Abstract In this article the aurea dicta of Epicurus ( DRN 3.12) are placed in conversation with larger discourses related to apian, floral, and honey imagery. Within these literary contexts, bees and honey are often associated with morally suspect appetites, effeminacy, and potentially dangerous erotic entanglements. Lucretius, I argue, seems to allude to these risky literary valences and manipulates them for his own poetic and rhetorical ends. Honey, we discover, is much more than a sugary substance.
{"title":"Honey and the Indecency of Epicurus’ <i>aurea dicta</i> (<i>DRN</i> 3.12)","authors":"Michael Pope","doi":"10.1515/phil-2022-0051","DOIUrl":"https://doi.org/10.1515/phil-2022-0051","url":null,"abstract":"Abstract In this article the aurea dicta of Epicurus ( DRN 3.12) are placed in conversation with larger discourses related to apian, floral, and honey imagery. Within these literary contexts, bees and honey are often associated with morally suspect appetites, effeminacy, and potentially dangerous erotic entanglements. Lucretius, I argue, seems to allude to these risky literary valences and manipulates them for his own poetic and rhetorical ends. Honey, we discover, is much more than a sugary substance.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"19 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565335","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 article offers a usage study of the word φήμη throughout Herodian’s Roman History. It sets Herodian’s practice in a broader literary picture that includes other historians, but also epic and the novel, and then suggests that the extremely high frequency of φήμη in Herodian is unique among Greek-language historians and that Herodian is indebted to Latin-language historiography for this technique. The following sections examine how Herodian perceives the phenomenon of φήμη and makes it a salient feature of his historiographical strategy. The discussion shows that φήμη, regardless of its truth status, has multiple functions in Herodian’s narrative. First, it contributes to the portrayal of historical agents. Second, it is a crucial dramatic factor that signals turning points in the story and generates vividness and an atmospheric narrative. Third, it acts as a plot-driver in the story. Fourth, it has a role in the composition of the narrative by creating intratextual associations and narrative patterns. Finally, it has metanarrative ramifications, since there is a parallel between the use of φήμη by the historical agents and by Herodian himself. Overall, the analysis advances our understanding of Herodian’s narrative technique and his construction of historical truth.
{"title":"Φήμη in Herodian’s Roman History","authors":"Chrysanthos S. Chrysanthou","doi":"10.1515/phil-2023-0006","DOIUrl":"https://doi.org/10.1515/phil-2023-0006","url":null,"abstract":"Abstract This article offers a usage study of the word φήμη throughout Herodian’s Roman History. It sets Herodian’s practice in a broader literary picture that includes other historians, but also epic and the novel, and then suggests that the extremely high frequency of φήμη in Herodian is unique among Greek-language historians and that Herodian is indebted to Latin-language historiography for this technique. The following sections examine how Herodian perceives the phenomenon of φήμη and makes it a salient feature of his historiographical strategy. The discussion shows that φήμη, regardless of its truth status, has multiple functions in Herodian’s narrative. First, it contributes to the portrayal of historical agents. Second, it is a crucial dramatic factor that signals turning points in the story and generates vividness and an atmospheric narrative. Third, it acts as a plot-driver in the story. Fourth, it has a role in the composition of the narrative by creating intratextual associations and narrative patterns. Finally, it has metanarrative ramifications, since there is a parallel between the use of φήμη by the historical agents and by Herodian himself. Overall, the analysis advances our understanding of Herodian’s narrative technique and his construction of historical truth.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"11 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135613973","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 Despite the frequent use of the antithesis of parua and magna in Latin literature, the expression parua magnis in Pliny 5,6,43–44 need not be read as proverbial but as a quotation of Vergil, georg. 4,176. This attribution follows from the naming of Vergil and of Aratus in epist. 5,6,43–44. Combined allusions as in 5,6,43–44, consisting of a quotation, the naming of the author and/or narrative structures, are a pattern in the corpus of the younger Pliny’s correspondence. The context of georg. 4,169–179, too, supports the attribution of the phrase as a quotation, since in Vergil’s lines a comparison of genres is made, which Pliny adopts for his own literary positioning in the descriptions of villas in epist. 2,17 und 5,6. Further, the attribution to Vergil’s didactic poem, in combination with the reference to Aratus, which other interpretations hardly take into account, permits a new understanding of the narrative structure of the villa descriptions and their allusive affinity not only to ecphrasis but also to didactic poetry.
