Κίμων ἔγραψε τὴν θύραν τὴν δεξιάν,τὴν δ’ ἐξιόντων δεξιὰν Διονύσιος.Cimon painted the door to the right,and the right door as one goes out, Dionysius.Denys Page correctly classified this epigram, which comes from a series ofSimonideain the ninth book of thePalatine Anthology, as a signature epigram. The Cimon mentioned in the first line of the epigram is regularly identified as Cimon of Cleonae, a late sixth-century B.C. painter commended by Pliny and Aelian for his technique and, possibly, use (...) of perspective. The identity of Dionysius from line 2 is disputed: from little that we know of a painter named Dionysius of Colophon who may have been a younger contemporary of Cimon, it is difficult to reach any conclusion. What connects the two artists is that they were both famed for their portrayal of humans and that they may have entered in a sort of a competition with each other. (shrink)

Five epigrams in the Greek Anthology are ascribed to Sophronius, sophist, poet, theologian and finally patriarch of Jerusalem when it fell to the Arabs in 638. Sophronius' other extant poems are all in the anacreontic metre, which he wrote with a certain fluency but without perfect mastery. It is in principle quite possible that he also composed in so traditional a genre as the classicizing epigram, but there are in fact considerable doubts about four of the five in question.

In lieu of an abstract, here is a brief excerpt of the content:Epigram into Lyric: Francis Bacon Translates from the Greek Anthology GORDON BRADEN If sir francis bacon did not exactly invent modern science and technology, he did predict it, with remarkable accuracy. The unfinished project of which the writings of his later years were to be component parts is a reformation of the life of the human mind from the ground up—“a complete Instauration of the arts and sciences (...) and all the learning of mankind, raised upon proper foundations ”1—and the most (arguably the only) successful such plan ever drafted. It foresaw both the previously unimaginable worldly triumph of the human race over nature in the centuries that followed and the intellectual means by which that triumph was to be achieved. He also wrote poetry. It is no surprise that someone of his time and place and station should have done so, and its existence is not in itself remarkable. Not much of it has survived, and we have no particular reason to think there was more; and, despite the extensive scholarly and critical scrutiny that Bacon’s work has received, very little attention has been given to this part of it. Still, one poem has achieved something of an afterlife and is worth attention, especially alongside the triumphalism of Bacon’s Magna Instauratio. It concerns hopelessness. Serious attention has been given to Bacon’s remarks on literature and the imagination, including his proposal, amid all his other plans, for what he calls “literary history” (historia literarum).2 But his poems are a different matter. They can be found in the great 19th-century edition of Bacon’s collected works, tucked in between his Prayers and his Christian Paradoxes.3 Most of the poems are from a small volume of psalm translations published under his own name the year before arion 27.1 spring/summer 2019 his death; these are now available in one of the published volumes of the new Oxford edition of Bacon’s works.4 There is also 12-line poem in hexameter couplets that begins sounding like a translation of Horace’s Integer vitae but goes on to be a fairly straightforward completion of its opening thesis and never gets around to sweetly laughing, sweetly speaking Lalage; a manuscript in the British Library attributes it to Bacon, though it is also printed in two of Thomas Campion’s books of airs as if it were one of his.5 My own interest is in the one remaining poem, a 32-line translation of a 10-line poem from the Greek Anthology (9.359 in the Palatine Anthology, though known in Bacon’s time from the Planudean). It first appears in print in 1626, anonymously, as “Certaine verses concerning the present estate of Man,” appended with other “characters, and many other witty conceits ” to an edition of Thomas Overbury’s poem “A Wife.”6 Three years later the classical scholar Thomas Farnaby prints it with an ascription to Bacon in a selection of poems from the Greek Anthology, along with the original text of the Greek poem, a Latin translation of it, and the editor’s facing translation of Bacon’s poem back into Greek.7 Bacon’s poem can also be found, both complete and in fragmentary form, in quite a few manuscripts, which are being collated for the first time for The Oxford Francis Bacon, though the editors have not yet decided where to put it. Isolated citations and quotations of the poem occur over the next several centuries; Francis Turner Palgrave includes it in his much-reprinted Golden Treasury, with the title “Life.”8 But there has been little discussion of the poem. It is the subject of an excellent scholarly article by Herbert Grierson, but that was over a hundred years ago.9 Paul Fussell has some sharp observations on Bacon’s use of his stanza form, but they fit onto a single page.10 Other comment is mostly incidental. I want to gather and slightly enhance what has been learned or said about the poem, and explore why it has snagged my interest. The Greek original is variously attributed; the most commonly mentioned name is Posidippus, probably the Mace50 epigram into... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Epigrams of PhilodemosBarbara Hughes FowlerDavid Sider, ed. The Epigrams of Philodemos. With introduction and commentary. New York and Oxford: Oxford University Press, 1997. vi 1 259 pp. Cloth, $65.David Sider’s edition of Philodemos’ epigrams is exemplary. It includes a preface stating the reason for such a production; an introduction which treats the life of Philodemos, his connections with Piso and the Epicureans on the Bay of Naples, (...) the Herculaneum papyrus, his contribution to the epigrammatic [End Page 311] form, a comprehensive treatment of his metrics, his place in the Greek Anthology, and a review of the manuscripts and of early printed editions (1494–1600) of his works; and Sider’s explanation of his arrangement of the poems, with a list of seven suggested emendations. This is followed by a concordance of printed editions and of manuscripts. Sider treats thirty-eight epigrams, including some of doubtful attribution and two which are, for metrical and other reasons, almost certainly not by Philodemos. The commentary is followed by a detailed discussion of P. Oxy. 3724, testimonia relating to Philodemos, an extensive bibliography, an index of passages cited, and a general index.The text, translations, and commentary are distinguished not only by their learning, which is prodigious, but by their literary sensitivity. If Sider discusses meter, he shows how it relates to the subject matter of the epigram at hand. On his epigram 8 (AP 10.21), a frantic prayer to Aphrodite, he says, “Unusually for Philodemos, there is no A-caesura in any of the four hexameter lines, which produces a rushed quality.” Again on his epigram 25 (AP 5.306) he remarks, “Not only do we have a rare spondaic fourth foot, it is especially surprising after three dactyls, for whereas DDDDDS is among the commonest of metrical shapes,... dddsds is one of the rarest (indeed, only here in Phil.). The result is a heaviness in these words which emphasizes the contrast with the preceding.” The preceding lines are a girl’s description of her would-be lover’s passionate kisses; the following lines are her complaint that when she is ready, he is unable or unwilling to make love.Another astute remark is on 12 (AP 5.132): “Given the greater variety of sibilants in Oscan than in Latin or Greek, there may be the additional point that the notion of the elegant Sappho sung by a Campanian is funny, esp. if in recital Phil. exaggerated the sibilants of ” Again, on 3 (AP 9.570) Sider suggests that may refer to Xantho’s doll-like quality—as opposed, for instance, to the eighteenth-century idea that she was a bee.Informing Sider’s literary judgments is a fascinating array of facts, including that is a Phrygian loan word, that the pigeon was the sacred bird of the Galloi, the variable price of figs, that goose, lamb, kid, and hare livers were eaten, the cheapness of good tripe sausage, that eunuchs wore women’s clothing, and that muzzles were not used in races but were used in the training of horses.A major thrust of Sider’s commentary is his belief that certain of Philodemos’ epigrams can be read in the light of his Epicureanism. Although 13 (AP 5.24) may owe as much to the epigrammatic tradition as to Epicurean doctrine, Sider’s note on Epicurean notions of the composition of the soul as comprised of both rational and irrational parts is of value. So the same soul both foretells and, foretelling, desires. On 27 (AP 11.44), an invitation to Piso to come to dinner on the Twentieth, an Epicurean holiday, Sider is more persuasive, for he compares the epigram to a passage of Philodemos’ On Epicurus which discusses [End Page 312] Epicurus’ own invitation to attend a feast. On 28 (AP 11.35), a description of foods brought by friends for a dinner, Sider comments, “A poem listing the modest ingredients for a meal which would be appropriate for Epicureans.” He also reads 29 (AP 9.412) as an Epicurean commentary: today we must enjoy our simple repast, for tomorrow we, like Antigenes and Bakkhios, may die. On 31 (AP 11.318... (shrink)

