This article reviews the text and interpretation of some ancient evidence on the pronunciation of syllable coda m in Latin. Crucial textual emendations are suggested for passages by Annaeus Cornutus and Velius Longus, and the resulting evidence is reinterpreted in the light of current phonological theories. Some of the accepted views on the pronunciation of –m are challenged by highlighting the likely sound variation in neutralization contexts. The evidence from both grammarians and inscriptions reveals that the possibility of (...) m sounding [n] in the internal preconsonantal position could have been more widespread than previously thought. (shrink)

SinceDaphnis and Chloeis a work of fiction, modern criticism has paid little attention to the topographical details of Lesbos which Longus scatters through his work. Today a preoccupation with biographical or topographical realism in literature is out of fashion, and Longus's world has in any case been described, by one of his most percipient modern critics, as ‘un monde des plus irréels’. Yet just as Longus's women reveal a striking blend of fictional romance and social realism, so (...) the background to his narrative, however much adorned with items of baroque fancy, nevertheless remains solidly based on the geography and ecology of Lesbos itself. The cave of the Nymphs, with its grotto, its spring, and its clutter of statues, may derive from the pastoral property-closet; but Longus's description of Mytilene agrees with those given by Strabo and Pausanias, and many other details—the trailing vines, the wine, the flourishing orchards, the prevalence of hares for hunting—suggest familiarity with the terrain. The description in the proem of the grove of the Nymphs, thick with flowers and trees and watered by a single spring, at once calls to mind the site of the great temple at Mesa, in the Kalloni plain. Most striking of all, since often used as evidence for Longus'signoranceof Lesbos, is his vivid description of a heavy snowfall, much at odds with later travellers' accounts of the climate's perennial mildness. But in the winter of 1964, when I was living on the island, snow lay three feet deep in the chestnut forest above Aghiassos, while Methymna was icebound, with frozen taps and sub-zero temperatures, for ten days, so that all the eucalyptus trees outside the schoolhouse died. The worst winter in living memory was that of 1953/4; the mountains are frequently snowbound. Longus, like Alcaeus, who also describes such conditions, knew what he was talking about. (shrink)

An influential position in the scholarship on Longus is that the narrator of Daphnis and Chloe is dissociated from, and ironized by, the author. Two articles by John Morgan, in particular, have propounded this interpretation. Morgan argues that Longus’ narrator relates the story with simplicity and naivety, and in ignorance of the more complex subtleties to which only Longus and the more discerning reader have access: ‘Daphnis and Chloe is told by its narrator as if it were (...) a simpler and more conventional story than it really is, and invites its reader to read it in the same way. One way to describe this textual duplicity is to think in terms of a surface “narrator's text” and a deeper “author's text”. We can conceive the narrator, as established by the prologue, as a distorting and simplifying lens between the story and us. As readers we effectively have the choice of accepting what we see through the lens or of correcting it and reading around the narrator.’ This type of separation of author and narrator is identifiable in Petronius’ Satyrica, in which the first-person narrator Encolpius who tells his story in hindsight is ridiculed and his narration destabilized by the hidden author who ‘is also listening, along with the reader, to Encolpius’ narrative—and along with the reader is smiling at it’. (shrink)

The legend of Phatta, as narrated by Longus in Daphnis and Chloe (1.27), intertwines aesthetic, psychological, religious, and narratological aspects. It is linked with Aphrodite and love, with Kore-Persephone-Pherephatta and death, and with Orpheus and music. But this intricate narrative, which plays upon narrators and audience, fiction and art, is also a subtle and complex synthesis of Theocritean bucolic enshrined in the original prose form of an aetiological legend.

This article unravels the careful encodings contained in the final sentence, the sphragis, of Longus’ novel Daphnis and Chloe. Building on previous studies on the ending, I delve more deeply into each of the key terms included in the final sentence and argue for the presence of New Comedy as the key complement to Bucolic in the novel’s generic hybridity. I focus on Chloe’s role as focalizer of the final sentence, and through key intratextual and intertextual resonances of the (...) sphragis argue that the novel’s generic games are bound up above all in her experience and educational development. (shrink)

