Pub Date : 2023-03-07DOI: 10.1017/S0017383522000237
G. Farney
The Cornelii were one of the oldest and most prestigious Roman gentes, extended family kinship groups, in Republican Rome. Various members and branches advertise some kind of connection to Jupiter, Jupiter Optimus Maximus in particular, notably Scipio Africanus, but he was certainly not the only Cornelius to do so. Numismatic evidence has long suggested some kind of claimed relationship between the Cornelii and Jupiter. The Cornelian connection to the religious office of flamen Dialis (high priest of Jupiter) is more proof that their claims to be associated with Jupiter were accepted by Roman society. Some later branches of the Cornelii, notably the Sullae, began to prefer Venus instead, but a connection with Jupiter was still explicable via the genealogy of the Trojan royal house.
{"title":"THE CORNELII AND JUPITER: A CASE STUDY IN THE MANIPULATION OF TRADITIONAL RELIGION BY AN ARISTOCRATIC ROMAN KINSHIP GROUP","authors":"G. Farney","doi":"10.1017/S0017383522000237","DOIUrl":"https://doi.org/10.1017/S0017383522000237","url":null,"abstract":"The Cornelii were one of the oldest and most prestigious Roman gentes, extended family kinship groups, in Republican Rome. Various members and branches advertise some kind of connection to Jupiter, Jupiter Optimus Maximus in particular, notably Scipio Africanus, but he was certainly not the only Cornelius to do so. Numismatic evidence has long suggested some kind of claimed relationship between the Cornelii and Jupiter. The Cornelian connection to the religious office of flamen Dialis (high priest of Jupiter) is more proof that their claims to be associated with Jupiter were accepted by Roman society. Some later branches of the Cornelii, notably the Sullae, began to prefer Venus instead, but a connection with Jupiter was still explicable via the genealogy of the Trojan royal house.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44755415","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}
Pub Date : 2023-03-07DOI: 10.1017/S0017383522000201
Simone Agrimonti
In many of his comedies, Menander puts on stage the figure of the mercenary soldier. A survey of extant plays confirms that these characters are no lawless brutes but sympathetic figures, good Athenian citizens who act according to the laws and social norms of the polis. Previous scholarship has interpreted Menander's characterization of soldiers as a stylistic innovation from the stock type of the braggart soldier. Instead, I argue that his comedies reflect Athenian popular perception of mercenary service. A comparison with the depiction of mercenaries in Isaeus’ speeches confirms that Athenians did not look down on individuals who chose to serve abroad for money.
{"title":"SOLDIERS ON STAGE: ATHENIAN ATTITUDES TOWARDS MERCENARIES IN MENANDER'S COMEDIES","authors":"Simone Agrimonti","doi":"10.1017/S0017383522000201","DOIUrl":"https://doi.org/10.1017/S0017383522000201","url":null,"abstract":"In many of his comedies, Menander puts on stage the figure of the mercenary soldier. A survey of extant plays confirms that these characters are no lawless brutes but sympathetic figures, good Athenian citizens who act according to the laws and social norms of the polis. Previous scholarship has interpreted Menander's characterization of soldiers as a stylistic innovation from the stock type of the braggart soldier. Instead, I argue that his comedies reflect Athenian popular perception of mercenary service. A comparison with the depiction of mercenaries in Isaeus’ speeches confirms that Athenians did not look down on individuals who chose to serve abroad for money.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41670422","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}
Pub Date : 2023-03-07DOI: 10.1017/S0017383522000298
J. Corke-Webster
Do you want to hear something worth knowing? If so, you're in luck, because Pliny the Elder has 20,000 such nuggets ready for your delectation. Even better, one of the elder statesmen of Roman history, Richard Saller, has provided a fresh study of them in his new book, Pliny's Roman Economy. Saller is famous for publications that have painted in broad brush strokes the landscape of Roman economic and social history as we now understand it. Here, instead, he offers a brief, focused study of a single author, albeit one whose Natural History is of extraordinarily ambitious scope. Published in ‘The Princeton Economic History of the Western World’ series, this is a book for both classicists and economic historians with a focused aim: to use Pliny to intervene in the long-standing debate over whether the Roman imperial economy enjoyed sustainable growth in the first two centuries ce (behind which lurks, as Saller notes, the more existential question as to whether the oppression of the Roman imperial project came with benefits). This question arises from a controversial methodological contention – that scholars’ efforts to develop sophisticated proxies to enable quantitative assessment of ancient economic growth (now largely associated with New Institutional Economics) have so far failed, and thus that we should return, at least in part, to more traditional use of literary sources: ‘at this point none [of those proxies] is reliable enough to justify neglecting our aristocratic authors’ (3). Pliny is particularly interesting here because eighteenth-century encyclopaedias have been seen (in part by the series editor, Joel Mokyr) as part of a culture of innovation that in turn fed the pronounced economic growth of that period.
