DOCSLIB.ORG

Theocritus and Herodas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theocritus and Herodas 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 Theocritus and Herodas H. Kynaston The Classical Review / Volume 6 / Issue 03 / March 1892, pp 85 - 86 DOI: 10.1017/S0009840X00184963, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00184963 How to cite this article: H. Kynaston (1892). Theocritus and Herodas. The Classical Review, 6, pp 85-86 doi:10.1017/S0009840X00184963 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 128.122.253.212 on 02 May 2015 The Classical Review MARCH 1892. THEOCRITUS AND HERODAS. THERE are not a few passages in which The word juarapms, too, very rare in the Theocritus and Herodas mutually illustrate feminine, occurs in Theoc. Id. ii. 70 and one another : and it may be expected that in Herodas vi. 55. The custom also of the writings of the former will materially borrowing smart clothes for special occasions assist the work of deciphering the text of (although it was not peculiar to that age or the latter. country) is alluded to in this same Idyll, 1. We should naturally look to those Idylls 74, and in Herodas vi. 26, as pointed out by of Theocritus which are distinctly Mimic Dr. Rutherford. for the most frequent instances of resem- In Idyll xiv. I have not noticed anything blance, presuming that both poets were besides the introduction of the proverb imitators of Sophron, or at all events pre- fivs <f>avri, ®v(Lvi)^€, yevfieOa Trtircras, served certain traditions or characteristics with which compare Herodas ii. 62 of the Mime which were originated (?) by Triirovda irp6<s ®a\rJTOS oo"<ra yr] '/J, TTUTOTJ him. Let us look first at Theoc. Id. ii. /it vs. Here in 11. 18, 19 Dr. Rutherford, in his note on the passage .... dAA eiruracrcrc, in Herodas, quotes from Pa/roem. Gr. to the ®€<TTv\r SeiAaia, ira Tas <£peVas £Kir£TroTacrat ; effect that the proverb is applied to those we find an instance of that peevish irrita- who have succeeded in overcoming their ad- bility and impatience in addressing slaves, of versaries after great difficulty. But is it not which Herodas affords frequent examples, rather applicable to one who has been at- e-9- tracted by the hope of gain, and finds that ov troi Aeyo) avrrj TVJ a>8e yfohe ^acrKovoTj ; he is inextricably entangled in something /J.3.. fx.tj TIV wprjv o>v Atyw imrolriTai, particularly disagreeable 1 It certainly has t(TTr)K€ 8' Is I* 6p€vo~<r KapKiv, ov //.e ££is ; that meaning in the case of Aeschines —iv. 42. (Theoc. I.e.) who is disappointed in the . (TV 8' ovSev av, TaAaiva, Trourjo~a.i<; result of his love-affair, and in the case of auTrj diro O"£(ovn}s" [la. \i6os TIS ov SovArj Battarus (Her. I.e.) who expected half-pence ev rrj OIKVQ fitv els. K.T.A,—vi. 3. rather than kicks from Thales. But this is Api/xvAa) <f>a>veu)- irdXiv KaOev&us ;—vii. 5. rather digressing. Let us go on to Idyll tyvAAa, /At^pis rev KCLarei peyKovaa.;— xv. viii. 1. The commencement of this Idyll (as Dr. The occurrence of such expressions is a Rutherford has pointed out) bears a very strong argument in favour of the theory strong resemblance to Herodas i. Compare that Mimes were really acted ; they would the ' is XP°V<? ' °^ Praxmoe with ' ri crv 8ebs give occasion for plenty of comic ' business.' irpos avOpitiirovs; K.T.X. ' (i.e. ' to what am I Further on in the same Idyll we may com- indebted for this angel's-visit ?') of Metriche: pare 1. 