“There on my shelves are all the ages. I have spoken to you of Petronius, of Lucian and Apuleius. There is Suetonius, with his incredibly improper tales that show how beastliness takes root and flowers from the deposited muck of a gossip’s mind. There is Tacitus, ever willing to sacrifice decency to antithesis, and Ausonius, whose ribald verses are like monkish recreation; yet he had withal a pretty currency of honest silver Latin, Christian though he was. You must read your Latin authors well, for, since you must be decadent, it is better to decay from a good source. And neglect not the Middle Ages. You will glide most easily into them from the witches and robbers of Apuleius. You will read Boccaccio, whose tales are intaglios carved with exquisitely licentious and Lilliputian scenes. Neither forget Villon, whose light ladies seem ever to move elusively in close-cut gowns of cloth-of-gold and incredibly tall steeple-hats. But even with Villon the world becomes complicated, and you will soon reach the temperamental entanglements of the nineteenth century, for you may avoid the coarse, the beery and besotted obviousness of the Georgian age.”
“Odysseus defeated Palamedes in the court of the Achaeans by charging him of having barbarian gold in his tent, and thus that wisest of all Greeks was convicted of treason by a trick, by a stratagem.”
“Humanity waited, thunderstruck by the new light in the sky,
First grieving as it disappeared, then overjoyed at its return.
The human race was incapable of understanding the reasons
Why the sun rose so frequently once it sent the stars
In flight, why the length of days and nights was uncertain
And why the shadows changed too as the sun moved farther away.
Stubborn obsession had not yet taught humankind knowledge and skill
And the land was resting open at the hands of untrained farmers.
At that time gold was resting in untouched mountains
And the untroubled sea hid strange worlds—
For the human race did not dare to risk life
In the waves or wind—people believed that they did not know enough.
But the passage of long days sharpened mortal thought
And hard work produced invention for the miserable
Just as each person’s luck compelled him to turn to himself to make life better.
Then, they competed with each other once their interests were divided
And whatever wisdom practice found through testing,
They happily shared for the common good.”
et stupefacta novo pendebat lumine mundi,
tum velut amisso maerens, tum laeta renato,
surgentem neque enim totiens Titana fugatis
sideribus, variosque dies incertaque noctis
tempora nec similis umbras, iam sole regresso
iam propiore, suis poterat discernere causis.
necdum etiam doctas sollertia fecerat artes,
terraque sub rudibus cessabat vasta colonis;
tumque in desertis habitabat montibus aurum,
immotusque novos pontus subduxerat orbes,
nec vitam pelago nec ventis credere vota
audebant; se quisque satis novisse putabant.
sed cum longa dies acuit mortalia corda
et labor ingenium miseris dedit et sua quemque
advigilare sibi iussit fortuna premendo,
seducta in varias certarunt pectora curas
et, quodcumque sagax temptando repperit usus,
in commune bonum commentum laeta dederunt.
“The race of man complains wrongly about its nature, namely the fact that it is feeble in strength, limited in years and ruled more by chance than virtue. To the contrary, you can realize through contemplation that nothing else is greater or more extraordinary—that human nature lacks only perseverance instead of strength or time.
The leader and ruler of mortal life is the mind. When it proceeds to glory along virtue’s path, it is fully powerful, potent and famous; it does not need fortune since fortune cannot grant or revoke honesty, perseverance, or any other good quality from any man.
But a mind seized by desires is dedicated to laziness and worn by obedience to physical pleasure; accustomed to ruinous temptation for too long, when, thanks to sloth, strength, age and wit have diminished, only then is the weakness of nature at fault. Every man shifts his own responsibility to his circumstances.”
[1] Falso queritur de natura sua genus humanum, quod inbecilla atque aevi brevis forte potius quam virtute regatur. Nam contra reputando neque maius aliud neque praestabilius invenias magisque naturae industriam hominum quam vim aut tempus deesse. Sed dux atque imperator vitae mortalium animus est. Qui ubi ad gloriam virtutis via grassatur, abunde pollens potensque et clarus est neque fortuna eget, quippe quae probitatem, industriam aliasque artis bonas neque dare neque eripere cuiquam potest. Sin captus pravis cupidinibus ad inertiam et voluptates corporis pessum datus est, perniciosa libidine paulisper usus, ubi per socordiam vires tempus ingenium diffluxere, naturae infirmitas accusatur: suam quisque culpam auctores ad negotia transferunt.
