At Aristotle's Rhetorica III 9.2 , in a discussion of λξις ερομνη and κατεστραμμνη, occurs the following misquotation of Herodotus' proem.

Theocritus' twenty-second idyll is cast in the form of a hymn to the Dioscuri, who are addressed in the proem as saviours of men, horses, and ships. This opening section of the idyll is modelled loosely on the short thirty-third Homeric hymn, and like that hymn contains an expanded account of the twins' rescue of ships about to be lost in a storm. As is hardly surprising, Theocritus in reworking the Homeric hymn draws on other literary antecedents as well, (...) and like other Alexandrian poets makes prominent use of diction borrowed and adapted from the Homeric epics. At the same time, the proem also shares several points of contact, largely overlooked or disputed by previous scholarship, with the poetry of Theocritus' own contemporaries. In the present paper, I shall suggest that in the storm scene of the proem references to Aratus' Phaenomena and Apollonius Rhodius' Argonautica occur in a carefully arranged pattern with potentially significant implications for our understanding of the proem and the idyll as a whole. (shrink)

This article investigates the relationship between Neoplatonism and Christianity in Augustine’s conception of spiritual exercises. It focuses on the proem to the Confessions, where, in nuce, Augustine mentions many of the great themes of his work. The relationship between Neoplatonism and Christianity in this section seems to be complex, dynamic, and far from “either / or,” a detail which confirms some trends in the recent literature. This article contributes to better understanding of Augustine’s spiritual exercises as well as to (...) the long-running dispute about the role played by Neoplatonism within Augustine’s Christian philosophy. (shrink)

A close reading of the poem of Parmenides, with focal attention to the way the proem situates Parmenides' insight in relation to Hesiod and Anaximander and provides the context for the thought of "... is". I identify three pointed ambiguities, in the direction of the journey to the gates of the ways of Night and Day, in the way the gates swing open before the waiting traveler, and in the character of the "chasm" that their opening makes, and I (...) suggest ways in which these ambiguities at once complicate and determine the significance of the thought of "... is" and its implications for the status of the opinions of mortals. (shrink)

Plato's Hesiod is a neglected topic, scholars having long regarded Plato's Homer as a more promising field of inquiry. My aim in this chapter is to demonstrate that this particular bias of scholarly attention, although understandable, is unjustified. Of no other dialogue is this truer than of the Ion.

In his proem to the Bellum Catilinae, Sallust elaborates the metaphorical theme of "the way," which is further supported by words that allow for the association of the same image. It is easily grasped by Roman readers because of the well-established parable of the choice between two paths of life, and particularly appropriate in the historian's case, as he justifies his turning away from the cursus honorum towards a new career. The particular imagery reflects the general theme.

This study provides a thorough exegesis of the names of metaphysics according to the proem of the Disputationes metaphysicae by Francis Suarez. The key to its consideration lies in the simultaneous unity between this science and the names assigned to it mainly by Aristotle. Due to the scant attention devoted to this work, this study emphasizes that the epistemic unity of metaphysics is given beforehand –prior to the final consideration and determination of its proper object, which is the entity (...) insofar real entity– by the complementarity of the different perspectives each name of metaphysics denotes. (shrink)

Cet article propose une interprétation de la relation entre l’aletheia et la doxa dans le poème de Parménide sur la base d’une analyse du voyage relaté dans le proème. À partir d’un examen précis du texte parménidien, il établit que l’hypothèse selon laquelle la citadelle de la nuit est la destination finale du voyage rend bien mieux compte de celui‑ci que l’hypothèse longtemps admise selon laquelle il s’agirait de la lumière. Cette lecture du proème permet non seulement d’établir un certain (...) nombre de parallèles avec d’autres œuvres poétiques qui décrivent le trajet du Soleil, mais surtout de mettre au jour une analogie entre le récit de voyage et la partition en deux du poème parménidien : notre monde, où alternent le jour et la nuit, représente le monde de la doxa, où être et non-être sont mêlés et qui est gouverné par deux principes correspondants, le feu et la nuit, tandis que l’unicité de la déesse de la Nuit dans l’au‑delà renvoie à celle de l’être. De plus, en distinguant deux étapes dans le voyage du narrateur, celle où il atteint de lui‑même le chemin de la nuit et du jour et celle où les filles d’Hélios le guident sur ce chemin, on peut expliquer l’existence même d’un discours sur les opinions des mortels : de même que le narrateur a besoin d’abord d’aller de notre monde quotidien jusqu’au chemin de la nuit et du jour pour avoir ensuite accès à la connaissance divine, de même il faut expliquer le monde de l’opinion en le faisant remonter à deux principes fondamentaux pour montrer aux mortels le chemin vers l’aletheia. L’article conclut en expliquant, à partir des fragments B14 et B15, pourquoi Parménide a recours à la déesse de la Nuit pour faire cette révélation : ce choix repose sur une critique de la lumière du soleil comme condition de la vision trompeuse. (shrink)

