How Much Are YOU Like Tiberius?

Suetonius, Life of Tiberius 70

“He pursued the liberal arts of both languages most seriously. He was a follower of Messala Corvinus when it came to Latin oratory, a man whom he had observed while an adolescent. But he used to confuse his style with such excessive affectation and officiousness that he was considered more effective as an extemporaneous speaker than a prepared one.

He also wrote a lyric poem which had the title “A Lament on the Death of Lucius Caesar.” When he composed Greek poems, he imitated Euphorion, Rhianus, and Parthenius, those poets whose writing he liked most of all, and he placed their portraits in the public libraries among the older, famous authors. For this reason, many of the learned men of the time were in a competition dedicating many books about these men to Tiberius.

Still, he took the greatest care in knowledge of the stories of myth, to the point of absurdity and silliness. For he even used to quiz the grammarians, a class of men whom, as I said, he was really preoccupied with, posing questions like: “Who was the mother of Hecuba?” “What name did Achilles have among the girls?” “What were the Sirens accustomed to singing?”

LXX. Artes liberales utriusque generis studiosissime coluit. In oratione Latina secutus est Corvinum Messalam, quem senem adulescens observarat. Sed adfectatione et morositate nimia obscurabat stilum, ut aliquanto ex tempore quam a cura praestantior haberetur. Composuit et carmen lyricum, cuius est titulus “Conquestio de morte L. Caesaris.” Fecit et Graeca poemata imitatus Euphorionem et Rhianum et Parthenium, quibus poetis admodum delectatus scripta omnium et imagines publicis bibliothecis inter veteres et praecipuos auctores dedicavit; et ob hoc plerique eruditorum certatim ad eum multa de his ediderunt.3Maxime tamen curavit notitiam historiae fabularis usque ad ineptias atque derisum; nam et grammaticos, quod genus hominum praecipue, ut diximus, appetebat, eius modi fere quaestionibus experiebatur: “Quae mater Hecubae, quod Achilli nomen inter virgines fuisset, quid Sirenes cantare sint solitae.”

 

 Kongelige Bibliotek, Gl. kgl. S. 3466 8º, Folio 37r

Homer is Wild, Vergil is a Garden, Ovid is…Ovid

Joseph Addison, Spectator No. 417:

“And among those of the learned languages who excel in this talent, the most perfect in their several kinds are, perhaps, Homer, Virgil, and Ovid. The first strikes the imagination wonderfully with what is great, the second with what is beautiful, and the last with what is strange. Reading the Iliad is like traveling through a country uninhabited, where the fancy is entertained with a thousand savage prospects of vast deserts, wide uncultivated marshes, huge forests, misshapen rocks, and precipices. On the contrary, the Aeneid is like a well-ordered garden, where it is impossible to find out any part unadorned, or to cast our eyes upon a single spot that does not produce some beautiful plant or flower. But when we are in the Metamorphoses, we are walking on enchanted ground, and see nothing but scenes of magic lying round us.

Homer is in his province when he is describing a battle or a multitude, a hero or a god. Virgil is never better pleased than when he is in his elysium, or copying out an entertaining picture. Homer’s epithets generally mark out what is great, Virgil’s what is agreeable. Nothing can be more magnificent than the figure Jupiter makes in the first Iliad, nor more charming than that of Venus in the first Aeneid:

As he spoke the son of Saturn bowed his dark brows, and the ambrosial locks swayed on his immortal head, till vast Olympus reeled.
[trans. Butler] [Homer, Illiad, I. 528-30]

Dixit, & avertens rosea cervice refulsit:
Ambrosiaeque comae divinum vertice odorem
Spiravere: pedes vestis defluxit ad imos:
Et vera incessu patuit dea . . .

Thus having said, she turn’d, and made appear
Her neck refulgent, and dishevel’d hair,
Which, flowing from her shoulders, reach’d the ground.
And widely spread ambrosial scents around:
In length of train descends her sweeping gown;
And, by her graceful walk, the Queen of Love is known.
[trans. Dryden] [Virgil, Aeneid, I, 402-5]

Homer’s persons are most of them godlike and terrible: Virgil has scarce admitted any into his poem who are not beautiful, and has taken particular care to make his hero so.

. . . Lumenque juventae
Purpureum, & laetos oculis afflarat honores.

And giv’n his rolling eyes a sparkling grace,
And breath’d a youthful vigor on his face.
[trans. Dryden] [Virgil, Aeneid, I. 590-1]

In a word, Homer fills his readers with sublime ideas, and, I believe, has raised the imagination of all the good poets that have come after him. I shall only instance Horace, who immediately takes fire at the first hint of any passage in the Iliad or Odyssey, and always rises above himself when he has Homer in his view. Virgil has drawn together into his Aeneid all the pleasing scenes his subject is capable of admitting, and in his Georgics has given us a collection of the most delightful landscapes that can be made out of fields and woods, herds of cattle, and swarms of bees.

