manière de faire à la Renaissance. LA COMMENTATIO DE JOACHIM CAMERARIUS Dès 1534, Joachim Camerarius publia une édition grecque de Sophocle.2 Le texte, contenu dans le premier volume, est celui de l’édition princeps d’Alde Manuce (Venise, 1502) ; le second volume atteste des commentaires, qui ont été en partie analysés récemment par Michael Lurje.3 En 1556, le même Camerarius publia d’autres commentaires, en partie repris à ceux de 1534 : ce sont ceux-ci que j’analyserai dans les pages qui suivent. Le titre complet est le suivant :4 Commentatio explicationum omnium tragoediarum Sophoclis. -
The Robe of Iphigenia in Agamemnon Anne Lebeck
The Robe of Iphigenia in "Agamemnon" Lebeck, Anne Greek, Roman and Byzantine Studies; Spring 1964; 5, 1; ProQuest pg. 35 The Robe of Iphigenia in Agamemnon Anne Lebeck HE CHORAL LYRIC (104-263) immediately following the anapestic Tparodos of Agamemnonl closes with a description of the sacrifice at Aulis in which the robes of Iphigenia playa prominent part (7T€:TTAotaL 7TEpL7TETTJ [233J; KPOKOU f3acptx~ 0' €~ 7T€OOJl x€ouaa [239J). There are two interpretations of the lines in question. Most scholars regard the verbal adjective 7T€PL7TET~~ in line 233 as passive, the dative 7T€7TAOLGL as instrumental, and translate "wrapped round in her robes" (Fraenkel, Headlam, Mazon, Smyth, Verrall). Line 239 is taken to mean that Iphigenia disrobes completely,2 "her saffron garment fall ing on the ground." Professor Lloyd-Jones3 recently offered a more convincing interpretation than the earlier view that Iphigenia sheds her peplos. Line 239, which means literally "pouring dye of saffron toward the ground," describes Iphigenia raised above the altar; from her body, held horizontally,4 the robe trails down. In the same article Lloyd-Jones ingeniously suggests that 7TEPL7TET~~ is active, the robes those of Agamemnon. Iphigenia kneels before her father in supplication, "with her arms flung about his robes."5 Pro fessor Page remarks, "This interpretation has great advantages: the thought and the language are now both of a normal type .... "6 Such an advantage is questionable, since neither the thought nor the lang uage of this passage are normal. Rather they are lyrical: disconnected phrases follow one another in rapid succession, evoking a strange and dreamlike picture. -
The Development of Ideas in the Novels of Iris Murdoch Thesis
Open Research Online The Open University’s repository of research publications and other research outputs Playful Platonist : The development of ideas in the novels of Iris Murdoch Thesis How to cite: Edwards, S. L. (1984). Playful Platonist : The development of ideas in the novels of Iris Murdoch. PhD thesis The Open University. For guidance on citations see FAQs. c [not recorded] https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000de3e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk i U is 154,6 (Z ý', 1)P, S-f P. ýC- -1 LO PLAYFUL PLATONIST: TFIE DEVELOPISNT OF =Eý 221 TFIE NOVELS OF IRTI; MURDOCH by Stephen Laurence Edwards A thesis submitted for the degree of Ph. D. at The Open University, January 1984. rio u0 I- Playful tlatonist: the Development of Ideas in the Novels of Iris Mirdoch I am willing that this thesis may be made available to readers and may be photcopied subject to the discretion of the Librarian. L S. L. Edwards 20th June 1984. Th, opiýn t-lrivp-rsifm col, 22 ... ..... ...... ii SUýRARY Tnis thesis examines Iris Murdoch's novels in the light of her philosophical thinking. 1t places her ethical thinking in the context of twentieth century moral philosophy and shows that her approach to the problems of the subject is out of key with the general run of cont(-, r,..pora-ry philosophical th-inking. -
MARTIN LITCHFIELD WEST 23 September 1937 . 13 July 2015
MARTIN LITCHFIELD WEST 23 september 1937 . 13 july 2015 PROCEEDINGS OF THE AMERICAN PHILOSOPHICAL SOCIETY VOL. 161, NO. 3, SEPTEMBER 2017 Litchfield West.indd 285 11/30/2017 5:51:38 PM biographical memoirs n obituary writer has an obligation to present an overview of her subject’s life. For a scholar, it might begin with their school, A and would certainly include details of their university and academic career. She should of course survey her subject’s work, its importance and intellectual character, its contribution to the field. She should mention distinctions and honors. And she should give a sense of the individual, to recall the person to those that knew them, to bring them to life for those who did not. Martin West, one of the most eminent classical scholars in the world, was a master of literary genre; that will be one of my main emphases. But—quite apart from the fact that an obituary per se seems so wrong for someone who had apparently aged so lightly and was at least as creative and productive as he had ever been at the time of his death, at age 77—a formally perfect but cold example of the genre seems wholly false to his wit, frequent subversiveness, and rather oddball human warmth. In Martin’s case the biodata are easily rehearsed.1 They look, and are, very English: a superlative (if skewed) education at one of England’s top public schools; a scholarship to what was then Oxford’s top college for the study of Classics; and then a career mostly in Oxford, first as a tutorial fellow (charged with both research and the provision of tutorial teaching and lectures to undergraduates; it is not a matter of obscurity where Martin’s particular priorities lay), then as a Senior Research Fellow in All Souls College, which liberated him from the worsening administrative grind in his in-between stint as Professor of Greek in Royal Holloway and Bedford New College in the University of London. -
Hans Jürgen Scheuer Polytropia. Barbara Köhlers Erkundung Des
Hans Jürgen Scheuer Polytropia. Barbara Köhlers Erkundung des Griechischen (Homer, Odyssee / Sappho, Anaktoria-Fragment) If there were a Muse devoted solely to Barbara Köhler’s poetry, her name would be ‘Polytropia’. This chapter demonstrates how Niemands Frau bases its work of poetic memory upon the polytropy of its (male and female) trickster figures, so that Homer’s Odyssey is no longer confined to the story of the homeward journey of the king of Ithaka, with whose life, deeds, and death the Greek mythical cycle ends and the reception of Homer’s text has hitherto been almost exclusively concerned. Köhler’s re-reading encompasses both the loosening counter-movement with which Penelope unravels the web of genealogy, domin- ation and bloody revenge and also the tying of the ‘artistic knot’ that binds the topological model of the entire Odyssey to Circe. In the process, Niemands Frau undertakes not ‘myth correction’, but an archaeology of the myth. Barbara Köhler uncovers the voices woven into the texture of the Odyssey and lets loose a linguistic and philosophical dynamic which finds it model – retrospectively – in Sappho’s ode to the choir-leader Anactoria: in the lyrical poet’s cunning attempt, through the dancing movement characteristic of her song, to wrest from the epic poet the power to define what is poetically the most beautiful. ‚Mit Namen, sehen Sie, werden Unterschiede gemacht. Unterschiede zu benennen aber wär wohl etwas anderes.‘ Barbara Köhler I. ȆȠȜȜࡑ Ƞੇįࡑ ਕȜઆʌȘȟ, ਕȜȜࡑ ਥȤȞȠȢ ਨȞ ȝȑȖĮ.1 Auf vieles versteht sich der Fuchs; der Igel nur auf eines, aber das ist groß.