55 with Herodas v. 17. similar reasons too are given for the long Xp€<a /JLOI our] /JovAei interval between the visits— KCU pr] TO fiev alfia VVKTO. )^fi,epr]v I TV 8' e/caorepo) fi> fiiX' dirotKcis (Theoc.) and NO. XLIX. VOL. VI. 86 THE CLASSICAL REVIEW. fj.aicpr]V aTroiKiW, T£KVOV, iv 8k Tijs Xavpgs re/xevos. That would not apply to the divine 6 irrj\o<s axpts lyw<w wpoo-eoT^Kev (Herodas). honour paid to the father and mother of Another good example of the peevish Philadelphus ; but if we presume that irritability of mistresses must be noticed in Euergetes followed his father's example of this Idyll, 11. 27 foil. We may also compare filial piety and dedicated a Wfievos to Phila- the expressions of wonder uttered by delphus and Arsinoe, who were brother and Gorgo and Praxinoe on viewing the tapestry- sister, then it follows that Herodas was work, with, those of the ladies who admired writing of the reign of Ptolemy III. the votive images in the Asclepieum at I will add a few more trifling perhaps, Cos. but still noticeable points of connexion Compare:— between the two poets. OeHv Trepovd/J-ara ^acreis Cp. Theoc. i. 18.— <I)S erv/j. effraKOVTl, /cat O>S trvfu.' ivSivevvri. (cat oi da Spi/jLeia ^oXa TTOTL pivl KaBiyrai. €/juj/vx, OVK ivvtpavrd. crocpov TI XPVf-' &v~ with Herod, vi. 37.— 0po>7Tos.—Theoc. xv. 79, 82. /J.r] Si), KoptTTOi, T-qv xpXrjV ITTI pivos with Herodas iv. 20 :— ?x' lOvs ?}v TI prj/xa //.}} KaXbv vevOy. fid. /u.5. ica\5>v, <piXr) Kiwoi, Theoc. v. 51 and xv. 125.— yf X virvta /p and iv. 32.— with Herodas vi. 71.— •rrpb TS>V iro$5)v yovv ei TI p,r) XiOos rovpyov rj iuxXaxorq<s wvos. epcis XaXfjaai. fj,a. xpovw KO$' lavOpiaTfoi Theocr. x. 13.— Krj<> TOV? XiOov; e$ov(Ti TTJV tjyr\v Oeivai. IK TTWW avrXeis hrjXov. and iv. 57.— with Herodas iv. 14.—• ravr' ipet's 'Adr/vair/v ov yap Tt iroXXr/v oi8' eroijxov avrXev/iev. yXvtj/ai TOI KoXd . and more. The expression uivaMrjv //.eyaXos in Theoc. Next in importance to these Mimic illus- xv. 55 may help to fill up the lacunae in trations come the indications of the date of Herodas i. 83, 84, thus— Herodas which are furnished by the com- im'trovtra tr' rjXOov, dXXa [jttaXXov uivdOrjv]. parison of his Mime i. with Theoc. Id. xvii. wv ovvcx *v Z*01) TvXXi, uiva\6-q<s, ^atpa)]. The latter contains the praises of Ptolemy The use of the future indicative in place Philadelphus, and was presumably written of the optative with av of Attic Greek (which after Theocritus had migrated to Alexandria in the word cpets is frequent in Herodas, as Dr. from Sicily, i.e. some time between 270 and Rutherford has noticed) is also met with in 266 B.C. The wealth of the king and the Theocritus, e.g. extent of his kingdom are enthusiastically 'Qpoiv TrtTrXvcrOai viv iirl KpdvauTL SoKcwreis.—i. described, 11. 76 foil., and the advantages of 150. a residence in Egypt are briefly summed up Tax' <UT£pos dXXov ovacrii.—vii. 36. by Gullis in Herodas i. 26 foil. Theocritus 6e5>v Trepovd.iJ.aTa ^>acr€is.—XV. 79. says of Philadelphus (1. 121) that 'he is the apyupos, rj Tts 6 (JLUTOOS, cpcis, (S KIV <Tt iridoi- only one who either in past or present time [.uv ;—xxii. 64. dedicated altars to his mother as well as to H. KYNASTON. his father.' Herodas mentions 0eu>v d§eXrp£>v ADVERSARIA ON THE GREEK ANTHOLOGY. While reading Mr. Mackail's delightful SioWres in a similar connexion, Theoc. book of selections I have jotted down the i. 38. following notes, which I should like to sub- A. P. vi. 30 (Sect. 2. vii. 7, 8). mit to his attention and that of other Keep the MS. reading and punctuate scholars who are concerning themselves with ®p€ij/ov en o-Traipov TO yepovnov, dXX diro yaujs, the Anthology. a>s iOiXeis p.cSe'wi' /cat x#oi't «at 7reXay€i. Anth. Pal. v. 237 (Mackail, Sect. 1. xxx. = ' since thou rulest as thou wilt equally on 5). land and sea.' "Ofi/iara 8' oi Xdovra <f>vXdo-(reTar A. P. ix. 142 (Sect. 2. xxxv. 2). fjivovra Hecker. 8t o-TaXdovra al. The alteration of the MS. KCKCVOC into Read o/xfiara 8'oiSdovra, and cf. KVXOI- Xe'Xoyx« hardly commends itself. It is better.