Ovid, in his Metamorphoses, has shown us how the imagination may be affected by what is strange. He describes a miracle in every story, and always gives us the sight of some new creature at the end of it. His art consists chiefly in well-timing his description before the first shape is quite worn off, and the new one perfectly finished; so that he everywhere entertains us with something we never saw before, and shows monster after monster to the end of the Metamorphoses.”

Image result for homer and vergil

The Tragedy of the Aeneid’s Dido As Told Through Buffy GIFs

Vergil, Aeneid 1.748–749

“Nor did unhappy Dido fail to drag out the night
With all kinds of talk as she was drinking deep of love.”

nec non et vario noctem sermone trahebat
infelix Dido longumque bibebat amorem,

A few days ago Christian Lehmann (@buffyantiqua and a teacher at Bard High School Early College, Cleveland) told the story of Aeneas and Dido from Vergil’s Aeneid through GIFs from Buffy the Vampire Slayer. This is not only genius which the world needs to witness for its own sake, but it also combines a few things I love: Homeric reception/myth and Buffy. (I tried to write about this once and partially failed.)

Image result for buffy season 6

I loved this so much that I wanted to share it with those who don’t use Twitter and Christian was kind enough to give his consent (see his work on “The 100 and Classical (Under)Worlds” too). This is a lively and fascinating retelling–it forces reconsiderations, I think, of both the Aeneid and BVTS. Also, Buffy and Spike > Buffy and Riley.

[below is my contribution: I learned this passage in high school where it was obligatory to understand that Dido was not dutiful enough and gave into passion, whereas Aeneas was oh so very pius.]

Vergil, Aeneid 4. 165-172

To the same cave came Dido and the Trojan captain
Earth first then nuptial Dido gave their sign
The lightning bolts were shining out and the Sky was a witness
to their bridal rites as the Nymphs sounded out on the mount’s highest peak
That day was the first cause of death; the first cause of evils.
For no longer was Dido cautioned by appearances or rumor
And no more was she harboring a secret love.
She calls it a marriage: with this name she cloaks her fault.

speluncam Dido dux et Troianus eandem
deveniunt. prima et Tellus et pronuba Iuno
dant signum; fulsere ignes et conscius Aether
conubiis, summoque ulularunt vertice Nymphae.
ille dies primus leti primusque malorum
causa fuit. neque enim specie famave movetur
nec iam furtivum Dido meditatur amorem;
coniugium vocat; hoc praetexit nomine culpam.

Quintilian on Pedantry

Quintilian, 8.3 (55)

“There is also that phenomenon which is called periergia—as I might call it, an ultimately useless carefulness in which a dilettante contrasts with a scholar the same way superstition differs from religion. So, to summarize, a word which helps neither the understanding nor the form can be said to be a mistake.”

Est etiam quae periergia vocatur, supervacua, ut sic dixerim, operositas, ut a diligenti curiosus et religione superstitio distat. Atque, ut semel finiam, verbum omne quod neque intellectum adiuvat neque ornatum vitiosum dici potest.

Image result for medieval manuscript pedant
From Pinterest

A Word Overwrought: Longinus on Verbal Tumescence

Longinus, On the Sublime 1.3.3-5

‘For although they often believe that they are inspired, they are not carried away by a god but they are fooling around. As a general rule, it seems that being puffed up is among the the most difficult things to avoid. For, naturally, all those who strive to be grand are carried away into this fault as they attempt to avoid the accumulation of weakness or dryness, perhaps believing in the idea that “slipping in the pursuit of great things is still a noble mistake.”

Ah, but tumors are evil things if they are in bodies or words, those empty voids all misshapen and most often compelling us to the opposite of what we wanted. For, as they say, “there’s nothing dry as dropsy”. But while overwrought writing aims to surpass the sublime, childishness is the polar opposite of aiming high. It is completely ugly, small-minded, and in truth the least noble evil of all.”