{"title":"Roman History","authors":"J. Corke-Webster","doi":"10.1017/S0017383522000298","DOIUrl":"https://doi.org/10.1017/S0017383522000298","url":null,"abstract":"Do you want to hear something worth knowing? If so, you're in luck, because Pliny the Elder has 20,000 such nuggets ready for your delectation. Even better, one of the elder statesmen of Roman history, Richard Saller, has provided a fresh study of them in his new book, Pliny's Roman Economy. Saller is famous for publications that have painted in broad brush strokes the landscape of Roman economic and social history as we now understand it. Here, instead, he offers a brief, focused study of a single author, albeit one whose Natural History is of extraordinarily ambitious scope. Published in ‘The Princeton Economic History of the Western World’ series, this is a book for both classicists and economic historians with a focused aim: to use Pliny to intervene in the long-standing debate over whether the Roman imperial economy enjoyed sustainable growth in the first two centuries ce (behind which lurks, as Saller notes, the more existential question as to whether the oppression of the Roman imperial project came with benefits). This question arises from a controversial methodological contention – that scholars’ efforts to develop sophisticated proxies to enable quantitative assessment of ancient economic growth (now largely associated with New Institutional Economics) have so far failed, and thus that we should return, at least in part, to more traditional use of literary sources: ‘at this point none [of those proxies] is reliable enough to justify neglecting our aristocratic authors’ (3). Pliny is particularly interesting here because eighteenth-century encyclopaedias have been seen (in part by the series editor, Joel Mokyr) as part of a culture of innovation that in turn fed the pronounced economic growth of that period.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48165470","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}
Pub Date : 2023-03-07DOI: 10.1017/S0017383522000213
S. Connolly
In 69 ce, the emperor Vitellius presented to dinner guests his ‘Shield of Minerva’, a platter filled with pike livers, pheasant and peacock brains, flamingo tongues, and lamprey milt. Just as Vitellius’ passion for food has been distorted into gluttony, so the Shield of Minerva has been misrepresented as a culinary abomination and the worst of the emperor's excesses. Modern scholarly reception of the Shield owes much to hostile ancient sources, but is also influenced by some modern culinary preferences. Critical reading of our sources reveals the dish as a mix of ingredients carefully chosen for their gustatory and visual appeal and for their political and military symbolism. Vitellius’ association of the platter with Minerva evokes her status not only as a martial deity, but also as a goddess of craft. The Shield of Minerva is revealed to be an intellectual exercise, not a symbol of gluttonous self-indulgence.
{"title":"VITELLIUS AND THE SHIELD OF MINERVA","authors":"S. Connolly","doi":"10.1017/S0017383522000213","DOIUrl":"https://doi.org/10.1017/S0017383522000213","url":null,"abstract":"In 69 ce, the emperor Vitellius presented to dinner guests his ‘Shield of Minerva’, a platter filled with pike livers, pheasant and peacock brains, flamingo tongues, and lamprey milt. Just as Vitellius’ passion for food has been distorted into gluttony, so the Shield of Minerva has been misrepresented as a culinary abomination and the worst of the emperor's excesses. Modern scholarly reception of the Shield owes much to hostile ancient sources, but is also influenced by some modern culinary preferences. Critical reading of our sources reveals the dish as a mix of ingredients carefully chosen for their gustatory and visual appeal and for their political and military symbolism. Vitellius’ association of the platter with Minerva evokes her status not only as a martial deity, but also as a goddess of craft. The Shield of Minerva is revealed to be an intellectual exercise, not a symbol of gluttonous self-indulgence.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47312894","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}
Pub Date : 2023-03-07DOI: 10.1017/S0017383522000316
Danielle Vazquez
I begin with two books about the cosmos. The first one is Olaf Almqvist's Chaos, Cosmos and Creation in Early Greek Theogonies. This monograph skilfully combines approaches from classical studies, anthropology, and philosophy to offer an in-depth analysis of three competing cosmologies: Hesiod's Theogony, the Orphic theogony, and the creation myth in Plato's Protagoras. It also explores the repercussions of these tensions on ritual life. The book introduces it all through a lucid and enjoyable analysis of the opening lines of Pindar's Nemean Six, which the author sees as stressing the ontological tensions present in early Greek creation myths and blurring the lines between myth and philosophy.
