Tag: Aelian

If You Feel Rage Coming On, Sing Yourself a Song!

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Aelian, Varia Historia 14.23 Achilles plays the Lyre to Calm his Rage

“Kleinias was serious in his manner and he was a Pythagorean in his philosophical training. If he was ever driven towards rage or had a sense of getting hot-headed, immediately before he became too overwhlemed with anger and before it was clear it was coming, he picked up the lyre and began to play. In response to people asking what the reason for this was, he responded melodiously, “I am calming myself”. Achilles in the Iliad seems to me to put his rage sleep when he sings along to a lyre and brings reminds himself of the famous tales of former men through his song. For, since he was a musical man, he chose the lyre first out of all the spoils.”

Κλεινίας ἀνὴρ ἦν σπουδαῖος τὸν τρόπον, Πυθαγόρειος δὲ τὴν σοφίαν. οὗτος εἴ ποτε ἐς ὀργὴν προήχθη καὶ εἶχεν αἰσθητικῶς ἑαυτοῦ ἐς θυμὸν ἐξαγομένου, παραχρῆμα πρὶν ἢ ἀνάπλεως αὐτῷ ἡ ὀργὴ καὶ ἐπίδηλος γένηται ὅπως διάκειται, τὴν λύραν ἁρμοσάμενος ἐκιθάριζε. πρὸς δὲ τοὺς πυνθανομένους τὴν αἰτίαν ἀπεκρίνετο ἐμμελῶς ὅτι ‘πραΰνομαι.’ δοκεῖ δέ μοι καὶ ὁ ἐν ᾿Ιλιάδι ᾿Αχιλλεύς, ὁ τῇ κιθάρᾳ προσᾴδων καὶ τὰ κλέα τῶν προτέρων διὰ τοῦ μέλους ἐς μνήμην ἑαυτῷ ἄγων, τὴν μῆνιν κατευνάζειν• μουσικὸς γὰρ ὢν τὴν κιθάραν πρώτην ἐκ τῶν λαφύρων ἔλαβε.

Aelian is referring to the following passage from Homer when the embassy from Agamemnon comes to treat with Achilles in book 9. Odysseus, Ajax and Phoenix arrive and find Achilles singing.

Iliad, 9.185-191

“They came to the dwellings and the ships of the Myrmidons
And they found [Achilles] delighting his heart with the clear-voiced lyre,
A finely wrought one which was silver on the bridge,
The one he chose as a prize after sacking the city of Êetiôn.
He delighted his heart with that and sang the famous stories of men.
But Patroklos sat alone opposite him in silence,
Waiting for time when the grandson of Aiakos would stop his songs.”

Μυρμιδόνων δ’ ἐπί τε κλισίας καὶ νῆας ἱκέσθην,
τὸν δ’ εὗρον φρένα τερπόμενον φόρμιγγι λιγείῃ
καλῇ δαιδαλέῃ, ἐπὶ δ’ ἀργύρεον ζυγὸν ἦεν,
τὴν ἄρετ’ ἐξ ἐνάρων πόλιν ᾿Ηετίωνος ὀλέσσας•
τῇ ὅ γε θυμὸν ἔτερπεν, ἄειδε δ’ ἄρα κλέα ἀνδρῶν.
Πάτροκλος δέ οἱ οἶος ἐναντίος ἧστο σιωπῇ,
δέγμενος Αἰακίδην ὁπότε λήξειεν ἀείδων,

Aelian’s interpretation is interesting in part because it makes sense—Achilles is often seen as resting, or taking up time with the singing. But modern interpretations put a lot more weight into Achilles’ words, and what exactly it means to sing the “famous stories of men”. In the same book, Phoenix chastises Achilles by saying: “This is not what we have heard before in the famous stories of men/ heroes, whenever a powerful anger overtook someone” (οὕτω καὶ τῶν πρόσθεν ἐπευθόμεθα κλέα ἀνδρῶν / ἡρώων, ὅτε κέν τιν’ ἐπιζάφελος χόλος ἵκοι, 9.524-5). And in the Odyssey, the same phrase is used to indicate Demodokos’ ability to sing songs from the Trojan War, right before he sings about the conflict between Odysseus and Achilles. (Μοῦσ’ ἄρ’ ἀοιδὸν ἀνῆκεν ἀειδέμεναι κλέα ἀνδρῶν, 8.73)