πολλαχοῦ γὰρ ἐνθουσιᾶν ἑαυτοῖς δοκοῦντες οὐ βακχεύουσιν ἀλλὰ παίζουσιν. ὅλως δ᾿ ἔοικεν εἶναι τὸ οἰδεῖν ἐν τοῖς μάλιστα δυσφυλακτότατον. φύσει γὰρ ἅπαντες οἱ μεγέθους ἐφιέμενοι, φεύγοντες ἀσθενείας καὶ ξηρότητος κατάγνωσιν, οὐκ οἶδ᾿ ὅπως ἐπὶ τοῦθ᾿ ὑποφέρονται, πειθόμενοι τῷ “μεγάλων ἀπολισθαίνειν ὅμως εὐγενὲς  ἁμάρτημα.” κακοὶ δὲ ὄγκοι καὶ ἐπὶ σωμάτων καὶ λόγων οἱ χαῦνοι καὶ ἀναλήθεις καὶ μήποτε περιιστάντες ἡμᾶς εἰς τοὐναντίον· οὐδὲν γάρ, φασί, ξηρότερον ὑδρωπικοῦ. Ἀλλὰ τὸ μὲν οἰδοῦν ὑπεραίρειν βούλεται τὰ ὕψη, τὸ δὲ μειρακιῶδες ἄντικρυς ὑπεναντίον τοῖς μεγέθεσι· ταπεινὸν γὰρ ἐξ ὅλου καὶ μικρόψυχον καὶ τῷ ὄντι κακὸν ἀγεννέστατον.

Image result for medieval manuscript cancer treatment
Sometimes a good editor is like a medieval surgeon: brutal.

Youth, Wine, and Good Judgment

Theognis, 877–878

“Dear heart of mine, be young—for some other people will have their turn soon
And I will be black earth when I die.”

ἥβα μοι, φίλε θυμέ· τάχ᾿ αὖ τινες ἄλλοι ἔσονται
ἄνδρες, ἐγὼ δὲ θανὼν γαῖα μέλαιν᾿ ἔσομαι.

873-876

“Wine, I praise you for some things and blame you for others
I can’t ever manage to hate you or love you completely.
You are bad and good. What person with a measure of wisdom
Would be able to blame you or praise you?”

οἶνε, τὰ μέν σ᾿ αἰνῶ, τὰ δὲ μέμφομαι· οὐδέ σε πάμπαν
οὔτε ποτ᾿ ἐχθαίρειν οὔτε φιλεῖν δύναμαι.
ἐσθλὸν καὶ κακόν ἐσσι. τίς ἂν σέ γε μωμήσαιτο,
τίς δ᾿ ἂν ἐπαινήσαι μέτρον ἔχων σοφίης;

895-896

“Kurnos: a man possesses nothing better than good judgment
And nothing more grievous than not having it.”

γνώμης δ᾿ οὐδὲν ἄμεινον ἀνὴρ ἔχει αὐτὸς ἐν αὐτῷ,
οὐδ᾿ ἀγνωμοσύνης, Κύρν᾿ , ὀδυνηρότερον.

971-972

“What’s the virtue in winning a prize for drinking wine?
For a bad man certainly beats a good man at this frequently”

τίς δ᾿ ἀρετὴ πίνοντ᾿ ἐπιοίνιον ἆθλον ἑλέσθαι;
πολλάκι τοι νικᾷ καὶ κακὸς ἄνδρ᾿ ἀγαθόν.

Wine making. detail. calendar September. England 1310-20. BL by tony harrison, via Flickr
Image taken from here

Whoa, Wednesday–We Still Have Sappho

Sappho, Fr. 5 (P. Oxy. 7 + 2289. 6) 1-8

Kypris and Nereids—let my brother
come here unharmed and grant
Everything he wishes to have happen
In his heart

May he make up for all the things he did wrong before
And become a source of joy for his friends
And grief for his enemies, and may he no longer
Be a pain for us.

Κύπρι καὶ] Νηρήιδες ἀβλάβη[ν μοι
τὸν κασί]γνητον δ[ό]τε τυίδ’ ἴκεσθα[ι
κὤσσα v]ο̣ι̣ θύμωι κε θέληι γένεσθαι
πάντα τε]λέσθην,

ὄσσα δὲ πρ]όσθ’ ἄμβροτε πάντα λῦσα[ι
καὶ φίλοισ]ι vοῖσι χάραν γένεσθαι
<κὠνίαν> ἔ]χθροισι, γένοιτο δ’ ἄμμι
<πῆμ᾿ ἔτι >μ]ηδ’ εἴς·

Image result for ancient greek brother statue
Fourth Century BCE Grave Relief

Professors of Learned Praise

Ammianus Marcellinus, Constantius et Julianus 17.11

“Once these facts were known in the court of Constantius—for it was required that Caesar should report about all of his deeds to Augustus like any inferior—everyone who previously had power in the palace and were already professors of learned praise, they were converting Julian’s correctly considered and successfully accomplished deeds into mockery, wisecracking without end like this: “This girl-goat, not a man, is getting hateful because of his victories”; they picked on Julian because he was hairy, calling him a “talking mole”, or “a purple-robed ape”, or “a Greek professor” and other similar insults.

