ut i got home, we made dinner

and now i'd like to say something about ut temporal clauses for our syntax point today. did you KNOW ut could take a temporal clause? well, it can, cowboy. and when it does, do you know what mood of the verb it takes? INDICATIVE, which i think is swell! in fact, it usually takes the PERFECT INDICATIVE or the HISTORICAL PRESENT. sometimes it takes the imperfect to show a past state of things, or the pluperfect to show action completed in past time.

hey drum-major, toss me that hyper baton!

yes, i know that was dumb. but what i really wanted to tell you is that i just came across a nice example of hyperbaton in catullus 65:

namque mei nuper Lethaeo in gurgit fratris
pallidulum manans alluit unda pedem...

'For recently has the flowing water washed the pale (dim.) foot of my brother in the Lethaean stream...'

i would also like there to be a transference of the diminutive from the foot itself to the adjective. i don't know why calling his foot a 'little foot' would bring about pathos, but for some reason it seems to me that it would.

red derrick

we haven't had a rhetorical post in a few days. my sincere apologies. in the meantime, here is something i read today in michael trapp's collection 'greek and latin letters' about letter 42 in his collection--a letter by jerome (letter 23 in his own works, written in 384) to marcella on the death of lea. trapp writes in his commentary:

Using a (very) recent even as his cue, Jerome constructs a letter of consolation...which is also a sermon on the superiority of spiritual over worldly values; central to its rhetorical structure is a comparison (synkrisis, comparatio) that combines eulogy of a recently deceased Christian with invective against a recently deceased pagan. Rhetorical polish is evident also in the attention given to rhythm: e.g. in the double cretic clausulae (ex)isse de corpore, (doce)amus in tartaro, quanta mutatio, cernit inquirere.

i admit my complete ignorance about prose rhthym; if anyone cares to comment on it, please feel free!

relax and let the syntax bring you home

today's lesson is on Christian latin and comes from albert blaise's 'A Handbook of Christian Latin: Style, Morphology, and Syntax'.

Quo is sometimes used in place of ut even when the clause does not contain a comparative, which is rare in Classical Latin:
rogabam te...quo sanares dolorem meum, Aug.Conf.2.12; 6.13; 8.13; Tert.Apol.27; 47.

review of 'sailing the wine-dark sea: why the greeks matter'

here is n.s. gill's review of thomas cahill's book 'sailing the wine-dark sea':

The Bottom Line:
In a non-pretentious format, "Sailing the Wine-Dark Sea - Why the Greeks Matter" does indeed show to those interested why the ancient Greeks should matter -- even to modern Americans.

Pros

* Clear, easy reading
* Photographs of representative artwork
* Puts all of ancient Greece into a compact framework

Cons

* Needless profanity and slang
* Some factual errors

Description

* Retells various important Greek myths and puts them in historical context.
* Describes the contributions the Greeks made in all aspects of culture.
* Discusses Plato's Republic's cave and the sex discussion in the Symposium.
* Contains many photographs of ancient Greek sculpture and pottery.
* Compares ancient democracy and leaders with modern politics and political
leaders.
* Catalogues important writers and philosophers.
* Drenched with facts and anecdotes.

Guide Review - Sailing the Wine-Dark Sea - Why the Greeks Matter:
In eight chapters Thomas Cahill covers the history of ancient Greece in a light, informal manner, using anecdotes and comparisons with modern mores and political figures. Although Cahill has been criticized for exactly this modern outlook, this seems to me crucial to a look at a distant world with an eye to making it relevant as the subtitle "Why the Greeks Matter" demands. If we do indeed have problems with people who are racist, classist, and sexist, as Cahill says the ancient Greeks were, they must have other redeeming characteristics if they're to be worth studying. They developed art, adapted Egyptian mathematics, added vowels to the Semitic consonants to produce the alphabet, produced innovations in various literary fields, created science and philosophy, and introduced the democratic system. It is a bit hard to decide the audience for Sailing the Wine-Dark Sea. It is not a scholarly work, nor is it a work for people who can't tell Ancient from Medieval History. A certain familiarity with ancient Greece seems crucial, but if you already have that understanding, "Sailing the Wine-Dark Sea" is somewhat redundant. Still, it is hard to keep the wealth of detail in mind at all times, so Sailing the Wine-Dark Sea seems a refresher for those of us who originally learned about ancient Greece -- whether at the Met, like Cahill, or in school -- in our youth and have since forgotten some of the lessons we learned.