So, the basic argument is that the phrase kléa andrôn is a metonym for tales from myth or epic and that Achilles is not merely entertaining himself but, just as Phoenix invites him to consider the lessons from “the famous stories of men” as precedents to help correct his behavior, Achilles is singing in order to figure out where his story fits in the pantheon of tales he knows. And, against Aelian’s interpretation, Achilles doesn’t seem to have overcome his anger for very long once Odysseus begins to speak…

Imagine the Awkward Conference Panels: Plato and Aristotle, Frenemies

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Aelian, Varia Historia 3.19

“It is reported that the first difference between Plato and Aristotle developed for the following reasons. Plato was displeased with Aristotle’s life, and in the clothing he selected. See, Aristotle dressed in well-made clothes and shoes; he also had his haircut in a manner disliked by Plato; he also took pride in wearing many rings. His face, moreover, bore a certain aspect of derision; and within this face, an untimely talkativeness brought his character into question too. All these characteristics are obviously foreign to a philosopher. When Plato saw them, he was repelled by the man and preferred Xenocrates, Speusippos, Amykles, and others. These men received his respect and regular conversation.

When Xenocrates was out of town to visit his home, Aristotle set upon Plato and made a chorus of his companions around him with Mnason of Phocis and other similar men. Speusippus was ill and was incapable of walking with Plato who was already eighty years old. Thanks to his age, he had lost some parts of his memory. Aristotle plotted against him and set upon him: he questioned him rather aggressively and in the manner of refutation, which was clearly unjust and unsympathetic. Because of this, Plato stopped going for his walk outside; he walked inside with his friends.”

Λέγεται τὴν διαφορὰν ᾿Αριστοτέλους πρὸς Πλάτωνα τὴν πρώτην ἐκ τούτων γενέσθαι. οὐκ ἠρέσκετο τῷ βίῳ αὐτοῦ ὁ Πλάτων οὐδὲ τῇ κατασκευῇ τῇ περὶ τὸ σῶμα. καὶ γὰρ ἐσθῆτι ἐχρῆτο περιέργῳ ὁ ᾿Αριστοτέλης καὶ ὑποδέσει, καὶ κουρὰν δὲ ἐκείρετο καὶ ταύτην ἀήθη Πλάτωνι, καὶ δακτυλίους δὲ πολλοὺς φορῶν ἐκαλλύνετο ἐπὶ τούτῳ· καὶ μωκία δέ τις ἦν αὐτοῦ περὶ τὸ πρόσωπον, καὶ ἄκαιρος στωμυλία λαλοῦντος κατηγόρει καὶ αὕτη τὸν τρόπον αὐτοῦ. πάντα δὲ ταῦτα ὡς ἔστιν ἀλλότρια φιλοσόφου, δῆλον. ἅπερ οὖν ὁρῶν ὁ Πλάτων οὐ προσίετο τὸν ἄνδρα, προετίμα δὲ αὐτοῦ Ξενοκράτην καὶ Σπεύσιππον καὶ ᾿Αμύκλαν καὶ ἄλλους, τῇ τε λοιπῇ δεξιούμενος αὐτοὺς τιμῇ καὶ οὖν καὶ τῇ κοινωνίᾳ τῶν λόγων.

ἀποδημίας δὲ γενομένης ποτὲ τῷ Ξενοκράτει ἐς τὴν πατρίδα, ἐπέθετο τῷ Πλάτωνι ὁ ᾿Αριστοτέλης, χορόν τινα τῶν ὁμιλητῶν τῶν ἑαυτοῦ περιστησάμενος, ὧν ἦν Μνάσων τε ὁ Φωκεὺς καὶ ἄλλοι τοιοῦτοι. ἐνόσει δὲ τότε ὁ Σπεύσιππος, καὶ διὰ ταῦτα ἀδύνατος ἦν συμβαδίζειν τῷ Πλάτωνι. ὁ δὲ Πλάτων ὀγδοήκοντα ἔτη ἐγεγόνει, καὶ ὁμοῦ τι διὰ τὴν ἡλικίαν ἐπελελοίπει τὰ τῆς μνήμης αὐτόν. ἐπιθέμενος οὖν αὐτῷ καὶ ἐπιβουλεύων ὁ ᾿Αριστοτέλης, καὶ φιλοτίμως πάνυ τὰς ἐρωτήσεις ποιούμενος καὶ τρόπον τινὰ καὶ ἐλεγκτικῶς, ἀδικῶν ἅμα καὶ ἀγνωμονῶν ἦν δῆλος· καὶ διὰ ταῦτα ἀποστὰς ὁ Πλάτων τοῦ ἔξω περιπάτου, ἔνδον ἐβάδιζε σὺν τοῖς ἑταίροις.