{"title":"Parua magnis: Die Villenbeschreibungen des jüngeren Plinius im intertextuellen Größenvergleich (epistulae 2,17 und 5,6)","authors":"B. Beer","doi":"10.1515/phil-2023-0112","DOIUrl":"https://doi.org/10.1515/phil-2023-0112","url":null,"abstract":"Abstract Despite the frequent use of the antithesis of parua and magna in Latin literature, the expression parua magnis in Pliny 5,6,43–44 need not be read as proverbial but as a quotation of Vergil, georg. 4,176. This attribution follows from the naming of Vergil and of Aratus in epist. 5,6,43–44. Combined allusions as in 5,6,43–44, consisting of a quotation, the naming of the author and/or narrative structures, are a pattern in the corpus of the younger Pliny’s correspondence. The context of georg. 4,169–179, too, supports the attribution of the phrase as a quotation, since in Vergil’s lines a comparison of genres is made, which Pliny adopts for his own literary positioning in the descriptions of villas in epist. 2,17 und 5,6. Further, the attribution to Vergil’s didactic poem, in combination with the reference to Aratus, which other interpretations hardly take into account, permits a new understanding of the narrative structure of the villa descriptions and their allusive affinity not only to ecphrasis but also to didactic poetry.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"28 1","pages":"124 - 143"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84682213","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 In the complete quotation of Verg. Aen. 4.415 in Auson. Epigr. 75.8 Green, the participle moritura, originally referring to Dido, takes on the obscene double entendre of “about to orgasm”, matching analogous attestations of this distinctive sense of the verb morior.
{"title":"“L’importante è finire”. Ancora a proposito del riuso di Verg. Aen. 4.415 in Auson. Epigr. 75.8 Green","authors":"Vincenzo Ortoleva","doi":"10.1515/phil-2023-0119","DOIUrl":"https://doi.org/10.1515/phil-2023-0119","url":null,"abstract":"Abstract In the complete quotation of Verg. Aen. 4.415 in Auson. Epigr. 75.8 Green, the participle moritura, originally referring to Dido, takes on the obscene double entendre of “about to orgasm”, matching analogous attestations of this distinctive sense of the verb morior.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"26 1","pages":"144 - 155"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76855630","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 It is well-known to scholars that the simile of the wool spinner described in Verg. Aen. 8.407–413 reworks on a verbal level Ap. Rhod. Argon. 3.291–295. Comparing Verg. Aen. 8.410 and Ap. Rhod. Argon. 3.291, this paper aims to suggest that in Ap. Rhod. Argon. 3.291 Virgil read a different text from that generally accepted by modern editors.
{"title":"Ap. Rhod. Argon. 3.291: An Emendation","authors":"Lorenzo Vespoli","doi":"10.1515/phil-2023-0115","DOIUrl":"https://doi.org/10.1515/phil-2023-0115","url":null,"abstract":"Abstract It is well-known to scholars that the simile of the wool spinner described in Verg. Aen. 8.407–413 reworks on a verbal level Ap. Rhod. Argon. 3.291–295. Comparing Verg. Aen. 8.410 and Ap. Rhod. Argon. 3.291, this paper aims to suggest that in Ap. Rhod. Argon. 3.291 Virgil read a different text from that generally accepted by modern editors.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"53 1","pages":"1 - 7"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85446760","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 choliambic metre of the prologue poem of Persius’ Satires is key to understanding the poem’s message. On the one hand it creates a link to Hipponax as the canonical exponent of the iambic genre and to the tale of his inspiration transmitted by Giorgios Choiroboskos, and so attests the presence of the iambic poet in the cultured literary circles at Nero’s imperial court. On the other hand the poet alludes to Callimachus, his iambic poetry and his poetology, and so adopts his rejection of a poetry that has sunk to mere literary convention. This casts new light both on Persius’ own claim to be a semipaganus and on his mockery of the profit-oriented corvi and picae.
{"title":"Hipponax am „neronischen Musenhof“. Zu Persius’ Satiren-Prolog","authors":"L. Spahlinger","doi":"10.1515/phil-2023-0120","DOIUrl":"https://doi.org/10.1515/phil-2023-0120","url":null,"abstract":"Abstract The choliambic metre of the prologue poem of Persius’ Satires is key to understanding the poem’s message. On the one hand it creates a link to Hipponax as the canonical exponent of the iambic genre and to the tale of his inspiration transmitted by Giorgios Choiroboskos, and so attests the presence of the iambic poet in the cultured literary circles at Nero’s imperial court. On the other hand the poet alludes to Callimachus, his iambic poetry and his poetology, and so adopts his rejection of a poetry that has sunk to mere literary convention. This casts new light both on Persius’ own claim to be a semipaganus and on his mockery of the profit-oriented corvi and picae.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"41 1","pages":"65 - 82"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77338937","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 character of Paris in the Ilias Latina maintains the ambiguity that characterises him in the Greek Iliad, where he does not lack military attitudes, but chafes against his duties to his country, being committed instead to satisfying his taste for luxury. This ambiguity is even reinforced in the epitome. The ‘heroic’ aspect of Paris’ personality emerges in a clearer light, expressed in a more mature awareness of his obligations to his family and country, but the other aspect, his indolence, is also accentuated: the character becomes a true elegiac lover, immersed in the experience of an exalted passion that partly distinguishes him from the cliché of the libertine of the Homeric tradition. It might therefore seem legitimate to interpret the Paris of the Ilias Latina in a more positive key than the Homeric character. However, this exegesis is opposed by the judgement expressed by the authorial voice at many significant points of the story: by his dissolute and unscrupulous behaviour, Paris has started a war that will lead to the ruin of his country; he himself is thus his own funesta ruina (234), the funesta ... flamma (253) that will burn down Troy and his own fate.
