Abstract This article argues that the episode in Il. 24.552–658 involving Achilles and Priam brings out the hero’s ability to control his emotions – even if he did lose them momentarily – by means of his calculation of what will come next. This interpretation fits the compositional structure of the epic, whose closure is highlighted by the hero’s dramatized emotions in his encounter with the Trojan king.
{"title":"The Dramatization of Emotions in Iliad 24.552–658","authors":"Ruobing Xian","doi":"10.1515/phil-2020-0105","DOIUrl":"https://doi.org/10.1515/phil-2020-0105","url":null,"abstract":"Abstract This article argues that the episode in Il. 24.552–658 involving Achilles and Priam brings out the hero’s ability to control his emotions – even if he did lose them momentarily – by means of his calculation of what will come next. This interpretation fits the compositional structure of the epic, whose closure is highlighted by the hero’s dramatized emotions in his encounter with the Trojan king.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"47 1","pages":"181 - 196"},"PeriodicalIF":0.1,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88353056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ps.-Zonaras’ Lexicon has not received much critical attention. The following observations are intended to make sense of some textual oddities and to identify the sources of a handful of enigmatic entries. These notes are based on the only available edition of this work by Johann August Heinrich Tittmann, which was published over two centuries ago. At the outset it must be noted that in Tittmann’s edition text marked by cruces (†–†) indicates that it is found in only one of the three manuscripts which Tittmann used for the preparation of his edition, the apographon Kulenkampianum (K). This was a thirteenth-century manuscript collated by Lüder Kulenkamp; unfortunately, it has since been lost.
附言:佐纳拉斯的《词典》并没有受到太多批评。下面的观察是为了理解一些文本的奇怪之处，并确定一些神秘条目的来源。这些笔记是基于约翰·奥古斯特·海因里希·蒂特曼(Johann August Heinrich Tittmann)唯一可用的版本，该版本出版于两个多世纪前。首先必须指出的是，在提特曼的版本中，用十字记号(†-†)标记的文本表明，它只存在于提特曼用于准备他的版本的三份手稿中的一份，即库伦坎皮亚姆(K)的apographon Kulenkampianum (K)。这是一份由l der Kulenkamp整理的十三世纪手稿;不幸的是，它已经丢失了。
{"title":"Some Observations on the Text of Ps.-Zonaras","authors":"Konstantine Panegyres","doi":"10.1515/phil-2018-0038","DOIUrl":"https://doi.org/10.1515/phil-2018-0038","url":null,"abstract":"Ps.-Zonaras’ Lexicon has not received much critical attention. The following observations are intended to make sense of some textual oddities and to identify the sources of a handful of enigmatic entries. These notes are based on the only available edition of this work by Johann August Heinrich Tittmann, which was published over two centuries ago. At the outset it must be noted that in Tittmann’s edition text marked by cruces (†–†) indicates that it is found in only one of the three manuscripts which Tittmann used for the preparation of his edition, the apographon Kulenkampianum (K). This was a thirteenth-century manuscript collated by Lüder Kulenkamp; unfortunately, it has since been lost.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"113 1","pages":"177 - 180"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86791804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Scholars often assume that Old Comedies based on mythological stories differed from other Old Comedies primarily by their mythological plot material, and that therefore they shared the structural features of the surviving plays of Aristophanes. I show that the evidence may instead indicate that these Old Comedies did not as a rule have a parabasis or an agon. The structure of mythological Old Comedy could then have resembled the satyr play more closely than Aristophanic Old Comedy, meaning genre did not necessarily determine form.