 

Aelian, Varia Historia 4.9

“Plato used to call Aristotle Pôlos [the Foal]. What did he wish with that name? Everyone knows that a foal, when it has had its fill of baby’s milk, kicks its mother. Thus Plato was signaling a certain ingratitude on Aristotle’ part. Indeed, Aristotle received the greatest seeds of Philosophy from Plato and then, though he was filled to the brim with the best ideas, he broke with Plato rebelliously. He founded his own house, took his friends on Plato’s walk, and set himself up to be Plato’s rival.”

῾Ο Πλάτων τὸν ᾿Αριστοτέλη ἐκάλει Πῶλον. τί δὲ ἐβούλετο αὐτῷ τὸ ὄνομα ἐκεῖνο; δηλονότι ὡμολόγηται τὸν πῶλον, ὅταν κορεσθῇ τοῦ μητρῴου γάλακτος, λακτίζειν τὴν μητέρα. ᾐνίττετο οὖν καὶ ὁ Πλάτων ἀχαριστίαν τινὰ τοῦ ᾿Αριστοτέλους. καὶ γὰρ ἐκεῖνος μέγιστα ἐς φιλοσοφίαν παρὰ Πλάτωνος λαβὼν σπέρματα καὶ ἐφόδια, εἶτα ὑποπλησθεὶς τῶν ἀρίστων καὶ ἀφηνιάσας, ἀντῳκοδόμησεν αὐτῷ διατριβὴν καὶ ἀντιπαρεξήγαγεν ἐν τῷ περιπάτῳ ἑταίρους ἔχων καὶ ὁμιλητάς, καὶ ἐγλίχετο ἀντίπαλος εἶναι Πλάτωνι.

Conference Got You Down? Even Plato Switched Careers

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Aelian, Varia Historia 2.30

“Plato, the son of Ariston, at first pursued poetry and used to write heroic verse. But he soon burned it all because he despised it, since he reckoned that his poetry was far inferior when compared to Homer’s. He then tried tragedy and even completed a tetralogy, and he was about to enter the competition, even to the point of giving the verses to actors. But right before the Dionysia, he went and heard Socrates; and once he was seized by that Siren, he not only withdrew from the competition, but he also gave up the writing of tragedy for good to immerse himself in philosophy.”

Πλάτων ὁ ᾿Αρίστωνος τὰ πρῶτα ἐπὶ ποιητικὴν ὥρμησε, καὶ ἡρωϊκὰ ἔγραφε μέτρα• εἶτα αὐτὰ κατέπρησεν ὑπεριδὼν αὐτῶν, ἐπεὶ τοῖς ῾Ομήρου αὐτὰ ἀντικρίνων ἑώρα κατὰ πολὺ ἡττώμενα. ἐπέθετο οὖν τραγῳδίᾳ, καὶ δὴ καὶ τετραλογίαν εἰργάσατο, καὶ ἔμελλεν ἀγωνιεῖσθαι, δοὺς ἤδη τοῖς ὑποκριταῖς τὰ ποιήματα. πρὸ τῶν Διονυσίων δὲ παρελθὼν ἤκουσε Σωκράτους, καὶ ἅπαξ αἱρεθεὶς ὑπὸ τῆς ἐκείνου σειρῆνος, τοῦ ἀγωνίσματος οὐ μόνον ἀπέστη τότε, ἀλλὰ καὶ τελέως τὸ γράφειν τραγῳδίαν ἀπέρριψε, καὶ ἀπεδύσατο ἐπὶ φιλοσοφίαν.

Consumerist Approaches to Education in the Ancient World

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Some inspirational anecdotes in time for the new semester.

