Pub Date : 2021-09-17DOI: 10.1017/S0009838821000707
Julene Abad Del Vecchio
ABSTRACT This article draws attention to the presence of a previously unnoticed transliterated telestich (SOMATA) in the transformation of stones into bodies in the episode of Deucalion and Pyrrha in Ovid's Metamorphoses (1.406–11). Detection of the Greek intext, which befits the episode's amplified bilingual atmosphere, is encouraged by a number of textual cues. The article also suggests a ludic connection to Aratus’ Phaenomena.
{"title":"LITERAL BODIES (SOMATA): A TELESTICH IN OVID (METAMORPHOSES 1.406–11)","authors":"Julene Abad Del Vecchio","doi":"10.1017/S0009838821000707","DOIUrl":"https://doi.org/10.1017/S0009838821000707","url":null,"abstract":"ABSTRACT This article draws attention to the presence of a previously unnoticed transliterated telestich (SOMATA) in the transformation of stones into bodies in the episode of Deucalion and Pyrrha in Ovid's Metamorphoses (1.406–11). Detection of the Greek intext, which befits the episode's amplified bilingual atmosphere, is encouraged by a number of textual cues. The article also suggests a ludic connection to Aratus’ Phaenomena.","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"71 1","pages":"688 - 692"},"PeriodicalIF":0.2,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56743749","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}
Pub Date : 2018-12-01DOI: 10.1017/S0009838818000551
Giuseppe La Bua
Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-book Interpretationes Vergilianae composed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. His auctoritas had a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-century Commenta Bernensia and Adnotationes super Lucanum and the scholia uetustiora on Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.
{"title":"LATE CICERONIAN SCHOLARSHIP AND VIRGILIAN EXEGESIS: SERVIUS AND PS.-ASCONIUS","authors":"Giuseppe La Bua","doi":"10.1017/S0009838818000551","DOIUrl":"https://doi.org/10.1017/S0009838818000551","url":null,"abstract":"Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-book Interpretationes Vergilianae composed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. His auctoritas had a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-century Commenta Bernensia and Adnotationes super Lucanum and the scholia uetustiora on Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"68 1","pages":"667 - 680"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0009838818000551","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56743641","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}
Pub Date : 2018-12-01DOI: 10.1017/S0009838819000016
Edmund Stewart
χαιρέτω ἡμέτερος βασιλεὺς σωτήρ τε πατήρ τε·ἡμῖν δὲ κρητῆρ’ οἰνοχόοι θέραπεςκιρνάντων προχύταισιν ἐν ἀργυρέοις· †ὁ δὲ χρυσὸςοἶνον ἔχων χειρῶν νιζέτω εἰς ἔδαφος.†σπένδοντες δ’ ἁγνῶς Ἡρακλεῖ τ’ Ἀλκμήνηι τε,Προκλεῖ Περσείδαις τ’ ἐκ Διὸς ἀρχόμενοιπίνωμεν, παίζωμεν· ἴτω διὰ νυκτὸς ἀοιδή,ὀρχείσθω τις· ἑκὼν δ’ ἄρχε φιλοφροσύνης.ὅντινα δ’ εὐειδὴς μίμνει θήλεια πάρευνος,κεῖνος τῶν ἄλλων κυδρότερον πίεται. May our king rejoice, our saviour and father; let the attendant cup-bearers mix for us a crater from silver urns; †Let the golden one with wine in his hands wash to the base† Pouring libations piously to Heracles and Alcmene, Procles and the sons of Perseus and Zeus first of all, let us drink, let us play, let our song rise through the night. Dance someone, willingly begin the festivities. And anyone who has a fair girl waiting to share his bed will drink more like a man than all the others.(Ion, fr. 27 West = fr. 90 Leurini)
