Did Lucan Understand Condensation and Evaporation?

We report. You decide. Here is Housman's text, followed by Braund's traslation.

iamque polo pressae largos densantur in imbres
spissataeque fluunt; nec seruant fulmina flammas
quamuis crebra micent: extinguunt fulgura nimbi.
hinc inperfecto conplectitur aera gyro
arcus uix ulla uariatus luce colorem
Oceanumque bibit raptosque ad nubila fluctus
pertulit et caelo defusum reddidit aequor. (Bellum Civile 4.76-82)

And now, they [i.e., the clouds] are squeezed and thickened by the sky into abundant rains
and pour down condensed; thunderbolts cannot preserve their flames;
although they flash incessantly, the rain-clouds quench the lightning-flashes.
Then the rainbow embraces the air with its hoop
incomplete, its colour hardly varied by light,
and drank the Ocean and swiftly carried up the waves
to the clouds and restored the water which had flooded from the sky.

Ancient Cemetery to Open in Rome

Here's the beginning; click on the post title to read the rest.

In cemetery, clues to ancient Rome's middle class
By Frances D'Emilio, Associated Press | October 10, 2006

VATICAN CITY -- Visitors to the Vatican soon will be able to descend into an ancient world of the dead, a newly unveiled necropolis that was a burial place for the rich and not-so-affluent during Roman imperial rule.

The necropolis, which was unearthed three years ago during construction of a parking lot, will open to the public this week. One archeologist said yesterday that sculptures, engravings, and other objects found entombed with the dead made the find a ``little Pompeii" of cemeteries.

The burial sites, ranging from simple terra-cotta funerary urns with ashes still inside to ornately sculptured sarcophagi, date from between the era of Augustus (23 BC to 14 AD) to that of Constantine in the first part of the fourth century.

From specially constructed walkways, visitors can look down on some skeletons, including that of an infant buried by loved ones who left a hen's egg beside the body. The egg, whose smashed shell was reconstructed by archeologists, might have symbolized hopes for a rebirth, officials at a Vatican Museums news conference said yesterday.

Regarding the last paragraph quoted here: does anyone know of any parallels for eggs in funeral goods or visual art representing hopes for rebirth?

A Reference to Ovid in Calvin's Commentaries

2 Thess. 1:5 reads:

...Ostensionem iusti iudicii Dei: ut digni habeamini regno Dei, pro quo et patimini.

...Which is a manifest token of the righteous judgment of God, that ye may be counted worthy of the kingdom of God, for which ye also suffer...

In commenting on the phrase 'a demonstration of the righteousness of God', Calvin refers to a remark of Ovid in the Amores:

Without mentioning the exposition given by others, I am of opinion that the true meaning is this — that the injuries and persecutions which innocent and pious persons endure from the wicked and abandoned, shew clearly, as in a mirror, that God will one day be the judge of the world. And this statement is quite at antipodes with that profane notion, which we are accustomed to entertain, whenever it goes well with the good and ill with the wicked. For we think that the world is under the regulation of mere chance, and we leave God no control. Hence it is that impiety and contempt take possession of men’s hearts, as Solomon speaks, (Ecclesiastes 9:3) for those that suffer anything undeservedly either throw the blame upon God, or do not think that he concerns himself as to the affairs of men. We hear what Ovid says, — “I am tempted to think that there are no gods.”

The footnote gives the reference:

“ Solicitor nullos esse putare deos .” — Ovid in. Am. 9:36. In order to see the appropriateness of the quotation, it is necessary to notice the connection of the words “ Cum rapiant mala fata bonos.... Solicitor ,” etc. ; — “When misfortunes overtake the good, I am tempted,” etc. — Ed

In addition, Calvin makes another 'classics reference' immediately after the passage

just cited:
Nay more, David confesses (Psalm 73:1-12) that, because he saw things in so confused a state in the world, he had well-nigh lost his footing, as in a slippery place. On the other hand, the wicked become more insolent through occasion of prosperity, as if no punishment of their crimes awaited them; just as Dionysius, when making a prosperous voyage, boasted that the gods favored the sacrilegious. [The note explains thus: "Our author alludes to a saying of Dionysius the younger, tyrant of Sicily, on occasion of his plundering the temple of Proserpine."] In fine, when we see that the cruelty of the wicked against the innocent walks abroad with impunity, carnal sense concludes that there is no judgment of God, that there are no punishments of the wicked, that there is no reward of righteousness.

