Pub Date : 2023-03-21DOI: 10.1163/1568525x-12347337
Thomas Kuhn-Treichel
Abstract Scholarship has drawn a contrast between modern uses of metalepsis (illogical transgressions of narrative levels), which are frequently assigned comic effects, and their ancient counterparts, which are deemed more serious. This article argues that in the case of authorial metalepsis, a way of expression presenting the narrator as bringing about the effects he describes, the comic potential was already discovered in antiquity. Case studies from Aristophanes, Plato, Horace, Juvenal, Ovid, and Lucian demonstrate how ancient authors use authorial metalepsis to evoke paradoxical scenes of interaction across different levels of representation that support a mocking presentation of other authors.
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Pub Date : 2023-03-21DOI: 10.1163/1568525x-bja10205
Jan Felix Gaertner
In der berühmten Erzählung vom ‚Galan im Fass‘ vergnügt sich eine Frau gerade mit einem Liebhaber, als überraschend ihr Ehemann nach Hause kommt. Der Liebhaber versteckt sich schnell in einem großen Fass, welches in der kleinen Bleibe der armen Leute ungenutzt herumsteht, und die Frau behauptet gegenüber ihrem Ehemann, dass sie jemanden gefunden habe, der das Fass kaufen wolle. Hierauf schaltet sich der Liebhaber in das Gespräch ein und sagt zum Ehemann:
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Pub Date : 2023-03-09DOI: 10.1163/1568525x-bja10159
Francisco Barrenechea
Aelian offers a curious example of how comedy was tied to religion during the Second Sophistic. He describes a votive relief dedicated by the Old Comic poet Theopompus to Asclepius, which he interprets as a symbol of the genre (Theopomp. Com. test. 2 PCG = Ael. fr. 102 Domingo-Forasté). My article situates this passage within the style and purpose of Aelian’s miscellanies, in order to explore how he transforms it into a literary monument that testifies to the god’s concern for Old Comedy—a striking departure from the more negative perceptions of the genre in the literary culture of his time. I propose two possible origins for the anecdote that might illuminate Aelian’s symbolic treatment: an actual votive relief linked to the playwright in an Attic sanctuary of Asclepius, or a comedy by Theopompus himself.
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Pub Date : 2023-03-03DOI: 10.1163/1568525x-bja10162
Guillermo Galán Vioque
This article examines the citations from Clement of Alexandria’s Stromata prior to the editio princeps by Piero Vettori (1550) and provides new data on the relationship between that edition and the manuscripts that have preserved this work for future generations.
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Pub Date : 2023-01-26DOI: 10.1163/1568525x-bja10158
Rebecca A. Frank
Plutarch’s ‘Delphic dialogues’—De E apud Delphos, De Pythiae oraculis, and De defectu oraculorum—contain a series of conversations held at Delphi regarding different aspects of the god, the oracle, and the oracular sanctuary. In these dialogues Delphi stands as a touchstone for humans to access divine knowledge through the oracular responses, but also through its physical presence. I argue that through these dialogues Plutarch presents Delphi as an ideal location for philosophical inquiry because it is a sanctuary to a philosophical god whose presence permeates Delphic ritual and cult as well as the physical dedications. The Delphic oracle may no longer play a pivotal role in the political sphere, but Plutarch makes the case for a new role for the sanctuary as a philosophical center where individuals from different schools of thought may gather to share knowledge and work together in their search for deeper understanding.
普鲁塔克的《德尔菲对话录》(De E apud Delphos, De Pythiae oraculis, and De defectu oraculorum)包含了一系列在德尔菲举行的关于神、神谕和神谕圣地不同方面的对话。在这些对话中，德尔福是人类通过神谕反应获得神圣知识的试金石，但也通过它的实际存在。我认为，通过这些对话，普鲁塔克将德尔斐描述为哲学探究的理想场所，因为它是哲学之神的避难所，他的存在渗透在德尔斐的仪式和崇拜中，也渗透在物质的奉献中。特尔菲神谕可能不再在政治领域扮演关键角色，但普鲁塔克为圣所提供了一个新的角色，作为一个哲学中心，来自不同思想流派的人可以聚集在一起分享知识，共同努力，以寻求更深层次的理解。
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Pub Date : 2023-01-23DOI: 10.1163/1568525x-bja10153
J. Lightfoot
The presence of astronomical imagery in two consecutive epigrams on the theme of pursued hares in book 9 of the Anthologia Palatina (9.17 and 9.18) both strengthens their ascription to Germanicus Caesar and suggests that his astronomical and literary interests extended beyond the youthful production of a Latin translation of Aratus’ Phaenomena. The meaning of these two epigrams can only be understood fully by paying attention to the interplay of astronomical imagery between them and by considering Germanicus’ innovative account of two constellations in his Aratea: the Dog and the Hare.
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