Looking at us from all sides, you'll find that in our character and lifestyle we're in all respects most like wasps. First, no creature is more sharp-tempered than we are when irritated, or more cantankerous. Then again, we engineer everything else just like wasps: we gather in swarms as if into nests, some of us judging in the archon's court, some before the Eleven, and some in the Odeum, packed in tight against the walls like this, hunched toward the ground and hardly moving, like grubs in their cells. We're very resourceful in making a living, too: we sting everybody and so provide our daily bread.
{"title":"THE WASPS DANCE, THE WASPS SING","authors":"Page Dubois","doi":"10.1017/rmu.2020.9","DOIUrl":"https://doi.org/10.1017/rmu.2020.9","url":null,"abstract":"Looking at us from all sides, you'll find that in our character and lifestyle we're in all respects most like wasps. First, no creature is more sharp-tempered than we are when irritated, or more cantankerous. Then again, we engineer everything else just like wasps: we gather in swarms as if into nests, some of us judging in the archon's court, some before the Eleven, and some in the Odeum, packed in tight against the walls like this, hunched toward the ground and hardly moving, like grubs in their cells. We're very resourceful in making a living, too: we sting everybody and so provide our daily bread.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"79 1","pages":"155 - 173"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89377858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While it is dangerous to generalize about so vast a field as Homeric scholarship, it is perhaps safe to say that before the 1970s interpretation of the Wanderings of Odysseus was dominated by the larger question of the Odyssey’s moral and theological coherence, particularly as this pertains to the justice of Odysseus’ and his companions’ sufferings. The controversy between Analysts and Unitarians did much to determine how this question was asked and answered, with Analysts viewing moral incoherence as a symptom of multiple authorship and Unitarians striving to demonstrate coherence. First-generation anthropology introduced the idea that incoherence might reflect not (only) different authors, but (also) different stages of cultural development. This development was conceived mainly as an advance from primitive ‘savagery’ to more enlightened ‘humanity’, albeit with a tinge of nostalgia for savagery's more holistic ecological consciousness.
{"title":"SPECULATIVE FICTION, ECOCRITICISM, AND THE WANDERINGS OF ODYSSEUS","authors":"Samuel. Cooper","doi":"10.1017/rmu.2019.13","DOIUrl":"https://doi.org/10.1017/rmu.2019.13","url":null,"abstract":"While it is dangerous to generalize about so vast a field as Homeric scholarship, it is perhaps safe to say that before the 1970s interpretation of the Wanderings of Odysseus was dominated by the larger question of the Odyssey’s moral and theological coherence, particularly as this pertains to the justice of Odysseus’ and his companions’ sufferings. The controversy between Analysts and Unitarians did much to determine how this question was asked and answered, with Analysts viewing moral incoherence as a symptom of multiple authorship and Unitarians striving to demonstrate coherence. First-generation anthropology introduced the idea that incoherence might reflect not (only) different authors, but (also) different stages of cultural development. This development was conceived mainly as an advance from primitive ‘savagery’ to more enlightened ‘humanity’, albeit with a tinge of nostalgia for savagery's more holistic ecological consciousness.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"17 1","pages":"95 - 126"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87820836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Plato's Gorgias might as well have been named On Shame. The word appears sixty-nine times in the course of the dialogue with a lion's share of references to shame being made by Socrates’ character. Callicles comes in second in his use of the term. Cairns notes that in the corpus of the lyric poet Theognis of Megara (sixth century BC) we have ‘the first instance of the noun aischunē.’ Cairns goes on to comment on Theognis’ use of αἰσχύνη and says that ‘[h]ere it appears in the objective sense, but later it will also be found in a subjective sense, as the reaction to or mental picture of disgrace and so as equivalent of aidōs.’ Although it is important to differentiate αἰσχύνη and αἰδώς, the terms, as Cairns suggests, are capable of expressing interchangeable meanings. Hence, in our comparative study of shame in the Gorgias and in the Clouds, we pay close attention to and examine the context in which a given term appears. The central role that shame plays in the Gorgias is the subject matter of analyses by Race, Bensen Cain, McKim, and Dodds. Race is confident that ‘of all the motifs running through the work, the most insistent is that of shame, for the word aischyne (along with verbal forms of aischynomai and the adjective aischros) occurs over 75 times.’ In line with the view that shame is central in the Gorgias, we offer a further contribution, which focuses on the affinity between the treatment of shame in that dialogue and in Aristophanes’ Clouds. We argue that either the ostensible subject of the Gorgias, which is usually identified as rhetoric, is not the dialogue's true concern or the explicit subject matter cannot be understood without its accompanying element, which is shame. To support this thesis, we undertake a comparative analysis of the thematic, heuristic, and conceptual use of shame in the Gorgias in view of Aristophanes’ play. We argue that the characters in the Clouds portray the same perennial attitudes to life as do the interlocutors in the Gorgias and, what is more, the characters in both works evoke with more than incidental clarity certain historical figures (Alcibiades and Pericles). Thus, both works, as we claim, are commenting on and, even though the Clouds is a comedy, serve as the ground for our philosophical reflection on the political, educational, and cultural ideals of ancient Greece. Moreover, the Clouds makes light of, instead of endorsing, such distinctions as shameful/laudable, natural/conventional, old/new, education/didacticism, and moral/prudish. We draw on the humor of the Clouds, which allows us to withhold immediate judgment about these dichotomies in order to then examine these same notions which are problematized in the Gorgias.
{"title":"PLATO AND ARISTOPHANES ON (WANT OF) EDUCATION: SHAME AND EROS IN THE GORGIAS AND IN THE CLOUDS","authors":"M. Marren","doi":"10.1017/rmu.2019.14","DOIUrl":"https://doi.org/10.1017/rmu.2019.14","url":null,"abstract":"Plato's Gorgias might as well have been named On Shame. The word appears sixty-nine times in the course of the dialogue with a lion's share of references to shame being made by Socrates’ character. Callicles comes in second in his use of the term. Cairns notes that in the corpus of the lyric poet Theognis of Megara (sixth century BC) we have ‘the first instance of the noun aischunē.’ Cairns goes on to comment on Theognis’ use of αἰσχύνη and says that ‘[h]ere it appears in the objective sense, but later it will also be found in a subjective sense, as the reaction to or mental picture of disgrace and so as equivalent of aidōs.’ Although it is important to differentiate αἰσχύνη and αἰδώς, the terms, as Cairns suggests, are capable of expressing interchangeable meanings. Hence, in our comparative study of shame in the Gorgias and in the Clouds, we pay close attention to and examine the context in which a given term appears. The central role that shame plays in the Gorgias is the subject matter of analyses by Race, Bensen Cain, McKim, and Dodds. Race is confident that ‘of all the motifs running through the work, the most insistent is that of shame, for the word aischyne (along with verbal forms of aischynomai and the adjective aischros) occurs over 75 times.’ In line with the view that shame is central in the Gorgias, we offer a further contribution, which focuses on the affinity between the treatment of shame in that dialogue and in Aristophanes’ Clouds. We argue that either the ostensible subject of the Gorgias, which is usually identified as rhetoric, is not the dialogue's true concern or the explicit subject matter cannot be understood without its accompanying element, which is shame. To support this thesis, we undertake a comparative analysis of the thematic, heuristic, and conceptual use of shame in the Gorgias in view of Aristophanes’ play. We argue that the characters in the Clouds portray the same perennial attitudes to life as do the interlocutors in the Gorgias and, what is more, the characters in both works evoke with more than incidental clarity certain historical figures (Alcibiades and Pericles). Thus, both works, as we claim, are commenting on and, even though the Clouds is a comedy, serve as the ground for our philosophical reflection on the political, educational, and cultural ideals of ancient Greece. Moreover, the Clouds makes light of, instead of endorsing, such distinctions as shameful/laudable, natural/conventional, old/new, education/didacticism, and moral/prudish. We draw on the humor of the Clouds, which allows us to withhold immediate judgment about these dichotomies in order to then examine these same notions which are problematized in the Gorgias.