How to be a Classicist, pt. 1

I've been shirking my duties here to focus on those of being a full-time Latin teacher, but now that I have a three day weekend, I thought I'd write up a little guide for burgeoning classicists trying to make their way through the academy. This is really very simple: success is adherence to a number of predictable formulae.

Our first installment: How to Choose a Title.

Never make the mistake of giving away a paper's subject with an accurate title. Repeat after me: mystery invites interest, cleverness invites admiration, accuracy invites your reader to question your politics, or at least to yawn.

You have two ways to go here: (1) quotation + alliteration, or (2) the magical number three.

The first is probably the most popular (and successful) today, and consists of quoting a profound-ish line ripped from its context (though sometimes a 'cleverly' altered cliche will do), followed (usually) by a two-term alliterative phrase (...: x and y in the ...).

You really can't go wrong with 'Blah blah blah blah: poetics and politics of such-and-such in whatchamacallit of so-and-so.' Another winner (currently on the rise): 'gender and genre in the such-and-such of so-and-so.'

Don't worry if you're unsure what poetics is, or how gender and genre can be manipulated to make a point. That doesn't matter. Professional classicists will be so impressed by your cleverness that they'll let such small concerns slide. Attention to detail is what led to the extinction of the Philologists, and good riddance.

The second option, the magical number three, has the distinct advantage of not being the number two. Two is such a small number, and binary opposition is frankly gauche. Let me explain:

If you were to write a paper on, say, motherhood and murder in Euripidean tragedy, your subject would appear to be just as arbitrary as it actually is. But along comes magical number three, and we suddenly have the suggestion of a theme. Anything will do, but how do we decide? Alliteration to the rescue again! Let's say 'myth.'

Plug them into the formula: 'Myth, Murder, and Motherhood in the Tragedies of Euripides.' That sure sounds like a paper!

If you simply begin arranging words according to established patterns, your papers will seem to write themselves. Here's a term paper for one of our more adventurous readers: 'Unmovable Feast: Symposium and Sin in the Poetry of Archaic Greece.

Half the fun is pretending that it makes sense.

Update on Quintilian

I'm planning to take a few days off from blogging Quintilian so that I can actually catch up with the readings. I know, I know--of all people, I should be caught up since I'm the one actually posting them. But, hey.

Anyway, I'll try to get it going again after a few days.

Today's Quintilian: 8.6.28

XXVIII. Est etiam huic tropo quaedam cum synecdoche vicinia; nam cum dico "vultus hominis" pro vultu, dico pluraliter quod singulare est: sed non id ago, ut unum ex multis intellegatur (nam id est manifestum), sed nomen inmuto: et cum aurata tecta "aurea", pusillum ab ea discedo, quia non est pars auratura. Quae singula persequi minutioris est curae etiam non oratorem instruentibus.

28. The following kind of trope has also some affinity with the synecdoche. When I say vultus hominis, "the looks of a man," I express in the plural that which is singular. Yet I do not make it my object that one may be understood out of many (for my meaning is evident), but make an alteration only in the term. When I call, also, gilded ceilings "golden ceilings," I deviate a little from the truth, as the gilding is but a part. To notice all such expressions, however, would be too trifling an employment, even for those who are not forming an orator.

Today's Quintilian: 8.6.27

Sorry I've missed the last few days. We don't have internet set up yet at our new apartment and things have been a little hectic. Apologies aside...back to Quintilian!

XXVII. Illud quoque et poetis et oratoribus frequens, quo id quod efficit ex eo quod efficitur ostendimus. Nam et carminum auctores "pallida mors aequo pulsat pede pauperum tabernas", et pallentesque habitant morbi tristisque senectus", et orator "praecipitem iram", "hilarem adulescentiam", "segne otium" dicet.