The extravagant, not to say fulsome, praise showered upon Nero in Lucan's proem to his De Bello Civili tends to divide scholars neatly into two factions. In the blue corner are those for whom it is ‘obviously’ sarcastic or ironic in some degree, whether they consider it intended to be circulated privately or understood only by a small group of initiates, or else see it as actually being designed to offend the princeps. In the red we find those who (...) attempt to explain what the modern palate finds offensive by reference to the Realien of Nero's reign and to the processes of literary representation in general—and what we loosely call ‘rhetoric’ in particular—current in the poetry of the time. (shrink)

This article aims to discuss how Lucretius arranges the four ‘roots’ at the end of successive lines of verse in the De rerum natura (henceforth, DRN) (1.5–8). In this passage Lucretius, alluding to Empedocles, puts the words in such an order that one can see the layers of the world by a vertical reading. In the same passage, Lucretius imitates the very beginning of Homer's ecphrasis (Il. 18.478–85), which the allegorical tradition will explain as an image of the world, related (...) to Empedoclean theory. The article also discusses the allusion to Daedalus by means of the adjective daedalus in DRN 1.7 (daedala tellus), which could be related to both Empedocles and Homer. This adjective is a keyword for discussing the image produced by the words on the written page. (shrink)

In Book 12 of Quintus Smyrnaeus’Posthomerica, the epic poet prepares to list the heroes who entered the Wooden Horse before the sack of Troy. Before he begins, he breaks off to ask for help :τούς μοι νῦν καθ᾽ ἕκαστον ἀνειρομένῳ σάφα Μοῦσαιἔσπεθ᾽, ὅσοι κατέβησαν ἔσω πολυχανδέος ἵππου·ὑμεῖς γὰρ πᾶσάν μοι ἐνὶ φρεσὶ θήκατ᾽ ἀοιδήν,πρίν μοι ἀμφὶ παρειὰ κατασκίδνασθαι ἴουλον,Σμύρνης ἐν δαπέδοισι περικλυτὰ μῆλα νέμοντι 310τρὶς τόσον Ἑρμοῦ ἄπωθεν, ὅσον βοόωντος ἀκοῦσαι,Ἀρτέμιδος περὶ νηὸν Ἐλευθερίῳ ἐνὶ κήπῳ,οὔρεΐ τ’ οὔτε λίην χθαμαλῷ οὔθ᾽ (...) ὑψόθι πολλῷ.Muses, I ask you to tell me precisely, one by one, the names of all who went inside the cavernous horse. For you were the ones who filled my mind with all song even before down was spread across my cheeks, when I was tending my renowned sheep in the land of Smyrna, three times as far as the shouting distance from the Hermus, near Artemis’ temple in the garden of Liberty, on a hill that is neither excessively high nor too low. (shrink)

Anyone who reads the opening chapters of Thucydides’ history consecutively will soon find it difficult to follow the thread of the argument. If he turns to a summary of the subjects chapter by chapter, he will not be greatly enlightened. In this paper the question is asked: why did Thucydides arrange his subjects as he did? In Part I the conclusion is reached that in the arrangement of his subject-matter he was following a clear-cut system. In Part II the implications (...) of this conclusion are considered. (shrink)

The arma virumque theme that this article identifies in the Punica is an important avenue through which to understand the meaning of Silius Italicus’ poem and its author’s relationship with Vergil. The text frequently uses combinations of the Aeneid ’s first two words, arma and vir, to suggest a common literary inheritance from Aeneas among its characters, large and small, Roman and Carthaginian. By pervasively characterizing most participants in the Second Punic War as versions, or poetic refractions, of Aeneas, the (...) poet recasts Rome’s glorious foreign war as a kind of civil war producing criminal corpses. More specifically, characters vie not for national dominance of the Mediterranean but for personal prestige as the most worthy heir to Aeneas. This process reconsiders the Republic’s history, aligns the text with the developments of 69 c.e., and comments critically on the Roman principate and its foundational literary text, the Aeneid. (shrink)

An eighth-century Latin version of a Greek edition of Aratus preserves valuable ancient scholarship on the Phaenomena, including material not preserved in Greek. Examination of over thirteen thousand Latin–Greek correspondences enables one to interpret passages of the Latin that have so far resisted analysis, including information about an ancient edition equipped with critical signs and commentary, ancient discussion of the primary narratee in Aratus and Homer, and the alternative proem to Anclides (SH 84).

