The Greek priests were concerned with ritual alone, and rarely, if ever, assumed the office of moralist; the philosophers, such as Parmenides and Empedocles ...

The period from the eighth to the fifth centuries B.C. was one of extraordinary creativity in the Greek-speaking world. Poetry was a public and popular medium, and its production was closely related to developments in contemporary society. At the time when the city states were acquiring their distinctive institutions epic found the greatest of all its exponents in Homer, and lyric poetry for both solo and choral performance became a genre which attracted poets of the first rank, writers of (...) the quality of Sappho, Alcaeus and Pindar, whose influence on later literature was to be profound. This volume covers the epic tradition, the didactic poems of Hesiod and his imitators, and the wide-ranging work of the iambic, elegiac and lyric poets of what is loosely called the archaic age. The contributors make use of recent papyrus finds to fill out the picture of a cosmopolitan and highly sophisticated literary culture which had not yet found its intellectual centre in Athens. (shrink)

This book is designed to appeal both to those interested in Roman poetry and to specialists in ancient philosophy. In it David Sedley explores Lucretius ' complex relationship with Greek culture, in particular with Empedocles, whose poetry was the model for his own, with Epicurus, the source of his philosophical inspiration, and with the Greek language itself. He includes a detailed reconstruction of Epicurus' great treatise On Nature, and seeks to show how Lucretius worked with this as his (...) sole philosophical source, but gradually emancipated himself from its structure, transforming its raw contents into something radically new. By pursuing these themes, the book uncovers many unrecognised aspects of Lucretius ' methods and achievements as a poetic craftsman. (shrink)

Lucretius' didactic poem De rerum natura ('On the Nature of Things') is an impassioned and visionary presentation of the materialist philosophy of Epicurus, and one of the most powerful poetic texts of antiquity. After its rediscovery in 1417 it became a controversial and seminal work in successive phases of literary history, the history of science, and the Enlightenment. In this Cambridge Companion experts in the history of literature, philosophy and science discuss the poem in its ancient (...) contexts and in its reception both as a literary text and as a vehicle for progressive ideas. The Companion is designed both as an accessible handbook for the general reader who wishes to learn about Lucretius, and as a series of stimulating essays for students of classical antiquity and its reception. It is completely accessible to the reader who has only read Lucretius in translation. (shrink)

Ce livre retrace le cheminement du chercheur: le journal de ses intuitions, ses espoirs, ses doutes, ses certitudes, - jusqu'au silence d'avril 1908. Il replace la quete dans l'activite d'ensemble du savant: monographies, cours de linguistique generale, travaux de mythographie. Il la situe dans un paysage intellectuel scrupuleusement balise. Par dela des considerations d'une technicite souvent rebutante, et non exemptes de contradictions (parfois flagrantes), il s'attache a suivre le fil d'une quete autant mystique que linguistique. Par surcroit il donne a (...) lire le texte de Lucrece (accompagne de sa traduction), et la facon dont le transfigurent les Cahiers (dont une part importante est reproduite en fac simile). Il en soumet la lecture a certaines epreuves (dont un test informatique), qui demontrent que le phenomene echappe a la prison binaire qu'evoquait R. Barthes (son/graphie, demontre/indemontrable...), et reste d'une implacable actualite: qu'il pose dans toute son acuite la problematique d'une ecriture. Reste largement meconnu, Saussure le sera-t-il moins apres ce livre? Une chose est sure: on ne pourra, une fois ces pages refermees, conserver le meme regard sur celui qui fut en linguistique, selon le mot de Benveniste, une 'autre facon de commencer'. (shrink)

This collection of 11 studies provides a new discussion of Lucretius' History of the Human Mankind and of other topics (Lucretius' explanation of sleep, dreams and optical illusions) in relationship to other philosophical and scientific doctrines of Antiquity.

Excerpt from Caroli Lachmanni in T. Lucretii Cari De Rerum Natura Libros Commentarius Iterum Editus Itaque recensendi mnnere ita functus sum nt quod Gumque bonum et verum esset'aut in utroque aut in alter utro codice id sine ullo dubitationis indicio exhiberem ver suum autem erdinem eum quo essent a veteribus librariis scripti, numeris appositis indicarem: emendafionem his re bus contineri arbitratus sum primum ut versus a. Librariis traiecti in suum locum reducerentur; quod ubi evenit nu meri sese naturali ordine excipere (...) non petuerunt: deinde nt ipsa versuum vocabula ubi vel perissent vel depravata es sent, quantum fieri posset, reciperarentur, ita tamen nt sin gula ad codicum fidemscripta cum singnlis commentariernm particulis praefigerentur, tum in imis paginis carminum enn merarentur. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