Load more

Recommended publications
  • Does Κεφαλη (“Head”) Mean “Source” Or “Authority Over” in Greek
    Wayne Grudem, “Does Kefalh (“Head”) Mean “Source” Or “Authority Over” in Greek Literature? A Survey of 2,336 Examples,” Trinity Journal ns 6.1 (Spring 1985): 38-59. Does Kefalh (“Head”) Mean “Source” Or “Authority Over” in Greek Literature? A Survey of 2,336 Examples* Wayne Grudem Trinity Evangelical Divinity School [p.38] (One of the sensitive issues currently being discussed in many churches and seminaries is what the Bible has to say about women. So much has been written on this subject during the past decade that it is now becoming difficult to find anything new or fresh or challenging: positions are becoming hardened, justified by the same arguments someone else has already advanced, without close and humble examination of the validity of those arguments. Dr. Grudem’s article breaks that mold: his essay examines an enormous quantity of primary data to provide some controls in establishing the meaning of “head” and “headship” in the New Testament—and as a result he demonstrates convincingly that one major strand of modern interpretation, repeated from book to book, is simply wrong. Because of the primary nature of this research, we have decided to publish his essay here, even though it is simultaneously being published as an appendix to the new edition of George Knight’s The Role Relationship of Men and Women, published by Moody Press. —Ed.) When the New Testament says that the “head of every man is Christ” and “the head of a woman is the man” (1 Cor 11:3), or that “the husband is the head of the wife as Christ is the head of the church” (Eph 5:23), Christians have usually understood the word head to mean “authority over.” Thus, Christ is the authority over the church and a husband is the authority over his wife.
    [Show full text]
  • Devising Descent Mime, Katabasis and Ritual in Theocritus' Idyll 15 Hans Jorgen Hansen a Thesis Submitted to the Faculty of Th
    Devising Descent Mime, Katabasis and Ritual in Theocritus’ Idyll 15 Hans Jorgen Hansen A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2010 Approved by: Dr. William H. Race Dr. Owen Goslin Dr. Werner Riess Abstract Hans Jorgen Hansen: Devising Descent: Mime, Katabasis and Ritual in Theocritus’ Idyll 15 (Under the direction of Dr. William H. Race) In this thesis I investigate the genres and structure of Theocritus’ fifteenth Idyll, as well as its katabatic and ritual themes. Though often considered an urban mime, only the first 43 lines exhibit the formal qualities of mime found in Herodas’ Mimiambi, the only other surviving corpus of Hellenistic mime. The counterpoint to the mimic first section is the Adonia that makes up the last section of the poem and amounts to an urban recasting of pastoral poetry. A polyphonic, katabatic journey bridges the mimic and pastoral sections and is composed of four encounters that correspond to ordeals found in ritual katabases. The structure of the poem is then tripartite, beginning in the profane world of the household mime, progressing through the liminal space of the streets and ending in the sacred world of the Adonia. This progression mirrors Theocritus’ evolution from Syracusan mimic poet to Alexandrian pastoral poet. ii Table of Contents Introduction 1 Chapter 1: Mime and Structure in the Adoniazusae 6 1.1: Introduction 6 1.2.1: The Formal Features of Herodas’ Poetry 12 1.2.2: Homophony and Herodas’ Fourth Mimiamb 21 1.3.1: Theocritus’ Household-Mime 26 1.3.2: The Streets of Alexandria and Theocritus’ Polyphonic Mime 32 1.4: Conclusion 41 Chapter 2: Katabasis and Ritual in the Adoniazusae 44 2.1: Introduction 44 2.2: The Katabatic Structure, Characters and Imagery of Theoc.