and here is what publisher's weekly had to say:

In this elegant introduction to Greek life and thought, Cahill provides the same majestic historical survey he has already offered for the Irish, the Jews and the Christians. He eloquently narrates the rise of Greek civilization and cannily isolates six archetypal figures representative of the development of Greek thinking. He opens with a consideration of Homer's Iliad and its glorification of the warrior way as an exemplum of life in the Greek state. Cahill then proceeds to offer an evolutionary look at the rise and fall of Greece by examining the wanderer (Odysseus), the politician (Solon), the playwright (Sophocles, Aeschylus, Euripides), the poet (Sappho), the philosopher (the pre-Socratics, Plato, Aristotle) and the artist (Praxiteles). These figures provide lessons in how to feel, how to rule, how to party, how to think and how to see. For example, Cahill contends that Odysseus reveals longing and desire for love, domestic peace and his homeland, while the rage of Achilles offers us lessons in the way to fight for one's homeland. The book is full of whimsical characterizations, such as the depiction of Socrates as a "squat, ugly, barefoot man who did not bathe too often." The author includes generous portions of the original writings in order to provide the flavor of the Greek way. Once again, Cahill gracefully opens up a world that has provided so much of Western culture's characteristic way of thinking.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.

desine fata deum flecti sperare precando...

i'm sorry to say that we didn't get this up yesterday, but better late than never.
yesterday was the anniversary of vergil's death in 19 BC at brindisii.

also, around this time are the approximate dates for initiation into the eleusinian mysteries.

(via about.com).

Hendecasyllabics and the Epigrammatic Tradition

The question was posed whether the hendecasyllabics of Catullus are epigrams, and it was noted that Martial's are.

I thought I'd take up the question, and started with the meter. As others have noted any eleven syllable line can be called hendecayllabic, and I quickly found reference to both Sapphic and Phalaecean hendecasyllabics.

The Phalaecean is the meter of our poet, yet solid information is hard to come by. Even harder to find is information on the man who lent his name, Phalaecus. The helpful little handbook on Greek and Latin meter by Rosenmeyer, Ostwald and Halporn (is that the order?) is not helpful here. In fact you'd think no Greek had ever used the meter, but you'd be wrong.

As it happens the meter was used considerably throughout the Alexandrian period, and according the West in his Greek Metre was the only Aeolic meter in constant use through to the imperial period. It wasn't until I'd turned to West that I found more than a hint that the meter preceded Catullus. (That's not entirely true. Some journal article on JSTOR mentioned a Phalaecean in a sepulchral inscription, published by Wilamowitz, but that was my best lead till West.)

West pointed me toward a number of extant Greek epigrams in the phalaecean meter, and his list included two in the A.P. which came as a surprise to everyone as most of the collection seems to be in elegiacs. This has probably led many to the conclusion that elegiacs are the sole or the best meter for epigrams, though this ignores the plethora of verse inscriptions and epigrams in hexameter.

But I digress. On to the elusive Phalaecus. He's not an easy figure to track down, but through L'Année philologique I was able to find an excellent article (one of only two on the subject) published in Greek! (Skiadas, A. D. - ὁ ποιητὴς Φάλαικος. EEAth 1967-1968 XVIII : 65-88.)

Skiadas says that Phalaecus was not the first to use the meter, but was the first to turn this Aeolic lyric measure to use in epigrams. Couple with the testimony on the meter's use and popularity as treated by West, this article goes a long toward establishing the meter as comfortably within the epigrammatic tradition.

If we turn back to Catullus carmen L, treated here previously, in light of Maria Carilli's 1979 article, in which she related that poem to a fragment of the Alexandrian epigrammatist Hedylus, everything will tie together nicely.(Carilli, M. G. "Rapporti tra Catullo e gli epigrammisti greci." RAAN 1979 LIV : 163-184.)