There is an epigram preserved in two lives of Pindar, that in the scholia Ambrosiana and the rambling biography of the poet by Eustathios. It is perhaps most conveniently accessible in von Christ's larger edition of Pindar, pp. ci and cii, and runs as follows: μλα ρωτμχτε καμητισ λιуφωνιινδρ‘nu; κλατ θуατρεσ πιντα, αρуθεν μoσ κντκμζσ νδoθι κρωσσλειψαν' π' ༀπ ξεινησ θρα πρκαïσ. IIρωτμχη Eustathius. 2. Éκλατα ινδρ θуατρεσ East. et Ambr., corr. Gerhard.

This is the first separate edition and commentary on Philodemos of Gadara since 1885, containing an introduction on Philodemos' life, poetic theory, metrical practice, and the place of the epigrams within the Greek Anthology. Thirty-six genuine and two spurious epigrams are printed with full critical apparatus, translation, and commentary. Also included is the text of a recently published papyrus containing traces of many known and previously unknown epigrams by Philodemos.

Hume's Treatise of Human Nature was published in the form of three separate books. The first two, "Of the Understanding" and "Of the Pas- sions," were published in London in January 1739 by John Noon. The third, "Of Morals," was published independently in London by Thomas Longman in November 1740.2 The title and subtitles on all three books are the same: A Treatise of Human Nature: Being An Attempt to introduce the experimental Method of Reasoning into Moral Subjects. On the (...) title page of the first two books Hume employs an epigram from Tacitus: Rara temporumfelicitas, ubi sentire, quae velis; & quae sentias, dicere licet. ["Seldom are men blessed with times in which they may think what they like and say what they think."] On the title page of the third book this epigram is replaced by an epigram taken from the ninth book of Lucan's Pharsalia: Durae semper virtutis amator, Quaere quid est virtus, et posce exemplar honesti. ["Thou that to virtue ever wer't inclined, learn what it is, how certainly defin'd, and leave some perfect Rule to guide Mankind."] Given the context and the prominence of these epigrams, it is a curious fact that they have attracted little or no attention or comment from Hume scholars. -/- In this paper I argue that Hume's use of the epigram from Lucan is directly relevant to his use of the epigram from Tacitus. The epigrams flag very clearly the anti-Christian nature of Hume's intentions in the Treatise and his affiliations with and allegiance to an anti-Christian tradition of thought that stretches from Hobbes and Spinoza in the late seventeenth century to a circle of anti-Newtonian radical freethinkers that appeared in Britain in the first part of the eighteenth century. In more general terms these epigrams are a notable and illuminating example of esoteric communication in this context, and they indicate that the Treatise has an important place in the literature of the radical enlightenment. (shrink)

If we consult the Anthologia Lyrica of E. Diehl and the Geschichte der griechischen Literatur of Schmid-Stählin, we find that they consider as genuine the three epigrams on Hermae which the Palatine Anthology attributes to Anacreon. The question of the authenticity of these epigrams has been for long a matter of dispute, but we may shed further light on it if we take into account the spread of the cult of Hermes in Attica and Anacreon's visit, or possibly visits, to (...) Athens. (shrink)