{"title":"Exitium Troiae funestaque flamma. Il personaggio di Paride nell’Ilias Latina","authors":"Giuseppe Aricó","doi":"10.1515/phil-2023-0118","DOIUrl":"https://doi.org/10.1515/phil-2023-0118","url":null,"abstract":"Abstract The character of Paris in the Ilias Latina maintains the ambiguity that characterises him in the Greek Iliad, where he does not lack military attitudes, but chafes against his duties to his country, being committed instead to satisfying his taste for luxury. This ambiguity is even reinforced in the epitome. The ‘heroic’ aspect of Paris’ personality emerges in a clearer light, expressed in a more mature awareness of his obligations to his family and country, but the other aspect, his indolence, is also accentuated: the character becomes a true elegiac lover, immersed in the experience of an exalted passion that partly distinguishes him from the cliché of the libertine of the Homeric tradition. It might therefore seem legitimate to interpret the Paris of the Ilias Latina in a more positive key than the Homeric character. However, this exegesis is opposed by the judgement expressed by the authorial voice at many significant points of the story: by his dissolute and unscrupulous behaviour, Paris has started a war that will lead to the ruin of his country; he himself is thus his own funesta ruina (234), the funesta ... flamma (253) that will burn down Troy and his own fate.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"112 1","pages":"83 - 100"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77249162","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 In Roman literature, the Argo commonly ranks as the first ship. The Flavian poet Valerius Flaccus seems to place himself in this line of tradition too by constantly stressing the Argo’s pioneer status. Yet it has rightly been noted that nowhere in the Argonautica is the Argo explicitly said to be the first ever ship. Her exceptional role is based rather on her status as the first sea-going ship to sail across the open sea from Europe to Asia, opening the seas to global marine trade. From this perspective, the hitherto inadequately explained mentions of ships in the Phlegyas simile (3,124–132) and the Lemnos episode (2,107–114; 285–305) can also be analysed as only apparent inconsistencies. The interpretive effort required here draws the attention of the reader or audience, which is called upon to compare the earlier ships to the Argo. In this, the poet suggests a pessimistic judgement: a consequence of the opening of the seas was shipping disasters and human tragedies. Also, it did not only lead to the expansion of civilising achievements, but also held the danger that rituals and customs of a periphery which is read as barbaric would penetrate into the cultural space of the Mediterranean world.
{"title":"Mythenchronologische Inkonsistenzen in den Argonautica? Beobachtungen zum prima navis-Motiv bei Valerius Flaccus","authors":"Bernhard Söllradl","doi":"10.1515/phil-2023-0114","DOIUrl":"https://doi.org/10.1515/phil-2023-0114","url":null,"abstract":"Abstract In Roman literature, the Argo commonly ranks as the first ship. The Flavian poet Valerius Flaccus seems to place himself in this line of tradition too by constantly stressing the Argo’s pioneer status. Yet it has rightly been noted that nowhere in the Argonautica is the Argo explicitly said to be the first ever ship. Her exceptional role is based rather on her status as the first sea-going ship to sail across the open sea from Europe to Asia, opening the seas to global marine trade. From this perspective, the hitherto inadequately explained mentions of ships in the Phlegyas simile (3,124–132) and the Lemnos episode (2,107–114; 285–305) can also be analysed as only apparent inconsistencies. The interpretive effort required here draws the attention of the reader or audience, which is called upon to compare the earlier ships to the Argo. In this, the poet suggests a pessimistic judgement: a consequence of the opening of the seas was shipping disasters and human tragedies. Also, it did not only lead to the expansion of civilising achievements, but also held the danger that rituals and customs of a periphery which is read as barbaric would penetrate into the cultural space of the Mediterranean world.","PeriodicalId":44663,"journal":{"name":"PHILOLOGUS","volume":"16 1","pages":"101 - 123"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80955848","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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