…vel quod res omnes timide gelideque ministrat, dilator, † spe longus, iners avidusque futuri, diffcilis, querulus… I agree with Brink, and other editors referred to by him ad loe, that spe longus in Horace's description of the typical old man's character cannot be made to give sense. For earlier attempts at emendation, see Brink's note . Most of those who have tried to emend the passage concentrate on longus, and are reluctant to relinquish spe: this is largely (...) due to the parallel with Aristotle's account of the character of old men in Rhetoric 2. 13. 1389b 13ff., in which they are said to be, among other things it seems to me that this parallel should not be pressed too far. There is much in Aristotle that is not in Horace, and nothing to suggest close and detailed dependence. The parallel can only be relevant if spe longus can be turned into a reasonable Latin equivalent for Otherwise there is no good reason to suppose that spe is any less likely to be corrupt than longus. (shrink)

Few years pass without an attempt to interpret Theocritus, Idyll 7. The poem's narrative and descriptive skill, dramatic subtlety and felicity of language are mercifully more than adequate to survive these scholarly onslaughts, so I have less hesitation in offering my own interpretation. The poem's chief problems seem to me to arise from uncertainty as to: Who is the narrator, and why are we kept waiting until line 21 before we are told that he is called Simichidas? Who, or what (...) sort of man, is the goatherd Lycidas, whom he encounters on his way from town to the harvest festival? Answers to these questions fundamentally affect our interpretation of their exchange of songs, which occupies almost half the idyll, and of Lycidas' gift of his stick to Simichidas; and these interpretations will go far towards interpreting the poem as a whole. (shrink)

In Proceedings of the Cambridge Philological Society N.S. 14, 68, D. C. C. Young drew attention to a curious variant in the text of Longus 2.2.1, where, in a description of how, at the vintage, women ‘eyed’ Daphnis, A has concluding that ‘brothers’ must be a colloquial expression for ‘eyes’, he was however unable to cite any other example of this usage, but compared ‘picked men’, in Paulus Silentiarius, a locution found in a small range of other authors, as (...) well as ‘comrades on the flank, bystanders’ ‘twins’ = testicles, and French jumelles - binoculars. (shrink)

Après la muthologia catalogique ou diégétique dans les romans sophistiques de Tatius et Longus, cette étude porte sur katalegein chez Tatius et Héliodore, puis sur les muthoi en catalogue chez Chariton et Héliodore, avant d’observer les Éphésiaques de Xénophon, en tant que catalogue ou résumé. Paradoxalement, les deux romans méta-fictionnels, qui explicitent leur énonciation mythologique en catalogue dès le préambule, Tatius et Longus, rejoignent le roman le plus linéaire, celui de Xénophon, dont la structure en catalogue est affirmée, (...) sans désignation explicite, à la fin du récit.Fictional Forms and Functions of Muthologia: Catalogue Narrations and Summaries in the Ancient Greek Novels. After catalogic or diegetic muthologia in the sophistic novels of Tatius and Longus, this study compares the uses of katalegein in Tatius and Heliodor and considers the muthoi catalogue in Chariton and Heliodor, before examining Xenophon’s Ephesiacs as a catalogue or summary. The paradox is that the two meta-fictional novels, by Tatius and Longus, which make explicit their catalogical structure from the introduction onwards, are similar to the most linear one, by Xenophon, which exhibits its catalogical structure, without naming it, at the end. (shrink)

The aim of this paper is to show that Philitas of Cos did not write bucolic poetry. The Scholia in Theocritus draw on ancient commentaries, which quoted Philitas, but no feature of the bucolic poetry is assigned to Philitas. Propertius opposes Philitas’ love poetry to the bucolic, and there is no clue that Longus Sophista or Vergil knew of Philitas’ bucolic poetry. Moreover, it seems that ancient poets and erudites were persuaded of the Sicilian (i. e. Theocritean) origin of (...) the bucolic poetry. (shrink)