27. That kind of metonymy, too, by which we signify the cause from the effect is very common both among poets and orators. Thus the poets have,

Pallida mors aequo pulsat pede pauperum tabernas,

Pale death, with equal foot, knocks at the gate
Of poor man's cottage, etc.
and,

Pallentesque habitant morbi, tristisque senectus,

And pale diseases dwell, and sad old age;
and an orator will speak of "rash anger," "cheerful youth," and "slothful inactivity."

Today's Quintilian: 8.6.26

XXVI. huius enim sunt generis cum "ab Hannibale" caesa [et apud tragicos aegialeo] apud Cannas sexaginta milia dicimus, et carmina Vergili "Vergilium", "venisse" commeatus qui adferantur, "sacrilegium" deprehensum, non sacrilegum, "armorum" scientiam habere, non artis.

26. We adopt it when we say that "sixty thousand were killed by Hannibal at Cannae"; when we say "Virgil" for Virgil's poetry; when we say that "provisions," which have been brought, "have come"; that a "sacrilege has been found out" instead of the person who committed it; and that "a soldier has a knowledge of arms" instead of a knowledge of the military art.

Today's Quintilian: 8.6.24-25

XXIV. Quod fit retrorsum durius. Refert autem in quantum hic tropos oratorem sequatur. Nam ut "Vulcanum" pro igne vulgo audimus et "vario Marte pugnatum" eruditus est sermo et "Venerem" quam coitum dixisse magis decet, ita "Liberum et Cererem" pro vino et pane licentius quam ut fori severitas ferat. Sicut ex eo quod continet id quod continetur: usus recipit "bene moratas urbes" et "poculum epotum" et "saeculum felix", at id quod contra est raro audeat nisi poeta: XXV. "iam proximus ardet Vcalegon". Nisi forte hoc potius est a possessore quod possidetur, ut "hominem devorari", cuius patrimonium consumatur: quo modo fiunt innumerabiles species.

The reverse would be offensive.

24. It is of great importance, however, to consider how far the use of the trope is permitted to the orator, for though we daily hear "Vulcan" used for fire, though it is elegant to say vario Marte pugnatum for "the fortune of the battle was various," and though it is more becoming to say "Venus" than coitus, yet to use "Bacchus" and "Ceres" for wine and bread would be more venturesome than the severity of the forum would allow. Thus, too, custom permits us to signify that which is contained from that which contains it, as "well-mannered cities," "a cup was drunk," "a happy age." But the opposite mode of expression scarcely any one would use but a poet, as Proximus ardet Ucalegon, "Ucalegon burns next." 25. It may perhaps be more allowable, however, to signify from the possessor that which is possessed, such as "a man is eaten up" when his estate is squandered. But there are numberless forms of metonymy of this sort.

Today's Quintilian: 8.6.23

XXIII. Nec procul ab hoc genere discedit metonymia, quae est nominis pro nomine positio, [cuius vis est pro eo quod dicitur causam propter quam dicitur ponere] sed, ut ait Cicero, hypallagen rhetores dicunt. Haec inventas ab inventore et subiectas res ab optinentibus significat, ut "Cererem corruptam undis", et "receptus terra Neptunus classes aquilonibus arcet".

23. From synecdoche, metonymy is not very different. It is the substitution of one word for another, and the Greek rhetoricians, as Cicero observes, call it ὑπαλλαγή (hypallage). It indicates an invention, by the inventor, or a thing possessed, by the possessor. Thus Virgil says,

Cererem, corruptam undis,

Ceres by water damaged,
and Horace,

receptus
Terra Neptunus classes Aquilonibus arcet,

Neptune, received
Within the land, from north winds shields the fleets.

Jargon

This is just a note to ask if any teachers out there feel that 'professionalism' obscures a lot of common sense. I'm just starting out, but so much of the jargon reminds me of the sort of thing I abhorred in journals in graduate school, where the adoption of a hip vocabulary allows anyone to sound like a technically proficient specialist. Often, theorese (the language of theory) can be broken down in simple, almost laughably common ideas that are made to seem larger than life, and just as often the proponents of a given theory pretend that talking about the same old things with new terms is a revolution.

