First-Wives’ Club: Oinone and Her Son

Here’s some mythical-grade misogyny, with a variation on the Potiphar’s wife motif, and some infanticide.

Apollodorus, Bibliotheca, 3.155

“Hektor married Andromache, Êetiôn’s daughter, and Alexandros [Paris] married Oinônê the daughter of Kebren the river. She learned the power of prophecy from Rhea and warned Alexander not to sail to Helen. Because she did not persuade him, she said that if he was wounded, he should come to her because she alone would be able to heal him.

But he did steal Helen from Sparta and, while Troy was attacked, he was struck by Herakles’ arrows from Philoktêtes. He went to Oinône in Ida. She, because she took delight in his suffering, said she would not heal him. Alexandros returned to Troy and was dying, but Oinônê changed her mind and was bringing medicine to heal him only to find him dead. She hanged herself.”

῞Εκτωρ μὲν οὖν ᾿Ανδρομάχην τὴν ᾿Ηετίωνος γαμεῖ, ᾿Αλέξανδρος δὲ Οἰνώνην τὴν Κεβρῆνος τοῦ ποταμοῦ θυγατέρα. αὕτη παρὰ ῾Ρέας τὴν μαντικὴν μαθοῦσα προέλεγεν ᾿Αλεξάνδρῳ μὴ πλεῖν ἐπὶ ῾Ελένην. μὴ πείθουσα δὲ εἶπεν, ἐὰν τρωθῇ, παραγενέσθαι πρὸς αὐτήν· μόνην γὰρ θεραπεῦσαι δύνασθαι. τὸν δὲ ῾Ελένην ἐκ Σπάρτης ἁρπάσαι, πολεμουμένης δὲ Τροίας τοξευθέντα ὑπὸ Φιλοκτήτου τόξοις ῾Ηρακλείοις πρὸς Οἰνώνην ἐπανελθεῖν εἰς ῎Ιδην. ἡ δὲ μνησικακοῦσα θεραπεύσειν οὐκ ἔφη. ᾿Αλέξανδρος μὲν οὖν εἰς Τροίαν κομιζόμενος ἐτελεύτα, Οἰνώνη δὲ μετανοήσασα τὰ πρὸς θεραπείαν φάρμακα ἔφερε, καὶ καταλαβοῦσα αὐτὸν νεκρὸν ἑαυτὴν ἀνήρτησεν.

This story is the one basically told in Parthenius (Love Tales, 4.7). Another version of the tale is preserved in Photios but is attributed to the historian and mythographer Konon (BNJ 26 F1 = Photios, Bibliotheka 186). A few notes of caution: Konon is dated to the 1st century CE; Photios to the 9th Century CE

 Konon BNJ 26 F1 = Photios, Bibliotheka 186

[This section] is about how a child Koruthos, who surpassed his father in beauty, was born from Alexander/Paris and Oinône, the woman he married before he kidnapped Helen. His mother sent him to Helen to make Alexandros jealous and devise some evil for Helen. When Koruthos got to ‘know’ Helen, Alexandros arrived in the bedroom, and saw Koruthos sitting near her, and, already enraged out of suspicion, he killed him.

Because of the outrage against herself and the killing of her child, she cursed Alexandros a lot and predicted—for she had the inspiration of prophecy and was skilled in preparing medicines—that he would be wounded by one of the Achaeans some day and because he could not find treatment, he would need her and come home.

Later on, Alexander was wounded in the battle against the Achaeans in front of Troy by Philoktetes and he was suffering terribly. He was brought in a wagon to Idea and sent a herald to ask for Oinône. She arrogantly reproached him, saying that he should go back to Helen. Then Alexander died along the road because of the wound.

A powerful change of mind over took her at the time of his death before she heard of it, and once she gathered some medicine, she rushed to overtake him. Once she learned from the herald that he was dead and that she had killed him, she killed the herald for his arrogance by smashing a stone on his head. She threw herself over Alexander’s corpse and, after repeatedly blaming their shared fate, she hanged herself with her belt.”

 

[23] Οἰνώνη. ἡ κ̄γ̄· ὡς ᾽Αλεξάνδρου τοῦ Πάριδος καὶ Οἰνώνης, ἣν ἐγήματο πρὶν ἢ τὴν ῾Ελένην ἁρπάσαι, παῖς Κόρυθος γίνεται, κάλλει νικῶν τὸν πατέρα. τοῦτον ἡ μήτηρ ῾Ελένηι προσέπεμψε, ζηλοτυπίαν τε κινοῦσα ᾽Αλεξάνδρωι καὶ κακόν τι διαμηχανωμένη ῾Ελένηι. ὡς δὲ συνήθης ὁ Κόρυθος πρὸς ῾Ελένην ἐγένετο, ᾽Αλέξανδρός ποτε παρελθὼν εἰς τὸν θάλαμον καὶ θεασάμενος τὸν Κόρυθον τῆι ῾Ελένηι παρεζόμενον καὶ ἀναφλεχθεὶς ἐξ ὑποψίας εὐθὺς ἀναιρεῖ.

(2) καὶ Οἰνώνη τῆς τε εἰς αὐτὴν ὕβρεως καὶ τῆς τοῦ παιδὸς ἀναιρέσεως πολλὰ ᾽Αλέξανδρον ἀρασαμένη καὶ ἐπειποῦσα (καὶ γὰρ ἦν ἐπίπνους μαντείας καὶ τομῆς φαρμάκων ἐπιστήμων) ὡς τρωθείς ποτε ὑπ᾽ ᾽Αχαιῶν καὶ μὴ τυγχάνων θεραπείας δεήσεται αὐτῆς, οἴκαδε ἤιει. (3) ὕστερον δ᾽ ᾽Αλέξανδρος ἐν τῆι πρὸς ᾽Αχαιοὺς ὑπὲρ Τροίας μάχηι τρωθεὶς ὑπὸ Φιλοκτήτου καὶ δεινῶς ἔχων δι᾽ ἀπήνης ἐκομίζετο πρὸς τὴν ῎Ιδην· καὶ προεκπέμψας κήρυκα ἐδεῖτο Οἰνώνης· ἡ δὲ ὑβριστικῶς μάλα τὸν κήρυκα διωσαμένη πρὸς ῾Ελένην ἰέναι ᾽Αλέξανδρον ἐξωνείδιζε. καὶ ᾽Αλέξανδρος μὲν κατὰ τὴν ὁδὸν ὑπὸ τοῦ τραύματος τελευτᾶι. τὴν δὲ μήπω πεπυσμένην τὴν τελευτὴν μειάμελος ὅμως δεινὸς εἶχε, καὶ δρεψαμένη τῆς πόας ἔθει φθάσαι ἐπειγομένη. ὡς δ᾽ ἔμαθε παρὰ τοῦ κήρυκος ὅτι τεθνήκοι καὶ ὅτι αὐτὴ αὐτὸν ἀνήιρηκεν, ἐκεῖνον μὲν ἀντὶ τῆς ὕβρεως λίθωι τὴν κεφαλὴν πατάξασα ἀναιρεῖ, τῶι δ᾽ ᾽Αλεξάνδρου νεκρῶι περιχυθεῖσα καὶ πολλὰ τὸν κοινὸν ἀμφοῖν καταμεμψαμένη δαίμονα ἑαυτὴν ἀνήρτησε τῆι ζώνηι.

A couple of takeaways from this one. First, it seems that Oinône knew about Paris’ lust for Helen before he departed for Sparta and remained behind on Mt. Ida once he returned to Troy. Second, it is entirely unclear when the child returns to Troy to tempt Helen. This story is a variation on the same story told about Phoinix in book 9 (his mother had him seduce his father’s lover; his father exiled him). No one in this story looks great (except for Koruthos, he looks real great). Paris is, well, a jerk. Poor Oinône is depicted as a witch-prophetess who, despite all the abuse, still loves her terrible husband.

Like Apollodorus’ version above, Ovid’s Heroides (5) do not mention the son. The earliest extant reference to Oinône seems to be Hellanicus, but some speculation links her to Bacchylides fr. 20d (where three letters OIN[….] seem to refer to a wife of Paris. See Gantz Early Greek Myth, 1993 n. 67 on page 839

Image result for Ancient Greek vase paris
This guy? Helen and Paris. Side A from an Apulian (Tarentum?) red-figure bell-krater, 380–370 BC.

A Penis on the Screen: Playing a Bard During a Plague

Homer, Odyssey 11.333-334

“So he spoke and they were all completely silent:
they were in the grip of a spell in their shadowy rooms”

ὣς ἔφαθ’, οἱ δ’ ἄρα πάντες ἀκὴν ἐγένοντο σιωπῇ,
κηληθμῷ δ’ ἔσχοντο κατὰ μέγαρα σκιόεντα.

Aristophanes, Peace 870

“Everything else is complete—but we need a penis.”

καὶ τἄλλ᾿ ἁπαξάπαντα· τοῦ πέους δὲ δεῖ.

 

Halfway through my 306th performance of my one-man folk opera retelling of Homer’s Odyssey in song, something happened that had never happened in the previous 305 performances. 

An audience member drew a penis on the screen.

That’s right. An audience member drew a penis on the screen and that penis was visible to the 75 other people who had logged in to Zoom to watch my very first ever virtual Odyssey performance.

Perhaps I should backtrack a bit and contextualize this particular penis because there is a clear hazard in leaving an uncontextualized penis out there.

A (not so) quick summary of how we got here: I graduated from University of Wisconsin-Madison in the late 90’s with a Bachelor’s Degree in Classics. Not long after I graduated I composed a 35 minute continuous one-man musical folk opera retelling of Homer’s Odyssey consisting of 24 first-person songs inspired by the characters and events of the epic poem.  

After years of development and long periods of hiatus, I built the program up to where by the mid-2010’s I was performing it at high schools and universities across the country.  In 2016, I wrote about my experiences as a “modern bard” for Eidolon.

Since writing that article, my reputation and calendar have grown and earlier this year I celebrated my 300th performance (which occurred in Arlington, Texas, at UTA) and performances in my 40th (Hawaii) and 41st (Wyoming) states. 

Some places to read and hear about my Odyssey performances are here, here, here, and here, and you can find a studio recording of the entire piece on YouTube.