{"title":"The Structure of Mythological Old Comedy","authors":"Loren D. Marsh","doi":"10.1515/phil-2018-0023","DOIUrl":"https://doi.org/10.1515/phil-2018-0023","url":null,"abstract":"Abstract Scholars often assume that Old Comedies based on mythological stories differed from other Old Comedies primarily by their mythological plot material, and that therefore they shared the structural features of the surviving plays of Aristophanes. I show that the evidence may instead indicate that these Old Comedies did not as a rule have a parabasis or an agon. The structure of mythological Old Comedy could then have resembled the satyr play more closely than Aristophanic Old Comedy, meaning genre did not necessarily determine form.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"4 1","pages":"14 - 38"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78727035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract A brief scholion allusion to a “Selenite” community in Arcadia raises a question concerning this epithet and its meaning on the background of similar expressions denoting extreme antiquity. The better known term associated with the Arcadians is Proselēnoi, namely, pre-lunar, people who preceded the moon. This term is examined through several options of understanding. At the core of this analysis stands the Classical tendency to highly appreciate early periods of time and early peoples. This opens up a discussion of autochthony and the concept of extreme antiquity, particularly associated with Arcadia. The result is an etymologically based mythographic study centred on the Arcadians’ existence in relation to the first appearance of the moon. The conclusion offers a new interpretation of a neglected term.
{"title":"A Lunar People: The Meaning of an Arcadian Epithet, or, Who is the Most Ancient of Them All?","authors":"D. Dueck","doi":"10.1515/phil-2020-0101","DOIUrl":"https://doi.org/10.1515/phil-2020-0101","url":null,"abstract":"Abstract A brief scholion allusion to a “Selenite” community in Arcadia raises a question concerning this epithet and its meaning on the background of similar expressions denoting extreme antiquity. The better known term associated with the Arcadians is Proselēnoi, namely, pre-lunar, people who preceded the moon. This term is examined through several options of understanding. At the core of this analysis stands the Classical tendency to highly appreciate early periods of time and early peoples. This opens up a discussion of autochthony and the concept of extreme antiquity, particularly associated with Arcadia. The result is an etymologically based mythographic study centred on the Arcadians’ existence in relation to the first appearance of the moon. The conclusion offers a new interpretation of a neglected term.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"16 1","pages":"133 - 147"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77520335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract At Aeschylus Agamemnon 985 the manuscript reading ψαμμίας ἀκάτα is corrupt, giving neither meter nor sense. Wilamowitz’ conjecture ψάμμος ἄμπτα has met with some editorial approval, but its sense is dubious and should be rejected. I propose instead ψάλλον ἀκταῖς, “they were plucking on the shore”, referring to the performance of a paean on the lyre by the Greek fleet departing for, or, less likely, arriving at, Troy. The fleet’s departure would be an appropriate time for the soldiers to perform a paean, for which the lyre was a common accompaniment. Plucking a lyre without strumming, however, as ψάλλον implies, seems to have been a less common performance technique, sometimes culturally marked as ‘Asian’. While there is evidence that a paean with plucked accompaniment might have seemed unexceptional to a Greek audience, if Aeschylus did intend an Asian connotation, I suggest that the Chorus, having just witnessed Agamemnon tread on the purple cloths, would thereby portray the Greek army as already tainted by tryphe on their departure for Troy. Whether ‘Greek’ or ‘Trojan’, the conjectured army’s paean would form an effective counterpoint to the lyre-less threnos in the Chorus’ heart that dominates the ode.