    [Show full text]
  • Greeks and Romans.Mlc
    DEPARTMENT OF CLASSICS GREEKS AND ROMANS Courses and Programs Offered at the University of Virginia Fall 2020 2 3 THE GREEKS AND ROMANS at the University of Virginia FALL, 2020 Each semester the faculty of the Department of Classics and their colleagues in other departments offer a rich program of courses and special events in classical studies. The Greeks and Romans is published to inform the University community of the wealth of opportunities for study during the fall semester, 2020. These are described in the next pages under the following headings: I. CLAS: Classics courses in translation. II. GREEKS: Courses in Greek language and literature, and in Greek art, ideas, history, and other aspects of Greek civilization. III. ROMANS: Courses in the Latin language and Roman literature, and in Roman art, ideas, history, and other aspects of Roman civilization. IV. COMPARATIVE: Courses presenting Classical studies in relation to other subjects. V. SPECIAL PROGRAMS AND EVENTS ****************************************** 4 I. CLASSICS CLAS 2010 GREEK CIVILIZATION Mr. Dillery <jdd4n> TR 0930-1045 Discussion F 0900-0950 F 0900-0950 F 1000-1050 F 1000-1050 F 1300-1350 F 1400-1450 This course satisfies Humanities and/or Historical Studies requirements. An introduction to the literature and history of ancient Greece. All readings will be in translation, including: Homer, Herodotus, Aeschylus, Sophocles, Euripides, Thucydides, Aristophanes, and Plato. Midterm, final and two papers. CLAS 2300 ANCIENT ROME AT THE MOVIES Mr. Hays <bgh2n> MWF 1100-1150 This course satisfies Humanities requirements. Ancient Rome has exercised a fascination on movie producers and directors almost since the beginnings of cinema itself.
    [Show full text]
  • Euripides and Gender: the Difference the Fragments Make
    Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.
    [Show full text]
  • The Aesthetics of Dialect in Hellenistic Epigram
    The Aesthetics of Dialect in Hellenistic Epigram A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics by Taylor S. Coughlan B.A. Carleton College M.A. University of Wisconsin—Madison March 18, 2016 Committee Chair: Kathryn Gutzwiller, Ph.D. Alex Sens, Ph.D. Lauren Ginsberg, Ph.D. i Abstract This dissertation is a study of dialect choice and dialect mixture in Hellenistic book epigram. The aims of the project are not only linguistic, but also literary; indeed, what motivates the study is an overarching interest in understanding how specific dialect choices can enrich the meaning of the poem in which they appear. Scholars have only recently started to include dialect in their readings of individual epigrams, but no one has systematically studied the entire corpus. In order to more fully understand Hellenistic book epigram and its flourishing during a period of great social, cultural, and literary change, we must confront the genre’s use of dialect or otherwise miss out on an important component in this self-conscious genre’s production of poetic meaning. Following an introduction that sets out the interpretive framework for the dissertation and explores issues of dialect transmission in the manuscript tradition, the study falls into two parts, each comprising three chapters. In the first part, I attempt to situate dialect choice and mixture in its poetic and literary-critical contexts. In the first chapter, I investigate dialect usage in pre- Hellenistic Greek poetry, not including inscribed epigram, arguing that dialect mixture for poetic effect existed in Archaic and Classical poetry.
    [Show full text]
  • Loeb Classical Library
    LOEB CLASSICAL LIBRARY 2015 Founded by JAMES LOEB 1911 Edited by JEFFREY HENDERSON DIGITAL LOEB CLASSICAL LIBRARY For information about digital Loeb Classical Library access plans or to register for an institutional free trial, visit www.loebclassics.com Winner, PROSE Award for Best Humanities eProduct, Association of American Publishers “For the last couple of decades, the Loeb Library has been undergoing a renaissance. There are new or revised translations of many authors, and, a month or two back, the entire library was brought online at loebclassics.com. There are other searchable classics databases … Yet there is still something glorious about having all 500-plus Loebs online … It’s an extraordinary resource.” —ROGER KIMBALL, NEW CRITERION “The Loeb Library … remains to this day the Anglophone world’s most readily accessible collection of classical masterpieces … Now, with their digitization, [the translations] have crossed yet another frontier.” —WALL STREET JOURNAL The mission of the Loeb Classical Library, founded by James Loeb in 1911, has always been to make Classical Greek and Latin literature accessible to the broadest range of readers. The digital Loeb Classical Library extends this mission into the twenty-first century. Harvard University Press is honored to renew James Loeb’s vision of accessibility and to present an interconnected, fully searchable, perpetually growing, virtual library of all that is important in Greek and Latin literature. e Single- and dual-language reading modes e Sophisticated Bookmarking and Annotation features e Tools for sharing Bookmarks and Annotations e User account and My Loeb content saved in perpetuity e Greek keyboard e Intuitive Search and Browse e Includes every Loeb volume in print e New volumes uploaded regularly www.loebclassics.com also available in theNEW i tatti TITLES renaissance library THEOCRITUS.