2020 was supposed to be a banner year for me and my Classics-related music. By working really hard on booking, I started the year within shouting distance of getting shows scheduled in the remaining 9 states I needed to complete my goal of performing in all 50 states.  A month-long Odyssey tour of Europe in October and November was confirmed with dates in the UK, Ireland, Sweden, The Netherlands, Italy, and Greece.

And there was also new Classics-related music to start sharing in addition to my Odyssey.

The first week of March, just before the full-on coronavirus crisis began manifesting, I premiered a new cycle of songs called “The Blues of Achilles”, a reframing of Homer’s Iliad, as part of a wonderful program called Conversations with Homer at San Francisco State University.  Samples of this performance can be viewed here, here, and here.

The rest of the spring was to include three weeks of shows in Ohio, New York, Vermont, New Jersey, Michigan, Maryland, and Illinois, some Odyssey shows, some Blues of Achilles shows, an artist-in-residence opportunity, and a chance to perform Blues of Achilles songs as part of a program that brings classics to the incarcerated population. 

But of course by the second week of March I could see none of these shows were going to happen.  Campuses began to shut down and move online, travel became unwise, and by the third week of March my entire spring schedule, some 20 gigs, was gone, and the rest of my year’s touring (including Europe) was in doubt. 

I should interject here that I feel extremely lucky that I do not rely entirely upon performing music for my living.  These cancellations have resulted in a sizable loss of income, but I also have a guitar teaching practice (not to mention a partner with a job) to fall back on, so while these losses hurt (many of which I do hope to reschedule and all of which were done with compassion and understanding by understandably freaked and stressed out teachers and administrators), the pain was more from a standpoint of planning and momentum than the dire financial situation that many performing musicians have suddenly found themselves in.

Then last week something interesting happened: I got a DM on Twitter from a high school Latin teacher in Pennsylvania who wondered if I might try performing my Odyssey online through Zoom for some of her students. The sudden shift to online learning had left teachers scrambling to find activities and material with which to engage students. This teacher had seen me perform at the PAJCL convention in 2017 and thought my program would make for a good online event.  

I initially recoiled: so much of what I love about my Odyssey performances is wrapped up in the magic of the interaction between me and an in-person audience.  How would this online thing work? How could I truly encounter my audience if they were hundreds of miles away watching not me but 1s and 0s that represent me, listening not to my actual voice but to my voice as compressed through their computer speakers or earbuds, taking it in not as a group in the same room but in separate isolated spaces? 

But as I gave it more thought, I saw reasons to give it a shot. 

Some were practical, as in “this is the way the world is working now so you might as well try to adapt if you want gigs” and “if this format does work what kind of additional markets and opportunities might it open up for you.”

Some were artistic and intellectual as in “can I make these songs work in a new medium?” and “what might it illuminate for me as a classicist/Homerist about oral performance?” 

So I decided to go forward with it.  My contact and I had a conference call with a very patient and generous tech support guru from her district and we settled on using Zoom as the best platform to both accommodate both my performance needs and also comply with some of the privacy issues associated with educational institutions. 

We gave Zoom a trial run with a couple of students and teachers and it seemed to work well. We could mute all the cameras and microphones of the attendees and I could share my screen which would contain a powerpoint of the lyrics of my songs so the audience could follow along as I sang (I do this in every in-person show as well). 

I was nervous as I sat in my office with my wife sitting just out of the webcam shot to advance the powerpoint. I could see the online audience grow to 75 and after an introduction from the teacher, I was off and singing.  

It began well enough. My voice felt good and the teacher was texting my wife some feedback on the sound which seemed to be coming through fine.  I was just starting to settle in when suddenly some lines started popping up on my screen. Scribbled lines as if someone was able to draw on his or her iPad. 

Clearly we hadn’t quite gotten the settings right and the audience members had the capability to write things on the shared screen for all to see.

It was a little distracting to me and (I assumed) the audience but I pushed on.  I was on song 6 of my 24 when the scribbling became written words. I stopped singing and announced that if the scribbling continued, I’d have to stop the performance.  

This seemed to work for another 6 songs but just as I finished singing the song in which Odysseus finally lands on Ithaka in book 13, there is was:

That hastily drawn penis on the screen right next to my lyrics.

Image result for ancient greek phallus

Some quick observations: First, though in the moment I was not particularly thrilled with the phantom penis, it should be noted that the Greeks and Romans loved penises and were happy to have them in their art and theatre. One need look no further than the #phallusthursday hashtag on Twitter for ample evidence of this.

Second, I feel fairly confident that this penis was drawn by an adolescent male and the reason I feel fairly confident in this conclusion is that I myself was once (and sometimes still am) an adolescent male in whose life and psyche penis-related jokes and pranks figured prominently. To wit (and I believe the statute of limitations on this crime has expired), my senior year of high school the entire bass and tenor sections of our choir conspired to, in our performance of “The Battle Hymn of the Republic”, replace the word “truth” with the word “penis.” 

How disruptive could this be? you ask. Well, at one point in the arrangement the basses and tenors sing the phrase “truth is marching” over and over, something like 12 times in a row.  Perhaps now you can imagine our confused choir director searching around the room for why things didn’t sound quite right (sorry Mr. Hayes) as a group of 15 adolescent males melodically chanted the phrase “penis is marching” over and over.

So as I promised I would, I stopped the performance.  The teacher had determined the only way to fix the problem was by ending the Zoom session, creating a new one with the correct (non-screen writing) settings, and letting everyone log back in.

So that’s what we did: for the first time in 306 performances, I took an intermission.  Almost everyone came back online to the new session and I finished the performance without further incident, singing the remaining 12 songs that chronicle Odysseus’ reintegration into his home on Ithaka. 

Afterwards, I read and responded to audience questions from a Google docs as well as questions texted to me by the teacher. And then it was over.

Very suddenly, it was over.

In a regular performance, I’m used to a much more gradual ending.  Members of the audience often make their way to the stage to chat with me while I pack up my guitar. Faculty introduce themselves. There’s almost always a meal or a drink with a host or a group to get feedback and continue discussion.

But with my virtual performance, none of that.

Until I looked at my phone and saw social media messages and emails from some of the audience members.  Videos and pictures showing students glued to their computer screens watching me perform. Notes from teachers thanking me for giving them and their students something to break up the days stuck at home. 

https://twitter.com/magistradee/status/1240740810255224835

Suddenly the penis didn’t matter so much and I saw a number of truths about this unique moment both in history and for me as a modern bard. 

First, everyone is trying really hard to do their best in a tough situation. Teachers are trying to teach, parents are trying to parent, students are trying to be students, all in a largely new environment. There are going to be bumps and difficult moments and it’s going to take some time to figure out what works and what doesn’t but in general folks are trying so hard and succeeding.

Second, this quick change to fully virtual learning is putting incredible forced stress on the people involved but from incredible forced stress sometimes comes innovation.  I would never have even attempted a virtual performance without these extenuating circumstances and outside pressures, but now because I have I am excited to develop it as a complement to what I do with in person performances and ultimately as a chance to reach more people with my music and the experience of hearing Odysseus’ story sung by a bard. I’m thinking in particular of places and schools that don’t have the budget to bring me in for an in-person performance but might be able to facilitate an online performance.  

Third, for all my preciousness about my in-person Odyssey performances and how they recreate the original oral environment, this virtual performance embodies all the same concepts I detailed in my Eidolon article with some unique and beautiful twists.  I’m always fascinated with how performance space impacts audience perception and therefore meaning, and in this case there were actually 75 different performance spaces, all acting upon the listeners and resulting in different experiences and meanings. The teacher who initially reached out to me said that while she enjoyed my performance at PAJCL (which was for an audience of 400), she liked the online performance even more because it felt like I was singing directly to her.  For all my misgivings about the technological distance, there was actually something more intimate about my online performance.

Fourth, my online performance is yet another example of how enduring, adaptable, and resilient myths and oral tradition are.  For as different as my performance looked from Phemios’ in book 1 or Demodokos’ in book 8, it was essentially the same as what bards have been doing for three millennia or more: singing stories to groups of people.  My guess is that if you offered a Homeric bard the chance to do a performance from the comfort of his home, he would have jumped at it before you finished telling him he might have to endure interruption by phantom penis drawing. 

As Joel added in the comments when he so graciously edited this piece: “Antinoos would totally have drawn a penis on his screen if he had a screen.”

In the end, perhaps it’s best to think that my virtual performance relates to my in-person performances in the way that the text we have today relates to a Homeric performance. They are related, connected at some point, but ultimately different ways to communicate and pass on stories.  It’s not a choice of either but rather an embrace of both, and this embrace ensures that the names and stories will continue to echo through history for new audiences in new times.

You might even say that “time is marching” but that is dangerously close to the phrase “truth is marching” and… well, you remember where that road leads.

Joe Goodkin is a modern bard who performs original music based on epic poetry and other subjects.  He can by seen and heard at http://www.joesodyssey.com http://www.thebluesofachilles.coom or http://www.joegoodkin.com and emailed at joe@joesodyssey.com about bookings or anything else.

 

Heard And Seen: Disagreeing With Thucydides About Women

Plutarch, On the Virtues of Women 1

“Klea, I do not have the same opinion as Thucydides concerning the virtue of women. For he claims that the best woman is the one who has the slimmest reputation among those outside her home, critical or positive—since he believes that the name of a good woman ought to be locked up and kept indoors just like her body.  Gorgias, in fact, is more appealing to me, since he insists that the fame rather than the form of a woman should be known to many. Indeed, the Roman practice seems best: granting praise to women in public after their death just as for men.

So, when Leontis, one of the best women died, you and I had a rather long conversation which did not lack philosophical solace; and now, just as you have asked, I have written down for you the rest of the things one can say supporting the assertion that the virtue of a man and woman are the same thing. This [composition] is historical and is not arranged for pleasurable hearing. But if some pleasure is possible in a persuasive piece thanks to the nature of its example, then the argument itself does not avoid some charm—that aid to explanation—nor is it reluctant to “mix the Graces in with the Muses, a most noble pairing”, in the words of Euripides, basing its credibility on the love of beauty which is a special province of the soul.”