I can’t help but thinking that maybe Sallust had read (or heard) the beginning of the Odyssey where Zeus complains that Aigisthus ignored divine warnings (1.32-34)
“Mortals! They are always blaming the gods and saying that evil comes from us when they themselves suffer pain beyond their lot because of their own recklessness.”
But, of course, there is a typically eclectic blend of Roman philosophy in Sallust’s statements: some Stoicism, an echo, perhaps, of Empedocles and much more….
M. Cornelius Fronto to Marcus Aurelius (c. 139 CE)
“I believe that a lack of experience and learning is completely preferable in all arts to partial experience and incomplete education. For one who knows that he has no experience in an art tries less and fails less thanks to that. In fact, such hesitation limits arrogance. But whenever anyone uses knowing something lightly as expertise he makes many mistakes because of false confidence.
So, people claim that it is better to never taste Philosophy than to sample it lightly, as it is said, with just the lips. Those men turn out to be the most malicious kind, who travel to a discipline’s entrance and turn away rather than going completely inside. It is still possible in other arts that you can play a part for a while and seem experienced in what you do not know. But in how to choose and arrange words, one shines through immediately when he cannot provide any words but those that show his ignorance of them, that he judges them poorly, provides them rashly, and cannot know either their usage or their strength.”
1. Omnium artium, ut ego arbitror, imperitum et indoctum omnino esse praestat quam semiperitum ac semidoctum. Nam qui sibi conscius est artis expertem esse minus adtemptat, eoque minus praecipitat; diffidentia profecto audaciam prohibet. At ubi quis leviter quid cognitum pro comperto | ostentat, falsa fiducia multifariam labitur. Philosophiae quoque disciplinas aiunt satius esse numquam adtigisse quam leviter et primoribus, ut dicitur, labiis delibasse, eosque provenire malitiosissimos, qui in vestibulo artis obversati prius inde averterint quam penetraverint. Tamen est in aliis artibus ubi interdum delitescas et peritus paulisper habeare quod nescias. In verbis vero eligendis conlocandisque ilico dilucet, nec verba dare diu quis1 potest, quin se ipse indicet verborum ignarum esse, eaque male probare et temere existimare et inscie contrectare, neque modum neque pondus verbi internosse.
“If you immerse a red mullet in wine while it is still alive and a man drinks this, he will be impotent, as Terpsikles records in his work On Sexual Matters. If a woman drinks the same mixture, she will not get pregnant. The same thing does not happen with a chicken.”
“…you have fallen into so much misfortune
How could you imagine you’d break free of it?
But if in the end you have more good than ill
You’d certainly be lucky enough as a human being.”
“Did you hear it? Did you hear
The queen speak aloud sufferings
One must neever speak?
May I die, my friend, before
I think your thoughts. My gods,
How pitiful you are from these pains.
Oh, all the toils that nourish mortals.
You are ruined—you have introduced evils to the light.
What can await you in this nearly endless day?”
“Women have an ill-fit harmony in their lives:
Their suffering lives alongside
The miserable helplessnesss of labor pains
And senselessness.
This breath escaped out of my womb
So I cried out to the heavenly aid
The queen of arrows
My much envied visitor among the gods:
Artemis.”
Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.
Euripides, Hippolytus 293-296
“If you suffer a sickness that is one of those we can’t mention,
These are women who can help take care of the disease.
If your suffering is open to discussion with men,
Tell us so we can share this deed with some doctors.”
Euripides’Hippolytus takes us away from the stories of Agamemnon’s family and the Trojan War and takes us to some of the local tales of Attica. He tells the story of Theseus and his son Hippolytus, a product of Theseus’ rape of Hippolyta. The action of the play is in Troezen where Thesus is in exile for murder. Hippolytus has declared himself celebate and to punish him, Aphrodite has made his stepmother Phaedra fall in love with him.
This play was performed as part of a trilogy in 428 and won first prize. It is also not the only time Euripides turned to this topic. An ancient scholar writes that “this is the second Hippolytus, also called “the wreathed”. It appears it was written later. For it corrects what was improper and worthy of accusation in the earlier play” (τερος ᾿Ιοφῶν, τρίτος ῎Ιων. ἔστι δὲ οὗτος ῾Ιππόλυτος δεύτερος <ὁ> καὶ στεφανίας προσαγορευόμενος. ἐμφαίνεται δὲ ὕστερος γεγραμμένος· τὸ γὰρ ἀπρεπὲς καὶ κατηγορίας ἄξιον ἐν τούτῳ διώρθωται τῷ δράματι. τὸ ).