Because they were echoing in the ears of an emperor who longed to hear these kinds of things, they were also trying to hide his virtues with shameful speeches, calling him lazy and fearful and one who dressed up his failures with polished words. This was not happening then for the first time.”

Haec cum in comitatu Constantii subinde noscerentur—erat enim necesse, tamquam apparitorem, Caesarem super omnibus gestis ad Augusti referre scientiam—omnes qui plus poterant in palatio, adulandi professores iam docti, recte consulta prospereque completa vertebant in deridiculum, talia sine modo strepentes insulse: “In odium venit cum victoriis suis capella, non homo,” ut hirsutum Iulianum carpentes, appellantesque “loquacem talpam” et “purpuratam simiam” et “litterionem Graecum,” et his congruentia plurima. Atque ut tintinnabulaprincipi resonantes, audire haec taliaque gestienti, virtutes eius obruere verbis impudentibus conabantur ut segnem incessentes et timidum et umbratilem, gestaque secus verbis comptioribus exornantem; quod non tunc primitus accidit.

Museum Meermanno, MMW, 10 D 7, Folio 34v

Achilles’ Name(s), When He Was A Girl

From the Fragments of the Greek Historians–Mythical traditions record that Thetis hid Achilles at Skyros to prevent him from getting taken to fight at Troy where she knew he would die. Most retellings of this focus on how Odysseus tricked him into revealing himself. But it turns out Achilles also took on a girl’s name while he was there.

Aristonikos of Tarentum (57; appearing in Photios)

Aristonikos of Tarentum reports that Achilles, when he was spending time  with the girls at Lykomedes’ home, used to be called Kerkysera and Issa and Pyrrha. He was also called Aspetos and Prometheus.

ὡς ᾽Αχιλλέα μὲν ᾽Αριστόνικος ὁ Ταραντῖνος διατρίβοντα ἐν ταῖς παρθένοις παρὰ Λυκομήδει Κερκυσέραν καλεῖσθαί φησιν καὶ ῎ Ἴσσαν καὶ Πύρραν ἐκαλεῖτο δὲ  καὶ ῎Ασπετος καὶ Προμηθεύς.

The names he takes on surely deserve a little more contemplation. Why did he also have male names while he was there?

Ken Dowden, in his commentary on this fragment, provides the following explanation of the female names:

“The name Pyrrha (red-head, like Pyrrhos the alternative name of his son Neoptolemos) is also found in Hyginus, Fabulae 96. The name Kerkysera is held to be a ‘joke’ (i.e., of Ptolemy Chennos) by A. Cameron, Greek Mythography in the Roman World (Oxford 2004), 141, presumably by association with κέρκος (a tail or penis). M. van der Valk, Researches on the Text and Scholia of the Iliad (Leiden 1963), 369 n. 228, regards the name as corrupt–it should, according to him, be Κερκουρᾶς (Kerkouras) ‘he who urinates by means of his tail’. Even if this is right, it does not, of course, show that the name was invented by Ptolemy Chennos. Cameron, Mythography, 141, views Issa as an out-of-place Latin term of endearment. But it appears in Greek as the name of a Dalmatian island and, more appropriately to Achilles, of a city on Lesbos (named after a daughter of MakarSteph. Byz., s.v. Issa). ‘There is also a feminine form Issas on Lesbos found in Partheniosin his Herakles’ (ἔστι καὶ θηλυκὸν Ἰσσάς ἐπὶ τῆς Λέσβου παρὰ Παρθενίῳ ἐν Ἡρακλεῖ) according to Steph. Byz. ibid. A real Aristonikos, given the range of possible dates (see Biographical Essay), might well have been reading Parthenios, or even vice-versa.”

This text is from Brill’s new Jacoby, a collection of the Fragments of the Greek historians

Image result for Achilles at Skyros

 

American Vainglory

J.E. Sandys, Harvard Lectures on the Revival of Classical Learning:

“In 1499 (as we are all aware) a son of Florence, Amerigo Vespucci, took part in the discovery of Venezuela. But it is not perhaps so widely known that his graphic description of the third and most famous of his four voyages was translated into Latin by none other than Fra Giocondo himself. This translation was printed by Martin Waltzemuller at Strassburg in 1505, and also reprinted with the narrative of the three other voyages in 1507, and it is in this reprint that we find the first suggestion that the newly discovered continent should receive the name of America. In this volume Amerigo makes a vainglorious display of his classical learning in the form of quotations from Pliny, Virgil, and Aristotle.”

Portrait of Amerigo Vespucci.jpg