Pub Date : 2003-01-01DOI: 10.1017/S0068673500000948
A. Willi
Aristophanes' Plutus is often regarded as a dull play. According to two of the leading specialists on Aristophanes in Great Britain, the comedy displays ‘a certain amount of disjointedness in its moral and religious themes, and a certain lack of energy in its humour’, and the modern reader feels a ‘decline in freshness, in verbal agility, in sparkle of wit, in theatrical inventiveness’. Others regret alleged or real inconsistencies, the lack of punning and verbal play, the absence of nearly all choral interludes, a parabasis, and political advice in general, and the dearth of references to historical figures. Thus, the temptation is strong to follow those who read a medical history into Plutus : Aristophanes, by now sixty-five years old, had grown tired and saved his esprit for every third or fourth play. But such speculations do not do justice to a poet who did not have to write for a living. Before accepting them, we should first try to explain the change in other ways, admitting that Plutus may differ from the earlier plays for generic reasons. On this path, the linguistic analysis of Plutus will turn out to be helpful.
{"title":"New language for a New Comedy: A linguistic approach to Aristophanes' Plutus","authors":"A. Willi","doi":"10.1017/S0068673500000948","DOIUrl":"https://doi.org/10.1017/S0068673500000948","url":null,"abstract":"Aristophanes' Plutus is often regarded as a dull play. According to two of the leading specialists on Aristophanes in Great Britain, the comedy displays ‘a certain amount of disjointedness in its moral and religious themes, and a certain lack of energy in its humour’, and the modern reader feels a ‘decline in freshness, in verbal agility, in sparkle of wit, in theatrical inventiveness’. Others regret alleged or real inconsistencies, the lack of punning and verbal play, the absence of nearly all choral interludes, a parabasis, and political advice in general, and the dearth of references to historical figures. Thus, the temptation is strong to follow those who read a medical history into Plutus : Aristophanes, by now sixty-five years old, had grown tired and saved his esprit for every third or fourth play. But such speculations do not do justice to a poet who did not have to write for a living. Before accepting them, we should first try to explain the change in other ways, admitting that Plutus may differ from the earlier plays for generic reasons. On this path, the linguistic analysis of Plutus will turn out to be helpful.","PeriodicalId":53950,"journal":{"name":"Cambridge Classical Journal","volume":"49 1","pages":"40-73"},"PeriodicalIF":0.2,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0068673500000948","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57323469","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 : 1997-01-01DOI: 10.1017/S0068673500002030
F. Cairns
Ancient ‘etymology’ is now such a well-established modern scholarly interest that a paper about it need no longer be prefaced by an account of its commonest forms or by a justification of its importance, especially in poetry – and that despite the pseudo-etymological nature of many ancient etymologies. For such matters it is sufficient to refer to what have already become the standard works on ancient etymologies and etymologising. If further explanation of the high intellectual status accorded by antiquity to etymologising seems necessary, it can be provided economically by reference to those ancient philosophical theories of language, e.g. that of the Stoics, which held that words are related to the reality (φύσις) of the things which they name, and to the close links which surviving ancient etymological treatises assert between etymology (i.e. derivations) and ‘semantics’ (i.e. meaning). The etymologies most familiar to older classical scholarship are those revolving around proper names; but even before the recent upsurge of interest in ancient etymology there was some awareness of the additional potential for common nouns, verbs and adjectives to be etymologised.
