Symbolae Philologorum Posnaniensium Graecae et Latinae
The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece contain... more The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ’ αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne’s contradictory feelings and her moral dilemma.
The passage placed at the very beginning of the sixth chapter of the Ps.-Plutarchean treatise On ... more The passage placed at the very beginning of the sixth chapter of the Ps.-Plutarchean treatise On Music is seen as one of the most important ancient sources providing the definition of nomos. On the grounds of what is said there scholars have persisted in considering nomoi to be compositions governed by strict rules and possessing a determinate, unvarying τάσις. The scope of this invariability has given scholars, however, a great deal of trouble. Consequently, the question of the correct understanding of Ps.-Plutarch's passage has not definitely been solved yet. In this article I shall attempt to find an interpretation of the seemingly incoherent beginning of ch. 6, the immediate concern of which is with the history of citharody in general, not only as the majority of investigators are now prone to think with the generic outlook of nomos. To achieve this aim, I propose to look at the context of the nomos' definition, since some words and expressions used within sentences which precede and follow it, are in my opinion of crucial importance for a proper understanding of the definition itself. Moreover, one should remember that the definition does not, by any means, form a separate or autonomous statement. The definition is obviously part of the argumentation carried out within the train of sentences, an example supporting the point just being made by the author. In ch. 6 (1133 Β) of Mus. we read: To δ' όλον ή μεν κατά Τέρπανδρον κιθαρωδία και μέχρι της Φρύνιδος ηλικίας παντελώς άπλη τις ούσα διετέλεΐ' ού γάρ έξήν τό παλαιόν οΰτω ποιεϊσθαι τάς κιΌαραιδίας ώς νυν, ουδέ μετριφέρειν τάς αρμονίας και τους ρυθμούς· έν γάρ τοις νόμοις έκάστψ διετήρουν την οί,κείαν τάσιν. διό και ταύτην έπωνυμίαν είχον νόμοι γάρ προσηγορεύθησαν, έπειδή ουκ έξήν παραβήναι καθ' εκαστον νενομισμένον είδος της τάσεως.
Cicero seems to have avoided the first-person plural of the present indicative of fero and of its... more Cicero seems to have avoided the first-person plural of the present indicative of fero and of its compounds: a search on the PHI Latin Texts CD 5.3 (1991) shows only one occurrence of ferimus, none of adferimus, auferimus, conferimus, or similar compound forms. Since fero and its numerous compounds are common words, this is unlikely to be coincidence. Of course, some forms will be rare because an author will have had little occasion to use them; Cicero may, for instance, have wanted to say ‘let us endure’ or ‘we shall endure’ more often than ‘we are enduring’. The table below (which compares words with similar meanings) suggests that this is not the explanation for the extreme rarity here.1
The article offers a new interpretation of Anaxandrides’ comic fragment (16 K.-A), preserved at A... more The article offers a new interpretation of Anaxandrides’ comic fragment (16 K.-A), preserved at Athenaeus 14.638c-d as a part of an extended discussion of the authors of disreputable poetry and the decline of music. It has been argued that in this fragment – in fact the only remaining from Anaxandrides’ play entitled Heracles – the spotlight is focused not, as has been hitherto assumed, on the comparison between a musically talented person and an unskilful one, but rather on the complaint about the musical style represented by pieces composed and performed by a certain Argas and artists of his ilk. The point of the ironic “praise” of the unnamed musician, presumably refect-ing the taste of the audience, is to sarcastically treat him as an artistic nobody.In Anaxandridis fabulis multa invenias, quae simul ad comoediae mediae ac novae materiam proxime accedunt. Inter ea, quae naturae et indoli mediae comoediae congruunt, sunt opiniones ad musicam eiusque cultorum ingenium et mores spe...
W artykule przedstawiono najwcześniejsze greckie sposoby myślenia o zbieraniu, zestawianiu i wyli... more W artykule przedstawiono najwcześniejsze greckie sposoby myślenia o zbieraniu, zestawianiu i wyliczaniu w odniesieniu do literatury i jej funkcjonowania. Obecna od początków dziejów greckiej poezji skłonność do posługiwania się katalogami jako integralnymi częściami utworów, porządkującymi różne rzeczy, sprawy i zjawiska i ułatwiającymi ich zapamiętywanie, już w V w. p.n.e. znalazła wyraz w tworzeniu zbiorów (syllogai) poetyckich dokonań, które były układane według różnorakich kryteriów (tematycznych, gatunkowych, autorskich, funkcjonalnych). Towarzysząca zbieraniu utworów aksjologiczna postawa redaktorów syllogai wobec tych utworów doprowadziła w czasach hellenistycznych do powstania antologii, czyli wyborów dzieł uznanych za artystycznie najlepsze, a więc dostarczające odbiorcy przyjemności przede wszystkim estetycznej. Prześledzenie najwcześniejszych dziejów antologizowania pokazuje, że wszechobecne w życiu Greków zasady: użyteczności i przyjemności odgrywały znaczącą rolę w kszt...
Archiv für Papyrusforschung und verwandte Gebiete, 2014
This article discusses Marco Perale’s readings in P.Oxy. LXIV 4410, fr. 1 and 2.1-5. It also sugg... more This article discusses Marco Perale’s readings in P.Oxy. LXIV 4410, fr. 1 and 2.1-5. It also suggests another possible reading and presents an alternative explanation of the meaning of the text.