    [Show full text]
  • Menander's Characters in the Fourth Century BC and Their Reception in Modern Greek Theatre
    Menandrean Characters in Context: Menander’s Characters in the fourth century BC and their reception in Modern Greek Theatre. Stavroula Kiritsi Royal Holloway, University of London PhD in Classics 1 Declaration of Authorship I, Stavroula Kiritsi, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______Stavroula Kiritsi________________ Date: _________27/06/2017_______________ 2 Abstract The thesis explores the way in which character is represented in Menander’s comedies and in the revival, translation, and reception of Menandrean comedy in the modern Greek theatre. Although modern translators and directors may have sought to reproduce the ancient dramas faithfully, they inevitably reshaped and reinterpreted them to conform to audience expectations and the new cultural context. Comparing aspects of character in the ancient and modern plays sheds light on both traditions. In assessing how character was conceived in the Hellenistic period, I make use of ethical works by Aristotle and other philosophers, which provide an appropriate vocabulary for identifying the assumptions of Menander and his audience. For the modern adaptations, I have made extensive use of a variety of archival materials as well as interviews with artists engaged at every stage of the production. The thesis comprises an Introduction, two Parts (I-II), and Conclusion. Part I examines Menandrean characters in the context of the Hellenistic Greek audience and society, with special reference to Aristotle’s and Theophrastus’ accounts of character and emotion. In the first chapter of Part II I survey the ‘loss and survival’ of Menander from antiquity and Hellenistic times, through Byzantium and the post-Byzantine period, to nineteenth-century Greece.
    [Show full text]
  • Emendations of Herodas
    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 Emendations of Herodas E. L. Hicks, Henry Jackson and Robinson Ellis The Classical Review / Volume 5 / Issue 08 / October 1891, pp 350 - 363 DOI: 10.1017/S0009840X00179351, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00179351 How to cite this article: E. L. Hicks, Henry Jackson and Robinson Ellis (1891). Emendations of Herodas. The Classical Review, 5, pp 350-363 doi:10.1017/S0009840X00179351 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 131.173.48.20 on 19 Apr 2015 350 THE CLASSICAL REVIEW. Museum. We subjoin Notes on Herodas by Dr. E. L. Hicks, Dr. H. Jackson, and Mr. Robinson Ellis, and Notes on the Fragments of the Phaedo by Professor L. Campbell, from whom we have also received some further notes on the Antiape, which will appear in a subsequent number. We hope shortly to give a review of the Dublin volume by Mr. Wyse, and one of the British Museum volume by Professor Jebb. EMENDATIONS OF HERODAS. MB. KENYON has put before us, as near as 37.—Perhaps TO-X OVV. MS. KOLT OVV. may be, the MS. text of these poems, and 38.—[y?7pao-a] had also occurred to me ; Dr. Rutherford has published his ' first re- it is indeed obvious. cension ' of the text. Much still remains to 39, 40.—I had written be done, and Dr.
    [Show full text]
  • The Characters of Theophrastus, Newly Edited and Translated by J.M
    THE LOEB CLASSICAL LIBRARY EDITED BY T. E. PAGE, LITl-.D. E. CAPPS, PH.D., LL.D. W. H. D. ROUSE, i.ttt.d. THE CHARACTERS OF THEOPHRASTUS HERODES, CERCIDAS, AND THE GREEK CHOLIAMBIC POETS (except callimachus and babrius) THE CHARACTEKS OF THEOPHRASTUS NEWLY EDITED AND TRANSLATED J. M. EDMONDS LATE FELLOW OF JESUS COLLEGE LECTURER IN THE UNIVERSITY OF CAMBRIDGE LONDON: WILLIAM HEINEMANN LTD NEW YORK: G. P. PUTNAM'S SONS MCMXXIX PA PREFACE The Characters of Theophrastus are a good wine that needs no bush, but it has been bottled anew, and new bottles may need a word of recommendation. The mere existence of an early English translation such as Healey's would hardly justify an archaistic rendering, but the Character, in the hands of Hall, Overbury, and Earle, has become a native genre, and that, I think, is enough to make such a rendering the most palatable. And this style of translation, taunts of ' Wardour Street ' notwithstanding, has a great advantage. Greek, being itself simple, goes best into a simple style of English ; and in the seventeenth century it was still easy to put things simply without making them bald. A simple trans- lation into our modern dialect, if it is to rise above Translator's English, is always difficult and often unattainable. In preparing the text I have discarded rfluch of my earlier work, in the belief, shared no doubt by many scholars, that the discovery of papyrus frag- ments of ancient Greek books has shifted the editor's PREFACE bearings from Constantinople to Alexandria. With the ' doctrine of the normal line,' exploded by A.