This article explores the role of constitutional thought in Latour’s work on cosmopolitics. It will study his non-modern proposal in the Politics of Nature (2004) and argue for a constitutional rather than political understanding. To address criticisms of being too metaphysical or unpractical, we will work out the notion of a “constitutional ecology of practices” to highlight how different practices such as politics, science, organization, but also law, all contribute to the design of the stage and processes for composing a (...) common world. Special focus will here be placed on the role of “epigrams”: practical models for ordering contributions of different practices or modes in hierarchical relationships. This renders them identifiable, mobilizable, and contestable as cross-cutting models for shaping mutual relations in concrete collaborative settings. The case of the legal regulation of robots will be presented as an example of a cosmopolitical attempt to introduce non-human entities in the common collective. We will here observe the role that epigrams play in framing, ordering and contesting the epistemic contributions of the various practices involved in this innovation ecology. This case will be used to discuss Latour’s proposals and to study non-modern constitutionalism in action. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Poetic Garlands: Hellenistic Epigrams in ContextPeter E. KnoxKathryn J. Gutzwiller. Poetic Garlands: Hellenistic Epigrams in Context. Berkeley and Los Angeles: University of California Press, 1998. 358 pp.Cloth, $45.The publication of Alan Camerons The Greek Anthology from Meleager to Planudes in 1993 set a coronis upon one stage in the efforts of modern scholars to sort out the untidy garden that we know as ancient Greek epigram. We (...) now know as much about the history of this corpus as we are likely to discover without the introduction of new evidence, and scholarly attention might logically be expected to return to the interpretation and criticism of these poems. Transmitted for the most part in the socalled Palatine Anthology and filtered through the agency of anthologists ancient and medieval, the epigrams of the ancient practitioners of this minor genre have tended to be studied individually, [End Page 628] like gemstones dislodged from their original settings. The luster of each piece may be easily admired, but what has been lost is the color and clarity that is imparted by the contrast with its neighbors. The ambitious task that Kathryn Gutzwiller has set herself in this closely argued and learned book is no less than to recover from the collecta membra of the Palatine Anthology the contours of the epigram books of nine poets from the early Hellenistic period to Meleager in the first century B.C.E.The opening chapter provides an introduction, which, taken together with the following chapter ("Hellenistic Epigram Books"), lays the foundation for the remainder of the work and establishes its basic premise, that all the Hellenistic epigrammatists composed their work for "publication" in carefully constructed books, arranged on principles which Gutzwiller can recover. This is the basis for what she terms "a new interpretative strategy" in the criticism of Hellenistic epigrams, "to read them as if"—her emphasis—"we knew their place in historical collections" (7). The remainder of the book is occupied by her reconstructions of the epigram books of Anyte, Nossis, Leonidas of Tarentum, Asclepiades, Posidippus, Hedylus, Callimachus, Antipater of Sidon, and Meleager. Readers who are convinced by her arguments in these opening chapters will be swept along by her hypothetical arrangements, which she supports with close readings of individual poems set in their new contexts. Others, myself included, will remain suspicious of the solidity of the foundations of this edifice, while still finding much to admire in her sophisticated interpretations of individual poems.Much of Gutzwiller's theoretical underpinning depends upon rather strict adherence to the orthodox view of what she characterizes as the "Callimachean aesthetic preference for the miniature, the intricate, and the fragmented" (4). The Hellenistic epigram books that she posits correspond neatly with Callimachean aesthetics so described. She rejects out of hand Cameron's arguments for the social role of epigram in a sympotic setting, in favor of the bookish background described by (e.g.) Peter Bing. The hypothesis of a neat and well– ordered world of Hellenistic poetry books, as outlined by some modern scholars, is not undisputed, but readers will not hear much about that here. Gutzwiller sweeps aside skeptical challenges to this picture, and the possibility, for example, that Callimachus produced a collected edition of his poetry, advanced only as a hypothesis by Rudolf Pfeiffer, is here (19) represented as "the probability... that Callimachus published his complete oeuvre, ordered and divided into books." Her summary of the papyrus evidence paints a far more stable picture of the situation of books in the manuscript culture of the Hellenistic world than the evidence safely allows. For Gutzwiller, any references to the of a poet "indicate an authorially compiled epigram book" (20). This naïve extension of Pfeiffer's theory of the composition of a "Collected Works" of Callimachus, and unswerving allegiance to the communis opinio of Callimachean aesthetics, are recurring themes in Gutzwiller's reconstructions of ancient epigram books. Having settled upon the essential aesthetic that determines the [End Page 629] configuration of the book, it remains only to attach the surviving poems to this framework. Not surprisingly, the reconstructed books then offer further confirmation of the underlying assumptions. On this shaky foundation, for example, Gutzwiller... (shrink)