According to scholarly traditions, Hippolytus was famed for his wisdom as well has his beauty and this play sets forces of prudence and self-discipline against desire and pleasure. Of course, since this is Euripides, it is not as simple as that: each character struggles with their impulses and their incomplete knowledge, struggling to be better and punished for trying to be something they are not.
Euripides, Hippolytus 653-655
“I am going to clean out everything I just heard
From my ears with running water. How could I be bad when
I feel dirty just hearing these kinds of things?”
“O humanity, why do you fuck up pointlessly so often?
Why do you teach countless skills
And contrive and invent every kind of thing,
But fail to understand or even pursue at all
How to teach people to think when they are mindless?!”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Euripides, Iphigenia in Tauris 821-824
“…I look over a sea of suffering, poor one,
So large that it is impossible to swim free again
Or to cross over the wave of this sorrow.”
“This is the very thing that lays low the well-lived cities
And homes of mortals: excessively attractive words!
You must not utter things to entice the ears at all
But rather whatever plan will bring us good fame!”
Euripides, Hippolytus 176-198
“Oh, for mortal kind suffering and hateful diseases!
What will I do? What won’t I do?
This is your light, your bright sky-
Already outside lies
Your sick bed.
Coming here was your every word,
Quickly you will rush to go back again,
And quickly you will slip and delight in nothing.
Nothing present pleases you, what is absent
You hold more dear.
It is better to suffer sickness than tend to it.
The first is simple but the other unites
Anguish of thoughts with labor’s hands.
Human life is only pain
And there is no respite from labors.
Anything at all dearer to us than life
Darkness embraces and hides in shadows.
Then we show ourselves to be unlucky lovers
Of whatever shines clear for a bit on the earth
Because of our ignorance of any other life at all.
There’s no revelation of the afterlife.
We are carried along by nothing but stories.”
“For this reason it is necessary that every serious person does not write about serious subjects so that they might not end up an object of envy or confusion among regular people. Simply, when you look at someone’s written work, whether it is a law by a legislator or anything by anyone else, you need to understand that this is not the person’s most serious work even if the author is very serious. Instead, his best works remain in the most noble part of his own realm. But if it turns out that the most serious works are those they have been written down, it is surely not the gods, but mortals themselves “who have totally ruined their senses.”
Anyone who has been following this story and my digression will clearly know that whether Dionysus has written anything about the ultimate and primary truths of nature or some lesser or greater mind has done the same, according to my argument nothing of what he has written is sound thanks to what he has learned or what he has heard. For, he would have the same respect for these things as I do and would not dare to make them available for inappropriate or unacceptable reception.
Dionysius did not write those things for the sake of reminding himself. For there is no danger of anyone forgetting a thing once he has obtained it with his soul, where it is settled among the smallest of all places. But it was for shameful pride, if truly he did write, either as a way of establishing the ideas as his own or to demonstrate that he was an initiate in great learning for which he proved himself unworthy by delighting in the reputation he might gain from it. If this happened to Dionysius because of our single interaction, it could be the case. But how, Only Zeus knows, as the Theban says. For, as I said before, I went through my ideas with him only once and never again afterwards.”
This is a much needed companion piece to our post on the same topic in Greek. Note that many of lexical metaphors for masturbation are shared by the two languages. Much of the following material is drawn from J.N. Adams. The Latin Sexual Vocabulary. 1982. Note, however, that many of the examples are not truly masturbatory.
As an important prefatory note, the Latin word masturbor (whence modern “masturbate”) has unclear and irregular use in Latin (discussed by Adams 209-211 with some rather strong attacks on J. P. Hallet’s 1976 “Masturbator, Mascarpio.” Glotta, vol. 54: 292–308.) The word occurs most prominently in an agentive form in Martial (translated here with considerable license):
Martial, 14.203 Puella Gaditana
“She sways with such curves and oozes sex so deep
That she’d turn Hippolytus himself into a masturbating creep.”
Tam tremulum crisat, tam blandum prurit, ut ipsum
masturbatorem fecerit Hippolytum.
Other words and terms
Frico, “to rub, chafe”, cf. cont. vulg: “rub one out”
Petronius 91.11
“it is that much more advantageous to rub your groin rather than your genius”
tanto magis expedit inguina quam ingenia fricare
Sollicito, “to shake, stir, rouse, agitate, excite, urge” etc.