Περὶ ἀρετῆς, ὦ Κλέα, γυναικῶν οὐ τὴν αὐτὴν τῷ Θουκυδίδῃ γνώμην ἔχομεν. ὁ μὲν γάρ, ἧς ἂν ἐλάχιστος ᾖ παρὰ τοῖς ἐκτὸς ψόγου πέρι ἢ ἐπαίνου λόγος, ἀρίστην ἀποφαίνεται, καθάπερ τὸ σῶμα καὶ τοὔνομα τῆς ἀγαθῆς γυναικὸς οἰόμενος δεῖν κατάκλειστον εἶναι καὶ ἀνέξοδον. ἡμῖν δὲ κομψότερος μὲν ὁ Γοργίας φαίνεται, κελεύων μὴ τὸ εἶδος ἀλλὰ τὴν δόξαν εἶναι πολλοῖς γνώριμον τῆς γυναικός· ἄριστα δ᾿ ὁ Ῥωμαίων δοκεῖ νόμος ἔχειν, ὥσπερ ἀνδράσι καὶ γυναιξὶ δημοσίᾳ μετὰ τὴν τελευτὴν τοὺς προσήκοντας ἀποδιδοὺς ἐπαίνους. διὸ καὶ Λεοντίδος τῆς ἀρίστης ἀποθανούσης, εὐθύς τε μετὰ σοῦ τότε πολὺν λόγον εἴχομεν οὐκ ἀμοιροῦντα παραμυθίας φιλοσόφου, καὶ νῦν, ὡς ἐβουλήθης, τὰ ὑπόλοιπα τῶν λεγομένων εἰς τὸ μίαν εἶναι καὶ τὴν αὐτὴν ἀνδρὸς καὶ γυναικὸς ἀρετὴν προσανέγραψά σοι, τὸ ἱστορικὸν ἀποδεικτικὸν ἔχοντα καὶ πρὸς ἡδονὴν μὲν ἀκοῆς οὐ συντεταγμένα. εἰ δὲ τῷ πείθοντι καὶ τὸ τέρπον ἔνεστι φύσει τοῦ παραδείγματος, τὸ ἱστορικὸν ἀποδεικτικὸν ἔχοντα καὶ πρὸς ἡδονὴν μὲν ἀκοῆς οὐ συντεταγμένα· εἰ δὲ τῷ πείθοντι καὶ τὸ τέρπον ἔνεστι φύσει τοῦ παραδείγματος, οὐ φεύγει χάριν ἀποδείξεως συνεργὸν ὁ λόγος οὐδ᾿ αἰσχύνεται

ταῖς Μούσαις
τὰς Χάριτας συγκαταμιγνὺς
καλλίσταν συζυγίαν,

ὡς Εὐριπίδης φησίν, ἐκ τοῦ φιλοκάλου μάλιστα τῆς ψυχῆς ἀναδούμενος τὴν πίστιν.

Giovanni Martinelli – The Three Graces

 

 

Why Wives Should Learn Geometry and Plato. And, an Eclipse

Plutarch, Advice to Bride and Groom (Moralia138a-146a : Conjugalia Praecepta)

“These kinds of studies, foremost, distract women from inappropriate matters. For, a wife will be ashamed to dance when she is learning geometry. And she will not receive spells of medicine if she is charmed by Platonic dialogues and the works of Xenophon. And if anyone claims she can pull down the moon, she will laugh at the ignorance and simplicity of the women who believe these things because she herself is not ignorant of astronomy and she has read about Aglaonikê. She was the daughter of Hêgêtor of Thessaly because she knew all about the periods of the moon and eclipses knew before everyone about the time when the moon would be taken by the shadow of the earth. She tricked the other women and persuaded them that she herself was causing the lunar eclipse.”

τὰ δὲ τοιαῦτα μαθήματα πρῶτον ἀφίστησι τῶν ἀτόπων τὰς γυναῖκας· αἰσχυνθήσεται γὰρ ὀρχεῖσθαι γυνὴ γεωμετρεῖν μανθάνουσα, καὶ φαρμάκων ἐπῳδὰς οὐ προσδέξεται τοῖς Πλάτωνος ἐπᾳδομένη λόγοις καὶ τοῖς Ξενοφῶντος. ἂν δέ τις ἐπαγγέλληται καθαιρεῖν τὴν σελήνην, γελάσεται τὴν ἀμαθίαν καὶ τὴν ἀβελτερίαν τῶν ταῦτα πειθομένων γυναικῶν, ἀστρολογίας μὴ ἀνηκόως ἔχουσα καὶ περὶ Ἀγλαονίκης ἀκηκουῖα τῆς Ἡγήτορος τοῦ Θετταλοῦ θυγατρὸς ὅτι τῶν ἐκλειπτικῶν ἔμπειρος οὖσα πανσελήνων καὶ προειδυῖα τὸν χρόνον, ἐν ᾧ συμβαίνει τὴν σελήνην ὑπὸ γῆς σκιᾶς ἁλίσκεσθαι, παρεκρούετο καὶ συνέπειθε τὰς γυναῖκας ὡς αὐτὴ καθαιροῦσα τὴν σελήνην.

 

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Mark Pattison and Scholarly Misery

“The common cause is overmuch study; too much learning hath made thee mad.”
Robert Burton, The Anatomy of Melancholy

We scholars are all miserable, but from the historical list of sad sacks, none seems sadder than Mark Pattison. His name is much forgotten outside of academic circles and close readers of Middlemarch, and it is that oblivion which renders his case even more affecting. Perhaps he was just born to be miserable, but I think that one could make the case that Pattison read himself into his misery. The early pages of Pattison’s Memoirs reveal his youthful obsession with reading. Assuming that it is not mere backward telescoping, Pattison suggests that his bibliomania was, apart from a withdrawn self-loathing, the most consistent part of his character.

I had read much more than most boys of my age, but I did not seem to understand anything. […] I read enormously. Constable’s Miscellany, Murray’s Family Library, the publications of the Useful Knowledge Society, were coming out at that time; we took them all, and I read them. I read ten times as much as I remembered; what is more odd, I read far more than I ever took in the sense of as I read it. I think the mechanical act of perusal must have given me a sort of pleasure. Books, as books, irrespective of their contents, were my delight. […] I was already marked out for the life of a student, yet little that was in the books I read seemed to find its way into my mind. [Memoirs, pp. 37-8]

Pattison seems to have sensed from an early age that it was a scholar’s life which awaited him. Earlier in his youth, he had dreamt of an academic life [Memoirs p. 10], but feared that an affliction of the eyes would prevent him from achieving this goal. This malady led Pattison to refrain from reading at night, though he was still able to partake in literary and academic pleasure by listening to his father’s recitation. Eventually, the young Pattison was taken to an oculist in London, who determined that he suffered from an affliction of the eyelids, and need not fear for the loss of his sight altogether.

The young Pattison’s anxiety for his eyesight was perhaps not unwarranted if he had already begun to read sufficiently to internalize the stock type of the half-blind scholar. Milton, one of his literary idols, famously went blind from a course of heroic reading. Edward Gibbon writes in his autobiography that he too abstained from biblio-lucubration out of a concern for his eyesight: “[I]t is happy for my eyes and my health, that my temperate ardour has never been seduced to trespass on the hours of the night.”

Gibbon’s abstention from reading at night is not his only similarity to Pattison in this field, as both men seem to have regretted the mode in which they read in youth. Though they had been unregenerate bookworms as children, as adults they lamented the lack of scientific or programmatic reading:

It was now that I regretted the early years which had been wasted in sickness or idleness, or mere idle reading; that I condemned the perverse method of our schoolmasters, who, by first teaching the mother-language, might descend with so much ease and perspicuity to the origin and etymology of a derivative idiom. In the nineteenth year of my age I determined to supply this defect; and the lessons of Pavilliard again contributed to smooth the entrance of the way, the Greek alphabet, the grammar, and the pronunciation according to the French accent. At my earnest request we presumed to open the Iliad; and I had the pleasure of beholding, though darkly and through a glass, the true image of Homer, whom I had long since admired in an English dress. After my tutor had left me to myself, I worked my way through about half the Iliad, and afterwards interpreted alone a large portion of Xenophon and Herodotus. But my ardour, destitute of aid and emulation, was gradually cooled, and, from the barren task of searching words in a lexicon, I withdrew to the free and familiar conversation of Virgil and Tacitus. Yet in my residence at Lausanne I had laid a solid foundation, which enabled me, in a more propitious season, to prosecute the study of Grecian literature. [Gibbon Memoirs of My Life]

This echoes Pattison’s lament that his early perusal of books was pleasurable but unprofitable. Of course, it would be hard properly to estimate the value which may have accrued to them later, as intellectuals, from this widely discursive mode of reading. Samuel Johnson ardently advocated reading solely from inclination, yet even he felt the need at various points in his life to draw up mathematical plans of systematic reading, which his biographer Boswell notes typically remained incomplete.

Gibbon’s stock of reading serves as Pattison’s comparison point for his own youthful study in the Memoirs. He notes that at fifteen, Gibbon had read far more broadly in history than he (Pattison) had read by eighteen. A modern reader, to whom it may be surprising that teenagers would be applying any substantial time to systematic reading of history, may find the difference of those three years to be a trifling thing when compared to the amount of study which these men later undertook. Moreover, this is a sentiment penned by an old man reflecting upon his stock of teenage erudition as set against another who had long been dead. Pattison had a sense of competition in him, and it played out on the field of learning. Something rankled Pattison, even in his advanced age, about the fact that he was behind in his studies before they even formally began. Reading, and the effort to catch up on the accumulation of erudition, were afterward to serve as the central motivational strand in Pattison’s life.