Symbolae Philologorum Posnaniensium Graecae et Latinae
The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece contain... more The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ’ αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne’s contradictory feelings and her moral dilemma.
The passage placed at the very beginning of the sixth chapter of the Ps.-Plutarchean treatise On ... more The passage placed at the very beginning of the sixth chapter of the Ps.-Plutarchean treatise On Music is seen as one of the most important ancient sources providing the definition of nomos. On the grounds of what is said there scholars have persisted in considering nomoi to be compositions governed by strict rules and possessing a determinate, unvarying τάσις. The scope of this invariability has given scholars, however, a great deal of trouble. Consequently, the question of the correct understanding of Ps.-Plutarch's passage has not definitely been solved yet. In this article I shall attempt to find an interpretation of the seemingly incoherent beginning of ch. 6, the immediate concern of which is with the history of citharody in general, not only as the majority of investigators are now prone to think with the generic outlook of nomos. To achieve this aim, I propose to look at the context of the nomos' definition, since some words and expressions used within sentences which precede and follow it, are in my opinion of crucial importance for a proper understanding of the definition itself. Moreover, one should remember that the definition does not, by any means, form a separate or autonomous statement. The definition is obviously part of the argumentation carried out within the train of sentences, an example supporting the point just being made by the author. In ch. 6 (1133 Β) of Mus. we read: To δ' όλον ή μεν κατά Τέρπανδρον κιθαρωδία και μέχρι της Φρύνιδος ηλικίας παντελώς άπλη τις ούσα διετέλεΐ' ού γάρ έξήν τό παλαιόν οΰτω ποιεϊσθαι τάς κιΌαραιδίας ώς νυν, ουδέ μετριφέρειν τάς αρμονίας και τους ρυθμούς· έν γάρ τοις νόμοις έκάστψ διετήρουν την οί,κείαν τάσιν. διό και ταύτην έπωνυμίαν είχον νόμοι γάρ προσηγορεύθησαν, έπειδή ουκ έξήν παραβήναι καθ' εκαστον νενομισμένον είδος της τάσεως.
Cicero seems to have avoided the first-person plural of the present indicative of fero and of its... more Cicero seems to have avoided the first-person plural of the present indicative of fero and of its compounds: a search on the PHI Latin Texts CD 5.3 (1991) shows only one occurrence of ferimus, none of adferimus, auferimus, conferimus, or similar compound forms. Since fero and its numerous compounds are common words, this is unlikely to be coincidence. Of course, some forms will be rare because an author will have had little occasion to use them; Cicero may, for instance, have wanted to say ‘let us endure’ or ‘we shall endure’ more often than ‘we are enduring’. The table below (which compares words with similar meanings) suggests that this is not the explanation for the extreme rarity here.1
The article offers a new interpretation of Anaxandrides’ comic fragment (16 K.-A), preserved at A... more The article offers a new interpretation of Anaxandrides’ comic fragment (16 K.-A), preserved at Athenaeus 14.638c-d as a part of an extended discussion of the authors of disreputable poetry and the decline of music. It has been argued that in this fragment – in fact the only remaining from Anaxandrides’ play entitled Heracles – the spotlight is focused not, as has been hitherto assumed, on the comparison between a musically talented person and an unskilful one, but rather on the complaint about the musical style represented by pieces composed and performed by a certain Argas and artists of his ilk. The point of the ironic “praise” of the unnamed musician, presumably refect-ing the taste of the audience, is to sarcastically treat him as an artistic nobody.In Anaxandridis fabulis multa invenias, quae simul ad comoediae mediae ac novae materiam proxime accedunt. Inter ea, quae naturae et indoli mediae comoediae congruunt, sunt opiniones ad musicam eiusque cultorum ingenium et mores spe...
W artykule przedstawiono najwcześniejsze greckie sposoby myślenia o zbieraniu, zestawianiu i wyli... more W artykule przedstawiono najwcześniejsze greckie sposoby myślenia o zbieraniu, zestawianiu i wyliczaniu w odniesieniu do literatury i jej funkcjonowania. Obecna od początków dziejów greckiej poezji skłonność do posługiwania się katalogami jako integralnymi częściami utworów, porządkującymi różne rzeczy, sprawy i zjawiska i ułatwiającymi ich zapamiętywanie, już w V w. p.n.e. znalazła wyraz w tworzeniu zbiorów (syllogai) poetyckich dokonań, które były układane według różnorakich kryteriów (tematycznych, gatunkowych, autorskich, funkcjonalnych). Towarzysząca zbieraniu utworów aksjologiczna postawa redaktorów syllogai wobec tych utworów doprowadziła w czasach hellenistycznych do powstania antologii, czyli wyborów dzieł uznanych za artystycznie najlepsze, a więc dostarczające odbiorcy przyjemności przede wszystkim estetycznej. Prześledzenie najwcześniejszych dziejów antologizowania pokazuje, że wszechobecne w życiu Greków zasady: użyteczności i przyjemności odgrywały znaczącą rolę w kszt...
Archiv für Papyrusforschung und verwandte Gebiete, 2014
This article discusses Marco Perale’s readings in P.Oxy. LXIV 4410, fr. 1 and 2.1-5. It also sugg... more This article discusses Marco Perale’s readings in P.Oxy. LXIV 4410, fr. 1 and 2.1-5. It also suggests another possible reading and presents an alternative explanation of the meaning of the text.
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