Despite Adam’s assertion, the primary examples he cites are about the manipulation of genitals by another party.
Ovid, Amores 3.7.73-4
“Despite this, my girl was not reluctant
To stroke me gently once she moved her hand down…”
Hanc etiam non est mea dedignata puella
molliter admota sollicitare manu;
Martial, 11.22.4
“Who denies this? This is too much. But let it be enough
Stop urging on their groins with that fucker of a hand.”
quis negat?—hoc nimium est. sed sit satis; inguina saltem
parce fututrici sollicitare manu.
Petronius 20.2
“She stirred up my groin which was cold already because of a thousand deaths.”
Sollicitavit inguina mea mille iam mortibus frigida
Cf. Maximianus 5.58 “she began to handle my dirty parts with her hand / and to excite me too with her fingers.” contrectare manu coepit flagrantia membra / meque etiam digitis sollicitare suis
“I don’t need a finger: handle me like this, Phyllis”
nil opus est digitis: sic mihi, Phylli, frica
Priapea 80.1-2
“But this limp dick is not long enough nor does it stand up strong enough,
Even if you play with it, do you think it can grow?”
At non longa bene est, non stat bene mentula crassa
et quam si tractes, crescere posse putes?
Adams 1982, 208:
(de)glubo: “to skin, flay, peel” cf. “skin off”
Ausonius, Epigram 79 “Inscribed Beneath the Picture of a Lusty Lady”
Beyond the genial joining of authorized sex
Sinful lust has discovered unnatural modes of love:
What the Lemnian lack posited to the heir of Herakles,
Or what the plays of Afranius in Roman garb presented
Or the total depravity that marked the Nolan people.
Somehow, in a single body, Crispa practices all three!
She masturbates, fellates, and rides with either hole—
So that she might not die frustrated, leaving anything untried.
LXXIX.—Subscriptum Picturae Mulieris impudicae
Praeter legitimi genialia foedera coetus
repperit obscenas veneres vitiosa libido:
Herculis heredi quam Lemnia suasit egestas,
quam toga facundi scaenis agitavit Afrani
et quam Nolanis capitalis luxus inussit.
Crispa tamen cunctas exercet corpore in uno:
deglubit, fellat, molitur per utramque cavernam,
ne quid inexpertum frustra moritura relinquat.
Note: This is a collection of sites/tools to help students and enthusiasts. I am posting it gain because I frequently get the question and there is no simple answer
Typing ancient Greek on computers and hand-held devices is increasingly necessary, but remains more difficult than it needs to. I won’t regale you with horror stories of the days of symbol based fonts when every journal used a different format that required separate entry or converters. But, it did involve keyboard maps that looked like this:
Unicode has made things much easier because almost every font can potentially be Greek.
But text entry can remain an issue for new Greek users. The main challenge for those of us with Roman letter keyboards is that we need to be able to use Polytonic Greek (Polytonic means “with many accents and diacritical marks”; most Greek keyboards are for the simpler modern Greek).
Just to clarify, then, the challenge is getting your device to assign the symbols you want to the keyboard you have and to modify these symbols with diacritical marks (breathings, accents, etc.). If you are just copying and pasting things already used in Greek, you don’t actually need to change anything. (And, if you are quoting long portions of Greek text, I strongly suggest just copying and pasting from the TLG, Perseus, etc. and then checking against varied editions.) But if you want to be a Greek Boss you need to change your keyboard settings.
Most devices already have settings that allow you to do this. (There are assistance utilities for those of us who have less patience/ability). Apple/MAC products tend to have simpler instructions, but sometimes still present challenges. PC/Android products can be annoying. But don’t get too frustrated–just imagine what it was like before computers!
4. I use the Antioch utility. Campus antivirus programs will not allow it to be downloaded and installed. You need to do it from a private residence. I have not tried Keyman, but it looks promising. A similar utility mentioned by Mt Holyoke and Baumann for Apple products is SophoKeys (yay wordplay!). See also, Bill Thayer’s cyborg Typinator.
6. James Tauber also has multi-lesson instruction for typing polytonic Greek: https://greektyping.com
I have this beautiful dinosaur in my office.
Note: I am certainly not the first to collect some of these resources. Here’s a twitter picture guide:
You do not need to download anything (let alone *pay* for anything!) to type in Greek. A Greek keyboard already comes installed on your computer—you just have to turn it on. It’s very easy; here’s how. pic.twitter.com/iXNTm4e7aJ