The aim of this paper, which is devoted to the Proclean Commentary on the Alcibiades I, is to explain not only why this dialogue is so popular in Neoplatonism, i.e. why it is considered the foundation of Plato’s teaching, but also its methodological importance for reading the proems of the dialogues. For, in my opinion, it has not yet been properly investigated whether and why the two issues, i.e. the introductory importance and the importance for grasping the relevance of the (...) proems, are closely linked. I will therefore first try to show how the isagogical questions are perfectly embedded in a philosophical system that has redefined the very criteria of textual analysis around the idea that each dialogue is a literary microcosm analogous to the macrocosmic universe. I will then show how the exegetical methods proposed by Proclus in his Commentary on the Alcibiades are influenced by certain theoretical assumptions that are useful for reading the dialogues in general, and finally I will demonstrate how the proem of the Alcibiades allows us to re-evaluate the importance of the proems that Plato appended to his writings. (shrink)

In the proem that precedes the account of the generation of the world, Timaeus provides very important elements for understanding the discourse he is about to delivery. It is a complex text that displays at least three different levels: dialectical, analogical (or metaphorical) and epistemological. In the dialectical section, Timaeus establishes that the sensible universe is a generated reality and as such has a cause; in the metaphorical section, he indicates the analogical schemes he will use to explain the (...) genesis of the cosmos (technical and biological) and the causes on which it depends. Finally, in the epistemological section he explains the reason why this exposition cannot achieve truth but must be content with likeness. (shrink)

In the proem of the “Theogony” Hesiod describes the conception and birth of the Muses. At ll. 58-60 he specifies that Mnemosyne’s pregnancy lasted one entire year, ένιαντός. This unusual one-year pregnancy puzzles Hesiod’s commentators; West, for example, translates ένιαντός as ‘due time’ rather than ‘year’. The purpose of this article is to argue that Hesiod intended ένιαντός to mean ‘year’.

As befits the proem to so original and immense an undertaking, this passage echoes, in order to retort them upon their inventors, the mythopoeic commonplaces of other ancient schools. One such commonplace was the assertion that some man was the first to effect a revolution in life or thought: those who held with Empedocles that Pythagoras was the first to see beyond his generation, or with Aristotle that Thales was the earliest cosmogonist and Plato the first discoverer of happiness, (...) must learn that neither scientific truth nor human felicity was known before Epicurus. A figure dear to Plato and his admirers was that of the Gigantomachy: if he himself professed to fear that contemporary atomists would drag the heavens to earth, and Aristotle showed similar apprehensions with regard to some of Plato's own interpreters, they were right to foresee the destruction of their own systems, wrong to suppose that this portended anything but deliverance to mankind. (shrink)

Here in the proem to his fifth book Lucretius is praising the philosophical achievements or discoveries of Epicurus through favourable comparison with other discoveries of traditional heroic or divine figures; first, in this passage, with the products of bread and wine associated with the gods Ceres and Liber , and later with the deeds of the god-hero Hercules. This technique clearly derives from the σγκρισις of formal rhetoric, one of the basic exercises through which composition was taught in ancient (...) schools, and Lucretius begins with ‘confer’, an imperative which has something of a formulaic force in rhetorical comparisons. But it is not the purpose of this note to point out the rhetorical qualities of this passage; Lucretius' treatment of Ceres and Liber has other important literary and philosophical associations, links which have not been noted or explored by scholars. (shrink)

What follows is an experiment in reading practice. I propose that we read some key passages of theAeneidand theMetamorphosesin the active pursuit of acrostics and telestics, just as we have been accustomed to read them in the active pursuit of allusions and intertexts; and that we do so with the same willingness to make sense of what we find. The measure of success of this reading practice will be the extent to which our understanding of these familiar and well-studied texts (...) can be usefully enriched by our interpretation of our discoveries (or rediscoveries). These will include an undiscovered authorial signature NASO in the ‘second proem’ of theMetamorphoses; an unnoticed self-referential response to Horace with NITIDO at the centre of Ovid's epic and a similarly self-referential AVSVM at the centre of Virgil's epic; in theAeneidwe will also find glances to Aratus with LEPTE and an Aratean anagram on Aeneas’ shield; and two new acrostics connecting Dido, Ajax and Lavinia. (shrink)