χαιρέτωἡμέτεροςβασιλεὺςσωτήρτεπατήρτε·ἡμῖνδὲκρητῆ”ροἰνοχόοιθέραπεςκιρνάντωνπροχύταισινἐνἀργυρέοις·†ὁδὲχρυσὸςοἶνονἔχωνχειρῶννιζέτωεἰςἔδαφος)。†σπένδοντεςδ的ἁγνῶςἩρακλεῖτ的Ἀλκμήνηιτε,ΠροκλεῖΠερσείδαιςτ的ἐκΔιὸςἀρχόμενοιπίνωμεν,παίζωμεν·ἴτωδιὰνυκτὸςἀοιδή,ὀρχείσθωτις·ἑκὼνδ的ἄρχεφιλοφροσύνης。ὅντινα的δεὐειδὴςμίμνειθήλειαπάρευνος,κεῖνοςτῶνἄλλωνκυδρότερονπίεται。愿我们的君王，我们的救主，我们的父，喜乐;让侍从的侍酒人用银瓮为我们调一个弹坑;恭敬地向赫拉克勒斯、阿尔克墨涅、普罗克勒斯、珀尔修斯和宙斯的儿子们敬酒。首先，让我们畅饮，让我们玩耍，让我们的歌声响彻夜空。跳舞的人，心甘情愿地开始欢庆。谁要是有个漂亮的姑娘等着和他同床共枕，他就会比别人喝得更像个男人。(Ion，第27 West =第90 Leurini)
{"title":"ION OF CHIOS: THE CASE OF A FOREIGN POET IN CLASSICAL SPARTA","authors":"Edmund Stewart","doi":"10.1017/S0009838819000016","DOIUrl":"https://doi.org/10.1017/S0009838819000016","url":null,"abstract":"χαιρέτω ἡμέτερος βασιλεὺς σωτήρ τε πατήρ τε·ἡμῖν δὲ κρητῆρ’ οἰνοχόοι θέραπεςκιρνάντων προχύταισιν ἐν ἀργυρέοις· †ὁ δὲ χρυσὸςοἶνον ἔχων χειρῶν νιζέτω εἰς ἔδαφος.†σπένδοντες δ’ ἁγνῶς Ἡρακλεῖ τ’ Ἀλκμήνηι τε,Προκλεῖ Περσείδαις τ’ ἐκ Διὸς ἀρχόμενοιπίνωμεν, παίζωμεν· ἴτω διὰ νυκτὸς ἀοιδή,ὀρχείσθω τις· ἑκὼν δ’ ἄρχε φιλοφροσύνης.ὅντινα δ’ εὐειδὴς μίμνει θήλεια πάρευνος,κεῖνος τῶν ἄλλων κυδρότερον πίεται. May our king rejoice, our saviour and father; let the attendant cup-bearers mix for us a crater from silver urns; †Let the golden one with wine in his hands wash to the base† Pouring libations piously to Heracles and Alcmene, Procles and the sons of Perseus and Zeus first of all, let us drink, let us play, let our song rise through the night. Dance someone, willingly begin the festivities. And anyone who has a fair girl waiting to share his bed will drink more like a man than all the others.(Ion, fr. 27 West = fr. 90 Leurini)","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"68 1","pages":"394 - 407"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0009838819000016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56743683","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}
Pub Date : 2018-12-01DOI: 10.1017/S0009838819000120
Gerd Van Riel
At In Platonis Timaeum Commentarii (= In Ti.) II, 1.393.31–394.5 Diehl (which is Atticus, fr. 28 in the edition of Des Places), Proclus follows Porphyry's inferences against the theory of Atticus, focussing more precisely on the fact that the latter's account of the principles does not correspond to the views expounded by Plato himself. In Diehl's text, based on a limited selection of primary manuscript-witnesses, the introductory phrase to this criticism contains a reference to the maker (ποιητής), which cannot easily be explained within the context. On the basis of a new examination of the manuscript tradition, and of the context of the passage, we will present a new conjecture that allows one to avoid the problems involved in Diehl's reading of the text.