As a way of palliating his apparent loss in the field of study to the young Gibbon, Pattison writes:

As, however, to mere Greek and Latin, I had covered a surface vastly more extensive than even the best of the ordinary sixth form boy. I had read Sallust through, about a dozen speeches of Cicero, twenty books of Livy, Vergil through, Horace through, Juvenal through, Persius through, Caesar through, Terence through; in Greek, the Gospels and Acts, Xenophon’s Anabasis, Herodotus, Thucydides, some six or seven Orations of Demosthenes, Homer’s Iliad, Pindar, Sophocles, Aeschylus, Porson’s four plays of Euripides, seven plays of Aristophanes – all these not in scraps, but through. They had not been well read…” [Memoirs, 62]

Reading an author through is meant to inform the reader that Pattison did not simply read isolated excerpts from these works, as was (and still is) the fashion in ancient language instruction. Most of this early reading takes place with a lexicon or commentary in hand, and in the initial stages can be quite tedious and time consuming. Having not received a traditional formal education, Pattison’s reading at this point is impressive. Yet, while this is meant to set Pattison’s skill over and above that of the average student, he nevertheless cannot refrain from highlighting his own perceived failure to read the texts well. Moreover, this reading had done nothing for him personally, beyond giving him an “empirical familiarity with the languages, an enlarged vocabulary, and an idea of various and contrasted styles.” [Memoirs, 63] Yet, at such an age, what more could Pattison want? Had he truly bought into the Classical Education sales pitch that reading these works instills in one a sense of elegance, humanity, and knowledge of the world? More than anything, Pattison’s lamentations on his youthful buffet-style intellectualism reflect an ingrained habit of self-loathing. Satisfaction was ever out of his grasp, and after a lifetime of disappointment, he was unwilling to allow that his youth was anything but the seed of his future failures. Discussing his failure to advance socially during his first year at Oriel, Pattison writes, “As it was, my weakness of character was such that I came to the conclusion in the end that the fault or defect, whatever it might be, was in me.” [Memoirs, p. 47]

During the period in which he was beginning to prepare for his degree examination, Pattison’s chief problem lay in his inability to conceive of the proper system on which to make his way through the books. “What I had no power of conceiving was, how the books were to be studied so as to acquire the power of answering the questions upon them.” [Memoirs, p. 119] Throughout the Memoirs, Pattison laments the nature of the Oxford tutorial and examination system, which fostered superficial reading and a hasty cramming of facts and pre-digested interpretations of texts designed to make a sufficiently good show for the examiners. This is not wholly different from the dominant mode in education today, which most strongly emphasizes the acquisition of sufficient knowledge for success on standardized exams, but gives the student very little in the way of what could properly be termed education. Though Pattison on various occasions criticized this system, he nevertheless found himself forced to contribute to it as a cog in the relentless machinery of grinding. Lionel A. Tollemache relates:

Pattison was coaching an undergraduate in the Ethics. The pupil, perplexed by Aristotle’s reasoning, embarrassed his teacher by his importunate desire to understand it. At last Pattison said tartly: “Never mind understanding it, only get it up.” The pupil was naturally hurt by this unpleasant rebuke; which, however, probably meant that the time was short, and that, if the pupil insisted on discussing first principles, instead of merely learning the answers which would satisfy the examiners, he might be disappointed in his degree, as Pattison himself had been. [Recollections, p. 53]

As interpreted by Tollemache, it is Pattison’s own profound sense of disappointment which served to make these governing and formative decisions in his life. Much the same is often said of A.E. Housman, whose apparent coldness and savagery has been attributed by many biographers to his initial academic failure at Oxford and his amatory failure with Moses Jackson.

In his youth, Pattison was not the cloistered pedant which his ardour for reading and his life dedicated to study might suggest. During his first Long Vacation, he returned to his family seat in Hauxwell, where,

What was really of most use to me this vacation was the free air of the fields and moors, and the long solitary rambles during whole days, in which Nature insensibly penetrated the recesses of the soul, without my having yet become, as I afterwards became, passionate for the poetry of Wordsworth and of country life. [Memoirs, p. 110]

Walking, and especially extended country walking, was very much en vogue in Victorian England. Perhaps the most famous example of this fashion among the literati is Dickens, who was said to have regularly walked 20 miles a day. But this was not mere walking, it was rambling, and the hint of ecological paganism betrayed by the capitalization of Nature reflects the Wordsworthian spirit of the age. Nature as opposed to the ugly industrial and commercial life of the cities, or Nature as opposed to the relentless grind and cram of the university. Pattison’s early discovery of a joy in rustic and natural amusements would serve him in good stead following his loss in his first struggle for the Rectorship of Lincoln College, after which he withdrew frequently for periods of restorative rustication in Scotland and in Germany.

Disappointing as were his social adventures during his first terms at Oriel, Pattison learned a salutary lesson on the nature of professorial knowledge and authority from G.A. Denison, who “had a reputation as a scholar.”

When we went in to Denison, some one or two members of the class (a large one) did their piece well; to my flat amazement most of them stumbled over the easiest lines. When we came to the first lyrics,Φοῖβ’; ἀδικεῖς αὖ τιμὰς ἐνέρων, the tutor put the question, “What metre is this?” It went the round, no one had any idea; it came to me, and I remember the trembling excitement with which I answered, “Anapestic dimeter.” So much information was not far to fetch, for Monk had a note on the metre of the passage, and most of the class had Monk, but they had not read the Latin note. Denison gave me a look as much as to say, ‘Who the devil are you?’ He had evidently not been accustomed in his class to meet with such profound learning. I do not remember in the whole course of the term that Denison made a single remark on the two plays, Alcestis and Hippolytus, that did not come from Monk’s notes. [Memoirs, 65]

That is, what separated Pattison from his peers was the fact that he had read. Monk’s notes were the wellspring of all of Denison’s erudition, and in reading them, Pattison was able to achieve some parity with the professional scholar. One can detect the note of savage mockery in the comment, “He had evidently not been accustomed in his class to meet with such profound learning.” Yet, while it reinforced Pattison’s belief that reading was the key to real knowledge, this discovery nevertheless brought with it a new wave of disappointment. “In less than a week I was entirely disillusioned as to what I was to learn in an Oxford lecture room.” [Memoirs, 66] While reflecting on the rise of Oriel College in the 19th century, Pattison reflects upon the deficiencies of the university, where “A very little literature, and a modicum of classical reading, went a long way.” [Memoirs, 69]

Much of Pattison’s history of and attitude toward reading can be gleaned from his biography of Isaac Casaubon. Bibliomania and an obsession with reading may be considered marks of the scholar more generally, but it was Casaubon’s singular focus on spending as much time as possible in reading which serves as one of the points at which Pattison is able to anchor a projection of his own personality and concerns upon his biographical subject. He attempts to palliate Casaubon’s vexation with his wife at interrupting his studies by writing,

But over and above Casaubon’s constitutional fretfulness, we must make allowance for the irritability engendered by a life of hard reading against time. Casaubon thought every moment lost in which he was not acquiring knowledge. He resented intrusion as a cruel injury. To take up his time was to rob him of his only property. Casaubon’s imagination was impressed in a painful degree with the truth of the dictum ‘ars longa, vita brevis.’ [Isaac Casaubon, pp.28-29]

As it stands, this apology for Casaubon is at the same time a defense of himself. The scholar is reflected in the patchwork of classical allusion deftly woven together in this paragraph. The notion that all time is wasted which is not spent in reading is borrowed from Pliny, and the idea that time is one’s only property is taken from Seneca. The final thread in the allusive fabric is given by the old tag that art is long but life is short, quoted from Horace. Casaubon the obsessive reader is the paragon of the old scholarly ideal, entirely lost amidst his books. Just as figures like Machiavelli and Keats engaged in ritualistic sartorial preparation for their literary labors, so too would Casaubon comb his hair in preparation for the eminently serious business of communing with the ancients. The most heroic example of his scholastic fortitude is the result of his autopsy, which revealed that his bladder had been monstrously swollen as a result of denying the calls of nature during his protracted periods of reading and writing. Casaubon’s devotion to the life of the mind was enough to put Didymus Chalchenteros (Brazen Guts) to shame.

Pattison finds more similarities with his subject in Casaubon’s attachment to thoroughness in research. While it is true that the bibliography for any given subject was far more manageable in the 16th century than in the 19th (and certainly less unwieldy than in the 21st), this was counterbalanced by the comparative difficulty in obtaining books. Despite their relative inability, Pattison writes that Casaubon took no half-measures in his research:

From Casaubon’s commentaries we see that the style of his work demanded nothing less than a complete collection of classical remains. He wants to found his remarks, not on this or that passage, but on a complete induction. It seems easy for Bentley to say ‘Astypalaea of Crete does not once occur in ancient authors.’ But a lifetime is behind this negation. [Isaac Casaubon, p. 34]

This same bibliographic thoroughness can be glimpsed in Pattison’s advice to a friend that he would be prepared for writing after twenty years of reading everything on his subject. Recounting the primarily theological reading which he was doing in 1845, Pattison says that he was at that time meditating upon writing Medieval and monastic history, “with several other things, each of them a task for a life.” [Memoirs pp. 185-186] Yet it is unclear whether this relentless requisition of scholarly data was an innate characteristic of Pattison’s, or something which he learned through his own intense study of the great scholars of the past.

As noted above, Casaubon resented interruption to his reading, and complains frequently in his diary about visits of his friends, pithily rendered in Latin as amici inimici (“My friends are my enemies.”) Pattison, too, was inclined to think that friendship was a dangerous thing, writing after a weeklong visit from a friend, “These visits of friends were then, as they are now, fatal to study.” [Memoirs, p.118] Like a thoroughgoing introvert, Pattison insists on the necessity of solitude, and chafes at the attentions of another unnamed friend at Hauxwell because the very presence of another person disrupts Pattison’s ability to focus. Here too he finds a parallel between his own case and that of Casaubon, who wrote in a letter [Ep. 213] Otium et quietem altam studia haec postulant, “these studies require leisure and deep tranquility.” [Also see Ep. 1023 Ea molimur in literis quae animi tranquilitatem desiderant.]

Pattison’s recollections of his vacations in 1833 and 1834 make for grim reading. While it is true that his Memoirs as a whole are suffused with sorrow and lamentation, there does seem to be something particularly depressing about a man complaining, decades later, that in his vacation, “There was more industry, more work, but as mistakenly laid out.” [Memoirs, p.136] Though he spent time on the necessary philosophical studies in addition to reading Herodotus, Pindar, and Thucydides in Greek along with Livy and Vergil in Latin, he notes that he “wasted time over outlying classics, which did not form part of the degree list.”