I don't think educationese (I thought I'd just coined that!) goes that far--i.e., I don't think it's consciously elitist, just consciously 'professional'--, but it is obscure.

For example, I've been reading in teacher's manuals and in lesson plan guidelines that I need to be sure I build 'formative and summative assessment' into each lesson.

I diligently sought out the precise meaning of this precise phrase that gets bandied about in education circles. It must be very important to have been codified and to be constantly repeated, I thought.

But it turns out that this is just a fancy way of saying something I had already planned to do: pay attention to how the lesson's going, then try to get some feedback at the end to see that it worked. The former is encoded as 'formative assessment' and the latter as 'summative.'

Did I need to be told to do that, and did I need to be told in cold, lifeless jargon?

I'm reminded now of Richard A. Lanham's little book, Revising Prose. He called this 'the Official Style.' I don't think it's even suited to the office.

Lepide!

Eh. Not so fast.

What the *bleep* is this?

That'll really get my students (and their parents) excited about Latin.

And I haven't even mentioned the one that asks, 'Hey! Where's my toilet paper?' What else could it mean?

Browse around and you'll see that some Latinists like dancing, while others are just crazy about ointment.

I would like to take this opportunity to tell my fellow Latin teachers that if your students seem amused by this kind of stuff, they are, but not in the way you think.

They think you're a dork. Those who don't, however, are themselves dorks. It is our civic duty to make Latin cool by not trying to make it 'cool'.

Classics Watch

In today's Philadelphia Inquirer there are at least two Classics references. The first is from a letter to the editor:

It's quite a commentary on the state of America today that a major network feels a race-baiting reality show is good for prime time and a newspaper's Editorial Board tells its readers they "shouldn't be reluctant to watch" it.

The real question is: Why is such a blatant prime-time racial provocation any worse than much of the garbage American TV viewers already support with their viewing and consumer habits? The Romans had gladiator matches as part of the "bread and circus" that kept the Roman citizenry from asking too many questions about what was really going on. Survivor and other TV reality competitions may not be as violent as Roman gladiator games, but they seem to serve the same purpose.

Maybe it's only a matter of time before the impresarios of wrestling link up with the impresarios of reality TV to meld into a modern gladiator show as in the days of old, featuring strapping representatives of all the races beating the hell out of each other.

As the nation heads for its destiny - avoiding engagement with its tremendous indebtedness, its addiction to oil and its militaristic hubris - let the games begin!

The second is in the crossword puzzle, where the answer for the clue 'Roman magistrates' is 'praetors', except they make you spell it 'pretors'.

The Classical Tradition Lives On in Modern Greece

This is from an article about Greece tearing up the U.S. in the current basketball world tournament. Notice Baby Shaq's first name:

The Greeks don't have an NBA player on their roster, although guard Vassilis Spanoulis is headed for the Houston Rockets. Spanoulis led Greece with 22 points, Mihalis Kakiouzis added 15 and 6-foot-10 Sofoklis Schortsianitis -- nicknamed "Baby Shaq" -- bulled his way to 14 on 6-of-7 shooting.

The Cost of Sea Travel in Ancient Greece

Near the end of the Gorgias, in the midst of his effort to convince Callicles of the relative unimportance of oratory, Socrates makes the following interesting remark about the price of ferry tickets (511, trans. Walter Hamilton):

Navigation is a modest art that knows her place; she does not put on airs or make out that she has performed some brilliant feat, even though she achieves as much as forensic oratory; she brings a man safe from Aegina for no more than two obols, I believe, and even if he comes from Egypt or Pontus or ever so far away the utmost she charges for this great service, for conveying in safety, as I said, a man and his children and property and womenfolk, is two drachmae when he disembarks at the Piraeus; and the man who possesses this skill and has accomplished all this lands and walks about on the shore beside his ship in a quite unassuming way.