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"60 1","pages":"127 - 147"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77180855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMU volume 48 issue 2 Cover and Back matter","authors":"","doi":"10.1017/rmu.2020.2","DOIUrl":"https://doi.org/10.1017/rmu.2020.2","url":null,"abstract":"","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"61 1","pages":"b1 - b2"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90732517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The lively discussion of the relationship between rhetoric and philosophy, the presentation of a theory of writing dialogues that combine elements from different genres and a dramatic frame that presents this theory in an Athenian setting as philosophical schools such as the Stoa and the Academy explain to the citizens their contributions to civic virtue make the Twice Accused not only one of the most important dialogues for understanding Lucian's project but also one of the most important literary treatments of the reception of philosophy in Athens and the status of philosophy in the Imperial period. Because many of the philosophical elements Lucian uses to create his drama—common arguments, well-known attitudes and standard portraits—are conventional, the creativity and originality of the work consists in the combination of these elements and juxtaposition of different scenes and frames; understanding each scene and its significance depends on establishing its relationship to other scenes. This paper will examine the role the Twice Accused plays as part of a trilogy of dialogues together with the Sale of Lives and the Fisherman; the trilogy presents a reflection on the introduction of philosophy and a progressive analysis of the attitudes between citizens and philosophers in the Athenian civic context. Considering the three as a trilogy not only reveals a central tragic intertext but also illuminates the way that the methodological statement at the end of the Twice Accused completes the schema connecting attitudes towards the philosophical tradition to Athenian topography by moderating the extremes of the previous two dialogues and explaining the role of philosophical writing as a mediating force between the demands of philosophy and the needs of the larger civic community.
{"title":"PHILOSOPHERS AND CITIZENS ON THE AREOPAGUS: LUCIAN'S PROSE TRILOGY","authors":"D. Pass","doi":"10.1017/rmu.2019.17","DOIUrl":"https://doi.org/10.1017/rmu.2019.17","url":null,"abstract":"The lively discussion of the relationship between rhetoric and philosophy, the presentation of a theory of writing dialogues that combine elements from different genres and a dramatic frame that presents this theory in an Athenian setting as philosophical schools such as the Stoa and the Academy explain to the citizens their contributions to civic virtue make the Twice Accused not only one of the most important dialogues for understanding Lucian's project but also one of the most important literary treatments of the reception of philosophy in Athens and the status of philosophy in the Imperial period. Because many of the philosophical elements Lucian uses to create his drama—common arguments, well-known attitudes and standard portraits—are conventional, the creativity and originality of the work consists in the combination of these elements and juxtaposition of different scenes and frames; understanding each scene and its significance depends on establishing its relationship to other scenes. This paper will examine the role the Twice Accused plays as part of a trilogy of dialogues together with the Sale of Lives and the Fisherman; the trilogy presents a reflection on the introduction of philosophy and a progressive analysis of the attitudes between citizens and philosophers in the Athenian civic context. Considering the three as a trilogy not only reveals a central tragic intertext but also illuminates the way that the methodological statement at the end of the Twice Accused completes the schema connecting attitudes towards the philosophical tradition to Athenian topography by moderating the extremes of the previous two dialogues and explaining the role of philosophical writing as a mediating force between the demands of philosophy and the needs of the larger civic community.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"18 1","pages":"198 - 222"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91145695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 167 BCE, L. Aemilius Paullus celebrated a triumph in Rome following the defeat of King Perseus of Macedon at the Battle of Pydna in the previous year. All of the accounts of the procession enumerate the incredible volume of booty that was paraded into Rome—wagons loaded with shields, weapons, statues of gods and men, golden bowls, livestock, luxury goods. Perseus himself, the defeated king, marched in this procession, as did his two sons and a daughter. Plutarch writes that ‘the children of Perseus were led along as slaves’: τὰ τέκνα τοῦ βασιλέως ἤγετο δοῦλα (Aem. 33.6), and that they were accompanied by their tutors who wept, taught the royal children to beg, and stretched out their hands to the Romans, who are here called ‘spectators’ (θεατάς, ib.). Perseus himself comes next, dressed in the black of mourning. Plutarch goes on to give a psychological picture of Perseus—he is dumbstruck and gaping, unable to process how his life had been turned upside down (34.1). Because Perseus could not face suicide, Plutarch says, ‘he converted himself into part of his own spoil’ (34.2).
