Pub Date : 2024-02-21DOI: 10.1017/s0009838823000757
Brian Theng
There are three conventionally held views about the relationship between mankind and nature in the Roman villa: man is master over the natural landscape; villas were positioned at vantage points so that the downward gaze of a dominus reinforced his domination; gardens offered opportunities to bring order upon nature. This article argues to the contrary that Manilius Vopiscus’ villa in Statius’ Siluae 1.3 presents a harmonious relationship between key natural features, the villa architecture and the villa proprietor himself. Nature sometimes takes precedence, while the villa complements and integrates with the environment. This allows us to appreciate the nuances in Statius’ overall presentation of the relationship between mankind and nature in Book 1 and in other poems in the Siluae.
{"title":"HARMONIOUS INTRUSION: MANKIND AND NATURE IN STATIUS’ SILVAE 1.3","authors":"Brian Theng","doi":"10.1017/s0009838823000757","DOIUrl":"https://doi.org/10.1017/s0009838823000757","url":null,"abstract":"\u0000 There are three conventionally held views about the relationship between mankind and nature in the Roman villa: man is master over the natural landscape; villas were positioned at vantage points so that the downward gaze of a dominus reinforced his domination; gardens offered opportunities to bring order upon nature. This article argues to the contrary that Manilius Vopiscus’ villa in Statius’ Siluae 1.3 presents a harmonious relationship between key natural features, the villa architecture and the villa proprietor himself. Nature sometimes takes precedence, while the villa complements and integrates with the environment. This allows us to appreciate the nuances in Statius’ overall presentation of the relationship between mankind and nature in Book 1 and in other poems in the Siluae.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"3 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140442872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-15DOI: 10.1017/s0009838823000940
Paolo Dainotti
This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force (‘fearing everything too calm’, ‘because of the excessive calmness’), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings.
本文论述了维吉尔式歧义的一个案例，即著名的 Aen.4.298 omnia tuta timens。通过强调具有因果关系的合理解读（"害怕一切都过于平静"，"因为过分平静"），本文试图证明该半句是一个模棱两可的段落。瓦莱里乌斯-弗拉库斯（Valerius Flaccus）的模仿证实了这一观点，他在暗指维吉尔的段落（《阿尔贡奥蒂卡》8.408-12）时，通过包含两种最合理的解读来强调其模糊性。
{"title":"OMNIA TVTA TIMENS (VIRGIL, AENEID 4.298): ALLUSION AND AMBIGUITY","authors":"Paolo Dainotti","doi":"10.1017/s0009838823000940","DOIUrl":"https://doi.org/10.1017/s0009838823000940","url":null,"abstract":"\u0000 This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force (‘fearing everything too calm’, ‘because of the excessive calmness’), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"885 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139835220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-15DOI: 10.1017/s0009838823000708
Anna Anguissola
This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.
{"title":"ARCHITECTURAL MEMORY AND TRIMALCHIO'S PORTICVS","authors":"Anna Anguissola","doi":"10.1017/s0009838823000708","DOIUrl":"https://doi.org/10.1017/s0009838823000708","url":null,"abstract":"\u0000 This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"18 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139774199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-15DOI: 10.1017/s0009838823000940
Paolo Dainotti
This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force (‘fearing everything too calm’, ‘because of the excessive calmness’), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings.
本文论述了维吉尔式歧义的一个案例，即著名的 Aen.4.298 omnia tuta timens。通过强调具有因果关系的合理解读（"害怕一切都过于平静"，"因为过分平静"），本文试图证明该半句是一个模棱两可的段落。瓦莱里乌斯-弗拉库斯（Valerius Flaccus）的模仿证实了这一观点，他在暗指维吉尔的段落（《阿尔贡奥蒂卡》8.408-12）时，通过包含两种最合理的解读来强调其模糊性。
{"title":"OMNIA TVTA TIMENS (VIRGIL, AENEID 4.298): ALLUSION AND AMBIGUITY","authors":"Paolo Dainotti","doi":"10.1017/s0009838823000940","DOIUrl":"https://doi.org/10.1017/s0009838823000940","url":null,"abstract":"\u0000 This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force (‘fearing everything too calm’, ‘because of the excessive calmness’), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"48 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139775842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-15DOI: 10.1017/s0009838823000708
Anna Anguissola
This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.
{"title":"ARCHITECTURAL MEMORY AND TRIMALCHIO'S PORTICVS","authors":"Anna Anguissola","doi":"10.1017/s0009838823000708","DOIUrl":"https://doi.org/10.1017/s0009838823000708","url":null,"abstract":"\u0000 This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"170 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139833568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-14DOI: 10.1017/s0009838823000654
J. Hejduk
This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), MANE[T] , contributes significantly to the poignancy and purpose of the poem. MANE can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. MANET can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, ROSA RVES (‘[a] rose, you will fall to ruin’).
{"title":"CYNTHIA'S BIRTHDAY ACROSTIC (3.10.1–5): PROPERTIUS ON ELEGIAC TIME AND ETERNITY","authors":"J. Hejduk","doi":"10.1017/s0009838823000654","DOIUrl":"https://doi.org/10.1017/s0009838823000654","url":null,"abstract":"\u0000 This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), \u0000 MANE[T]\u0000 , contributes significantly to the poignancy and purpose of the poem. \u0000 MANE\u0000 can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. \u0000 MANET\u0000 can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, \u0000 ROSA RVES\u0000 (‘[a] rose, you will fall to ruin’).","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"40 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139838373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-14DOI: 10.1017/s0009838823000654
J. Hejduk
This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), MANE[T] , contributes significantly to the poignancy and purpose of the poem. MANE can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. MANET can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, ROSA RVES (‘[a] rose, you will fall to ruin’).