Today's Quintilian: 8.6.21-22

XXI. Quod genus non orationis modo ornatus sed etiam cotidiani sermonis usus recipit. Quidam synecdochen vocant et cum id in contextu sermonis quod tacetur accipimus: verbum enim ex verbis intellegi, quod inter vitia ellipsis vocatur: "Arcades ad portas ruere". Mihi hanc figuram esse magis placet, illic ergo reddetur. XXII. Aliud etiam intellegitur ex alio: "aspice, aratra iugo referunt suspensa iuvenci", unde apparet noctem adpropinquare. Id nescio an oratori conveniat nisi in argumentando, cum rei signum est: sed hoc ab elocutionis ratione distat.

21. This mode of expression not only adorns oratorical speeches, but finds its place even in common conservation [this must be a typo for 'conversation']. Some say that synecdoche is also used when we understand something that is not actually expressed in the words employed, as one word is then discovered from another. But this is sometimes numbered among defects in style under the name of ellipsis, as,

Arcades ad portas ruere;

The Arcadians to the gates began to rush;
22. I consider it rather a figure, and among figures it shall be noticed. But from a thing actually expressed another may be understood, as,

Aspice aratra jugo referunt suspensa juvenci,

Behold the oxen homeward, bring their ploughs
Suspended from the yoke,
whence it appears that night is approaching. I do not know whether this mode of expression is allowable to an orator, unless in argumentation, when one thing is shown to indicate another. But this has nothing to do with elocution.

Today's Quintilian: 8.6.19-20

XIX. Quod [aliquando] paene iam magis de synecdoche dicam. Nam tralatio permovendis animis plerumque et signandis rebus ac sub oculos subiciendis reperta est: haec variare sermonem potest, ut ex uno pluris intellegamus, parte totum, specie genus, praecedentibus sequentia, vel omnia haec contra, liberior poetis quam oratoribus. XX. Nam prorsa, ut "mucronem" pro gladio et "tectum" pro domo recipiet, ita non "puppem" pro navi nec "abietem" pro tabellis, et rursus, ut pro gladio "ferrum", ita non pro equo "quadrupedem". Maxime autem in orando valebit numerorum illa libertas. Nam et Livius saepe sic dicit: "Romanus proelio victor", cum Romanos vicisse significat, et contra Cicero ad Brutum "populo" inquit "imposuimus et oratores visi sumus", cum de se tantum loqueretur.

19. What I say of metaphor may be applied, perhaps with more force, to synecdoche, for metaphor has been invented for the purpose of exciting the mind, giving a character to things, and setting them before the eye. Synecdoche is adapted to give variety to language by letting us understand the plural from the singular, the whole from a part, a genus from the species, something following from something preceding, and vice versa, but it is more freely allowed to poets than to orators. 20. For prose, though it may admit mucro, "a point" for a sword, and tectum, "a roof" for a house, will not let us say puppis, "a stern" for a ship, or quadrupes, "a quadruped" for a horse. But it is liberty with regard to number that is most admissible in prose. Thus Livy often says, Romanus praelio victor, "The Roman was victorious in the battle," when he means the Romans. Cicero, on the other hand, writes to Brutus, Populo imposuimus et oratores visi sumus, "We have imposed on the people and made ourselves be thought orators," when he speaks only of himself.

Today's Quintilian: 8.6.17-18

XVII. sunt et durae, id est a longinqua similitudine ductae, ut "capitis nives" et "Iuppiter hibernas cana nive conspuit Alpes". In illo vero plurimum erroris, quod ea quae poetis, qui et omnia ad voluptatem referunt et plurima vertere etiam ipsa metri necessitate coguntur, permissa sunt convenire quidam etiam prorsae putant. XVIII. At ego in agendo nec "pastorem populi" auctore Homero dixerim nec volucres per a‰ra "nare", licet hoc Vergilius in apibus ac Daedalo speciosissime sit usus. Metaphora enim aut vacantem locum occupare debet aut, si in alienum venit, plus valere eo quod expellit.

17. Some are harsh, that is, based on a resemblance not sufficiently close, as "The snows of the head," and,

Jupiter hibernas canâ nive conspuit Alpes,

Jove over the Alps spits forth the wintry snows.
But the greatest source of error in regard to this subject is that some speakers think whatever is allowed to poets (who make it their sole object to please and are obliged by the necessity of the meter to adopt many metaphorical expressions) is permissible also to those who express their thoughts in prose. 18. But I, in pleading, would never say the "shepherd of the people" on the authority of Homer, nor speak of "birds rowing with their wings," though Virgil, in writing of bees and of Daedalus, has used that phrase with great happiness. For a metaphor ought either to occupy a place that is vacant, or, if it takes possession of the place of something else, to appear to more advantage in it than that which it excludes.