    [Show full text]
  • 1 1 Iphigenia in Oxyrhynchus and India: Greek Tragedy for Everyone
    1 Iphigenia in Oxyrhynchus and India: Greek Tragedy for Everyone Edith Hall, Research Professor, Departments of Classics and Drama, Royal Holloway, University of London Introduction One of the most remarkable finds in the rubbish dumps of Oxyrhynchus was the tattered script for a comic performance set in India and starring a Greek maiden named Charition (POxy 413). This precious text – referred to here henceforward as Charition - takes us with unparalleled vividness into the world of popular theatre entertainment under the Roman Empire in the early or mid-second century AD,1 a time at which theatres were being built all over Roman Egypt.2 Charition is a rare example of a type of performance that was enjoyed in many cities such as Oxyrhynchus, far inland in Upper Egypt, on a tributary of Lake Moeris that formed a branch of the Nile. It offers our most extended example of the delineation of the Fool in mime, which is a type of role that informed more elevated and influential literature, including the self-presentation of the Apostle Paul in his account of the flight from Damascus.3 In Charition it is the Fool who supplies most of the humour, playing off the lines given to others by misunderstanding their meaning, taking them too literally, or imitating them to comic effect. The text is also a significant document in theatre history, since it is intimately related to the circumstances of its performance. It indicates the speakers with a rare degree of specificity (‗Α‘ is Charition, ‗Β‘ is her slave who acts as the Fool, ‗Γ‘ is Charition‘s
    [Show full text]
  • CAR Volume 5 Issue 6 Cover and Front Matter
    THE CLASSICAL REVIEW Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.76, on 26 Sep 2021 at 11:04:21, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0009840X00167174 THE CLASSICAL REVIEW. VOLUME V. DAVID NUTT, 270 AND 271 STRAND, 1891, Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.76, on 26 Sep 2021 at 11:04:21, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0009840X00167174 th RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY. Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.76, on 26 Sep 2021 at 11:04:21, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0009840X00167174 TABLE OF CONTENTS. Nos. 1 and. 2. PAGE J. G. FRAZER. Swallows in the house . 1 W. F. Allen's Annals of Tacitus. S. F. CARTER and M. W. HUMPHREYS. On HART 58 some uses of the Aorist Participle - 3 W. F. Allen's Roman History. S. HART 59 A. PALMER. Catulliana 7 Hime's Introduction to the Latin W. M. LINDSAY. Notes on Festus and Language. J. E. NIXON 59 Nonius 9 Peck's Latin Pronunciation. F. D. T. K. ABBOTT. On the quotations from ALLEN 60 the Old Testament in the Fourth R. Fisch on Latin Personals in -O. H. Gospel 11 N. 61 P.
    [Show full text]
  • Herodas' Mimiamb 6
    Herodas' "Mimiamb 6" Stern, Jacob Greek, Roman and Byzantine Studies; Fall 1979; 20, 3; Periodicals Archive Online pg. 247 Herodas' Mimiamb 6 Jacob Stern ERODAS' Mimiamb 6, it will be suggested in this essay, spoke H to a sophisticated contemporary audience on three levels of meaning: first, as a piece of ribald dialogue characterized especially by obscene double-entendre; secondly, as a burlesque of Orphic myth and ritual; and thirdly, as a statement by the author of his own poetics. Modern commentators have noted the first two of these levels, albeit incompletely; the third has apparently gone un­ recognized. More importantly, it has not been appreciated how the three join together to form a complex work of art; the subject of that work, the baubon or 'dildoe', will be found to serve as an emblem of all three levels of meaning. I t was from Kerdon, Koritto informs her friend Metro, that she obtained the baubon; but as a result of Metro's confusion we hear of not one but three Kerdons in the mime: one who could not even 'stitch a 1Tl\ijK7pOV for a lyre' (51); one who has now grown old, though he had once been the lover of the late Kylaithis (54f); and one who is the man in question, the maker of the baubon, who came from Erythrae or Chios, "das antike Paris." 1 He had had two baubones, Koritto tells us, but she had been able to acquire only one; the whereabouts of the other is left unclear. This curious emphasis on false trails, on pairs of baubones and pairs of false-Kerdons, appears on the one hand intended to imitate the vagaries of ordinary conversa­ tion; but it is also well suited to indicate the multiple levels on which the mime itself functions.
    [Show full text]