An Interesting Take on Plato and Socrates

'Let us go back to Plato for another illustration. The one thing which has caught everyone's imagination in Plato is the figure of Socrates, the archetypal teacher and prophet, "corrupting" the youth of Athens by showing them than when they express social stereotypes about love or courage or justice or pleasure they have not the faintest idea what they are talking about. We see this Socrates, in the Apology and the Phaedo, facing martyrdom without making any concession to the ignorance and stupidity of his accusers. But Plato himself was a revolutionary thinker, and in the Laws he draws up a blueprint for his own post-revolutionary society. In that society all teachers are to be most strictly supervised and instructed what to teach: everything depends on their complete subservience to the overall social vision. Socrates does not appear in the Laws, and no such person as Socrates could exist in such a society. We should be careful to understand what Plato is doing here. He is really assuming that those who condemned Socrates were right in principle, and wrong only--if wrong at all by that time--in their application of it.'

--Northrop Frye, The Great Code, p. 132

A Nice Use of Irony

This morning on the local radio station I heard a nice use of irony (first definition). Someone had requested Bob Seger, and the DJ said, 'I almost never play Bob Seger' (which is precisely the opposite of the actual state of things). He then proceeded to play not one, but two consecutive Seger tracks.

Throne Found in Herculaneum

Here's the story, which I've copied in from here. If you follow the link, you can also find a link to photos.

ROME (Reuters) - An ancient Roman wood and ivory throne has been unearthed at a dig in Herculaneum, Italian archaeologists said on Tuesday, hailing it as the most significant piece of wooden furniture ever discovered there.

The throne was found during an excavation in the Villa of the Papyri, the private house formerly belonging to Julius Caesar's father-in-law, Lucius Calpurnius Piso Caesoninus, built on the slope of Mount Vesuvius.

The name of the villa derives from the impressive library containing thousands of scrolls of papyrus discovered buried under meters (yards) of volcanic ash after the Vesuvius erupted on 24 August 79.

Restoration of the throne is still ongoing with restorers painstakingly trying to piece back together parts of the ceremonial chair.

While other wooden objects have been dug out in nearby Pompeii, experts have never before found such a significant ceremonial piece of furniture. Previously such pieces have only been observed in paintings or made of marble.

"The find of ancient wooden furniture is not an absolute novelty in Herculaneum or Pompeii. Organic materials in fact were preserved in these cities because of the peculiar way in which they were submerged by the Vesuvius volcanic mud," said the head of the dig, Maria Paola Guidobaldi.

"But we have never found furniture of such a significant structure and decoration," Guidobaldi said.

Little is known about how the throne would have been used but the elaborate decorations discovered on the chair celebrate the mysterious cult figure of Attis.

The most precious relief shows Attis, a life-death-rebirth deity, collecting a pine cone next to a sacred pine tree. Other ornaments show leaves and flowers suggesting the theme of the throne is that of spring and fertility.

The cult of Attis is documented to have been strong in Herculaneum the first century AD.

(Reporting by Antonio Denti, writing by Eleanor Biles, editing by Silvia Aloisi and Paul Casciato)

Dictionarese and the Death of Latin

As I wrote to the colleague who forwarded a link to Harry Mount's op-ed piece in the NYT on Latin, this is painfully unreadable and barely Latin, which defeats for the most part its author's argument.

Aside from the countless errors (e.g., at age 9 Jefferson 'started learning' Latin and Greek, according to the English version, but in the Latin he 'docere coepit', which would be quite a feat), the style is virtually absent, by which I mean to say that he has written not Latin but simplified English with very little regard for Latin idiom.

Let's take briefly the opening line. Is there any student of Latin composition who would not be ashamed to write this:

'Primum, duces nostros linguam Latinam non iam studere triste non videtur.'

When he means to say this?

'At first glance, it doesn’t seem tragic that our leaders don’t study Latin anymore.'

Let's just ignore the awkwardness of the English. One could at least make an effort in the Latin to be readable or accurate or both. For example, why primum and not primo (or a more explicit phrase)? Why this clumsy and ambiguous construction with the impersonal verb when any number of more elegant constructions present themselves readily (e.g., a conditional sounds nice to my ear)? Why triste at all when a dozen other words are more suitable (e.g., clades)?

I won't waste any more time on this, but I would like to encourage others out there to make a genuine effort to promote good Latinity and reject bad.