《埃斯库罗斯·阿伽门农》(985)手稿中所读的ψαμμ末梢ας ο κ τα是腐败的，既无韵律又无意义。Wilamowitz的猜想 μμος (ς μπτα)得到了一些编辑的认可，但它的意义是可疑的，应该被拒绝。我建议用“他们在岸上拔琴弦”来代替，意为“他们在岸上拔琴弦”，指的是希腊舰队出发前往特洛伊，或者不太可能到达特洛伊的时候，用七弦琴演奏的赞歌。舰队出发的时候，正是士兵们唱赞歌的好时机，而在这首赞歌中，竖琴是常用的伴奏乐器。然而，正如 λον所暗示的那样，不弹就弹拨七弦琴似乎是一种不太常见的演奏技巧，有时在文化上被标记为“亚洲人”。虽然有证据表明，有弹拨伴奏的赞歌对希腊观众来说可能并不罕见，但如果埃斯库罗斯确实想要有亚洲的含义，我认为，合唱团刚刚目睹了阿伽门农踩在紫布上，因此会把希腊军队描绘成已经被特菲斯玷污的，正要启程前往特洛伊。无论是“希腊的”还是“特洛伊的”，推测中的军队的赞歌都将形成一个有效的对应物，以取代主导颂歌的合唱核心中没有七弦琴的三重奏。
{"title":"A Conjecture on Aeschylus Agamemnon 985","authors":"Brett Evans","doi":"10.1515/phil-2018-0044","DOIUrl":"https://doi.org/10.1515/phil-2018-0044","url":null,"abstract":"Abstract At Aeschylus Agamemnon 985 the manuscript reading ψαμμίας ἀκάτα is corrupt, giving neither meter nor sense. Wilamowitz’ conjecture ψάμμος ἄμπτα has met with some editorial approval, but its sense is dubious and should be rejected. I propose instead ψάλλον ἀκταῖς, “they were plucking on the shore”, referring to the performance of a paean on the lyre by the Greek fleet departing for, or, less likely, arriving at, Troy. The fleet’s departure would be an appropriate time for the soldiers to perform a paean, for which the lyre was a common accompaniment. Plucking a lyre without strumming, however, as ψάλλον implies, seems to have been a less common performance technique, sometimes culturally marked as ‘Asian’. While there is evidence that a paean with plucked accompaniment might have seemed unexceptional to a Greek audience, if Aeschylus did intend an Asian connotation, I suggest that the Chorus, having just witnessed Agamemnon tread on the purple cloths, would thereby portray the Greek army as already tainted by tryphe on their departure for Troy. Whether ‘Greek’ or ‘Trojan’, the conjectured army’s paean would form an effective counterpoint to the lyre-less threnos in the Chorus’ heart that dominates the ode.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"54 1","pages":"2 - 13"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87998468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The comparison by which the Chorus of Satyrs in Euripides’ Cyclops 469–471 illustrates its wish to participate in the blinding of the Cyclops is regarded as difficult in research on the play, due to the ambiguous expression ὥσπερ ἐκ σπονδῆς θεοῦ (469). There is no consensus either on the question of how the reference to libation is to be understood, nor on whether the transmitted phrasing is correct at all. In the present paper I attempt to show that doubts over the transmission are unfounded and that attempts to refer the comparison not to libation but to the ritual use of water for handwashing at sacrifice are not persuasive. Rather, Euripides in this passage is engaging with the theme of libation on several levels of meaning: when we pay close attention to the context, cult-specific associations and literary applications of libation as a motif in Homer and Aristophanes, the words of the satyrs can be read, firstly, as a metaphorical reference to the two main actions in Odysseus’ plan for revenge, and secondly as a subtle allusion to the use of libation and spit-roasting in sacrificial ritual.
摘要欧里庇得斯的《独眼神》第469 - 471篇中，萨提尔斯合唱团表达了参与独眼神失明的愿望，这一对比是研究该剧作的难点，因为其表达方式较为模糊，即“σπερ ο κ σπο ο δ ο ς θεο ς”(469)。对于如何理解对祭奠的提及，以及传递的措辞是否正确，都没有达成共识。在本文中，我试图表明，对传播的怀疑是没有根据的，并且试图将这种比较不与祭典相比，而是与祭祀时用水洗手的仪式相比，是没有说服力的。更确切地说，欧里庇德斯在这一段中是在几个层面上参与了祭奠的主题:当我们密切关注上下文，特定的宗教联系和文学应用，把祭奠作为荷马和阿里斯托芬的主题时，萨提亚的话语可以被解读，首先，作为奥德修斯复仇计划中两个主要行动的隐喻，其次，作为在祭祀仪式中使用祭奠和烤吐的微妙暗示。
{"title":"Die „Libation des Gottes“ und die Blendung des Kyklopen – Überlegungen zu Euripides’ Kyklops 469–471","authors":"Sebastian Zerhoch","doi":"10.1515/phil-2018-0024","DOIUrl":"https://doi.org/10.1515/phil-2018-0024","url":null,"abstract":"Abstract The comparison by which the Chorus of Satyrs in Euripides’ Cyclops 469–471 illustrates its wish to participate in the blinding of the Cyclops is regarded as difficult in research on the play, due to the ambiguous expression ὥσπερ ἐκ σπονδῆς θεοῦ (469). There is no consensus either on the question of how the reference to libation is to be understood, nor on whether the transmitted phrasing is correct at all. In the present paper I attempt to show that doubts over the transmission are unfounded and that attempts to refer the comparison not to libation but to the ritual use of water for handwashing at sacrifice are not persuasive. Rather, Euripides in this passage is engaging with the theme of libation on several levels of meaning: when we pay close attention to the context, cult-specific associations and literary applications of libation as a motif in Homer and Aristophanes, the words of the satyrs can be read, firstly, as a metaphorical reference to the two main actions in Odysseus’ plan for revenge, and secondly as a subtle allusion to the use of libation and spit-roasting in sacrificial ritual.