The imagery of the poetry exchange in carmen L echoes closely the kind of poetic affair treated in the Hedylus fragment: I suggest a light-hearted round of wine and erotic epigrams, though the subject could change with the occasion.

The important point for us however is that carmen L is written in hendecasyllabics: Phalaecean hendecasyllabics.

It is an epigram about the writing of epigrams in a largely forgotten epigrammatic meter. It would behoove us all to reconsider the arbitrary classification of Catullus' poems that calls these epigrams, and those something else.

Martial knew better than we.

catullus and his world

i just finished reading the first chapter of t.p. wiseman's catullus and his world, called 'a world not ours'. it is quite eye-opening, and disturbing. catullus includes a number of incredibly violent images in his poems, and wiseman comments (p.5):

What lies behind these sadistic imaginings is the Roman idea of punishment, for that is what Catullus wants to exact.

It is striking that throughout Roman literature, from Plautus to Prudentius, we find instruments of torture referred to as something familiar.

he goes on to describe just how ubiquitous violence and cruelty was in the roman world of the late republic (and early empire). he goes on to remind the reader of the public nature of such violence (p.7):

Judicial torture was also done in public: at the entrance to the Subura the bloody scourges hung ready for use, and any passer-by in the Forum might see, and hear, the dreadful carnifices in their red caps (to mark them out as men beyond the pale) inflicting agony on some criminal before his execution. It was a spectacle to enjoy: the populace could 'feast their eyes and satisfy their souls' at the torture and death of a notorious malefactor.

furthermore, there was no police force to protect one from harm (p.8):

A passing rustic makes an untimely joke? A humble neighbour's dog keeps you awake? Out with the whips, and have the culprit beaten--if he dies, too bad. In a city without a police force, where self-help was basic to the operation of the law, the humble citizen needed a powerful friend for his protection, and the great men of the time went about with armed escorts as a matter of course.

this is why i argued, when 'The Passion' was criticized due to its extreme violence, in spite of the Gospel writers not having included such detail in their accounts, that these criticisms were ill-founded. there is a reason the Gospel writers did not include the gruesome violence visually depicted in the movie: they did not need to. such brutality, at the state's hands, would have been commonplace for someone living in the roman empire. as wiseman writes, quoting suetonius' life of vespasian (f.n.18), 'It was, after all, a city where a dog might pick up a human hand in the street.'

don't disguise your provis(o)

i dedicate these two provisos that i just came across in catullus 114.5-6 (ad mentulam) to dennis:

quare concedo sit dives, dum omnia desint.
saltum laudemus, dum modo ipse egeat.

what's certain in this life? death and (syn)taxes!

time for a latin syntax rule. hmmm...possibly we should also begin including greek syntax. anyway, for the moment, placet mihi to do some latin. for the moment, we are leaving questions behind and switching to the genitive.

A noun used to limit or define another, and NOT meaning the same person or thing, is put in the Genitive.
Examples:
libri Ciceronis, the books of Cicero
inimici Caesaris, Caesar's enemies
vacatio laboris, a respite from toil
petitio consulatus, candidacy for the consulship
regnum civitatis, royal power over the state

rhetoric schmeteric

first of all, thanks go out to rogue classicism for the links and kind words.

second, the weekend's over and it's time to get back to figures and tropes. today's rhetorical figure is...

PROSOPOPEIA: personification. For example: 'The pine trees smiled wide and danced a jig to the tune of bob seger's "the fire down below".' i encourage you to submit your own prosopopeia in the comments section. the best one (as decided completely according the caprice of dennis and me, and possibly magister coke) will be awarded ITS OWN ENTRY, with A COOL TITLE.

personify away!

question of the day

'What am I doing? Why am I doing it?'
--Title of a 'conversation with graduate students', taking place at Princeton University on 20 September 2004.

quote of the day

'I'm all in favor of an empire that is large, that is based on conquering, and that has room for quirky nerds.'
--Peter Brown, 9/19/04

Calling Magister Coke

This will be meaningless to most of our readers, so let me apologize at the start.

But Magister Coke, please let us all know how things are going. The Campus extends far beyond the Main Line.