Latin and the Emergence of the Space-Time Continuum

Last night I attended a layman-oriented talk by Paul Davies on quantum physics and the big bang. He mentioned that, for Einstein, time and space are not two distinct things that transcend the physical universe, but are part of it, and that they are incredibly closely linked to one another. Moreover, in some recent models of the beginning of the universe time and space were at first indistinguishable and one somehow turned into the other (if I was understanding correctly. Regarding this last point, I was happy to see today while looking in Allen and Greenough for something else that the Latin language preceded quantum physics by more than a couple of millennia!

The Ablative of Time is locative in its origin; the Accusative [of time] is the same as that of the extent of space. (AG 423, Note)

Backdating Chocolate

WASHINGTON - Residents of Central America were enjoying chocolate drinks more than 3,000 years ago, a half millennium earlier than previously thought, new research shows.

Archaeologists led by John Henderson of Cornell University studied the remains of pottery used in the lower Ulua Valley in northern Honduras about 1100 B.C.

Residue from the pots contained theobromine, which occurs only in the cacao plant, the source of chocolate, the researchers said in Monday's online edition of Proceedings of the National Academy of Sciences.

The find dates the first use of chocolate to some 500 years earlier than previously known, they said.

The style of the pottery indicates that cacao was served at important ceremonies to mark weddings and births, according to the authors.


On the Net:

PNAS: http://www.pnas.org

Ancient Quotation Marks?

I was startled to read the following in the article linked above (emphasis mine):

'Instone-Brewer radically reinterprets the first passage using, of all things, quotation marks. The Greek of the New Testament didn't always contain them, and scholars agree that sometimes they must be added in to make sense of it.'

I would be interested to see the places where it did contain them.

Two Words

In the entry for the Latin noun caput in Wheelock (ch. 11), several English derivatives are listed. Here are two good ones to add to your arsenal:

occiput: the back or posterior part of the head (ob + caput)
sinciput: the front part of the head or skull (semi + caput)

Also of interest is 'kerchief', consisting of 'chief' < ME chef, chief, < OF chef, chief (= Pr. cap, Sp. cabo, It. capo head):--Rom. type *capu-m:--L. caput head) (from OED entry for chief (n.)), and ker- (whole word from ME kerchef, syncopated form of keverchef, < OF cuevrechief (from OED entry for kerchief (n.)). 'Cover' ('coverchief' is an earlier form of 'kerchief'), in turn, goes back via Old French to the Latin verb cooperire.

Steven Runciman on the writing of history

From the preface to volume one of his history of the Crusades:

It may seem unwise for one British pen to compete with the massed typewriters of the United States. But in fact there is no competition. A single author cannot speak with the high authority of a panel of experts, but he may succeed in giving to his work an integrated and even an epical quality that no composite volume can achieve. Homer as well as Herodotus was a Father of History, as Gibbon, the greatest of our historians, was aware; and it is difficult, in spite of certain critics, to believe that Homer was a panel. History today has passed into an Alexandrian age, where criticism has overpowered creation. Faced by the mountainous heap of the minutiae of knowledge and awed by the watchful severity of his colleagues, the modern historian too often takes refuge in learned articles or narrowly specialised dissertations, small fortresses that are easy to defend from attack. His work can be of the highest value; but it is not an end in itself. I believe that the supreme duty of the historian is to write history, that is to say, to attempt to record in one sweeping sequence the greater events and movements that have swayed the destinies of man. The writer rash enough to make the attempt should not be criticised for his ambition, however much he may deserve censure for the inadequacy of his equpiment or the inanity of his results.

I heartily agree. And if that makes me unfashionable, well, I just got my copy of Hardy Amies ABCs of Men's Fashion, so there's hope.

Housman's letters again

Another review of Archie Burnett's edition of Housman's letters has appeared, this time by Paul Johnson in the Literary Review. Johnson is wrong when he says that Last Poems was 'reluctantly published'. Housman had no desire to publish for decades because he had nothing to publish, but once Last Poems began to present itself to him he surprised his friends and his publisher with the news that he had something. Housman rarely did anything reluctantly. He did it of his own accord or he curtly explained why he would not.

But Johnson does appreciate Housman as an epistolographer, and excerpts this fine specimen for his readers:

When the meaning of a poem is obscure, it is due to one of three causes. Either the author through lack of skill has failed to express his meaning; or he has concealed it intentionally; or he has no meaning either to conceal or express. In none of these cases does he like to be asked about it. In the first case it makes him feel humiliated; in the second it makes him feel embarrassed; in the third it makes him feel found out. The real meaning of a poem is what it means to the reader.

Not bad. But overall there's nothing new in this review, and nothing that indicates any greater familiarity with the letters than one can get from a good biography (e.g., Housman, the Scholar-Poet by Richard Perceval Graves).

Now Frank Kermode's review in the London Review of Books (which I can't seem to access at the moment)--there's one worth reading.

