The tale of Scylla in Metamorphoses Books 13 and 14 and the stories which branch off from it are a well-known case of Ovid's tendency to digress from his so-called main storyünes. As Aeneas approaches the region of Scylla and Charybdis, Ovid tells the readers about Scylla's history, and within this history tells several other episodes.1 The problem of die relationship between frame and inset stories is complicated by Ovid's wide use of internal narrators, sometimes on several levels of subordination,2 and by his habit of interrupting one story with a seemingly unrelated one, especially during long continuous episodes, such as that of Aeneas. The Scylla story raises questions about Ovid's pacing of his episodes and of his shrinking of some of his inherited material, questions of what G. Genette calls narrative "duration."3
{"title":"Chronology and Anachrony in Ovid's Story of Scylla (Metamorphoses 13.730-14.74)","authors":"M. Musgrove","doi":"10.1353/SYL.1998.0003","DOIUrl":"https://doi.org/10.1353/SYL.1998.0003","url":null,"abstract":"The tale of Scylla in Metamorphoses Books 13 and 14 and the stories which branch off from it are a well-known case of Ovid's tendency to digress from his so-called main storyünes. As Aeneas approaches the region of Scylla and Charybdis, Ovid tells the readers about Scylla's history, and within this history tells several other episodes.1 The problem of die relationship between frame and inset stories is complicated by Ovid's wide use of internal narrators, sometimes on several levels of subordination,2 and by his habit of interrupting one story with a seemingly unrelated one, especially during long continuous episodes, such as that of Aeneas. The Scylla story raises questions about Ovid's pacing of his episodes and of his shrinking of some of his inherited material, questions of what G. Genette calls narrative \"duration.\"3","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131646425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maecenas as discoverer and supporter of the literary luminaries of his day achieved a name virtually synonymous with patronage. Less well known, however, even to many students of Augustan literature is Maecenas, prose stylist and poet. Explicably, the obscurity ofhis reputation as a writer is due in large part to the failure ofmost of his writing to survive, but fortunately the handful of fragments still extant is enough to afford an intriguing glimpse into one of the most colorful and contradictory figures of the Augustan Age.1 Though scanty, the nine fragments of prose and eight of poetry provide a coherent picture ofMaecenas' literary output, and several are of importance to students of Vergil and Horace because they reveal the mutual influence from patron to poet and poet to patron. Furthermore, interesting as the fragments are in themselves, they are also valuable for the judgments passed upon them by Maecenas' own contemporaries and by ancient literary critics. Thus, the comments of contemporaries like Agrippa, Horace, and Augustus and the considered judgments of Seneca, Quintilian, and Tacitus form a significant page in the history of Roman literary criticism. This paper, besides aiming to provide an introduction to the fragments of Maecenas, will also suggest that many ofthe quotations, though dissected by grammarians and philologists into their syntactical and lexical components, stand in need of further illumination as to their tone and purpose. It will be argued that Maecenas' language, admittedly vexing and obscure, is in the main such because of the author's intentional efforts at humor and, in several instances, at self-parody. The fragments themselves and the testimonia of commentators attest that Maecenas worked in a number of genres both in prose and in verse. In these
{"title":"Iocosus Maecenas: Patron As Writer","authors":"John F. Makowski","doi":"10.1353/SYL.1992.0006","DOIUrl":"https://doi.org/10.1353/SYL.1992.0006","url":null,"abstract":"Maecenas as discoverer and supporter of the literary luminaries of his day achieved a name virtually synonymous with patronage. Less well known, however, even to many students of Augustan literature is Maecenas, prose stylist and poet. Explicably, the obscurity ofhis reputation as a writer is due in large part to the failure ofmost of his writing to survive, but fortunately the handful of fragments still extant is enough to afford an intriguing glimpse into one of the most colorful and contradictory figures of the Augustan Age.1 Though scanty, the nine fragments of prose and eight of poetry provide a coherent picture ofMaecenas' literary output, and several are of importance to students of Vergil and Horace because they reveal the mutual influence from patron to poet and poet to patron. Furthermore, interesting as the fragments are in themselves, they are also valuable for the judgments passed upon them by Maecenas' own contemporaries and by ancient literary critics. Thus, the comments of contemporaries like Agrippa, Horace, and Augustus and the considered judgments of Seneca, Quintilian, and Tacitus form a significant page in the history of Roman literary criticism. This paper, besides aiming to provide an introduction to the fragments of Maecenas, will