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"17 1","pages":"39 - 65"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90127120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper analyses the meaning of μύκλος in two passages of Lycophron’s Alexandra (771 and 816). The thorough study of the contexts shows that the most likely interpretation of the word in both verses is “donkey”: μύκλοις γυναικοκλῶψιν “woman-stealing donkeys” (771) and τὸν ἐργάτην μύκλον “the hard-working donkey” (816). The definition “lewd” of ancient scholia, assumed by modern lexica and scholars, is nothing but an ad hoc explanation of the former passage which does not suit the latter. After refuting previous etymologies, I contend that μύκλος is originally a deverbative adjective in *‑lo‑ built on the onomatopoetic aorist μῠκεῖν “bellow”.
{"title":"Les ânes chez Ulysse: à propos du sens et de l’étymologie de grec ancien μύκλος (Lycophron, Alexandra 771 et 816)","authors":"Alcorac Alonso Déniz","doi":"10.1515/phil-2018-0037","DOIUrl":"https://doi.org/10.1515/phil-2018-0037","url":null,"abstract":"Abstract This paper analyses the meaning of μύκλος in two passages of Lycophron’s Alexandra (771 and 816). The thorough study of the contexts shows that the most likely interpretation of the word in both verses is “donkey”: μύκλοις γυναικοκλῶψιν “woman-stealing donkeys” (771) and τὸν ἐργάτην μύκλον “the hard-working donkey” (816). The definition “lewd” of ancient scholia, assumed by modern lexica and scholars, is nothing but an ad hoc explanation of the former passage which does not suit the latter. After refuting previous etymologies, I contend that μύκλος is originally a deverbative adjective in *‑lo‑ built on the onomatopoetic aorist μῠκεῖν “bellow”.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"1 1","pages":"107 - 132"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89025004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Much attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alternations, which suggests that generic confusion between the two major types of stylization may have played a role.
{"title":"Deictic Shifting in Greek Contractual Writing (I–IV AD)","authors":"Klaas Bentein","doi":"10.1515/phil-2020-0100","DOIUrl":"https://doi.org/10.1515/phil-2020-0100","url":null,"abstract":"Abstract Much attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alternations, which suggests that generic confusion between the two major types of stylization may have played a role.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"5 1","pages":"83 - 106"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74337671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Although bees are a frequent motif in ancient literature, the people who work with bees are often left in the background. An exception is the motif of the older man on his – usually small – farm who lives from and with his bees. The article shows that this motif is a topos that appears in various texts of Greek and Latin literature of the imperial period. Depending on the intention behind these representations, different elements of the motif may be emphasised or omitted. These variations, and how the motif develops, are here shown through the example of different passages.
{"title":"The Old Man and the Bee – Zur Entwicklung eines literarischen Motivs","authors":"Dominik Berrens","doi":"10.1515/phil-2020-0104","DOIUrl":"https://doi.org/10.1515/phil-2020-0104","url":null,"abstract":"Abstract Although bees are a frequent motif in ancient literature, the people who work with bees are often left in the background. An exception is the motif of the older man on his – usually small – farm who lives from and with his bees. The article shows that this motif is a topos that appears in various texts of Greek and Latin literature of the imperial period. Depending on the intention behind these representations, different elements of the motif may be emphasised or omitted. These variations, and how the motif develops, are here shown through the example of different passages.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"57 1","pages":"148 - 176"},"PeriodicalIF":0.1,"publicationDate":"2020-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75647432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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