Surely, at the time that Pattison wrote these memoirs in the fading light of his senescence, the use or misuse of his vacations from Oxford was of little lingering practical consequence. Yet the fact that Pattison dwells so obsessively, as an old man, on each of the periods during which he either read less than he hoped or got less from his reading than his older self would deem appropriate suggests that these were registered in Pattison’s mind as serious failures which he was unable to get over. By his own confession, Pattison was never able to enjoy any satisfaction in the things which he did, but it may be that he traced his perceived failures in later life to his insufficient application to books at this time. A man in this frame of mind is eminently suited to sympathize with a scholar like Casaubon, who was engaged in “hard reading against time.” Even the formulation of the phrase reading against time suggests that the most important faculty which death deprives us of is the faculty of study. Thus, toward the end of his life, Pattison was perhaps more conscious than ever that he was reading against time, and could not help but regret that he had not applied himself more diligently to it in earlier life. Pattison is nevertheless sensible of the dangers of excessive reading, noting that “…accumulated learning stifles the mental powers…” [Memoirs, 78] This comment was of course written late in Pattison’s life, when it seems that accumulated learning through incessant application to his books had prevented Pattison not only from producing much scholarship of his own, but also from much interpersonal human experience.

The written word occupied such primacy of place in Pattison’s consciousness that he was not only “always reading something” [Memoirs, p. 117], but even had his first quarrel with his father through a combination of a disagreement concerning finances and the father’s concern about Pattison’s reading. [Memoirs, p. 111] Part of this centered upon an essay which Pattison’s father edited for his son, but in the main seems to have stemmed from Pattison’s eagerness to be done with a series of lessons in Tacitus which his father wanted to conduct with him:

Besides this instance of bad taste and bad temper I was restive over the Tacitus readings. My father expected me at a fixed hour every morning to read the Annals with him. It was true he could not be of any use to me, as he knew little of the language and nothing at all of the history. But it was the only thing he required of me, and I ought to have complied with a good grace, instead of coming unwillingly and finding excuses for shirking altogether. [Memoirs, p. 113]

For as long as he could remember, Pattison wanted to be a scholar. Naturally, such a man was able to say of his young self as he enrolled in Oriel, “I had come up all eagerness to learn.” [Memoirs 53] The following paragraph of his Memoirs reads “I was soon disillusioned.” Pattison’s disappointment in his education is a function of his unreasonable expectations (perhaps fostered by romantic ideals which he had developed in his autodidactic reading) and the tendency to scathing criticism which was occasionally directed to people other than himself. Of the group of young men with whom he roomed, he wrote that they had “no souls” and that they had “no inner life, no capacity of being moved by poetry, by natural beauty, who are never haunted by the ideal, or baffled by philosophical perplexities.” [Memoirs p.52] Haunted by the ideal is perhaps the best was to describe Pattison’s mental and spiritual life. So potent was the image of the ideal in his mind, and so pale an imitation of it did he experience in the outside world, it is no wonder that Pattison retreated inward to the life of pure intellection. Such a man may make a savage critic, though he may be prevented by this very spirit of criticism against the standard of the ideal from making any attempts at creative production himself. Here, Pattison’s case is paralleled by that of the Renaissance humanist Niccolo Niccoli, who was perhaps the foremost expert on Latin style in his time, and on that account never published anything in Latin: his knowledge was so great and the ideal so difficult to achieve that he felt palpably the likelihood of disastrous failure.

We know so much about Pattison’s reading because he kept both a commonplace book and a diary of his reading from his early youth. He himself points out that he had begun this project of recording his reading before he learned that his biographical subject, Isaac Casaubon, did the same thing. As a result, most of the memories in the Memoirs which are not anchored by specific pivotal moments in his academic career are anchored instead by a recollection of what Pattison was reading at the time. This was the sum total of his life. Not only did Pattison keep a log of his reading, he also formulated a systematic plan for his reading life:

As soon as I found myself settled at Hauxwell with a box of books, I laid out for myself a plan of reading. I have this scheme before me now, for in July 1833 I began a student’s diary on the same plan as I have kept up, with intervals, to the present date (December 1883). This diary only exceptionally mentions what I do, or see, or hear, it deals with what I read or write. […] My plan of study, allowing for a tone of pedantry which cannot be avoided when such things are written down, is not in itself a bad one. But looking at it as the road to Oxford honours, it has the fatal defect of requiring too much time. It is a scheme of self-education, rather than of the hand-to-mouth requirements of an examination. My scheme required years for its realisation; I may say that I have been all my life occupied in carrying out and developing the ideal that I conceived in July 1833, more than fifty years ago. [Memoirs, pp.119-120]

Here we see most clearly the Mr. Casaubon of Middlemarch, the pedantic bookworm buried under the mass of material being stockpiled for a work of erudition. Of course, it may be that Pattison was still engaged upon the task of reading according to his initial plan because the scheme of self-improvement and education is an infinite task, but Pattison himself also highlights his comparatively sluggish pace: “Neither then nor at any time since have I been able to read in an hour the same number of pages that other men can.” [Memoirs, pp.123-124]

Philology, as Nietzsche noted, is the art of slow reading. Anyone who has spent time learning ancient languages knows that meaningful reading fluency in them takes substantial time to develop for several reasons: the antiquity (and thus fundamental foreignness) of the languages themselves; the absence of native speakers from whom to gain immersive fluency/the wholly artificial way in which they are learned; most of what the student will read consists of extremely rarefied “masterpiece” literature, which was designed in many cases to challenge even native users of the language. As such, early training in ancient languages can, if embraced, foster a slow and meticulous mode of reading. Further, all ancient literature is beset by textual difficulties of some sort. When one reads an English translation of a Greek tragedy, it is easy enough to assume that the text is simply the text. But many portions of ancient texts are either corrupt in minor ways (which escape all but the most minute notice), or are so bad as to render some passages entirely senseless. Much of the scientific apparatus of philology was developed specifically for the purpose of solving these difficulties and making the text yield some sense.

Pattison was afforded training in the classical languages. From his own account, it seems that it fell short of the lofty standard set by scientific German philology at the time, but he nevertheless learned something of critical method and analysis of the text. His comment about his slowness in working through texts seems to suggest a kind of methodical reading. Yet, for all of that, Pattison was not a particularly good reader. Anthony Grafton has noted Pattison’s “inability to quote a document accurately, his ineptitude at establishing dates, and his incompetence at summarizing plain German accurately in English have led me to wonder whether he deserves the authority he still enjoys in the English-speaking world.” [American Scholar, Vol. 52, No. 2] Grafton wrote this scathing indictment of Pattison nearly forty years ago, and it is not clear that Pattison today enjoys much “authority,” even in scholarly circles.

Pattison’s inability to achieve any meaningful scholarly feat was well summarized by Housman’s comment [that Pattison had surveyed the whole of human existence and turned away in revulsion]. It seems that it was Pattison’s insistence on surveying all relevant material which kept him from producing anything of his own. Where Housman sees in Pattison a nausea induced by the horrors of human existence, others may see a kind of scholarship so meticulous and exacting that it never gets off the ground. Pattison boasted that he lived his entire life for study, and we learn from a friend that,

“He suggested that I should edit Selden’s Table Talk. The preparation was to be, first to get the contents practically by heart, then to read the whole printed literature of Selden’s day, and of the generation before him. In twenty years he promised me that I should be prepared for the work. He put the thing before me in so unattractive a way that I never did it or anything else worth doing. I consider the ruin of my misspent life very largely due to that conversation.” That this severe judgment on the Rector may not be taken too literally, I will quote from the same letter, “He was one of the best friends I ever had. He was not in the least donnish when one came to know him.” [quoted in Tollemarche, Recollections of Pattison p.5]

Pattison’s devotion to reading puts him in company with his biographical subject and spiritual inspiration, Isaac Casaubon, who constantly complains in his diary that he has spent insufficient time with his books. Amici adhuc libris silentibus. Ita vita perit. “My friends are still here, and my books remain silent. Thus my life is wasted.” Elsewhere, Casaubon remarks Amici inimici, “My friends are my enemies,” because they have kept him from his reading. Elsewhere in his biography of Casaubon, Pattison notes that “Research is infinite.” [IC, p. 54] A.D. Nuttall, in his Dead from the Waist Down, examines at length the identification of Pattison with the Mr. Casaubon of George Eliot’s Middlemarch. While traditionally the ascription is thought to be based on Pattison’s apparent later sexlessness and possibly loveless marriage, there is much to be said for basing the identification on Pattison’s endless amassing of material with no discharge.

Pattison’s devotion to the life of study and reading for its own sake brought him into sharp opposition with Benjamin Jowett, the Master of Balliol College. Logan Pearsall Smith recounts a conversation which he had with Jowett on the topic of Pattison’s university ideals:

This ideal of endowment for research was particularly shocking to Benjamin Jowett, the great inventor of the tutorial system which it threatened. I remember once, when staying with him at Malvern, inadvertently pronouncing the ill-omened word. “Research!” the Master exclaimed. “Research!” he said. “A mere excuse for idleness; it has never achieved, and will never achieve any results of the slightest value.”

Jowett’s haughty dismissal of research would be well received by a modern day university administrator. Indeed, the disdain for apparently idle study is the prevailing mode not just among the administrative class, but contemporary society more broadly, which has come increasingly to expect concrete physical or pecuniary results issuing from labor of all kinds, and which fancies that it sees through the mystic veil of erudition now that access to knowledge has been entirely democratized by the search engine. But Jowett’s attitude reflects his own limitations. True, there was an old college rhyme composed upon the professor’s erudition:

Here come I, my name is Jowett.

All there is to know I know it.

I am Master of this College,

What I don’t know isn’t knowledge!

Yet, this rhyme is surely more reflective of Jowett’s magisterial air as observed from below by his pupils, and not a meaningful reflection upon either the breadth or depth of his scholarship. Today, both Jowett and Pattison are largely forgotten, but Jowett can claim a greater degree of posthumous fame thanks to his still-readable translations of Plato. Jowett’s high-minded ideals for a broadly humanist university may seem inspirational today, but Jowett’s scholarship earned the scorn of A.E. Housman:

The Regius Professor of Greek throughout Housman’s time was Jowett, and from the single lecture of Jowett’s which he attended, Housman came away disgusted by the Professor’s disregard for the niceties of scholarship. [A.S.F. Gow, A.E. Housman: A Sketch (Cambridge : Cambridge University Press) p.5]

If Jowett seems to strive after an early Renaissance ideal of forming a Ciceronian man of learning, taste, and action, then Pattison hearkens back to the impossibly knowledgeable scholars of the age of erudition in the 16th – 17th centuries. Pattison wished to write a biography of Joseph Scaliger, but found himself unequal to the task. Turning instead to Isaac Casaubon (to whom alone Scaliger said he must yield), Pattison wrote his largest and most comprehensive work of scholarship. This age of erudition seems to have ended with the generation of Richard Bentley and Leibniz, supplanted by the free-thinking of the Enlightenment, which scorned the amassing of knowledge and citations from written works in favor of a notion of scientific and philosophical progress.