This article examines the dedicatory epigram of the earliest and most important witness to the Greek alchemical corpus, the tenth-century manuscript donated by Cardinal Bessarion to the Republic of Venice, Biblioteca Nazionale Marciana MS gr. 299, as a window onto the cultural coordinates of the manuscript’s middle Byzantine readers. Scrutiny of the epigram’s meter, language, literary conventions, and the handwriting of the scribe who copied it into the manuscript point to a tenth-century date not only for the manuscript (...) but also for the epigram itself and make it possible to situate the epigram, and with it the alchemical manuscript that contains it, within the mainstream of middle Byzantine elite culture. (shrink)

The elegiac poem of eight lines discovered in the Ceramicus and published by by W. Peek is of considerable interest for the historian. Peek is surely right in maintaining that it was composed for the Athenians who fell under Tolmides at Coronea in 447 B.C., and his general exposition of the poem's meaning is convincing. The aim of this paper is to make some comments and supplements to his interpretation and then to consider some peculiarities in the thought and technique (...) of the poem. We may first set out a text and a translation:λμονες ℎοῖον γṑνα μχες ελσανες λπ[ο]φσχς δαιμονṐς ṑλσα' μ πολμοισὐν κακι χσετλελεσσε βροοῖσι δ πσι λοιπνφρζεσθαι λογṐν πιοσν ἔθκε λος. (shrink)

The article offers an edition, translation and commentary of eight so-called book epigrams. They all stem from eleventh-century manuscripts containing the New Testament or commentaries on it, more specifically the Paris. Coisl. 199, the Vindobon. Theol. Gr. 302, the Paris. Coisl. 26, and the Vatic. Gr. 363. While most of them are unedited, the second one is a conflation of known epigrams, and the third an unknown version of a previously edited epigram. Although book epigrams are frequently encountered in (...) Byzantine manuscripts, the genre has not received much attention. In the track of the recently increasing interest in manuscripts as cultural artifacts in their own right, our commentary focuses on the relationship between epigram and manuscript, and the process of copying. It also discusses textual problems, structure, content, function, vocabulary, and metrical features of the poems. The analysis is enriched by parallels from other, mostly contemporary, book epigrams, which were collected during an ongoing database project at Ghent University. The comparison shows, among other things, that the material belonging to this genre is ‘recyclable’: it is constantly re-used, sometimes with slight but meaningful modifications. (shrink)

This article provides a review of Nisbet’s book.

In the Vita Aristotelis of Diogenes Laertius and elsewhere we come across an epigram of Theocritus of Chios directed against Aristotle. I cite the poem in the form in which it has most recently been published by D. L. Page.

This article offers the first critical edition of a cycle of epigrams found in the margins of six manuscripts of Niketas Choniates’ History. This paper also proposes the attribution of the poems to Ephraim of Ainos, an author mainly known for his verse chronicle, which has Niketas Choniates as a source. Our poems occur in a group of manuscripts which we already knew Ephraim had used for his chronicle. Many formal parallels between the epigrams and the chronicle point to the (...) same author and a book epigram connects one important manuscript with the city of Ainos. This paper reassesses the manuscript tradition of the epigrams with special emphasis on the marginalia of Niketas Choniates. The critical text of the poems is accompanied by two apparatuses and an English translation. The edition is preceded by some methodological considerations and followed by two appendices and three indices. (shrink)