在柏拉图的评论中(= In Ti.)II, 1.393.31-394.5 Diehl(即阿提库斯，Des Places，第28版)，Proclus遵循波菲利的推论，反对阿提库斯的理论，更准确地集中在后者对原则的描述与柏拉图自己所阐述的观点不符这一事实上。在Diehl的文本中，基于有限的主要手稿证人的选择，这一批评的介绍性短语包含了对制造者(ποιητ ς)的参考，这在上下文中不容易解释。在对手稿传统的新检查的基础上，以及段落的上下文，我们将提出一个新的猜想，允许人们避免Diehl阅读文本所涉及的问题。
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Pub Date : 2018-05-01DOI: 10.1017/S0009838818000289
Pedro López Barja de Quiroga
Masked revelry, the quaffing of large amounts of wine and the sound of flutes … this cavalcade would pass through the streets of Rome every 13th June, even crossing the forum itself. As we will show later on, a connection can be established between this celebration (the Quinquatrus minusculae) and the statue of Marsyas, the acolyte of Dionysus, which stood in the forum and was associated with freedom, wine and charivari. In turn, this connection will open the way for a new interpretation of the multiple meanings of the feast and the satyr in the highly charged political atmosphere of Late Republican Rome. The main aim of this study will be to show, in the third part of this article, how populares politicians tried to exploit the opportunities presented to them by religious festivities and ludi to draw more of the public into their contiones or to obtain a favourable verdict in a political trial.
{"title":"THE QVINQVATRVS OF JUNE, MARSYAS AND LIBERTAS IN THE LATE ROMAN REPUBLIC","authors":"Pedro López Barja de Quiroga","doi":"10.1017/S0009838818000289","DOIUrl":"https://doi.org/10.1017/S0009838818000289","url":null,"abstract":"Masked revelry, the quaffing of large amounts of wine and the sound of flutes … this cavalcade would pass through the streets of Rome every 13th June, even crossing the forum itself. As we will show later on, a connection can be established between this celebration (the Quinquatrus minusculae) and the statue of Marsyas, the acolyte of Dionysus, which stood in the forum and was associated with freedom, wine and charivari. In turn, this connection will open the way for a new interpretation of the multiple meanings of the feast and the satyr in the highly charged political atmosphere of Late Republican Rome. The main aim of this study will be to show, in the third part of this article, how populares politicians tried to exploit the opportunities presented to them by religious festivities and ludi to draw more of the public into their contiones or to obtain a favourable verdict in a political trial.","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"68 1","pages":"143 - 159"},"PeriodicalIF":0.2,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0009838818000289","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56743626","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}
{"title":"When Homer Quotes Callimachus: Allusive Poetics in the Proem of the \"Posthomerica\"'","authors":"E. Greensmith","doi":"10.17863/CAM.8303","DOIUrl":"https://doi.org/10.17863/CAM.8303","url":null,"abstract":"","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"68 1","pages":"257-274"},"PeriodicalIF":0.2,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42889458","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}
Pub Date : 2018-05-01DOI: 10.1017/S0009838818000149
Laura Rosella Schluderer
Despite its often daunting obscurity, the ‘Hippocratic’ treatise De Victu is a text of particular interest, not only because it presents the first clear formulation in an entirely preserved Greek text of the microcosm–macrocosm relationship but also for the sophisticated use it makes of this pervasive pattern of Greek thought in the context of dietetics.
{"title":"IMITATING THE COSMOS: THE ROLE OF MICROCOSM–MACROCOSM RELATIONSHIPS IN THE HIPPOCRATIC TREATISE ON REGIMEN","authors":"Laura Rosella Schluderer","doi":"10.1017/S0009838818000149","DOIUrl":"https://doi.org/10.1017/S0009838818000149","url":null,"abstract":"Despite its often daunting obscurity, the ‘Hippocratic’ treatise De Victu is a text of particular interest, not only because it presents the first clear formulation in an entirely preserved Greek text of the microcosm–macrocosm relationship but also for the sophisticated use it makes of this pervasive pattern of Greek thought in the context of dietetics.","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"68 1","pages":"31 - 52"},"PeriodicalIF":0.2,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0009838818000149","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56743583","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}
Pub Date : 2018-03-16DOI: 10.1017/S0009838818000046
Juan L. López Cruces
In his Lives of Eminent Philosophers (6.75–6) Diogenes Laertius mentions, among the various traditions of how Diogenes the Cynic met his end, the belief that he committed suicide by retention of the breath. He cites as his authority for this the poet Cercidas of Megalopolis (c.290–post 215 b.c.e.), who, between some fifty and a hundred years after the death of the Cynic, celebrated his ascent to heaven in the following verses.