{"title":"CYNTHIA'S BIRTHDAY ACROSTIC (3.10.1–5): PROPERTIUS ON ELEGIAC TIME AND ETERNITY","authors":"J. Hejduk","doi":"10.1017/s0009838823000654","DOIUrl":"https://doi.org/10.1017/s0009838823000654","url":null,"abstract":"\u0000 This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), \u0000 MANE[T]\u0000 , contributes significantly to the poignancy and purpose of the poem. \u0000 MANE\u0000 can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. \u0000 MANET\u0000 can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, \u0000 ROSA RVES\u0000 (‘[a] rose, you will fall to ruin’).","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139778751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-08DOI: 10.1017/s0009838823000770
Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze
This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.
本文讨论了瓦罗《拉丁语学》（De lingua Latina）第 5-7 卷词源学书籍中七个段落的文本，并对所有段落提出了新的猜想。这些讨论与瓦罗所引用的已失传拉丁语作者的片段和证词的解释直接相关，这些作者包括风景诗人奈维乌斯 (Naevius)、帕库维乌斯 (Pacuvius)、卡西利亚斯-斯塔提乌斯 (Caecilius Statius)、尤文提乌斯 (Juventius) 和阿提乌斯 (Atilius) 以及语法学家奥勒留-奥皮勒斯 (Aurelius Opillus)。讨论的起点是沃尔夫冈-德-梅洛（Wolfgang de Melo）所著的牛津大学新版瓦罗的《拉丁语学》（De lingua Latina）。
{"title":"NOTES ON THE TEXT OF VARRO'S DE LINGVA LATINA","authors":"Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze","doi":"10.1017/s0009838823000770","DOIUrl":"https://doi.org/10.1017/s0009838823000770","url":null,"abstract":"\u0000 This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139794160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-08DOI: 10.1017/s0009838823000770
Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze
This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.
本文讨论了瓦罗《拉丁语学》（De lingua Latina）第 5-7 卷词源学书籍中七个段落的文本，并对所有段落提出了新的猜想。这些讨论与瓦罗所引用的已失传拉丁语作者的片段和证词的解释直接相关，这些作者包括风景诗人奈维乌斯 (Naevius)、帕库维乌斯 (Pacuvius)、卡西利亚斯-斯塔提乌斯 (Caecilius Statius)、尤文提乌斯 (Juventius) 和阿提乌斯 (Atilius) 以及语法学家奥勒留-奥皮勒斯 (Aurelius Opillus)。讨论的起点是沃尔夫冈-德-梅洛（Wolfgang de Melo）所著的牛津大学新版瓦罗的《拉丁语学》（De lingua Latina）。
{"title":"NOTES ON THE TEXT OF VARRO'S DE LINGVA LATINA","authors":"Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze","doi":"10.1017/s0009838823000770","DOIUrl":"https://doi.org/10.1017/s0009838823000770","url":null,"abstract":"\u0000 This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"23 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139853973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-05DOI: 10.1017/s0009838823000745
James Parkhouse
This article explores the allusive strategy of the late second-century cento-tragedy Medea attributed to Hosidius Geta, which recounts Medea's revenge against Jason using verses from the works of Virgil. It argues that the text's author recognized a consistent strand of characterization in earlier treatments of the Medea myth, whereby the heroine's filicide is presented as a corrupted sacrifice. Geta selectively uses verses from thematically significant episodes in the Aeneid—the lying tale of Sinon and the death of Laocoön; the murder of Priam; the suicide of Dido—at key points to foreground the theme of pseudo-sacrificial violence. Geta's use of Virgil evinces a keen appreciation both of the symbolism of the broader mythic tradition in which his text is situated and of the original narrative contexts of the verses he recycles. The article's findings contribute to a growing recognition of the creative potential afforded by the cento technique.
{"title":"PSEUDO-SACRIFICIAL ALLUSIONS IN HOSIDIUS GETA'S MEDEA","authors":"James Parkhouse","doi":"10.1017/s0009838823000745","DOIUrl":"https://doi.org/10.1017/s0009838823000745","url":null,"abstract":"\u0000 This article explores the allusive strategy of the late second-century cento-tragedy Medea attributed to Hosidius Geta, which recounts Medea's revenge against Jason using verses from the works of Virgil. It argues that the text's author recognized a consistent strand of characterization in earlier treatments of the Medea myth, whereby the heroine's filicide is presented as a corrupted sacrifice. Geta selectively uses verses from thematically significant episodes in the Aeneid—the lying tale of Sinon and the death of Laocoön; the murder of Priam; the suicide of Dido—at key points to foreground the theme of pseudo-sacrificial violence. Geta's use of Virgil evinces a keen appreciation both of the symbolism of the broader mythic tradition in which his text is situated and of the original narrative contexts of the verses he recycles. The article's findings contribute to a growing recognition of the creative potential afforded by the cento technique.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"63 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139863459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：