La novela griega, género polifacético de ficción en prosa, que floreció del siglo I al IV d.C., tuvo su continuación en la literatura bizantina. La trascendencia de la novela llegó al Renacimiento con Longo y su Dafnis y Cloe, que influenció obras como la Arcadia de Sanazzaro, en Italia, o la Diana, de Jorge de Montemayor, en España; y tuvo cierto influjo en la Galatea de Cervantes e incluso en El Quijote. También la Arcadia de Sidney es tributaria del tema (...) y la Astrea de Honoré d' Urfé, en Francia, refleja también este efecto. En esta comunicación quiero destacar la influencia de la novela griega en La Tempestad, comedia en cinco actos de Shakespeare, que revela gran afinidad con la novela de amor y aventuras, así como con la novela utópica. The Greek novel, a multifaceted fiction genre in prose, flourished between the first and the fourth Century A.D., had its continuation into the Byzantine literature. The significance of the Greek novels reached the Renaissance with Longus and his Daphnis and Chloe, that influenced Sanazzaro's Arcadia in Italy, or Jorge de Montemayor's Diana, in Spain. It also had a certain influence in Cervantes' Galatea and even in his Quijote. Sidney's Arcadia is also tributary to the theme, such as Honoré d' Urfé's Astrea, in France. In this paper I want to point out the influence of the Greek novel in Shakespeare I will focus in The Tempest, comedy in five acts, that reveals great affinity with the Greek novel of love and adventures of Longus, Xenophon of Ephesus and Achilles Tatius, as well as in the utopian novel. (shrink)

It is argued that Athenagoras, Leg. 17, draws on Pausanias 1.26.4, and may join Aelian, Pollux, Philostratus and Longus in the list of possible readers of the periegete.

The aim of this paper is to analyse a literary response to antiquity’s most alluring work of art, the Cnidian Aphrodite. It argues that the ecphrasis of the statue in the Amores develops textual and verbal strategies to provoke in the recipients the desire to see the Cnidia, but eventually frustrates this desire. The ecphrasis thereby creates a discrepancy between the characters’ aesthetic experience of the statue and the visualisation and aesthetic experience of the recipients of the text. The erotic (...) mechanisms of the ecphrasis, simultaneously arousing and frustrating the recipients’ desire, mirror the effect of the statue on its viewers and disclose the erotic programmatics of the whole dialogue. The analysis shows that the Amores surpass the ongoing discourse on love from Plato’s Phaedrus to the ancient novel – and Achilles Tatius and Longus in particular. The Amores, like the nude statue of the Cnidia, threaten to cross all bounds of decency in sexuality. (shrink)

