In lieu of an abstract, here is a brief excerpt of the content:Semina Ignis:The Interplay of Science and Myth in the Song of SilenusMichael Paschalis1. Introductionhinc lapides Pyrrhae iactos, Saturnia regna,Caucasiasque refert uolucris furtumque Promethei(Virg. Ecl. 6.41-42)The list of myths in Virgil's Eclogues 6.41-42 has intrigued critics since the time of Servius. The problem most commonly pointed out is its lack of chronological and logical order vis-à-vis the mainstream mythological tradition. Virgil does not mention the first creation of man but (...) passes directly to his regeneration from Pyrrha's stones. This is the story of the repopulation of the earth after the Flood and hence ought to have preceded Saturn's reign, which presumably represents man's initial happy state. In addition, Prometheus' punishment comes before his theft of fire; this could indeed be interpreted as a hysteron proteron, but there remains the difficulty that Prometheus is Deucalion's father and Pyrrha's uncle1 and his furtum ought to have preceded Pyrrha's creation of mankind.The majority of critics believe that there is indeed a lack of chronological order and that it is deliberate. I will give a few examples. Zeph Stewart claims that the chronological problem is explicable in terms of Virgil's intention to give random examples of one branch of didactic poetry associated with the name of Hesiod, that is, genealogical and mythological tales of the origin and early history of mankind.2 According to Eleanor Leach the displacement of chronology aims at puzzling readers and causing them to seek an explanation. She furthermore makes the [End Page 201] important observation that these myths "may even seem contradictory for they are not all commonly found in the same accounts" and proceeds to explain that "they provide three distinct ideas of the nature of mankind."3 Charles Segal thinks that behind the deliberate chronological disorder, there is a theme which is central for the song of Silenus, namely "the flawed character of human existence and man's removal from any absolute purity of life or spirit."4 Other critics, however, see no chronological problem in the order of myths. Boyle and Clausen, for instance, note a progression from the creation of mankind (the myth of Pyrrha) to the golden age (Saturn's reign) and from there to the age of technology (Prometheus' theft of fire), which they interpret either as mankind's fall from a happy state or as morally indifferent.5 Patricia Johnston has argued that the relation of men generated from stones to the Saturnia regna conforms to a consistent chronological pattern in Virgil's works and to an overall conception of the Golden Age, which in her view "appears to require that it be preceded by a race of mortals hardened either by primitive existence or by military activities."6In what follows I intend to suggest a somewhat different approach to the passage in question. The interpretation I propose is based on arguments derived from the close relation of these myths to the preceding "scientific" section. The two sections share thematic and semantic features which, as I show in part 4 of this essay, are also prominent in other parts of Eclogue 6.In an article published in 1923 Günther Jachmann7 made two points which are important for any discussion of Virgil's cosmogony and the section on Pyrrha and Prometheus:1. Jachmann objected to Servius' observation that line 41 begins a new section ("relictis prudentibus rebus de mundi origine, subito ad fabulas transitum fecit"), which the majority of Virgilian scholars have adopted without giving it much thought. He pointed out that the initial cosmogony forms a thematic whole with the section treating the origin (Pyrrha) and early history of man (Saturn's reign and the theft of fire by Prometheus). Jachmann noted in this respect that a similar pattern is visible in Orpheus' song in Apollonius (Arg. 1.496-511.), one of the models of Virgil's cosmogony. The difference is that Orpheus' cosmogony [End Page 202] is followed by a theogony and focuses on the gods (503-11), while Silenus' cosmogony is followed by an anthropogony and focuses on man, approximately as Ovid, Metamorphoses 1.76-150... (shrink)

The present volume comprises thirteen of the papers delivered at RICAN 5, which was held in Rethymnon, Crete, on May 25-26,2009. The theme of the volume, ' The Construction of the Real and the Ideal in the Ancient Novel, ' allows the contributors the freedom to use their skills to examine the real and the ideal either individually or in conjunction or in interaction. The papers offer a wide and rich range of perspectives: a political reading of prose fiction in (...) Late Period Egypt ; the presence of robbers and murderers in ideal fiction ; the interaction between illusion and reality in novelistic ekphrasis ; divine loves as real precedents for human loves ; comical elements in Heliodorus' Aethiopika ;myths as paradigms for the inexperienced lovers in the Greek novels ; moral ideas in the Odyssey and the Greek novels in relation to moralizing interpretations of Homer ; the reality of the basic plot of Callirhoe in the light of historical events and Aristotle's Poetics ; the interaction between fictionality and reality in Daphnis and Chloe ; entrapment and insu fficient understanding of reality in the Satyrica ; fantasy, physical and ideal landscapes in Apuleius' Metamorphoses ; bridging the gap between Photis and Isis in Apuleius ; the gendered aesthetics of the Greek novels viewed through the lens of the mimetic theory of Dionysius of Halicarnassus. (shrink)