{"title":"Philosophy","authors":"Danielle Vazquez","doi":"10.1017/S0017383522000316","DOIUrl":"https://doi.org/10.1017/S0017383522000316","url":null,"abstract":"I begin with two books about the cosmos. The first one is Olaf Almqvist's Chaos, Cosmos and Creation in Early Greek Theogonies. This monograph skilfully combines approaches from classical studies, anthropology, and philosophy to offer an in-depth analysis of three competing cosmologies: Hesiod's Theogony, the Orphic theogony, and the creation myth in Plato's Protagoras. It also explores the repercussions of these tensions on ritual life. The book introduces it all through a lucid and enjoyable analysis of the opening lines of Pindar's Nemean Six, which the author sees as stressing the ontological tensions present in early Greek creation myths and blurring the lines between myth and philosophy.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48341955","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}
Pub Date : 2022-09-06DOI: 10.1017/S0017383522000055
Gary L. Morrison
There are numerous historical reconstructions of the lead-up to the Battle of Gaugamela, albeit often as a short prelude to the battle itself. The focus tends to be historical reality, with the extant sources blended to produce a probable sequence of events. Such narratives have their place, but the process masks the details provided by specific sources. This article analyses Arrian's representation of events to understand his narrative better. Particular attention is paid to his chronological ‘mistake’, specifically the loss of a day which is usually just corrected by commentators. I suggest that this was not an error at all, but a deliberate construct. I show that Arrian manipulates ‘narrative time’ by using the night in order to blur historical time, and how this creates a framework within which Arrian carefully constructs his Alexander–Parmenio exchanges. The construct of the adviser, the use of night imagery, and the select use of terminology (kleptein) are utilized by Arrian in order to maintain his heroic image of Alexander and to conceal any strategies of deception.
{"title":"‘STEALING’ VICTORY AT GAUGAMELA: THE MANIPULATION OF TIME IN ARRIAN'S NARRATIVE","authors":"Gary L. Morrison","doi":"10.1017/S0017383522000055","DOIUrl":"https://doi.org/10.1017/S0017383522000055","url":null,"abstract":"There are numerous historical reconstructions of the lead-up to the Battle of Gaugamela, albeit often as a short prelude to the battle itself. The focus tends to be historical reality, with the extant sources blended to produce a probable sequence of events. Such narratives have their place, but the process masks the details provided by specific sources. This article analyses Arrian's representation of events to understand his narrative better. Particular attention is paid to his chronological ‘mistake’, specifically the loss of a day which is usually just corrected by commentators. I suggest that this was not an error at all, but a deliberate construct. I show that Arrian manipulates ‘narrative time’ by using the night in order to blur historical time, and how this creates a framework within which Arrian carefully constructs his Alexander–Parmenio exchanges. The construct of the adviser, the use of night imagery, and the select use of terminology (kleptein) are utilized by Arrian in order to maintain his heroic image of Alexander and to conceal any strategies of deception.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48502615","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}
Pub Date : 2022-09-06DOI: 10.1017/S0017383522000043
Dimitrios Kanellakis
This paper sketches a taxonomy of Aristophanic puns and explores the strategies employed by ‘faithful’ English translations for rendering such jokes. No pun is untranslatable. At the same time, there is no perfect translation but a range of options, more or less effective for a certain context, audience, and type of pun. The challenges which translators face with Aristophanic jokes, as well as the ingenious solutions they offer on occasions, invite us to reappraise the original puns, whose wittiness is too often denied by scholarship.
{"title":"TRANSLATING ARISTOPHANES’ PUNS","authors":"Dimitrios Kanellakis","doi":"10.1017/S0017383522000043","DOIUrl":"https://doi.org/10.1017/S0017383522000043","url":null,"abstract":"This paper sketches a taxonomy of Aristophanic puns and explores the strategies employed by ‘faithful’ English translations for rendering such jokes. No pun is untranslatable. At the same time, there is no perfect translation but a range of options, more or less effective for a certain context, audience, and type of pun. The challenges which translators face with Aristophanic jokes, as well as the ingenious solutions they offer on occasions, invite us to reappraise the original puns, whose wittiness is too often denied by scholarship.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42521402","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}
Pub Date : 2022-09-06DOI: 10.1017/S0017383522000018
M. Duranti
This article offers a new interpretation of the wave which, in the finale of Euripides’ Iphigenia Taurica, prevents the Greek ship from leaving the Taurian land, thus making it necessary for the goddess Athena to intervene. My contention is that the wave is the predictable consequence of the sacrilege which the Greeks are committing by stealing Artemis’ cult statue from the Taurian temple. Therefore, we can detect in IT the same religious offence–punishment–compensation structure that can be found in Aeschylus’ Eumenides. However, unlike in Aeschylus’ tragedy, in IT Athena's final decrees compensate only the goddess Artemis and not the human characters: after deeply suffering as instruments of the divine will, not even in the future will they be allowed to fulfil their desires. Thus, we may say that a supernatural ‘wave’ prevents humans from leaving in accordance with their will.