{"title":"Ancient \"Etymology\" and Tibullus : on the Classification of \"Etymologies\" and on \"Etymological Markers\"","authors":"F. Cairns","doi":"10.1017/S0068673500002030","DOIUrl":"https://doi.org/10.1017/S0068673500002030","url":null,"abstract":"Ancient ‘etymology’ is now such a well-established modern scholarly interest that a paper about it need no longer be prefaced by an account of its commonest forms or by a justification of its importance, especially in poetry – and that despite the pseudo-etymological nature of many ancient etymologies. For such matters it is sufficient to refer to what have already become the standard works on ancient etymologies and etymologising. If further explanation of the high intellectual status accorded by antiquity to etymologising seems necessary, it can be provided economically by reference to those ancient philosophical theories of language, e.g. that of the Stoics, which held that words are related to the reality (φύσις) of the things which they name, and to the close links which surviving ancient etymological treatises assert between etymology (i.e. derivations) and ‘semantics’ (i.e. meaning). The etymologies most familiar to older classical scholarship are those revolving around proper names; but even before the recent upsurge of interest in ancient etymology there was some awareness of the additional potential for common nouns, verbs and adjectives to be etymologised.","PeriodicalId":53950,"journal":{"name":"Cambridge Classical Journal","volume":"42 1","pages":"24-59"},"PeriodicalIF":0.2,"publicationDate":"1997-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0068673500002030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57323955","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 : 1997-01-01DOI: 10.1017/S0068673500002042
R. Clare
The sixty-fourth poem of Catullus, a work which has in times past been dismissed as contrived, is now appreciated precisely because it is carefully contrived. The majority of modern scholarship seems willing, implicitly or explicitly, to look upon the poem's intricacies and apparent contradictions as constituting part of its attraction, acknowledging that artifice does not necessarily preclude art. The complexities of poem 64 are contingent to a large degree upon its interaction with earlier poetic models. Structural devices of narrative are borrowed from a variety of sources; themes and scenes are delineated so as to reveal their full meaning through reader awareness of other works; literary allusions pervade the text. Perhaps the most salient intertextual feature of Catullus' epyllion is its interaction with previous literary treatments of the myth of Jason and Medea. In this regard, it has long been recognised that a poem of central importance for the reading of Catullus 64 is the Argonautica of Apollonius Rhodius, and this present exploration of allusion in poem 64 will concentrate on the intertextual connections between 64 and its Hellenistic epic predecessor.
{"title":"Catullus 64 and the Argonautica of Apollonius Rhodius: allusion and exemplarity 1","authors":"R. Clare","doi":"10.1017/S0068673500002042","DOIUrl":"https://doi.org/10.1017/S0068673500002042","url":null,"abstract":"The sixty-fourth poem of Catullus, a work which has in times past been dismissed as contrived, is now appreciated precisely because it is carefully contrived. The majority of modern scholarship seems willing, implicitly or explicitly, to look upon the poem's intricacies and apparent contradictions as constituting part of its attraction, acknowledging that artifice does not necessarily preclude art. The complexities of poem 64 are contingent to a large degree upon its interaction with earlier poetic models. Structural devices of narrative are borrowed from a variety of sources; themes and scenes are delineated so as to reveal their full meaning through reader awareness of other works; literary allusions pervade the text. Perhaps the most salient intertextual feature of Catullus' epyllion is its interaction with previous literary treatments of the myth of Jason and Medea. In this regard, it has long been recognised that a poem of central importance for the reading of Catullus 64 is the Argonautica of Apollonius Rhodius, and this present exploration of allusion in poem 64 will concentrate on the intertextual connections between 64 and its Hellenistic epic predecessor.","PeriodicalId":53950,"journal":{"name":"Cambridge Classical Journal","volume":"42 1","pages":"60-88"},"PeriodicalIF":0.2,"publicationDate":"1997-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0068673500002042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57324030","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 : 1997-01-01DOI: 10.1017/S0068673500002054
E. G. Clark
a quo [sc. Deo] si non esset lapsus Adam, non diffunderetur ex utero eius salsugo maris, genus humanum profunde curiosum et procellose tumidum et instabiliter fluidum This paper begins with a puzzle, a passage of Confessions 13 which has left commentators baffled. How can Adam have a uterus? Gibb and Montgomery, in 1927, gave the problem a name; O'Donnell, in 1992, opted for citing their comment with a quiet gloss of his own utero G–M (understatement): ‘A remarkable example of catachresis. It is to be explained, no doubt, by the fact that “Adam” is used generically rather than personally.