Aulus Gellius, Attic Nights 1.9.8-9

“After our friend Taurus said these things about Pythagoras, he added, “Today, these people who turn to philosophy on whim and without washed feet [i.e. without preparation for the study], for them it isn’t enough that they are “completely without logic, without education, and without mathematical training”; no, they give the orders about how they should learn philosophy. One says “teach me this first”; another says “I’d like to learn this, but not that.” One is burning to start with Plato’s Symposium because of the appearance of Alcibiades; a different one wants the Phaedrus because of Lysias’ oration. By Jupiter! One even asks to read Plato not for the sake of improving his life, but only to decorate his speech and oratory—not so that it may be more appropriate, but in order to make it fancier.”

Haec eadem super Pythagora noster Taurus cum dixisset: “nunc autem” inquit “isti, qui repente pedibus inlotis ad philosophos devertunt, non est hoc satis, quod sunt omnino ἀθεώτεροι, ἄμουσοι, ἀγεωμέτρητοι, sed legem etiam dant, qua philosophari discant. 9 Alius ait “hoc me primum doce”, item alius “hoc volo” inquit “discere, istud nolo”; hic a symposio Platonis incipere gestit propter Alcibiadae comisationem, ille a Phaedro propter Lysiae orationem. 10 Est etiam,” inquit “pro Iuppiter! qui Platonem legere postulet non vitae ornandae, sed linguae orationisque comendae gratia, nec ut modestior fiat, sed ut lepidior.”

 

Augustine, Confessions 5.12

“I then started to pursue the work for which I traveled there, to teach the art of Rhetoric at Rome. Soon, certain men gathered at my home among whom and through whom I became well known. But look: I learned that some things happened in Rome which I would not have endured in Africa. For, in truth, the destruction caused by wasted youths which I saw there would not have happened in Africa. They said to me: “Suddenly, in order not to pay their teacher, many young men will conspire and move on to another—they abandon their promises: because of their love of money, justice is cheap.” My heart hated those bastards, but not with a complete hatred: surely, I hated more what I would suffer because of them than the wrongs they committed against others.”

sedulo ergo agere coeperam, propter quod veneram, ut docerem Romae artem rhetoricam, et prius domi congregare aliquos quibus et per quos innotescere coeperam. et ecce cognosco alia Romae fieri, quae non patiebar in Africa. nam re vera illas eversiones a perditis adulescentibus ibi non fieri manifestatum est mihi: ‘sed subito,’ inquiunt, ‘ne mercedem magistro reddant, conspirant multi adulescentes et transferunt se ad alium, desertores fidei et quibus prae pecuniae caritate iustitia vilis est.’ oderat etiam istos cor meum, quamvis non perfecto odio. quod enim ab eis passurus eram magis oderam fortasse quam eo quod cuilibet inlicita faciebant.

The Life of the Sophist Aelian: Writer, Coward, Homebody

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We’ve quoted a lot on this site from the Varia Historia of Claudius Aelianus. Here’s the mixed praise delivered in his honor.

Philostratus, Lives of the Sophists 31

“Aelian was a Roman, but he used Attic just as well as the Athenians in the middle of the region. This man seems to me to be worthy of praise, first because he toiled to achieve a pure version of Greek even though he lived in a city that spoke a different language, and second because, although he was called sophist by those who flatter in this way, he did not believe them and he neither kept the same opinion of himself nor was inflated by the title—even though it is impressive—but once he examined himself well as unsuited for public speeches, he set himself to writing and earned wide respect from this. Simplicity is the overwhelming nature of the style, at times nearing the attractions of Nikostratos, at others he favors Dio and his tone.

Once Philostratos of Lemnos* met him when he had a book in hand and was reading it aloud with anger and a striking voice—he asked Aelian what he was pursuing and he answered “I have written a condemnation of Gynnis*, for that’s what I call the tyrant who has just been killed, since he shamed the Roman Empire with every type of disgusting behavior.” And Philostratus answered, “I would be more impressed if you had condemned him when he was alive!” For it takes a brave man to stand up to a living tyrant, while anyone can attack him when he’s dead.

Aelian used to say  that he had never traveled abroad anywhere outside of the Italian peninsula, and that he had never stepped on a ship or got to know the sea—for this reason he was praised in Rome on the grounds that he valued their lifestyle. He was a student of Pausanias but he respected Herodes the most varied of sophists. He lived until he was sixty years old and without children, for he avoided child-rearing by never marrying. Whether this is a blessing or a curse it is not the right time to consider.”

*Likely a relative of the Philostratus writing this Vita.

*”Womanly-Man”, for the Emperor Heliogabulus who was assassinated in 222 (and ascended to power at age 14!).