In attempting to answer the question posed by this book's title, Giorgio Agamben does not address the idea of philosophy itself. Rather, he turns to the apparently most insignificant of its components: the phonemes, letters, syllables, and words that come together to make up the phrases and ideas of philosophical discourse. A summa, of sorts, of Agamben's thought, the book consists of five essays on five emblematic topics: the Voice, the Sayable, the Demand, the Proem, and the Muse. In (...) keeping with the author's trademark methodology, each essay weaves together archaeological and theoretical investigations: to a patient reconstruction of how the concept of language was invented there corresponds an attempt to restore thought to its place within the voice; to an unusual interpretation of the Platonic Idea corresponds a lucid analysis of the relationship between philosophy and science, and of the crisis that both are undergoing today. In the end, there is no universal answer to what is an impossible or inexhaustible question, and philosophical writing—a problem Agamben has never ceased to grapple with—assumes the form of a prelude to a work that must remain unwritten. (shrink)

Can being, more specifically, black being, be thematized as visible from within the particularity of a given faith tradition, its practices and mode of being in the world? To narrow the question to one specific faith tradition, Christianity: Can blackness be visible within the visibility of the Christian factum---the incarnate God, Jesus of Nazareth? The first two chapters, drawing on the work of Albert J. Raboteau, Charles H. Long, and James H. Cone, show how African American religious scholarship, to varying (...) degrees, answers negatively, explicating the particularities of black being from a more fundamental genesis than the particularities of a given faith tradition itself. Various are the names of the fundament: Africanity, the religious consciousness, the ontological horizon of blackness, and so forth. Chapter 3 uncovers the Kantian philosophico-religious structure at work here, the very framework that spawned modernity's first thoroughgoing race theory. Chapters 4 and 5, drawing on Briton Hammon, Frederick Douglass, and Jarena Lee, offer a theological account of race. Black being is shown to be visible, iconically opaque, and, thus, theologically free as Christic and Paschal being. This theological transcription of being is coterminous with an emancipatory social arrangement of being: black being as 'Christified' is ecclesial being. This does not silence the historical cadences of black being; rather it dislodges the history of black being from the colonial gaze. ;The Proem on Irenaeus of Lyons , the Excursus on Gregory of Nyssa , and the Postlude on Maximos the Confessor indicate the Christology influencing this dissertation. Placing patristic Christology, as it culminates in Chalcedon I and refined in the neo-Chalcedonian debates, in conversation with the modern construction of race and being, I establish a vantage from which to criticize Immanuel Kant's supersessionistic Christianity, out of which emerged his race qua colonial theory. Yet, it also provides a vantage from which to articulate a non-supersessionistic Christianity of the embodiment of God in Jesus of Nazareth for the visibility of black being and, thus, speaks to a distressing aporia in African American religious studies and theology. (shrink)

An effort to track the movement of thought in the proem of the poem in order to discover in it the context for the disclosure of the "is" in fr. s 2 and 8. Close attention to symbolic imagery and historical allusions, and to the philosophical power of the unthinkable "nothing". (For a renewed and expanded effort, see the author's "Ambiguity and Transport: Reflections on the Proem to Parmenides' Poem," Oxford Studies in Ancient Philosophy xxx [2006], 1-47.).

The author deals with the lost works of Empedocles, an often neglected subject, in the frame of the discussion concerning the number of the poems and their main features. He reviews the traces of the Passage of Xerxes, of the Medical Discourse, and of the Proem to Apollo among the fragments and witnesses, taking his cue from textual aspects and dealing with the contents, the significance of each of these writings in Empedocles’ culture and thought and their multifarious relationships (...) with his times. As to the Passage, he tries to reconcile the contrasting interpretations so far proposed (historical or religious poem). Concerning B111, the only relic from the Medical Discourse, he explains why its contents are incompatible with the Physical Poem and the Purifications. He analyzes the Proem to Apollo in several perspectives (text, witnesses, contents also from the epistemological point of view, literary genre). He assigns fragments 131–134 and 142 to the Proem, drawing one of his arguments from the comparison with the third Homeric Hymn to Apollo, and also suggesting a relationship with an intellectual cult of the sun. Formal features help to ascribe each fragment to the relevant poem. Close similarities between fragments do not necessarily mean that they come from the same writing: Empedocles is wont to allude to one poem of his while composing another. The author concludes that the striving for a reductio ad unum of the Acragantine’s output, also evident in the attempt by a number of scholars to make only one poem out of the Περὶ φύσεως and the Καθαρμοί, has often led researchers to take for granted that none of the fragments preserved might belong to the lost works. (shrink)