also suggest that many ofthe quotations, though dissected by grammarians and philologists into their syntactical and lexical components, stand in need of further illumination as to their tone and purpose. It will be argued that Maecenas' language, admittedly vexing and obscure, is in the main such because of the author's intentional efforts at humor and, in several instances, at self-parody. The fragments themselves and the testimonia of commentators attest that Maecenas worked in a number of genres both in prose and in verse. In these","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128050857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Intellect and Common Sense in Aristotle's De Anima III.7","authors":"J. Finamore","doi":"10.1353/SYL.1989.0005","DOIUrl":"https://doi.org/10.1353/SYL.1989.0005","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128123086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Towards the end of Euripides’ play The Children of Heracles (Heraclidae), the Argive ruler Eurystheus, once persecutor of Heracles’ children and now himself a captive, is led on stage. After defending his conduct in an exchange with the vengeful Alcmene, he expresses his willingness to die. He will not entreat Athens to block his impending execution, but rather accepts his fate and makes a promise to the chorus of Athenian citizens (The Children of Heracles 1030–37):1
{"title":"ϵὔνους καὶ πóλϵι σωτήριος / μϵ́τοικος: Metics, Tragedy, and Civic Ideology","authors":"Geoff Bakewell","doi":"10.1353/SYL.1999.0000","DOIUrl":"https://doi.org/10.1353/SYL.1999.0000","url":null,"abstract":"Towards the end of Euripides’ play The Children of Heracles (Heraclidae), the Argive ruler Eurystheus, once persecutor of Heracles’ children and now himself a captive, is led on stage. After defending his conduct in an exchange with the vengeful Alcmene, he expresses his willingness to die. He will not entreat Athens to block his impending execution, but rather accepts his fate and makes a promise to the chorus of Athenian citizens (The Children of Heracles 1030–37):1","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132761353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1 My text of Horace is quoted from Horatius, Opera, ed. F. Klingner, 3rd ed. (Leipzig 1959), translation from G. Williams, The Third Book ofHorace's Odes (Oxford 1969). Except as noted, other translations are my own. I offer no general interpretation of the Ode because I find myself in overall agreement with J.S. Clay's recent article ÇProvidus Auspex: Horace, Ode 3.27," CJ 88.2 [1992/1993] 167-77), in which she argues that Galatea is not an ex-lover of Horace, but a "young girl on the brink of womanhood," and her voyage "a metaphorical voyage into adulthood" (177). On Clay's interpretation, the warning in these lines is far from serious, and rather teasingly than threateningly vivid. However, I mention this only here since my main point is not affected by acceptance or rejection of her interpretation, except insofar as it makes the reference of 21-24 more vivid and thus more hyperbolic, which perhaps better fits a teasing warning than a serious curse.
{"title":"Seneca, St. Paul, Synesius, and the Text of the Europa Ode","authors":"M. Hendry","doi":"10.1353/SYL.1994.0008","DOIUrl":"https://doi.org/10.1353/SYL.1994.0008","url":null,"abstract":"1 My text of Horace is quoted from Horatius, Opera, ed. F. Klingner, 3rd ed. (Leipzig 1959), translation from G. Williams, The Third Book ofHorace's Odes (Oxford 1969). Except as noted, other translations are my own. I offer no general interpretation of the Ode because I find myself in overall agreement with J.S. Clay's recent article ÇProvidus Auspex: Horace, Ode 3.27,\" CJ 88.2 [1992/1993] 167-77), in which she argues that Galatea is not an ex-lover of Horace, but a \"young girl on the brink of womanhood,\" and her voyage \"a metaphorical voyage into adulthood\" (177). On Clay's interpretation, the warning in these lines is far from serious, and rather teasingly than threateningly vivid. However, I mention this only here since my main point is not affected by acceptance or rejection of her interpretation, except insofar as it makes the reference of 21-24 more vivid and thus more hyperbolic, which perhaps better fits a teasing warning than a serious curse.","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133771959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The First and Last of Catullus","authors":"H. Dettmer","doi":"10.1353/SYL.1994.0003","DOIUrl":"https://doi.org/10.1353/SYL.1994.0003","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133106594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After the Persian, Greek, and Roman conquests of Lydia, a separate Lydian culture and language gradually disappeared under the influence of the kind of socioeconomic and sociolinguistic forces that have more recently reduced the diversity of the world’s cultures and languages. There is evidence, however, that a convergence between Greek and Anatolian (particularly Lydian) cultures stretched back into the Bronze Age. This kind of convergence would explain Herodotus’ remarkable statement that Greeks and Lydians follow much the same customs.