Elagabalus
Yo, Aelian…

λα′. Αἰλιανὸς δὲ ῾Ρωμαῖος μὲν ἦν, ἠττίκιζε δέ, ὥσπερ οἱ ἐν τῇ μεσογείᾳ ᾿Αθηναῖοι. ἐπαίνου μοι δοκεῖ ἄξιος ὁ ἀνὴρ οὗτος, πρῶτον μέν, ἐπειδὴ καθαρὰν φωνὴν ἐξεπόνησε πόλιν οἰκῶν ἑτέρᾳ φωνῇ χρωμένην, ἔπειθ’, ὅτι προσρηθεὶς σοφιστὴς ὑπὸ τῶν χαριζομένων τὰ τοιαῦτα οὐκ ἐπίστευσεν, οὐδὲ ἐκολάκευσε τὴν ἑαυτοῦ γνώμην, οὐδὲ ἐπήρθη ὑπὸ τοῦ ὀνόματος οὕτω μεγάλου ὄντος, ἀλλ’ ἑαυτὸν εὖ διασκεψάμενος ὡς μελέτῃ οὐκ ἐπιτήδειον τῷ ξυγγράφειν ἐπέθετο καὶ ἐθαυμάσθη ἐκ τούτου. ἡ μὲν ἐπίπαν ἰδέα τοῦ ἀνδρὸς ἀφέλεια προσβάλλουσά τι τῆς Νικοστράτου ὥρας, ἡ δὲ ἐνίοτε, πρὸς Δίωνα ὁρᾷ καὶ τὸν ἐκείνου τόνον.

᾿Εντυχὼν δέ ποτε αὐτῷ Φιλόστρατος ὁ Λήμνιος  βιβλίον ἔτι πρόχειρον ἔχοντι καὶ ἀναγιγνώσκοντιαὐτὸ σὺν ὀργῇ καὶ ἐπιτάσει τοῦ φθέγματος ἤρετο αὐτόν, ὅ τι σπουδάζοι, καὶ ὃς „ἐκπεπόνηταί μοι” ἔφη „κατηγορία τοῦ Γύννιδος, καλῶ γὰρ οὕτω τὸν ἄρτι καθῃρημένον τύραννον, ἐπειδὴ ἀσελγείᾳ πάσῃ τὰ ῾Ρωμαίων ᾔσχυνε.” καὶ ὁ Φιλόστρατος „ἐγώ σε” εἶπεν „ἐθαύμαζον ἄν, εἰ ζῶντος κατηγόρησας”. εἶναι γὰρ δὴ τὸ μὲν ζῶντα τύραννον ἐπικόπτειν ἀνδρός, τὸ δὲ ἐπεμβαίνειν κειμένῳ παντός.

῎Εφασκε δὲ ὁ ἀνὴρ οὗτος μηδ’ ἀποδεδημηκέναι ποι τῆς γῆς ὑπὲρ τὴν ᾿Ιταλῶν χώραν, μηδὲ ἐμβῆναι ναῦν, μηδὲ γνῶναι θάλατταν, ὅθεν καὶ λόγου πλείνος κατὰ τὴν ῾Ρώμην ἠξιοῦτο ὡς τιμῶν τὰ ἤθη. Παυσανίου μὲν οὖν ἀκροατὴς ἐγένετο, ἐθαύμαζε δὲ τὸν ῾Ηρώδην ὡς ποικιλώτατον ῥητόρων. ἐβίω δὲ ὑπὲρ τὰ ἑξήκοντα ἔτη καὶ ἐτελεύτα οὐκ ἐπὶ παισίν,  παιδοποιίαν γὰρ παρῃτήσατο τῷ μὴ γῆμαί ποτε. τοῦτο δὲ εἴτε εὔδαιμον εἴτε ἄθλιον οὐ τοῦ παρόντος καιροῦ φιλοσοφῆσαι.

Homer In India, Performance, and Sparta: Three Passages from Aelian

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Aelian’s Varia Historia

12.48

“[Men say] that the Indians have translated the words of Homer into their own native language and they sing them; and they aren’t the only ones: the Persian kings do too, if we can trust those who write about these things.”