{"title":"STAGING ROMAN SLAVERY IN THE SECOND CENTURY BCE","authors":"Hannah Čulík-Baird","doi":"10.1017/rmu.2019.16","DOIUrl":"https://doi.org/10.1017/rmu.2019.16","url":null,"abstract":"In 167 BCE, L. Aemilius Paullus celebrated a triumph in Rome following the defeat of King Perseus of Macedon at the Battle of Pydna in the previous year. All of the accounts of the procession enumerate the incredible volume of booty that was paraded into Rome—wagons loaded with shields, weapons, statues of gods and men, golden bowls, livestock, luxury goods. Perseus himself, the defeated king, marched in this procession, as did his two sons and a daughter. Plutarch writes that ‘the children of Perseus were led along as slaves’: τὰ τέκνα τοῦ βασιλέως ἤγετο δοῦλα (Aem. 33.6), and that they were accompanied by their tutors who wept, taught the royal children to beg, and stretched out their hands to the Romans, who are here called ‘spectators’ (θεατάς, ib.). Perseus himself comes next, dressed in the black of mourning. Plutarch goes on to give a psychological picture of Perseus—he is dumbstruck and gaping, unable to process how his life had been turned upside down (34.1). Because Perseus could not face suicide, Plutarch says, ‘he converted himself into part of his own spoil’ (34.2).","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"162 1","pages":"174 - 197"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77209960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At some point in the early second century CE Suetonius set out to compose biographies of important Roman literary figures. The largest surviving section of this work—known as the De Grammaticis et Rhetoribus—opens with what is generally considered an account of the early beginnings of philology in Rome.
公元二世纪初，苏托尼乌斯开始为重要的罗马文学人物撰写传记。《语法与修辞学》(De Grammaticis et rhetoribus)是这部著作中现存最大的部分，它的开篇通常被认为是对罗马文献学早期起源的描述。
{"title":"TRACES OF PHILOLOGY IN MID-REPUBLICAN LATIN POETRY","authors":"Enrica Sciarrino","doi":"10.1017/rmu.2019.15","DOIUrl":"https://doi.org/10.1017/rmu.2019.15","url":null,"abstract":"At some point in the early second century CE Suetonius set out to compose biographies of important Roman literary figures. The largest surviving section of this work—known as the De Grammaticis et Rhetoribus—opens with what is generally considered an account of the early beginnings of philology in Rome.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"89 1","pages":"148 - 173"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90998127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This year marks the centenary of the birth of Iris Murdoch (1919–99). She has been celebrated as one of Britain's most important postwar writers with twenty-six prose fiction novels to her name. Murdoch was also an ancient philosopher who was primarily interested in issues of moral philosophy. Pinning down her place in the Anglo-American analytic tradition of philosophy, however, is not a straightforward task. On the one hand she cut a conventional figure, holding a tutorial fellowship at St Anne's College, Oxford, from 1948 to 1963. On the other hand, her philosophical writing increasingly departed from the coordinates of analytical philosophy. As Martha Nussbaum notes in her deeply ambivalent review of Murdoch's The Fire and the Sun: Why Plato Banished the Artists, Murdoch is ‘a novelist whose best work is deeply philosophical, a philosopher who has stressed…the special role that beauty can play in motivating us to know the good, …a Platonist believer in human perfectability, and an artist.’ Nussbaum points us towards understanding two key elements in Murdoch's thought: her commitment to Plato and the manner in which Murdoch's activity as philosopher and novelist should be considered as interdependent.