As should be sufficiently clear by now, Pattison found a genial subject in Casaubon because so much of his own personality and experience could be mapped so readily onto that of his subject. Both men exist only in their writings now, though both are entirely forgotten by the educated public. Because Pattison is the authority on Casaubon, and because they share a kind of spiritual kinship, it can be difficult to determine at times from their writings alone where Casaubon ends and Pattison begins, down to the abiding sense of failure which each of them felt toward their ambitious projects. As such, it will be useful to examine the figure of Isaac Casaubon in order better to understand the man on whom he exerted such influence over the distance of centuries.

Casaubon and Scaliger lived at the close of the Renaissance. Historically, we think of this as the Early Modern Period, but intellectually, it can be termed the Age of Erudition. Pattison sums up the spirit of the age:

The creative period is past, the accumulative is set in. The prophet is departed, and in his place we have the priest of the book. Casaubon knows so much of ancient lore, that not only his faculties, but his spirits are oppressed by the knowledge. He can neither create nor enjoy; he groans under his load. The scholar of 1500 gambols in the free air of classical poetry, as in an atmosphere of joy. The scholar of 1600 has a century of compilation behind him, and ‘drags at each remove a lengthening chain.’ [IC, P. 110]

Though much of Pattison’s biography of Casaubon is taken up with religious and theological controversy, the preeminent obsession throughout the book remains Casaubon’s reading. Indeed, Pattison sees Casaubon’s reading as his defining characteristic: “Casaubon, indeed, was what he was by his incessant reading, seconded by capacious memory.” [IC, p.104] Memory takes second place to the continuous application to books, and the faculty of critical thought is elided entirely. Perhaps the scholar seems an anachronism in the modern world, where even the most poorly educated person has access to an infinite wealth of instant information. All of the information there was in Casaubon’s day was, however, largely unsifted and unsystematized. A more original thinker may have chafed at the sheer amount of data collection in which scholars like Casaubon engaged, but the freewheeling adventures of human reason undertaken in the Enlightenment were in large part made possible by the tedious act of collection, systematization, and indexing which the scholars of the late 16th and early 17th centuries completed.

Pattison attributes Casaubon’s preeminence as a scholar to his reading habits, yet in the biography as elsewhere, he himself acknowledges the dangers of reading to excess. “The use he made of the library was one, which no librarian ought to make – it was to read the books.” [IC, p. 104] Reading the books may seem innocent enough, but the nature of Casaubon’s reading meant that this would constitute an enormous distraction from his duties as a librarian and from his other scholarly work.

One can see the figure of Eliot’s Mr. Casaubon in the Casaubon recorded by Pattison. After presenting a detailed list of Casaubon’s projected editions, commentaries, and other works, Pattison writes,

Of all these schemes, and of others not a few, hardly any traces remain among the papers, because hardly anything was ever put on paper. He deceived himself into thinking that he had made progress in writing, when the material was heaped up only in his memory. He got at last the habit of putting by any topic as it came up, with the remark, “this we have discussed elsewhere at length.” The distinction between what he had read, what he had noted down, and what he had printed, became obliterated in his mind. [IC p.433]

Elsewhere, Pattison suggests that Casaubon found writing unpalatable because of the “necessity pressing on his mind, that his criticism, if it were to be worth anything, should exhaust the authorities.” [IC, p. 421] We hear again echoes of Pattison’s advice to spend twenty years in research before publishing. Both Casaubon and Pattison found themselves wholly oppressed by the project of conducting thorough and complete research. “When he had written, he was dissatisfied with the result.” [IC p.422] This is virtually indistinguishable from Pattison’s remarks in his Memoirs that he is never fully satisfied with anything that he has done. He adds, “It is better to write nothing than to produce incomplete work. And research is always incomplete.” [IC, p. 422]

For one who read as prodigiously as Casaubon, the fact that research remained ever incomplete seems astounding. Here was a man who rose early every day and tried whenever possible to read the whole day through. Throughout his Ephemerides, Casaubon rejoices on days when he has been afforded the luxury of uninterrupted reading, and laments when friends or business have taken him away from his books.

After six hours’ reading and writing at this pace in the library, there must be recreation. This he takes, on his return to the deanery, by more reading, but of a lighter sort, such as Wake’s ‘Rex Platonicus,’ or by taking lessons in rabbinical hebrew [sic] from a young man of that persuasion. [IC p.365]

One must not think of this as reading in the relaxed or recreational sense which most people understand today. Rather,

“Reading is not an amusement filling the languid pauses between the hours of action; it is the one pursuit engrossing all the hours and the whole mind.” [IC, p.436]

If Casaubon was reading this much, why did he feel the need to do so much more before publishing? One may be tempted to accept Pattison’s explanation that every project requires just a bit more research before being ready to ply pen to paper, and this perfectionist impulse is no doubt some part of the reason. Yet it also sounds like rationalization. Today, scholars and other professional writers are well aware of the temptations and pitfalls which beset their work: one cannot even innocently turn on the computer to use a word processor without some temptation to check e-mail or see the latest on social media. Distractions and other modes of procrastination may have been in shorter supply in the 16th and 17th centuries, but the urge which underlies doing something for a few minutes before sitting down to the serious task of production must have been just as strong. Casaubon, and Pattison after him, must have found something particularly salutary and gratifying in the very act of reading, doing the research, satisfying one’s own curiosity. Each of them shows signs of being deeply introverted and more attracted to the pure pleasure of reading and research than the accolades or gratification of vanity which may result from publication.

In short, it seems that for Casaubon and Pattison alike, research was an end in itself. “Learning is research,” Pattison writes [IC p.453], and,

To the great, the fashionable, the gay, and the busy, the grammarian is a poor pedant, and no famous man. The approbation of our fellows may be a powerful motive of conduct. It is powerful to generate devotion to their service. It is not powerful enough to sustain a life of research. No other extrinsic motive is so. The one only motive which can support the daily energy called for in the solitary student’s life, is the desire to know. [IC, 437]

Pattison explains that Casaubon was a man torn between his Classical reading and texts of theological or ecclesiastical import. This had in particular to do with his unique position as Royal Librarian in Paris. Casaubon had been granted a pension by king Henri IV, and it was understood that the primary purpose of this pension was not to compensate him for any specific labors which he might undertake (valued as those might be), but rather, to entice him from the Calvinist to the Catholic faith. Ultimately, these efforts at pecuniary persuasion failed, and the learned Jesuits of Paris in particular realized that they would have to try a different approach with an erudite man like Casaubon: they would have to engage him in the field of a learned controversy. Having announced that he would be susceptible to conversion if reading in theological and patristic texts would validate it, he began a course of ecclesiastical reading which took considerable time away from his Classical projects. One cannot wholly understand Casaubon without understanding the religious conflict of his time and place, with much of his productive work being undertaken in times still riven by the conflict between Catholics and Protestants brought to something of a head in the St. Bartholomew’s Day massacre in 1572. [IC, 186-187]

Consequently, Pattison spends much of his time in the book explicating the religious conflict of the time and Casaubon’s place within it. He concludes that this turned Casaubon into a man “of divided interest” [186], but this could just as easily be said of Pattison himself. As an old man, Pattison laments the “hours I wasted over religious books…” [Autobiography 173] Casaubon took up residence in Paris in 1559, and was for eleven years pressed for his conversion to Catholicism until he went to London in 1610. These invitations to conversion were lamentable distractions to his work, but they also served to change the nature of his studies. Pattison notes that, beginning with Casaubon’s employment as librarian, he would relax from laboring upon his edition of Polybius by spending some time in “controversial reading” [IC p.186]. Pattison suggests that this can be attributed to a certain “double mindedness” in Casaubon, tearing him between the study of pagan and Christian antiquity, and between “the biblical and the ecclesiastical” fanaticism.

Casaubon’s involvement in religious controversy is paralleled in Pattison’s life. In 1838, Pattison found himself drawn to the Tractarian movement [p. 172] under the influence of Newman. Just as Casaubon was in some measure tempted away from his Huguenot upbringing during his years in Paris (1600-1610), so too was Pattison drawn toward the Catholic faith in the 30’s. In both cases, it may be argued that the refusal of conversion hampered their worldly advancement for some time, though this may have been beneficial on the whole to the cause of their studies.

Pattison, like Housman after him, loved to pass judgment upon other scholars, and seems to have enjoyed a remarkable capacity for sizing up the work of others, even though he was not himself the most productive of the laborers in Academus’ garden. Casaubon’s contemporaries rated him highly. Thus, Scaliger says that he yielded in his study of Greek to Casaubon alone, and felt that he himself was the only person capable of appreciating Casaubon’s work. [IC, p. 238] “For whom should he write, now Scaliger was not there to read?” [IC, p. 238-239] Yet Pattison, with the advantage of centuries, is able to identify the shortcomings in Casaubon’s scholarship readily enough, noting especially his deficiency in Greek composition. Moreover, as Casaubon himself acknowledged, his limits were in great measure fixed by a lack of easy access to the requisite books. [IC, p.361] What does constant reading avail a man who cannot read everything he needs? Similarly, Ladislaw notes in Middlemarch that Mr. Casaubon could have spared himself many a learned investigation if he only knew German. An entire fount of erudition lay untapped, effectively hamstringing the effort of the diligent accumulator of facts.