{"title":"THE MEANING OF THE WAVE IN THE FINAL SCENE OF EURIPIDES’ IPHIGENIA TAURICA","authors":"M. Duranti","doi":"10.1017/S0017383522000018","DOIUrl":"https://doi.org/10.1017/S0017383522000018","url":null,"abstract":"This article offers a new interpretation of the wave which, in the finale of Euripides’ Iphigenia Taurica, prevents the Greek ship from leaving the Taurian land, thus making it necessary for the goddess Athena to intervene. My contention is that the wave is the predictable consequence of the sacrilege which the Greeks are committing by stealing Artemis’ cult statue from the Taurian temple. Therefore, we can detect in IT the same religious offence–punishment–compensation structure that can be found in Aeschylus’ Eumenides. However, unlike in Aeschylus’ tragedy, in IT Athena's final decrees compensate only the goddess Artemis and not the human characters: after deeply suffering as instruments of the divine will, not even in the future will they be allowed to fulfil their desires. Thus, we may say that a supernatural ‘wave’ prevents humans from leaving in accordance with their will.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45397476","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}
Pub Date : 2022-09-06DOI: 10.1017/S0017383522000146
Rhiannon Easterbrook
This issue sees five volumes from IMAGINES – Classical Receptions in the Visual and Performing Arts. This series, published by Bloomsbury and edited by Filippo Carlà-Uhink and Martin Lindner, developed from a series of conferences starting in 2007, and has so far produced fourteen books, including both edited volumes and monographs. In keeping with the editors’ aims to work from an anti-hierarchal approach to culture, the books under discussion elaborate on a range of media, without distinguishing between ‘high’ and ‘low’ culture.
{"title":"Reception","authors":"Rhiannon Easterbrook","doi":"10.1017/S0017383522000146","DOIUrl":"https://doi.org/10.1017/S0017383522000146","url":null,"abstract":"This issue sees five volumes from IMAGINES – Classical Receptions in the Visual and Performing Arts. This series, published by Bloomsbury and edited by Filippo Carlà-Uhink and Martin Lindner, developed from a series of conferences starting in 2007, and has so far produced fourteen books, including both edited volumes and monographs. In keeping with the editors’ aims to work from an anti-hierarchal approach to culture, the books under discussion elaborate on a range of media, without distinguishing between ‘high’ and ‘low’ culture.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46721278","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}
Pub Date : 2022-09-06DOI: 10.1017/S0017383522000067
Roswyn Wiltshire
Artefact collections are a key means for many people to interact with classical antiquity. The physicality of objects easily appeals to the imagination, evoking associations between the object and the viewer's experiences. Reception of artefacts is thus multilayered, even regarding what may seem to be very simple objects, such as ancient glass vessels uncovered and collected around the middle of the nineteenth century. Drawing on research into the Damon Collection (Canterbury Museum, New Zealand) this study explores Victorian reception of Roman glass, demonstrating the many and often complex ways in which objects of utilitarian origin in classical antiquity gained new meaning and surprising popularity among a broad public. Glass vessels were receptacles for ideas and the imagination, from adventure to questions of religion and empire. In particular, vessels identified as ‘lachrymatories’ became a very personal empathetic link to the classical past, with influence on popular imagination enduring to the present day.
{"title":"‘WHAT SAID THIS RUDE ANTIQUE’: VICTORIAN RECEPTION OF ROMAN GLASS","authors":"Roswyn Wiltshire","doi":"10.1017/S0017383522000067","DOIUrl":"https://doi.org/10.1017/S0017383522000067","url":null,"abstract":"Artefact collections are a key means for many people to interact with classical antiquity. The physicality of objects easily appeals to the imagination, evoking associations between the object and the viewer's experiences. Reception of artefacts is thus multilayered, even regarding what may seem to be very simple objects, such as ancient glass vessels uncovered and collected around the middle of the nineteenth century. Drawing on research into the Damon Collection (Canterbury Museum, New Zealand) this study explores Victorian reception of Roman glass, demonstrating the many and often complex ways in which objects of utilitarian origin in classical antiquity gained new meaning and surprising popularity among a broad public. Glass vessels were receptacles for ideas and the imagination, from adventure to questions of religion and empire. In particular, vessels identified as ‘lachrymatories’ became a very personal empathetic link to the classical past, with influence on popular imagination enduring to the present day.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43677439","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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