The employment of mythological language and imagery by an Epicurean poet - an adherent of a system not only materialist, but overtly hostile to myth and poetry - is highly paradoxical. This apparent contradiction has often been ascribed to a conflict in the poet between reason and intellect, or to a desire to enliven his philosophical material with mythological digressions. This book attempts to provide a more positive assessment of Lucretius' aims and methodology by considering the poet's attitude to myth, (...) and the role which it plays in the De Rerum Natura, against the background of earlier and contemporary views. The author suggests that Lucretius was not only aware of the tension between his two roles as philosopher and poet, but attempted to resolve it by developing his own, Epicurean poetic, together with a bold and innovative theory of the origins and meaning of myth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Repetition in Latin Poetry: Figures of AllusionMichael C. J. PutnamJeffrey Wills. Repetition in Latin Poetry: Figures of Allusion. Oxford: Clarendon Press, 1996. xvi 1 506 pp. Cloth, $90.Wills offers the first fully systematic codification of repetition in Latin poetry. The introduction deals with the various means, such as morphological or lexical markings, word order, position and the like, that can help the reader distinguish allusion in an act (...) of repetition, and there follow several detailed examples of practice built on theory. But the main body of the book consists of a “grammar” of repetition.The first major segment is devoted to gemination, the repetition of identical forms within the same sense unit. This in turn is divided between a cataloguing of simple gemination, either in nominal form or of verbs and adverbs, and of expanded gemination, where one of the elements repeated is qualified with further detail. Four chapters are devoted to the next rubric, polyptoton and its elaborations, the repetitions of different forms within a simple clause. Then follow detailed discussions of the same phenomena but located across units, entitled “parallelism” where, as in the case of gemination, the forms are the same; and “modification,” akin to polyptoton in that the forms are different. The book concludes with three more general chapters devoted to a detailed analysis of the positional patterns repetition most regularly takes, of compounds as part of repetition, and to prosody and semantic variations in repetition.Such a bald summary does scant justice not only to the sheer quantity of material Wills gathers—a monumental accomplishment in itself—but also to the learning, intelligence and critical sophistication that characterize the undertaking. At the start Wills lays claim only to illustrating the process whereby allusion is generated through repetition, but throughout the whole enterprise, whether in theoretical discussions or in the practical criticism that emanates from his compendia, the results are equally valuable, for the investigation of individual poems and authors as well as for a deeper understanding of the development of Latin modes of imaginative expression, often as analyzed against their Greek intellectual background. If I were to focus on one single accomplishment beyond the mere careful, discrete amassing of material, it would be the stress not only on diction, that is, on the iteration of words, but on such categories [End Page 295] as form, syntax, and word placement in the creation of allusion through repetition. But the main value of this rich work will be as much in the detailed analyses of countless specific instances as in the manifold possibilities for referencing, and cross-referencing, across the history of classical poetry that now become readily available to its scholars.A good example of Wills’s methodology is his initial illustration (26–28), tracing how Virgil adopts and adapts Catullus’ repetitions of perfide, at the opening of Ariadne’s lament (64.132–33) and later (174), through the central reaches of Aeneid 4, from 305 to 421. But there are a myriad others of which I may single out only a few brief samples: on the connection of Cat. 62.20–24 and Vir. Ecl. 8.47–50 where chiasmus and parallel stanzaic structure reinforce repetition’s allusiveness (p. 181); on the repetition of acies at Aen. 10.360 in what Wills calls “battle polyptoton” (194); on the assumed communality of clashing horses (Aen. 11.614–15) and wrestling humans (Ov. Met. 6.243) that allusion from one text to another brings (199); on the connection between Aen. 3.156 and 10.670–72 and the resulting linkage of Aeneas and Turnus at moments of loss (267); on Virgil’s melding of Homeric syntax with Lucretian diction in the impressive phrase gravis graviterque (Aen. 5.447) (239); on the resulting combination of form as well as diction as Propertius borrows from both Ecl. 7.44 and Ecl. 6.55–58 to describe the cattle of Hercules (4.9.16–19) (101–2).From time to time Wills seems swept along by the fact of repetition to the neglect of counterevidence which would be useful to the reader in weighing the value of an exemplum. A case in point is the... (shrink)

Thucydides excuses the possible dullness of his history on the ground that he means it not for a passing entertainment but for a ‘permanent possession’ which may be of practical use in future times when some similar situation occurs again. We tend to smile at the idea. We all know that history never repeats itself. But surely we know also that though exactly the same situation or problem never recurs, yet elements are constantly recurring which, in different contexts, (...) with all sorts of different accompaniments, are essentially the same; and though, obviously, the old parallel never provides an answer to the new problem, it may well help to its understanding. The differences between any problem of ours and those of Thucydides are of course enormous. Our civilisation, immense in scale, dazzling in its scientific inventions and its power over matter, is extremely different from the small-scale city state of fifth-century Athens with no electricity, no gas, no steam, no buttons, no drainage even, and a standard of food and comfort which would produce instantaneous strikes in any Western community. Yet the essential situation which Thucydides had to face was the overthrow of a very high and peculiar civilisation by a long and all-absorbing war, a war to which men could find no end, from which they could never keep aloof, and under whose influence they found themselves sinking to standards of barbarism which filled them with horror. We in modern Europe share the experience of that sort of war; and we share perhaps more fully than any age between that time and our own the special quality of that civilisation. How can we find words to describe it? It was a free civilisation, proud of its freedom of life and thought, its advance in knowledge, art, literature; with flourishing commerce, with wide command of the sea, with an acknowledged superiority over ‘barbaric’ or non-Greek communities and over some that were Greek; and open, evidently, to the kind of criticism that is always provoked by a combination of commercial wealth and high culture, of democracy and empire. Thucydides has left us a wonderful picture of Athens, not of course exactly as she was but as she conceived herself to be or as she was in the eyes of those who loved her. It is not quite as we now see her; to us, living two thousand years afterwards, Athens is chiefly remarkable for its ever-living achievements in art, philosophy, and poetry; but Thucydides hardly mentions such things, though in one famous half-sentence, ‘We seek beauty without luxury’, he doubtless implies them. He writes not as a critic of art or poetry; and his philosophy is only the philosophy of a statesman. (shrink)

Based on the understanding of the term rhetoric that transcends the notion of literary genre, this book offers new answers to the questions of the provenance and the role of the main rhetorical strategies in Lucretius' De rerum natura.