{"title":"Adam's womb (Augustine, Confessions 13.28) and the salty sea","authors":"E. G. Clark","doi":"10.1017/S0068673500002054","DOIUrl":"https://doi.org/10.1017/S0068673500002054","url":null,"abstract":"a quo [sc. Deo] si non esset lapsus Adam, non diffunderetur ex utero eius salsugo maris, genus humanum profunde curiosum et procellose tumidum et instabiliter fluidum This paper begins with a puzzle, a passage of Confessions 13 which has left commentators baffled. How can Adam have a uterus? Gibb and Montgomery, in 1927, gave the problem a name; O'Donnell, in 1992, opted for citing their comment with a quiet gloss of his own utero G–M (understatement): ‘A remarkable example of catachresis. It is to be explained, no doubt, by the fact that “Adam” is used generically rather than personally.","PeriodicalId":53950,"journal":{"name":"Cambridge Classical Journal","volume":"42 1","pages":"89-105"},"PeriodicalIF":0.2,"publicationDate":"1997-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0068673500002054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57323648","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 : 1997-01-01DOI: 10.1017/S0068673500002078
R. Fox
In a programmatic article, published nearly twenty years ago, Peter Laslett characterized historians who try to write social history from literature as people who look at the world through the wrong end of a telescope. His particular examples of their inverted gaze were not always well chosen: warfare in Homer, the young age at betrothal of Shakespeare's Juliet, the extra-marital affairs in Restoration Comedy. The main point, however, still challenges ancient historians. ‘The great defect of the evidence’, as A. H. M. Jones forewarned readers of his social history, ‘is the total absence of statistics’: at best, we have isolated numbers which do not survive in significant sequences. Yet since 1951, ancient historians have continued to look down their telescopes and find social history in a widening range of texts. In the past decade, Roman historians have re-read prose fictions for this purpose, while on the Greek side, more recent attention has gone to poetry, especially tragedy and Homeric epic.
彼得·拉斯莱特(Peter Laslett)在近20年前发表的一篇纲论性文章中，把那些试图从文学中书写社会史的历史学家描述为那些从望远镜的错误一端看世界的人。他所举的颠倒凝视的例子并不总是精心挑选的:荷马史诗中的战争，莎士比亚笔下朱丽叶年轻时的订婚，《复辟喜剧》中的婚外情。然而，主要观点仍然让古代历史学家感到困惑。“证据的巨大缺陷”，正如a·h·m·琼斯(A. H. M. Jones)在他的《社会历史》一书中预先警告读者的那样，“是完全缺乏统计数据”:我们最多只能得到一些孤立的数字，这些数字不能以有意义的序列存在。然而，自1951年以来，古代历史学家继续通过望远镜，在越来越多的文献中寻找社会历史。在过去的十年里，罗马历史学家为了这个目的重新阅读散文小说，而在希腊方面，最近的注意力更多地集中在诗歌上，尤其是悲剧和荷马史诗。
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Pub Date : 1997-01-01DOI: 10.1017/S006867350000208X
Matthew Leigh
In 29 B.C., at the ludi Actiaci held to celebrate the victory of Octavian over the forces of Antony and Cleopatra, Rome witnessed the first performance of one of the most celebrated of Roman tragedies, the Thyestes of Varius Rufus. Later critics are in agreement as to the quality of the piece: Curiatius Maternus in the Dialogue on Orators of Tacitus rates it equal to the Medea of Ovid; Quintilian describes it as comparable to any Greek tragedy; Philargyrius in a note to Eclogues 8.6 goes as far as to dub it the greatest of all tragedies ( omnibus tragicis praeferenda ). More intriguingly, at least one contemporary was extremely taken with the play, for a note in the eighth-century Codex Parisinus 7530 and the ninth-century Codex Casanatensis 1086 indicates that Varius was paid one million sesterces for his efforts. That that contemporary was the organiser of the Actian games, either Octavian himself or a close associate acting as intermediary, is not in dispute. What is at issue is the political and ideological significance of a tragedy on the theme of Atreus and Thyestes which could make it so valuable a part of the celebration of the victory of the new regime. It is to this problem that this paper is addressed.
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Pub Date : 1994-01-01DOI: 10.1017/S0068673500001759
J. Moles
Few of the many treatments of this famous preface seem to recognise the need for close reading of the text. The present paper sets out to remedy this deficiency in the hope of achieving three main aims: (1) to demonstrate the coherence and power of Livy's argument, as well as the subtlety of its exposition and the richness of its language; (2) to resolve certain specific problems; (3) to further the continuing debate on important general questions in ancient historiography. Facturusne operae pretium sim si a primordio urbis res populi Romani perscripserim nee satis scio nec, si sciam, dicere ausim, (2) quippe qui cum ueterem turn uolgatam esse rem uideam, dum noui semper scriptores aut in rebus certius aliquid allaturos se aut scribendi arte rudem uetustatem superaturos credunt.