῞Οτι ᾿Ινδοὶ τῇ παρά σφισιν ἐπιχωρίῳ φωνῇ τὰ ῾Ομήρου μεταγράψαντες ᾄδουσιν οὐ μόνοι ἀλλὰ καὶ οἱ Περσῶν βασιλεῖς, εἴ τι χρὴ πιστεύειν τοῖς ὑπὲρ τούτων ἱστοροῦσιν.

13.14

“The tradition is that the ancients used to sing Homeric epics in separate parts. For example, they sang the “Battle By the Ships”, the “Doloneia”, the “Aristeia of Agamemnon”, the “Catalogue of Ships,” the “Patrokleia” and the “Ransoming” or the “Contest for Patroklos” and the “Breaking of the Oaths”. These were from the Iliad. From the other poem they sang “Events at Pylos” and “Events at Sparta” “Calpyso’s Cave,” “The Raft Story”, “The Tales of Alkinoos” and “The Kyklopeia” and the “Nekyuia” or “Events with Kike”, “the Washing”, “The Murder of the Suitors,” “The Events in the Country”, “Laertes’ Tale”.

Rather late, Lyrkourgos the Spartan was the first to bring the poetry of Homer together into Greece; He brought them back with him from Ionia when he was living abroad. Later, Peisistratos collected them and had the Iliad and the Odyssey performed.”

῞Οτι τὰ ῾Ομήρου ἔπη πρότερον διῃρημένα ᾖδον οἱ παλαιοί. οἷον ἔλεγον Τὴν ἐπὶ ναυσὶ μάχην καὶ Δολώνειάν τινα καὶ ᾿Αριστείαν ᾿Αγαμέμνονος καὶ Νεῶν κατάλογον καὶ Πατρόκλειαν καὶ Λύτρα καὶ ᾿Επὶ Πατρόκλῳ ἆθλα καὶ ῾Ορκίων ἀφάνισιν. ταῦτα ὑπὲρ τῆς ᾿Ιλιάδος. ὑπὲρ δὲ τῆς ἑτέρας Τὰ ἐν Πύλῳ καὶ Τὰ ἐν Λακεδαίμονι καὶ Καλυψοῦς ἄντρον καὶ Τὰ περὶ τὴν σχεδίαν καὶ ᾿Αλκίνου ἀπολόγους καὶ Κυκλώπειαν καὶ Νέκυιαν καὶ Τὰ τῆς Κίρκης καὶ Νίπτρα καὶ Μνηστήρων φόνον καὶ Τὰ ἐν ἀγρῷ καὶ Τὰ ἐν Λαέρτου. ὀψὲ δὲ Λυκοῦργος ὁ Λακεδαιμόνιος ἀθρόαν πρῶτος ἐς τὴν ῾Ελλάδα ἐκόμισε τὴν ῾Ομήρου ποίησιν· τὸ δὲ ἀγώγιμον τοῦτο ἐξ ᾿Ιωνίας, ἡνίκα ἀπεδήμησεν, ἤγαγεν. ὕστερον δὲ Πεισίστρατος συναγαγὼν ἀπέφηνε τὴν ᾿Ιλιάδα καὶ ᾿Οδύσσειαν.

13.19

“Cleomenes the Laconian asserted—in the manner of Spartans—that Homer was a Spartan poet because he spoke about the right way to go to war and that Hesiod was the Helot’s poet, since he talks about how best to farm.”

῎Ελεγεν ὁ Κλεομένης Λακωνικῶς κατὰ τὸν ἐπιχώριον τρόπον τὸν ῞Ομηρον Λακεδαιμονίων εἶναι ποιητήν, ὡς χρὴ πολεμεῖν λέγοντα· τὸν δὲ ῾Ησίοδον τῶν Εἱλώτων, λέγοντα ὡς χρὴ γεωργεῖν.

The Personalities of Presocratics (Aelian, Varia Historia 8.13)

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“They say that Anaxagoras the Clazomenian was never seen laughing or smiling from the beginning. They also say that Aristoxenos was hostile to laughter with all of his strength and that Heraclitus used to weep at everything in life.”

᾿Αναξαγόραν τὸν Κλαζομένιόν φασι μήτε γελῶντά ποτε ὀφθῆναι μήτε μειδιῶντα τὴν ἀρχήν. λέγουσι δὲ καὶ ᾿Αριστόξενον τῷ γέλωτι ἀνὰ κράτος πολέμιον γενέσθαι ῾Ηράκλειτόν τε, ὅτι πάντα τὰ ἐν τῷ βίῳ ἔκλαεν.