And it is as an accumulator of facts that he achieved his fame. Casaubon’s mind was amply furnished with erudition, but he made no serious efforts at textual criticism. Though he had access to variant manuscripts for the authors on whom he worked, he nevertheless avoided getting bogged down in the finer points of evaluating the texts. “As he wanted to read, not to collate, new material was what he looked out for…” [IC, p. 363] That is, Casaubon was not interested in “settling hoti’s business” [Browning, Death of a Grammarian] but of stocking his own mind. His scholarship was of a fundamentally selfish type: geared not toward the production of knowledge or the advancement of classical understanding, but to the creation of the learned man. Few people outside of scholarly circles have even heard of Isaac Casaubon, and even within them, there are few who read anything which he wrote. It is tempting, therefore, to suppose that he produced little as a scholar, but this is to misunderstand the product of his learning. His mind itself was the product, and he was ever in the process of improving it further. The old tag nulla dies sine linea became with Casaubon nulla dies sine lectione. Thus, Casaubon was renowned among the greatest scholars of his generation who could recognize in him the vast stock of accumulated learning which had taken a lifetime to acquire, but the product of all of his labors ceased to exist when he succumbed to illness in 1614.

As was Isaac Casaubon’s learning, so too was Mark Pattison’s. He was a fantastically learned man, and this was recognized by his contemporaries, but he too has been largely forgotten. Indeed, his biography of Casaubon and the fashionable identification of Pattison with the Mr. Casaubon of Middlemarch are his chief claims upon modern attention, and these admittedly count for very little. Having retreated within himself to a world of isolated but self-improving erudition, Pattison produced very little scholarship because he was too busy making himself a scholar. Pattison criticizes Richard Kilbye, an English contemporary of Casaubon who was also a Rector of Lincoln College, by describing him as, “a fair specimen of the academical professor of his time; with some reading, but without learning or even the conception of it as a whole…” [IC, p.367] Pattison’s conception of the ideal scholar was the model against whom he criticized all living claimants to the title. Yet it was that vision which kept him ever engaged in the pursuit of unattainable perfection, and a life of perpetual and apparently unproductive disappointment.

MacDonald, Alexander, 1839-1921; Mark Pattison (1813-1884), Rector (1861-1884)

Alternative Facts in Myth: Penelope’s (In)Fidelity

Earlier I posted a bit from Pausanias that discuses Penelope’s gravesite in Arcadia. It also mentions a Mantinean tradition that Penelope was expelled from Ithaca on a suspicion of infidelity. This story is in part reported by Apollodorus, (Ep. 7.38-39)

“Some say that Penelope was corrupted by Antinoos and that Odysseus sent her back to her father Ikarios. When she came to Mantinea in Arcadia she had Pan with Hermes. Others allege that she was killed by Odysseus because of Amphinomos, who seduced her. There are also those who say that Odysseus was charged by the relatives of those he had killed who took Neoptolemos as judge, then king of the islands near Epirus. He handed down a judgment of exile and Odysseus went to Thoas the son of Andraimôn who married him to his daughter. When he died from old age, he left a son Leontophonos.

τινὲς δὲ Πηνελόπην ὑπὸ Ἀντινόου φθαρεῖσαν λέγουσιν ὑπὸ Ὀδυσσέως πρὸς τὸν πατέρα Ἰκάριον ἀποσταλῆναι, γενομένην δὲ τῆς Ἀρκαδίας κατὰ Μαντίνειαν ἐξ Ἑρμοῦ τεκεῖν Πᾶνα: [39] ἄλλοι δὲ δι᾽ Ἀμφίνομον ὑπὸ Ὀδυσσέως αὐτοῦ τελευτῆσαι: διαφθαρῆναι γὰρ αὐτὴν ὑπὸ τούτου λέγουσιν. [40] εἰσὶ δὲ οἱ λέγοντες ἐγκαλούμενον Ὀδυσσέα ὑπὸ τῶν οἰκείων ὑπὲρ τῶν ἀπολωλότων δικαστὴν Νεοπτόλεμον λαβεῖν τὸν βασιλεύοντα τῶν κατὰ τὴν Ἤπειρον νήσων, τοῦτον δέ, νομίσαντα ἐκποδὼν Ὀδυσσέως γενομένου Κεφαλληνίαν καθέξειν, κατακρῖναι φυγὴν αὐτοῦ, Ὀδυσσέα δὲ εἰς Αἰτωλίαν πρὸς Θόαντα τὸν Ἀνδραίμονος παραγενόμενον τὴν τούτου θυγατέρα γῆμαι, καὶ καταλιπόντα παῖδα Λεοντοφόνον ἐκ ταύτης γηραιὸν τελευτῆσαι.

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The detail about Amphinomos might be drawn from a passage in the Odyssey where the narrative provides some insight into Penelope’s mind (16.394-398):

Amphinomos rose and spoke among them,
The dashing son of Nisos, the son of lord Arêtiades,
Who joined the suitors from grain-rich and grassy
Doulikhos. He was especially pleasing to Penelope
For he made good use of his brains.”

τοῖσιν δ’ ᾿Αμφίνομος ἀγορήσατο καὶ μετέειπε,
Νίσου φαίδιμος υἱός, ᾿Αρητιάδαο ἄνακτος,
ὅς ῥ’ ἐκ Δουλιχίου πολυπύρου ποιήεντος
ἡγεῖτο μνηστῆρσι, μάλιστα δὲ Πηνελοπείῃ
ἥνδανε μύθοισι· φρεσὶ γὰρ κέχρητ’ ἀγαθῇσιν·

It is somewhat amusing to compare this to what Telemachus says earlier when he describes the suitors.

Homer, Odyssey 15.518-524

“But I will tell you of another man you might encounter,
Eurymakhos, the shining son of sharp-minded Polyboios,
Whom the Ithakans now look upon the way they would a god.
He is by far the best man remaining and the best
To marry my mother and receive my father’s geras.
But Zeus is the one who knows these things as he rules on high”
Whether or not he will bring about a deadly day for them before a marriage.”

ἀλλά τοι ἄλλον φῶτα πιφαύσκομαι, ὅν κεν ἵκοιο,
Εὐρύμαχον, Πολύβοιο δαΐφρονος ἀγλαὸν υἱόν,
τὸν νῦν ἶσα θεῷ ᾿Ιθακήσιοι εἰσορόωσι·
καὶ γὰρ πολλὸν ἄριστος ἀνὴρ μέμονέν τε μάλιστα
μητέρ’ ἐμὴν γαμέειν καὶ ᾿Οδυσσῆος γέρας ἕξειν.

What to make of this difference? Telemachus’ evaluation appears to be based on Eurymakhos’ standing among the Ithakans. Penelope seems to favor someone who is not Ithakan and whose traits are like her own and her absent husband.

Lykophron in his Alexandra takes the view that Penelope was not faithful (768-773)

“For he will come, he will come to the harbor shelter of Reithron
And the cliffs of Nêritos. And he will see
His whole house upturned from its foundations
By wife-stealing adulterers. And that vixen
Will hollow out his home with shameless whoring,
Pouring out the wretch’s fortune feast by feast”.

ἥξει γάρ, ἥξει ναύλοχον ῾Ρείθρου σκέπας
καὶ Νηρίτου πρηῶνας. ὄψεται δὲ πᾶν
μέλαθρον ἄρδην ἐκ βάθρων ἀνάστατον
μύκλοις γυναικόκλωψιν. ἡ δὲ βασσάρα
σεμνῶς κασωρεύουσα κοιλανεῖ δόμους,
θοίναισιν ὄλβον ἐκχέασα τλήμονος.

Lykophron is positively chaste compared to the account provided in the Scholia:

“And Douris writes in his work on the lewdness of Agathokleos that Penelope had sex with all of the suitors and then gave birth to the goat-shaped Pan whom they took up to be one of the gods.  He is talking nonsense about Pan, for Pan is the child of Hermes and a different Penelope. Another story is that Pan is the child of Zeus and Hubris.”

Καὶ Δοῦρις δὲ ἐν τῷ περὶ ᾿Αγαθοκλέους μάχλον φησὶ τὴν Πηνελόπην καὶ συνελθοῦσαν πᾶσι τοῖς μνηστῆρσι γεννῆσαι τὸν τραγοσκελῆ Πᾶνα ὃν εἰς θεοὺς ἔχουσιν (FHG II 47942). φλυαρεῖ δὲ περὶ τοῦ Πανός· ὁ Πὰν γὰρ ῾Ερμοῦ καὶ Πηνελόπης ἄλλης †T. καὶ ἕτερος δὲ Πὰν Διὸς καὶ ῞Υβρεως.

F**k the Crowd, My Books Are At Home!

Pliny, Letters 9.6:

I have spent all this time among my books and notebooks in the most peaceful tranquility. You ask, ‘How could you do it in the middle of the city?’ It was the time for the games at the Circus, a spectacle which cannot in the least hold my attention. There is nothing new, nothing different, nothing which it would not suffice to have seen once. And so, I marvel all the more at so many thousands of men who desire in such a childish fashion to see over and over again horses running and people sitting in their chariots. If they were drawn by the speed of the horses or the skill of the people, it would he understandable; …and if in the race course, in the middle of the contest itself, this horse exchanged colors with the other, the zeal and favor of the spectators would change as well, and the drivers of horses would abandon those horses, whom they see from afar, and whose names they shout again and again. So much power there is in one worthless tunic – not among the crowd, which is more worthless than the tunic, but among some of our more serious people. When I recall that they have such insatiable desire in such an inane, cold, and unchanging thing, I take some pleasure in not being taken by that pleasure. And during these days, I spend my free time most gladly in literature, while others waste their time in the most frivolous occupations. Goodbye!

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Omne hoc tempus inter pugillares ac libellos iucundissima quiete transmisi. ‘Quemadmodum’ inquis ‘in urbe potuisti?’ Circenses erant, quo genere spectaculi ne levissime quidem teneor. Nihil novum nihil varium, nihil quod non semel spectasse sufficiat. Quo magis miror tot milia virorum tam pueriliter identidem cupere currentes equos, insistentes curribus homines videre. Si tamen aut velocitate equorum aut hominum arte traherentur, esset ratio non nulla; nunc favent panno, pannum amant, et si in ipso cursu medioque certamine hic color illuc ille huc transferatur, studium favorque transibit, et repente agitatores illos equos illos, quos procul noscitant, quorum clamitant nomina relinquent. Tanta gratia tanta auctoritas in una vilissima tunica, mitto apud vulgus, quod vilius tunica, sed apud quosdam graves homines; quos ego cum recordor, in re inani frigida assidua, tam insatiabiliter desidere, capio aliquam voluptatem, quod hac voluptate non capior. Ac per hos dies libentissime otium meum in litteris colloco, quos alii otiosissimis occupationibus perdunt. Vale.