{"title":"Greek and Lydian Evidence of Diversity, Erasure, and Convergence in Western Asia Minor","authors":"J. Kearns","doi":"10.1353/SYL.2003.0010","DOIUrl":"https://doi.org/10.1353/SYL.2003.0010","url":null,"abstract":"After the Persian, Greek, and Roman conquests of Lydia, a separate Lydian culture and language gradually disappeared under the influence of the kind of socioeconomic and sociolinguistic forces that have more recently reduced the diversity of the world’s cultures and languages. There is evidence, however, that a convergence between Greek and Anatolian (particularly Lydian) cultures stretched back into the Bronze Age. This kind of convergence would explain Herodotus’ remarkable statement that Greeks and Lydians follow much the same customs.","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132895208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although beer was a common beverage in practically all ancient societies, the wine-drinking Greeks and Romans mysteriously excluded it from their diet. It is too simplistic to state that they simply disliked the drink, since those who ventured to try some beer did not necessarily find it so distasteful. Rather, the very fact that beer was the beverage of others was enough to condemn it.
{"title":"The Cultural Construction of Beer Among Greeks and Romans","authors":"Max Nelson","doi":"10.1353/SYL.2003.0005","DOIUrl":"https://doi.org/10.1353/SYL.2003.0005","url":null,"abstract":"Although beer was a common beverage in practically all ancient societies, the wine-drinking Greeks and Romans mysteriously excluded it from their diet. It is too simplistic to state that they simply disliked the drink, since those who ventured to try some beer did not necessarily find it so distasteful. Rather, the very fact that beer was the beverage of others was enough to condemn it.","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122294783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Performing Ideology: Classicism, Modernity, and Social Context An APA / Camp Three-Year Colloquium","authors":"G. Manuwald, H. Marshall","doi":"10.1353/syl.2008.0006","DOIUrl":"https://doi.org/10.1353/syl.2008.0006","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114810410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the third of his "Lettres à M. de Genonville" (1719), Voltaire discussed several "fautes de vraisemblance" that he found in Sophocles' Oedipus Tyrannus. One of the worst was Oedipus' failure to make any connection between what Teiresias tells him and what he himself has earlier heard fromApollo. Voltaire's criticism, reaffirmed or challenged again and again up to the present, has dominated discussion of the Teiresias scene. In all of this discussion, so far as I know, the principle of verisimilitude has remained intact. But much in the scene suggests that this principle was not the correct one in the first place. The opening
{"title":"The Teiresias Scene in Sophocles' Oedipus Tyrannus","authors":"L. Edmunds","doi":"10.1353/SYL.2000.0004","DOIUrl":"https://doi.org/10.1353/SYL.2000.0004","url":null,"abstract":"In the third of his \"Lettres à M. de Genonville\" (1719), Voltaire discussed several \"fautes de vraisemblance\" that he found in Sophocles' Oedipus Tyrannus. One of the worst was Oedipus' failure to make any connection between what Teiresias tells him and what he himself has earlier heard fromApollo. Voltaire's criticism, reaffirmed or challenged again and again up to the present, has dominated discussion of the Teiresias scene. In all of this discussion, so far as I know, the principle of verisimilitude has remained intact. But much in the scene suggests that this principle was not the correct one in the first place. The opening","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115927510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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