A dinner with this trio might not be too pleasant. Perhaps it would be better if we invited Democritus to the party:

Suda s.v. γλουτῶν

“Democritus of Abdera was called the “Laugher” because he laughed at the useless seriousness of human beings”

ὅτι ὁ Δημόκριτος ὁ ᾿Αβδηρίτης ἐπεκλήθη Γελασῖνος διὰ τὸ γελᾶν πρὸς τὸ κενόσπουδον τῶν ἀνθρώπων.

Naming Agamemnon’s Daughters and the Death of Iphigeneia

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The sacrifice of Iphigenia is a pivotal moment in the tale of the House of Atreus—it motivates Agamemnon’s murder and in turn the matricide of Orestes—and the Trojan War, functioning as it does as a strange sacrifice of a virgin daughter of Klytemnestra in exchange for passage for a fleet to regain the adulteress Helen, Iphigeneia’s aunt by both her father and mother. The account is famous in Aeschylus’ Agamemnon and the plays Iphigenia at Aulis and Iphigenia among the Taurians by Euripides. Its earliest accounts, however, provide some interesting variations:

Hes. Fr. 23.13-30

“Agamemnon, lord of men, because of her beauty,
Married the dark-eyed daughter of Tyndareus, Klytemnestra.
She gave birth to fair-ankled Iphimede in her home
And Elektra who rivaled the goddesses in beauty.
But the well-greaved Achaeans butchered Iphimede
on the altar of thundering, golden-arrowed Artemis
on that day when they sailed with ships to Ilium
in order to exact payment for fair-ankled Argive woman—
they butchered a ghost. But the deer-shooting arrow-mistress
easily rescued her and anointed her head
with lovely ambrosia so that her flesh would be enduring—
She made her immortal and ageless for all days.
Now the races of men upon the earth call her
Artemis of the roads, the servant of the famous arrow-mistress.
Last in her home, dark-eyed Klytemnestra gave birth
after being impregnated by Agamemnon to Orestes,
who, once he reached maturity, paid back the murderer of his father
and killed his mother as well with pitiless bronze.”

γ̣ῆμ̣[ε δ’ ἑὸν διὰ κάλλος ἄναξ ἀνδρ]ῶν ᾿Αγαμέμνων
κού[ρην Τυνδαρέοιο Κλυταιμήσ]τρην κυανῶπ[ιν•
ἣ̣ τ̣[έκεν ᾿Ιφιμέδην καλλίσφυ]ρον ἐν μεγάρο[ισιν
᾿Ηλέκτρην θ’ ἣ εἶδος ἐρήριστ’ ἀ[θανά]τηισιν.
᾿Ιφιμέδην μὲν σφάξαν ἐυκνή[μ]ιδες ᾿Αχαιοὶ
βωμῶ[ι ἔπ’ ᾿Αρτέμιδος χρυσηλακ]ά̣τ[ου] κελαδεινῆς,
ἤματ[ι τῶι ὅτε νηυσὶν ἀνέπλ]εον̣ ῎Ιλιον ε̣[ἴσω
ποινὴ[ν τεισόμενοι καλλισ]φύρου ᾿Αργειώ̣[νη]ς̣,
εἴδω[λον• αὐτὴν δ’ ἐλαφηβό]λο̣ς ἰοχέαιρα
ῥεῖα μάλ’ ἐξεσά[ωσε, καὶ ἀμβροσ]ίην [ἐρ]ατ̣ε̣[ινὴν
στάξε κατὰ κρῆ[θεν, ἵνα οἱ χ]ρ̣ὼς̣ [ἔ]μ̣πε[δ]ο̣[ς] ε̣[ἴη,
θῆκεν δ’ ἀθάνατο[ν καὶ ἀγήρ]αον ἤμα[τα πάντα.
τὴν δὴ νῦν καλέο[υσιν ἐπὶ χ]θ̣ονὶ φῦλ’ ἀν̣[θρώπων
῎Αρτεμιν εἰνοδί[ην, πρόπολον κλυ]τοῦ ἰ[ο]χ[ε]αίρ[ης.
λοῖσθον δ’ ἐν μεγά[ροισι Κλυτ]αιμ̣ή̣στρη κυα[νῶπις
γείναθ’ ὑποδμηθ[εῖσ’ ᾿Αγαμέμν]ον[ι δῖ]ον ᾿Ορέ[στην,
ὅς ῥα καὶ ἡβήσας ἀπε̣[τείσατο π]ατροφο[ν]ῆα,
κτεῖνε δὲ μητέρα [ἣν ὑπερήν]ορα νηλέι [χαλκῶι.