The virtue named σϖφροσύνη, which designates « self-restraint », « temperance », « prudence », « circumspection », sometimes condensed in the term « wisdom », is first a moral virtue. In other respects, this word signifies « right senses » in contrast with « frenzy » (either god-inspired or as a part of illness). But the notion of σϖφροσύνη has also a meaning in literary criticism. And in this very context, it presents several employments. One of these is stylistic. (...) Another regards narrative structure and content : this is the subject of the present study. After I have referred to the use of this narrative concept in Plato, I shall demonstrate that its interpretation by Aelius Aristides allows, with that of Maximus of Tyre, to understand Longus’ prayer at the end of the prologue to the Pastorales. This interpretation sheds light specially on the process of a significant episode in the plot of this novel. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Love and Providence: Recognition in the Ancient Novel by Silvia MontiglioTim WhitmarshSilvia Montiglio. Love and Providence: Recognition in the Ancient Novel. New York: Oxford University Press, 2013. ix + 255 pp. Cloth, $74.Terence Cave’s Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988) opened up the subject of recognition scenes to a new readership, with sparkling discussions not just of the medieval and renaissance literature of his own (...) specialism, but also of its Classical antecedents. Without offering (and without claiming to offer) a systematic study of the ancient sources, Cave demonstrated the power and capaciousness of the motif, in particular through a wonderfully dexterous reading of Heliodorus’ Aethiopica. For Cave, recognition is a dangerous force at both the social and the literary levels: it threatens to expose the fictionality of identity as a construct of human relations (for recognition is an act of collective assent, not an acknowledgement of any kind of deep truth), and indeed the fictionality of fiction itself.Silvia Montiglio’s new book treats not the entirety of Classical literature but an impressive range of novelistic texts, covering not just the canonical Greek and Latin works but also Jewish and Christian material such as Joseph and Aseneth, the pseudo-Clementine Recognitions (unavoidable, perhaps!), and Apollonius, King of Tyre. Montiglio avoids Cave’s grand, theoretical claims about what recognition is and focuses instead on what it does within the texts. Her procedure is to stick closely to the contours of the text, tracing the progress of themes through the narrative. In contrast to Cave, Montiglio sees recognition as primarily running along the dominant ideological grains of the individual novels: in the Greek and Judaeo-Christian texts at any rate it exists in order to affirm the idealising thrust, be it matrimonial or religious. Recognition’s primary role, for Montiglio, is to affirm identity, to validate the relationships to which texts normatively commit.The book proceeds via a series of close, immersive encounters with the texts. Although prodigiously widely read in the modern literature on the novels, Montiglio has little interest in wider social frameworks, and is virtually immune to the theoretical and cultural-historical bugs doing the rounds: intertextuality (though she is certainly alive to the power of literary precedent), narratology, cognitive theory, gender, sexuality, identity, cultural transfer, and so forth. Her story, rather, concerns the fluctuations of literary form across a range of periods and texts, and comparisons between different handlings of this central (but rather [End Page 166] neglected) topos. Although rather more detailed, sophisticated, and wide-ranging in its subject-matter, it harks back in a way to some of the motif-based, formalist novel scholarship of the 1980s and 1990s: Consuelo Ruiz Montero’s La estructura de la novela griega: análisis funcional (Salamanca 1988), Bryan Reardon’s The Form of Greek Romance (Princeton 1991), Françoise Létoublon’s Les lieux communs du roman: stéréotypes grecs d’aventure et d’amour (Leiden 1993).Five substantial chapters deal with Chariton and Xenophon (chap. 1), Achilles and Longus (chap. 2), Heliodorus (chap. 3), Petronius and Apuleius (chap. 4), and the Jewish and Christian “novels” (chap. 5). This cumulative approach allows her to ease a story out of her material by progressively comparing later to earlier treatments of similar themes. To restate it simply, her argument is that Chariton and Xenophon handle recognition relatively “straight,” presenting it as an opportunity for the lovers to reunite triumphantly and to reassert their love (although there are multiple other recognitions that interact with the lovers’ own). In Chariton there is an interesting emphasis on the power of the voice to impel recognition. Achilles, characteristically, turns the topos inside out: in this novel preoccupied with self-presentation, display, and disguise, Clitophon repeatedly fails to recognise Leucippe. In Longus, the central recognition is the New Comedy–style acknowledgement of the lovers by their parents, which not only validates their identities as urban aristos but also legitimises their love for each other. Heliodorus has the most elaborate recognition scene of all, with the extended revelation of Charicleia’s identity offsetting and finally banishing all the perceptual misdirection of the earlier parts of the... (shrink)

Très tôt le mystère de la forme du vivant et de l'harmonie qui s'y marque a intrigué l'Occident. Très vite s'est imposée la comparaison du vivant avec l'art, comme s'est posé le problème de l'irruption du monstrueux dans la nature, quand l'art est l'univers du parfait. Pour répondre à ces questions, médecins, poètes, philosophes et artistes, mêlant littérature et anatomie, esthétique et géométrie, botanique et morale, inventèrent un nouveau mode de pensée : la rêverie culturelle. Platon, Pline l'Ancien, Cicéron, Virgile, (...) Longus, Galien, Polyclète rêvèrent hors des catégories arrêtées de l'entendement, au-delà des concepts figés de leurs disciplines ; ils saisirent la fluidité des choses naissantes, la labilité du monde en formation. Entre ce que Valéry appelait " le vide et l'événement pur ", dans cette indécision du temps et de l'espace où surgit la forme, déjà discernable et dicible, pas encore fixée, ils pensèrent la création en songeant à la graine et à la plante, au levain et à la pâte, à la présure et au fromage, à la semence et à la greffe. A ces textes jugés peu dignes de son corpus par la tradition philosophique, à cette rêverie culturelle, des Modernes goûtèrent, toujours préoccupés par les mêmes questions du vivant, de l'art de Piles et sa hiérarchie des arts et des genres, Lessing et sa définition des rapports entre la peinture et la poésie, mais surtout Pinel, en quête des symptômes de la folie dans la belle physionomie, Winckelmann, érigeant le Laocoon en expression de l'idéal grec de liberté et de beauté, ou bien encore Freud, inquiété par l'étrange colère du Moïse de Michel-Ange. Ainsi se dévoile un entre-deux de la culture occidentale, zone où, des Grecs à nos jours, la pensée progresse de s'affranchir de la Raison pour découvrir les raisons du vivant et de sa beauté. (shrink)