Educating Daughters and Reading Plato

Diogenes Laertius Cleobulus, 1.6 91

“He used to say that daughters should be settled down when they are maidens in age but women in thought: by this he meant that it was right that girls be educated too.”

ἔφη δὲ δεῖν συνοικίζειν τὰς θυγατέρας, παρθένους μὲν τὴν ἡλικίαν, τὸ δὲ φρονεῖν γυναῖκας· ὑποδεικνὺς ὅτι δεῖ παιδεύεσθαι καὶ τὰς παρθένους.

 

From Stobaeus  III. 6, 58 (from the Memorabilia of Epictetus, fr. 15)

“In Rome, the women keep Plato’s Republic in their hands because he believes that women are worthy of sharing the state. In this, they pay attention to the words but not the man’s meaning: for he actually tells people not to marry or live together as one man and one woman and then plan for women in a community. No, he eliminates that kind of marriage and introduces some different kind in its place. As a general rule, people take pleasure providing excuses for their own faults. Truly, philosophy tells us that it is not right to stretch out even a finger at random!”

Ἐκ τῶν Ἐπικτήτου ἀπομνημονευμάτων.

Ἐν Ῥώμῃ αἱ γυναῖκες μετὰ χεῖρας ἔχουσι τὴν Πλάτωνος Πολιτείαν, ὅτι κοινὰς ἀξιοῖ εἶναι τὰς γυναῖκας. τοῖς γὰρ ῥήμασι προσέχουσι τὸν νοῦν, οὐ τῇ διανοίᾳ τἀνδρός, ὅτι οὐ γαμεῖν κελεύων καὶ συνοικεῖν ἕνα μιᾷ εἶτα κοινὰς εἶναι βούλεται τὰς γυναῖκας, ἀλλ᾿ ἐξαιρῶν τὸν τοιοῦτον γάμον καὶ ἄλλο τι εἶδος γάμου εἰσφέρων. καὶ τὸ ὅλον οἱ ἄνθρωποι χαίρουσιν ἀπολογίας τοῖς ἑαυτῶν ἁμαρτήμασι πορίζοντες· ἐπεί τοι φιλοσοφία φησίν, ὅτι οὐδὲ τὸν δάκτυλον ἐκτείνειν εἰκῆ προσήκει.

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Black Figure Hydria from the MET

Roman Epitaphs to and for Wives

A repost of some translations by Brandon Conley.

  1. AE 1983 0040

D(is) M(anibus). Memoriae Publicies Septimines L(ucius) Sammonius Adiutor coniug(i) pientissim(a)e et animules amantissimes

“To the spirits of the dead. Lucius Sammonius Adiutor (made this) for the memory of Publicia Septimina, his most faithful wife and most loving soul.”

Romancouple

  1. AE 1982 0106

D(is) M(anibus) Iucundis[sim]a Priscia[no con]iugi am[antiss]imo b(ene) [m(erenti) fecit]

“To the spirits of the dead. Iucundissima made this for her well-deserving, most loving husband, Priscianus.”

 

  1. CIL 6.18817

Animae sanctae colendae d(is) m(anibus) s(acrum). Furia Spes L(ucio) Sempronio Firmo coniugi carissimo mihi. Ut cognovi puer puella obligati amori pariter. Cum quo vixi tempori minimo et quo tempore vivere debuimus a manu mala diseparati sumus. Ita peto vos manes sanctissimae commendat[um] habeatis meum ca[ru]m et vellitis huic indulgentissimi esse horis nocturnis ut eum videam et etiam me fato suadere vellit ut et ego possim dulcius et celerius aput eum pervenire.

“To a sacred and worshipped spirit: a sacred thing to the spirits of the dead. Furia Spes (made this) for her dearest husband, Lucius Sempronius Firmus. When we met as boy and girl, we were joined in love equally. I lived with him for a short while, and in a time when we should have lived together, we were separated by an evil hand.

So I ask you, most sacred spirits, to protect my dear husband entrusted to you, and that you be willing to be most accommodating to him in the nightly hours, so I may have a vision of him, and so he might wish that I persuade fate to allow me to come to him more sweetly and quickly.”

adiutor

  1. CIL 3.10501

Clausa iacet lapidi coniunx pia cara Sabina. Artibus edocta superabat sola maritum vox ei grata fuit pulsabat pollice c(h)ordas. Set (sed) cito rapta silpi (silet)…

“My beautiful, faithful wife, Sabina, lies enclosed in stone. Skilled in the arts, she alone surpassed her husband. Her voice was pleasing (as) she plucked the strings with her thumb. But suddenly taken, now she is silent.”

 

  1. CIL 3.00333

Dis Manibus Flaviae Sophene [Ge]nealis Caesaris Aug(usti) [se]rvos verna dispens(ator) [ad] frumentum carae coniugi et amanti bene merenti fecit [vix(it)] an(nis) XXXII m(ensibus) VII

//

[Φλ]αβία Σόφη γυνὴ Γενεάλ/[ιος] Καίσαρος δούλου οἰκο/νόμου ἐπὶ τοῦ σείτου / [ζή]σασα κοσμίως ἔτη [λβ] / [μῆ]νας ζ χαῖρε

“To the spirits of the dead. For Flavia Sophe. Genialis, home-born slave of Caesar Augustus, keeper of the grain supply, made this for his loving, dear, well-deserving wife. She lived 32 years, 7 months.”

 

  1. AE 1982 0988.

Iulia Cecilia vicxit annis XLV cui Terensus marit(us) fek(it) dom(um) et(e)r(nalem) f(eci)t

“Julia Caecilia lived 45 years, for whom her husband Terensus made this. He made her an eternal home.”

 

  1. CIL 13.01983 (EDCS-10500938)

D(is) M(anibus) et memoriae aetern(ae) Blandiniae Martiolae puellae innocentissimae quae vixit ann(os) XVIII m(enses) VIIII d(ies) V. Pompeius Catussa cives Sequanus tector coniugi incomparabili et sibi benignissim(a)e quae mecum vixit an(nos) V m(enses) VI d(ies) XVIII sine ul(l)a criminis sorde. Viv(u)s sibi et coniugi ponendum curavit et sub ascia dedicavit. Tu qui legis vade in Apol(l)inis lavari quod ego cum coniuge feci. Vellem si ad(h)uc possem

“To the spirits of the dead and the eternal memory of Blandinia Martiola, a most innocent girl who lived 18 years, 9 months, 5 days. Pompeius Catussa, a Sequani citizen and plasterer, (made this) for his incomparable and most kind wife, who lived with me 5 years, 6 months, 18 days without any transgressions. While alive, he saw to the building and dedicated this, while under construction, to himself and his wife. You who read this, go and bathe in the bath of Apollo, which I did with my wife. I wish I were still able to do it.”

 

  1. CIL 06.15346

Hospes quod deico paullum est. Asta ac pellege. Heic est sepulcrum hau(d) pulcrum pulcrai feminae. Nomen parentes nominarunt Claudiam. Suom mareitum corde deilexit souo. Gnatos duos creavit horunc (horum-ce) alterum in terra linquit alium sub terra locat. Sermone lepido tum autem incessu commodo domum servavit lanam fecit dixi abei

“Stranger, what I say is short. Stand and read over it. This is the hardly beautiful tomb of a beautiful woman. Her parents called her Claudia. She loved her husband with all her heart. She had two sons, one of whom she leaves on earth, the other she placed under it. With pleasant conversing but respectable gait she cared for her home and made wool. I have spoken. Move along.”

 

  1. CIL 06.20307

Iulio Timotheo qui vixit p(lus) m(inus) annis XXVIII vitae innocentissim(a)e decepto a latronibus cum alumnis n(umero) VII. Otacilia Narcisa co(n)iugi dulcissimo

“For Julius Timotheus, who lived around 28 years of a most innocent life, cheated by bandits along with his 7 fostered children. Otacilia Narcisa (made this) for her sweetest husband.”

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This is from the Johns Hopkins Archaeological Museum

Wasting Some Free Time

Cicero, de re publica 1.14:

When this Publius Africanus, the son of Paulus, during the Feriae Latinae in the consulship of Tuditanus and Aquilius had decided to spend his time in his gardens, and his most familiar acquaintances had said that they would come to him during those days, his sister’s son Quintus Tubero came to him on the morning of the Feriae themselves. When Scipio had called to him graciously and seen him gladly, he asked, ‘What are you doing so early in the morning? This holiday surely gave you an opportune chance for applying yourself to your literature.’ Then Tubero responded, ‘But all of my time is open for my books, for they are never occupied. But it is a great thing to get a hold on you when you’re not busy, especially in the midst of this turmoil in the republic.’ Scipio responded, ‘To be sure, you have gotten a hold of me, but by Hercules, I am more at leisure from work than I am in my mind.’ Then Tubero said, ‘But you should relax your mind; for many of us are prepared (as we already decided) to abuse this leisure time with you if it be convenient for you.’

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Nam cum P. Africanus hic Pauli filius feriis Latinis Tuditano cons. et Aquilio constituisset in hortis esse, familiarissimique eius ad eum frequenter per eos dies ventitaturos se esse dixissent, Latinis ipsis mane ad eum primus sororis filius venit Q. Tubero. quem cum comiter Scipio adpellavisset libenterque vidisset, ‘quid tu’ inquit ‘tam mane Tubero? dabant enim hae feriae tibi opportunam sane facultatem ad explicandas tuas litteras’. tum ille (Tubero): ‘mihi vero omne tempus est ad meos libros vacuum; numquam enim sunt illi occupati; te autem permagnum est nancisci otiosum, hoc praesertim motu rei publicae’. tum Scipio: ‘atqui nactus es, sed mehercule otiosiorem opera quam animo.’ et ille (Tubero): ‘at vero animum quoque relaxes oportet; sumus enim multi ut constituimus parati, si tuo commodo fieri potest, abuti tecum hoc otio.’ (Scipio) ‘libente me vero, ut aliquid aliquando de doctrinae studiis admoneamur.’