{"title":"A HEAVENLY SON OF ZEUS (DIOG. LAERT. 6.76 = CERCIDAS, FR. 54 LIVREA)","authors":"Juan L. López Cruces","doi":"10.1017/S0009838818000046","DOIUrl":"https://doi.org/10.1017/S0009838818000046","url":null,"abstract":"In his Lives of Eminent Philosophers (6.75–6) Diogenes Laertius mentions, among the various traditions of how Diogenes the Cynic met his end, the belief that he committed suicide by retention of the breath. He cites as his authority for this the poet Cercidas of Megalopolis (c.290–post 215 b.c.e.), who, between some fifty and a hundred years after the death of the Cynic, celebrated his ascent to heaven in the following verses.","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"68 1","pages":"91 - 96"},"PeriodicalIF":0.2,"publicationDate":"2018-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0009838818000046","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56743572","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}
Pub Date : 2017-04-11DOI: 10.1017/S0009838817000350
Marie Louise Von Glinski
In his essay on Seneca, T.S. Eliot used the Hercules Furens (= HF) as his example to illustrate ‘this curious freak of non-theatrical drama’. Even though Senecan scholarship has by and large moved away from his indictment, the sense that the attention seems to be directed away from the stage points to the play's unique dramaturgy. The surest indicator of this reverse orientation is the conspicuous absence of Hercules himself for much of the play. Hercules is (or wishes to be) permanently ‘elsewhere’. His entrance is delayed for a long time; once home, he rushes offstage after a few lines to kill Lycus. He returns onstage only to be attacked by madness, and is drawn inside the palace again to kill his wife and sons. When his madness abates, he falls asleep onstage; on waking, he longs for a place beyond the known world (and underworld) and finally exits into exile. This article proposes a closer examination of the semiotics of space, especially the symbolic value of the offstage. Seneca is constantly drawing attention to the pull towards the stage perimeter and the unseen offstage, characterizing the cosmic nature of Hercules’ conflict with Juno and questioning the hero's place in the world as the son of an immortal father.
{"title":"ALL THE WORLD'S OFFSTAGE: METAPHYSICAL AND METAFICTIONAL ASPECTS IN SENECA'S HERCVLES FVRENS *","authors":"Marie Louise Von Glinski","doi":"10.1017/S0009838817000350","DOIUrl":"https://doi.org/10.1017/S0009838817000350","url":null,"abstract":"In his essay on Seneca, T.S. Eliot used the Hercules Furens (= HF) as his example to illustrate ‘this curious freak of non-theatrical drama’. Even though Senecan scholarship has by and large moved away from his indictment, the sense that the attention seems to be directed away from the stage points to the play's unique dramaturgy. The surest indicator of this reverse orientation is the conspicuous absence of Hercules himself for much of the play. Hercules is (or wishes to be) permanently ‘elsewhere’. His entrance is delayed for a long time; once home, he rushes offstage after a few lines to kill Lycus. He returns onstage only to be attacked by madness, and is drawn inside the palace again to kill his wife and sons. When his madness abates, he falls asleep onstage; on waking, he longs for a place beyond the known world (and underworld) and finally exits into exile. This article proposes a closer examination of the semiotics of space, especially the symbolic value of the offstage. Seneca is constantly drawing attention to the pull towards the stage perimeter and the unseen offstage, characterizing the cosmic nature of Hercules’ conflict with Juno and questioning the hero's place in the world as the son of an immortal father.","PeriodicalId":47185,"journal":{"name":"CLASSICAL QUARTERLY","volume":"67 1","pages":"210 - 227"},"PeriodicalIF":0.2,"publicationDate":"2017-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0009838817000350","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56744030","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}
Pub Date : 2016-07-29DOI: 10.1017/S0009838816000471
Felipe G. Hernández Muñoz
In 2007 I published the first part of some manuscript notes on the text of Menander Rhetor, which I attributed to F. Jacobs (1764–1847). I now present the second part of these notes, alongside a global assessment of all the coniectanea and corrections by F. Jacobs on the text of this rhetor.
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