Today's Quintilian: 8.6.14-16

XIV. Vt modicus autem atque oportunus eius usus inlustrat orationem, ita frequens et obscurat et taedio complet, continuus vero in allegorian et aenigmata exit. sunt etiam quaedam et humiles tralationes, ut id de quo modo dixi,"saxea est verruca", et sordidae. XV. Non enim, si Cicero recte "sentinam rei publicae" dixit, foeditatem hominum significans, idcirco probem illud quoque veteris oratoris: "persecuisti rei publicae vomicas". Optimeque Cicero demonstrat cavendum ne sit deformis tralatio, qualis est (nam ipsis eius utar exemplis): "castratam morte Africani rem publicam", et "stercus curiae Glauciam": XVI. ne nimio maior aut, quod saepius accidit, minor, ne dissimilis. Quorum exempla nimium frequenter deprendet qui scierit haec vitia esse. Sed copia quoque modum egressa vitiosa est, praecipue in eadem specie.

14. But as a moderate and judicious use of metaphors adorns language, so a too frequent introduction of them obscures it and renders the perusal of it fatiguing, while a continuous series of them runs into allegory and enigma. Some metaphors, too, are mean, as that which I recently mentioned, "There is a wart of stone, etc." 15. Some are repulsive, for though Cicero uses the _expression sentina rei publicae, "sink of the commonwealth," with great happiness, to signify a herd of bad characters, yet I cannot for that reason approve of the saying of an old orator, Persecuists rei publicae vomicas, "You have lanced the ulcers of the commonwealth." Cicero himself excellently shows that we must take care that a metaphor be not offensive, as in his own examples that "the republic was castrated by the death of Africanus," or that "Glaucia was the excrement of the senate"; 16. that it be not too great, or, as more frequently happens, too little for the subject; and that it be not inapplicable. He who knows that they are faults will find numerous such examples. But an excess of even good metaphors is vicious, especially if they are of the same kind.

Today's Quintilian: 8.6.11-13

XI. Praecipueque ex his oritur mira sublimitas quae audaci et proxime periculum tralatione tolluntur, cum rebus sensu carentibus actum quendam et animos damus, qualis est "pontem indignatus Araxes" et illa Ciceronis: XII. "Quid enim tuus ille, tubero, destrictus in acie Pharsalica gladius agebat? cuius latus ille mucro petebat? Qui sensus erat armorum tuorum"? duplicatur interim haec virtus, ut apud Vergilium: "ferrumque armare veneno", nam et "veneno armare" et "ferrum armare" tralatio est. XIII. Secantur haec in pluris partis, ut a rationali ad rationale et idem de inrationalibus et haec invicem, quibus similis ratio est et a toto et a partibus. Sed iam non pueris praecipimus, ut accepto genere species intellegere non possint.

11. From the last kind of metaphor, when inanimate things are exalted by a bold and daring figure, and when we give energy and feeling as it were to objects that are without them, extraordinary sublimity is produced, as in Virgil,

Pontem indignatus Araxes,

Araxes that disdained a bridge;
12. in Cicero, "What was your drawn sword, Tubero, doing in the field of Pharsalia? At whose body did its point direct itself? What was the meaning of your arms?" Sometimes this beauty is doubled, as in Virgil,

Ferrumque armare veneno,

To arm the steel with poison,
for to arm with poison and to arm steel are both metaphors. 13. These four might be distinguished into more species, as a word may be taken from one sort of rational animal and applied metaphorically to another, and the same may be done with regard to irrational animals. In like manner, we may apply a metaphor from the rational to the irrational, or from the irrational to the rational, and from the whole of a thing to a part, or from the part to the whole. But I am not now giving directions to boys, or supposing that my readers, when they understand the genus, cannot master the species.