How do you make kids care?

Admittedly it wasn't an inspired decision, but the other day I started off some of my classes with a piece from Nuntii Latini on the reelection of Pervez Musharraf. I thought that having them work through a current event in Latin would arouse some interest, and expected at least some of the students to recognize Musharraf. Not a single student did, and they found the whole thing incomprehensible without careful guidance and a modern history lesson. One student even asked what 'Pakistaniae' meant, after he failed to find it in his Latin glossary.

So that was a failure.

Today I was reminded just a bit of some of the silly things kids like to hear about when we came across fenestra, and I taught them defenestration. There was so much joy and laughter upon learning a word that means 'to throw someone out of a window', and to be honest I was surprised no one knew the word already. I think maybe I expect too much from them and have missed out on teaching opportunities because of it.

I'd like to hear from anyone who has thoughts on things that capture the interest and enthusiasm of students, however small. Please feel free to comment here.

West on Passages of Disputed Authenticity

In M.L. West's commentary on the Theogony, he remarks in his introduction to the Typhoeus passage (820-80) that it is 'one of the sections of the Theogony whose authenticity has most often been disputed', and then briefly summarizes and responds to six arguments that it is not by Hesiod. Here is the third, followed by an important critical principle:

Gaia's part in producing an enemy to Zeus' regime is at variance with her benevolence toward Zeus in the rest of the Theogony. Again, comparison of an Oriental parallel (Enuma Elis) helps to explain the anomaly: see p. 24. The assumption of multiple authorship is the most naive of all ways of accounting for contradictions in mythology.

The dangers of the interweb

I know you really can't reduce everything to the worst if its kind, but I found this on a site purporting to help teachers and students:

Virgil’s epic ‘Aenead’ tells the story of two brothers Romulus and Remus, direct descendents of the Trojan prince Aeneas founding the city of Rome on April 21st, 753 B.C. Romulus killed Remus and became the first of the seven kings of Rome. However, another legend suggests that a woman Roma founded Rome.

Keep your students away from such sites!

Try and fly

An interesting little column in the Detroit Free Press (which should please Eric) notes too things that have occurred to me. The first (the derivation of 'flied' in baseball) I've always agreed with, the second ('and' used in place of the infinitive) is one that I considered but discounted, and now I'm reconsidering my position. Leave it to Fowler to find the poetry in a common construction. (The classical connection: hendiadys.)

Epic vade mecum

The BMCR has gotten around to publishing its review of John Miles Foley's A Companion to Ancient Epic (2005), and it's a star-studded behemoth: nearly 700 pages by the likes of Gregory Nagy, Walter Burkert, Michael Putnam, and Craig Kallendorff. The incredible range of topics, the eminence of the authors, and the lack of a single theoretical bias—a plague among most companions—mean that I will definitely purchase of this book—if they ever publish a paperback edition. Unless, of course, some dear reader wants to donate $149.

More on Gladstone

A couple of days ago I mentioned Burkert's reference to William Ewart Gladstone's noticing of the connection between the Enuma Elish and Homer in Burkert's article 'The Logic of Cosmogony'. His footnote to that passage directs the reader's attention to a place in his 1992 book The Orientalizing Revolution: Near Eastern Influence on Greek Culture in the Early Archaic Age, an English translation and revision of a work first published in German in 1984. In that book (pp. 92-3), he writes:

Ti-amat is the form normally written in the text of Enuma Elish for the mother "who bore them all." The Akkadian word which lies behind this, however, is just tiamtu or tamtu, the normal word for the sea. The name can also be written in this more phonetic orthography; but in the Enuma Elish we also find the form taw(a)tu. If one proceeds from Tawtu, then Tethys is an exact transcription. The different reproductions of the dentals, t and th, might disturb the purist; but Sophilos wrote Thethys, which, in normal Greek orthography, would automatically yield Tethys. In fact the Enuma Elish became known to Eudemos, the pupil of Aristotle, in translation; here we find Tiamat transcribed as Tauthe, which is still closer to the reconstructed form Tawtu. That the long vowel a is changed to e in the Ionian dialect even in borrowed words has parallels in Kubaba becoming Kybebe, Baal becoming Belos, and Mada known as Medes. Thus the proof seems complete that here, right in the middle of the Iliad, the influence of two Akkadian classics can be detected down to a mythical name.

In one of the footnotes in this passage [14], we find a reference to Gladstone:

The first to see the connection between Enuma Elish and Homer, Tiamat and Tethys was W.E. Gladstone, Landmarks of Homeric study (1890), appendix... .

'The Roman World: Religions and Everday Life'/Dayton Art Institute

Not sure if this has already been posted elsewhere, but in case it hasn't...