今年是默多克(Iris Murdoch, 1919 - 1999)诞辰100周年。她以26部散文小说被誉为英国战后最重要的作家之一。默多克也是一位古代哲学家，他主要对道德哲学问题感兴趣。然而，要确定她在英美哲学分析传统中的地位并非易事。一方面，从1948年到1963年，她在牛津大学圣安妮学院(St Anne’s College, Oxford)担任导师。另一方面，她的哲学写作越来越偏离分析哲学的坐标。正如玛莎·努斯鲍姆(Martha Nussbaum)在她对默多克的《火与太阳:为什么柏拉图放逐艺术家》(The Fire and The Sun: Why Plato放逐The Artists)的深刻矛盾的评论中所指出的那样，默多克是“一位小说家，他最好的作品是深刻的哲学，一位哲学家，他强调……美在激励我们认识善方面所起的特殊作用……一位柏拉图主义者，相信人类是完美的，也是一位艺术家。”努斯鲍姆指出，我们应该理解默多克思想中的两个关键因素:她对柏拉图的信仰，以及默多克作为哲学家和小说家的活动应该被视为相互依存的方式。
{"title":"‘THE AFTERMATH EXPERIENCED BEFORE’: AESCHYLEAN UNTIMELINESS AND IRIS MURDOCH'S DEFENCE OF ART","authors":"Mathura Umachandran","doi":"10.1017/rmu.2019.18","DOIUrl":"https://doi.org/10.1017/rmu.2019.18","url":null,"abstract":"This year marks the centenary of the birth of Iris Murdoch (1919–99). She has been celebrated as one of Britain's most important postwar writers with twenty-six prose fiction novels to her name. Murdoch was also an ancient philosopher who was primarily interested in issues of moral philosophy. Pinning down her place in the Anglo-American analytic tradition of philosophy, however, is not a straightforward task. On the one hand she cut a conventional figure, holding a tutorial fellowship at St Anne's College, Oxford, from 1948 to 1963. On the other hand, her philosophical writing increasingly departed from the coordinates of analytical philosophy. As Martha Nussbaum notes in her deeply ambivalent review of Murdoch's The Fire and the Sun: Why Plato Banished the Artists, Murdoch is ‘a novelist whose best work is deeply philosophical, a philosopher who has stressed…the special role that beauty can play in motivating us to know the good, …a Platonist believer in human perfectability, and an artist.’ Nussbaum points us towards understanding two key elements in Murdoch's thought: her commitment to Plato and the manner in which Murdoch's activity as philosopher and novelist should be considered as interdependent.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"158 1","pages":"223 - 247"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81729075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMU volume 48 issue 2 Cover and Front matter","authors":"","doi":"10.1017/rmu.2020.1","DOIUrl":"https://doi.org/10.1017/rmu.2020.1","url":null,"abstract":"","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"22 1","pages":"f1 - f4"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80027692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
antra procul Scyllaea petit, canibusque reductispars stupefacta silet, pars nondum exterrita latrat.(Claud. Rapt. 3.447f.) [The torch-light], farther away, reaches the cave of Scylla—her dogs drawn back,one part is silent with amazement, one part barks, still undaunted. With this climactic scene, the Latin epic poem De raptu Proserpinae by Claudius Claudianus (fl. c.400 AD) ends just as Ceres sets out to search for her lost daughter. The poem relates the myth primarily known from the Homeric Hymn to Demeter with a great deal of variations, the most crucial one being that mother and daughter, Ceres and Proserpina, are still not reunited when the poem comes to a close.
{"title":"PROSERPINA IN PIECES: CLAUDIAN ON HER RAPE","authors":"Sigrid Schottenius Cullhed","doi":"10.1017/rmu.2019.10","DOIUrl":"https://doi.org/10.1017/rmu.2019.10","url":null,"abstract":"antra procul Scyllaea petit, canibusque reductispars stupefacta silet, pars nondum exterrita latrat.(Claud. Rapt. 3.447f.) [The torch-light], farther away, reaches the cave of Scylla—her dogs drawn back,one part is silent with amazement, one part barks, still undaunted. With this climactic scene, the Latin epic poem De raptu Proserpinae by Claudius Claudianus (fl. c.400 AD) ends just as Ceres sets out to search for her lost daughter. The poem relates the myth primarily known from the Homeric Hymn to Demeter with a great deal of variations, the most crucial one being that mother and daughter, Ceres and Proserpina, are still not reunited when the poem comes to a close.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"45 1","pages":"82 - 94"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74146017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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