在这个著名的序言的许多处理中，似乎很少认识到需要仔细阅读文本。本文旨在弥补这一缺陷，希望达到三个主要目标:(1)展示李维论证的连贯性和力量，以及其阐述的微妙性和语言的丰富性;(二)解决某些具体问题;(3)推动对古代史学中重要的一般性问题的持续辩论。Facturusne operae pretium sim si primordio urbi res populi罗姆人perscripserim娘家姓的满意scio nec si sciam, dicere ausim, (2) quippe,暨ueterem把uolgatam存在rem uideam dum noui永远scriptores aut的字谜certius aliquid allaturos se aut scribendi《rudem uetustatem superaturos credunt。
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Pub Date : 1994-01-01DOI: 10.1017/S006867350000170X
M. Beard
‘ It's my PARTY… ;’ The Cambridge Museum of Classical and General Archaeology opened on 6 May 1884 with – what else? – a PARTY. Distinguished guests turned out, the University meeting the Aristocracy, Arts and Politics: H.R.H. Prince Albert Victor of Wales (the Queen's son, then an undergraduate), Sir Frederick Leighton (President of the Royal Academy), the painters Lawrence Alma-Tadema and Edward Poynter, the American Ambassador, Sir Frederick Burton (Director of the National Gallery), George Scharf (Director of the National Portrait Gallery), and other assorted dignitaries rubbing shoulders and sharing the fun with Richard Jebb (Regius Professor of Greek), E. B. ( Primitive Culture ) Tylor, S. H. Butcher (of Butcher and Lang's Odyssey ), as well as (in the usual formula) ‘the Heads of Colleges, Doctors and Professors, the officers of the University’ … and their ‘ladies’. ‘Luncheon’ was taken in the hall of Gonville and Caius College at one o'clock. A great feast, no doubt, but a bit of a sprint. By two o'clock the assembled company had already finished the pudding and was proceeding to the lecture room of the new museum in Little St Mary's Lane.
{"title":"Casts and cast-offs: the origins of the Museum of Classical Archaeology *","authors":"M. Beard","doi":"10.1017/S006867350000170X","DOIUrl":"https://doi.org/10.1017/S006867350000170X","url":null,"abstract":"‘ It's my PARTY… ;’ The Cambridge Museum of Classical and General Archaeology opened on 6 May 1884 with – what else? – a PARTY. Distinguished guests turned out, the University meeting the Aristocracy, Arts and Politics: H.R.H. Prince Albert Victor of Wales (the Queen's son, then an undergraduate), Sir Frederick Leighton (President of the Royal Academy), the painters Lawrence Alma-Tadema and Edward Poynter, the American Ambassador, Sir Frederick Burton (Director of the National Gallery), George Scharf (Director of the National Portrait Gallery), and other assorted dignitaries rubbing shoulders and sharing the fun with Richard Jebb (Regius Professor of Greek), E. B. ( Primitive Culture ) Tylor, S. H. Butcher (of Butcher and Lang's Odyssey ), as well as (in the usual formula) ‘the Heads of Colleges, Doctors and Professors, the officers of the University’ … and their ‘ladies’. ‘Luncheon’ was taken in the hall of Gonville and Caius College at one o'clock. A great feast, no doubt, but a bit of a sprint. By two o'clock the assembled company had already finished the pudding and was proceeding to the lecture room of the new museum in Little St Mary's Lane.","PeriodicalId":53950,"journal":{"name":"Cambridge Classical Journal","volume":"39 1","pages":"1-29"},"PeriodicalIF":0.2,"publicationDate":"1994-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S006867350000170X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57323848","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 : 1994-01-01DOI: 10.1017/S0068673500001735
J. Henderson
Who is that man with the handshake? Don't you know …He is an onlooker, a heartless type,Whose hobby is giving everyone else the lie.Laudatur et alget. The Fifties had faith: ‘This satire is nowadays the most popular of all and still read in many classical sixth forms where one otherwise shuns the Sermones.’ The Sixties knew: ‘This poem … will always be a general favourite’; yes, I bear witness, who lent an ear to the L. A. Moritz track for J.A.C.T.'s showcase of Latinitas back in the golden age of vinyl (I still do: ego uero oppono ∣ auriculam, 76f.). (…) The Nineties wonder. ‘Perhaps the most straightforward and immediately appealing of the ten poems, and perhaps the most delicious example of Horace's brand of ironic humour.’
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