Mosaics to highlight Rome exhibit

By Meredith Moss

Staff Writer

Tuesday, September 18, 2007

This Rome exhibit wasn't built in a day.

In fact, The Dayton Art Institute's first major exhibition on ancient Rome has been in the works since 2005 when Dr. Sally Struthers, a dean at Sinclair Community College, was first approached to serve as guest curator for a collection that would transport visitors back to the ancient Roman Empire.

"The Roman World: Religions and Everyday Life" officially opens to the public Saturday, with a series of preview openings slated this week for the press and DAI members.

"I like this whole idea of visual motifs that meant different things to different religions in the Roman world," says Struthers, who delights in pointing out specific symbols — the peacock, the palm leaf, the shell, the fish — that were adapted and used in ancient times by Polytheism, Judaism and Christianity.

The showcase of the exhibition is a group of colorful mosaic panels that were once part of a synagogue floor discovered in North Africa.

In order to give visitors a better appreciation of the art, the entire mosaic floor has been re-created, with the original mosaics positioned precisely where they would have been originally.

That portion of the exhibit, titled "Tree of Paradise: Jewish Mosaics from the Roman Empire," is on loan from the Brooklyn Museum in New York. Curator Edward Bleiberg, who wrote the catalog that will be sold in conjunction with the show, will come to Dayton for a lecture Sept. 30. Ancient meets modern when Struthers and Bleiberg provide online streaming audio commentary for the exhibit and a podcast that DAI guests can download and play as they tour it.

Struthers, who visited Rome recently to photograph ancient sites for the exhibit, also has gathered favorite works from other museums dating from fifth century B.C. to the seventh century A.D. and beyond: ancient sculptures of the gods, gold jewelry, coins, vases of Roman glass and textiles so sensitive to light that DAI patrons will lift a protective cloth to view them.

The museum has developed a variety of special programs to complement "The Roman World." Kids will "Meet the Romans" at the Experiencenter, teachers can request learning guides, and there are a number of lectures and special programs.

How to go

WHAT: "The Roman World: Religions and Everyday Life" featuring the Brooklyn Museum exhibition "Tree of Paradise: Jewish Mosaics from the Roman Empire"

WHEN: Saturday through Jan. 6

WHERE: Dayton Art Institute, 456 Belmonte Park North

HOURS: 10 a.m. to 4 p.m. Tuesday through Sunday, with extended hours on Thursdays until 8 p.m. Closed holidays.

ADMISSION: $14 for adults, $12 for seniors and students, $7 for youth. $12 for groups of 10 or more. Members free.

TOURS: Docent-led tours at 2 and 6 p.m. Thursdays and 2 p.m. Sundays.

INFO: (937) 223-4ART or www.daytonartinstitute.org

When Politicians Knew Homer

In his article called 'The Logic of Cosmogony', Walter Burkert writes, in a passage regarding how ancients attempted to tell the tale about 'the beginning' of 'everything' (pp. 92-3):

The most common response...is: in the beginning there was Water. This is not limited to the ancient world: it is also reported from America, e.g. the Popol Vuh of the Quiche/ Maya. The Egyptians developed water-cosmogonies in diverse variants, having the yearly flood of the Nile before their eyes; but Enuma elish too has ground water and salt water, Apsu the begetter and Tiamat who bore them all, as the first parents of everything. Surprisingly enough, this recurs in the midst of Homer's Iliad with Oceanus and Tethys, 'begetting of everything'; this may be direct influence. (It was William Ewart Gladstone, better known as British Prime Minister, who first saw this connection.)

Ben Stiller on the Ancient world

"I am really interested in Roman history so if I could travel back in time I'd take look at Roman culture and possibly some Greek biblical history as well. I'd love to check out the orgies too!"

I'm wondering if there's supposed to be a comma between Greek and biblical, or if Ben just that into the OT.

On Mythological Terminology

'Scholars have often found it difficult to distinguish between myth and other kinds of traditional tale: saga, legend, folktale, and fable. It is not always necessary or even possible to draw such distinctions. For speakers of German the term saga (Sage) is more or less synonymous with myth (Mythos): the best known collection of Greek myths is Gustav Schwab's Die schoensten Sagen des klassischen Altertums, and the most influential treatment of Germanic sagas is Jacob Grimm's Germanische Mythologie. In Grimm's usage the two terms are sometimes synonymous, though occasionally he seems to want to restrict myth (Mythus, as he writes it) to antiquity. If distinctions are drawn, they usually have to do with the cultural context in which the tale was generated.'

--Fritz Graf, Greek Mythology (p. 6)