This fragment presents what is possibly the earliest account of the tale of Iphigenia and contains the major elements: the sacrifice of Agamemnon’s daughter is tied to vengeance against Helen; the daughter is rescued by Artemis, made immortal and made her servant. [In some traditions she is either made immortal or made into a priestess of Artemis at Tauris]. Orestes kills the murderer of his father and his mother.
Continue reading “Naming Agamemnon’s Daughters and the Death of Iphigeneia” →

The Tale of Medea Was Corinthian Slander! Aelian, Varia Historia 5.21

~ sententiaeantiquae ~ 3 Comments

“One story alleges that story about Medea is false.  For, it says that she didn’t kill her children but that the Korinthians did. They report that the tale about the woman from Kolkhis and the drama were created by Euripides at the behest of the Korinthians and that the falsehood supplanted the truth through the poet’s skill. They also claim that even to this day the Korinthians perform rites for the children because of their crime just as if they were fulfilling a debt owed to them.”

Λέγει τις λόγος τὴν φήμην τὴν κατὰ τῆς Μηδείας ψευδῆ εἶναι· μὴ γὰρ αὐτὴν ἀποκτεῖναι τὰ τέκνα ἀλλὰ Κορινθίους. τὸ δὲ μυθολόγημα τοῦτο ὑπὲρ τῆς Κολχίδος καὶ τὸ δρᾶμα Εὐριπίδην φασὶ διαπλάσαι δεηθέντων Κορινθίων, καὶ ἐπικρατῆσαι τοῦ ἀληθοῦς τὸ ψεῦδος διὰ τὴν τοῦ ποιητοῦ ἀρετήν. ὑπὲρ δὲ τοῦ τολμήματός φασι τῶν παίδων μέχρι τοῦ νῦν ἐναγίζουσι τοῖς παισὶ Κορίνθιοι, οἱονεὶ δασμὸν τούτοις ἀποδιδόντες.

Music and Murder: Aelian, Varia Historia 3.32

~ Erik ~ Leave a comment

“Alexander, the son of Philip, was learning to play the cithara when he was a child and not yet a young man. When his music teacher told him to strike a certain chord with care, the way that cithara-playing required, Alexander asked, “And what difference does it make if I strike this one?”, as he pointed out a different chord. The teacher told him that it made little difference to one who would be king, but it made a great deal of difference to one who would learn how to play the cithara. He then began to fear that he might suffer the same fate as old Linus. Linus was teaching the young Heracles to play the cithara. When Heracles took up the instrument with no musical skill at all, Linus railed at him. Heracles felt irritated by this, so he struck Linus with the plectrum and killed him.”

᾿Αλέξανδρος ὁ Φιλίππου, παῖς ὢν οὔπω πρόσηβος, ἐμάνθανε κιθαρίζειν. τοῦ δὲ διδάσκοντος κροῦσαι κελεύσαντος χορδήν τινα σὺν μέλει καὶ ἣν ἀπῄτει τὰ κιθαρίσματα, ‘καὶ τί διοίσει’ ἔφη ‘ἐὰν ταύτην κρούσω;’ ἑτέραν δείξας. ὃ δὲ οὐδὲν ἔφη διαφέρειν τῷ μέλλοντι βασιλεύσειν ἀλλὰ τῷ ἐπὶ τέχνῃ κιθαρίσειν μέλλοντι. ἔδεισε δὲ ἄρα οὗτος τὸ τοῦ Λίνου πάθος. τὸν γὰρ ῾Ηρακλῆ ὁ Λῖνος ἔτι παῖδα ὄντα κιθαρίζειν ἐπαίδευεν· ἀμουσότερον δὲ ἁπτομένου τοῦ ὀργάνου, ἐχαλέπηνε πρὸς αὐτὸν ὁ Λῖνος. ὃ δὲ ἀγανακτήσας ὁ ῾Ηρακλῆς τῷ πλήκτρῳ τοῦ Λίνου καθίκετο καὶ ἀπέκτεινεν αὐτόν.