Funeral Orations as Indicators of what a Good Life Ought to Be The central aim of this study was to uncover, based on funeral orations, what the Igbo of South-East Nigeria regard as the good life. Over two hundred and fifty funeral orations/tributes were investigated. These were classified into: tributes by spouses; by offspring; by close family members; by friends, associates and organizations. The study revealed that the notion of the good life among the Igbo was based (...) on primary duties and obligations at each of the four levels identified above and on related secondary duties and obligations. The good life was measured by the extent to which these duties and obligations were discharged and in the way their performance manifested in the provision of social amenities, help to educate members of the community and so on. What would ordinarily be regarded as virtues were considered desirable only in so far as they helped people fulfill their primary and secondary obligations, otherwise they were regarded as sterile or "bottled" virtues. (shrink)

Plato's Menexenus and Pericles' Funeral Oration.

1. THRENODY Is it any longer possible to talk seriously about justice and rights? Are these words corrupted and debased beyond redemption? There is no need to multiply examples of how anything that any pressure group has the chutzpah to lay claim to forthwith becomes a right, nemine contradicente. Nor is this Newspeak restricted to the vulgar. The President of the Pacific Division of the American Philosophical Association has granted permission to misuse words like rights and justice if you do (...) so in the service of desirable political ends. Our most universally acclaimed theoretician of justice has shown at length that justice is a will perpetual and constant to forcibly take goods from those who have earned them and give them to those who have not; and the leading light of Anglo-American jurisprudence has constructed a “straightforward” argument proving that a citizen's right to equal protection of the laws is fully satisfied if only the bureaucrat denying him or her a public benefit on racial grounds shows “respect and concern” while processing the forms. (shrink)

Every winter in the classical period, on a specifically chosen day, Athenians gathered together to mourn the men who had died in war. According to Thucydides, the bones of the dead killed in that year lay in state for two days before being carried in ten coffins organized by tribe to thedêmosion sêmawhere they were buried and then a speech was made in honour of the dead men by a man chosen by the city. As his description makes clear, this (...) ceremony was a public event attended not only by citizens and foreigners, but also by the female relatives of the dead men. Other sources report that thepolemarchosput on theagônfor those who died in the war and these contests included musical, athletic and hippic competitions. The war-dead also received sacrifices. The occasion combined burial with cult and games usually afforded to the divine, although how exactly this combination worked in practice is not clear because Thucydides, our single best source for the Epitaphia, focusses on the burial and the oration given by Pericles in the winter at the end of the first year of the Peloponnesian War. (shrink)

For all its celebrity, Thucydides' Funeral Speech remains an enigma. ‘Unquantifiably authentic’ is how one scholar describes it, and the description betrays a measure of despair. We feel that the speech is authentic in some sense of the word. To some degree it corresponds to what Pericles actually said in the winter of 431/30 BC, but the degree of correspondence is a mystery. All agree that Thucydides framed the speech in his own words and integrated it with his historical (...) narrative, so as to recall and answer Archidamus' encomium of Sparta in Book I. It also anticipates the forthcoming description of the plague with mordant, subtle allusions. (shrink)

In a new approach to a vexing problem in modern philosophy, William H. F. Altman shows that Heidegger’s decision to join the Nazis in 1933 can only be understood in the context of his complicated relationship with the Great War.

Emotion Review, Volume 13, Issue 4, Page 289-298, October 2021. This paper takes its cue from the recent interest in materiality and “things” in the field of Byzantine studies, to explore the role of objects in evoking being moved. First, it advances a new model to explain the relationship between being moved and affordances. Second, it focuses on a specific case study, that is Michael Psellos’ funeral oration for his daughter Styliane, who died of smallpox at the age (...) of 9 years old. The paper sheds light on how affective affordances of an object contribute to the evocation of being moved in literary texts, working within and affecting narrative patterns. While building on the experience of ethical and spiritual principles clearly recognizable by the audience, such affordances point toward the activation of broader core values. (shrink)

The article addresses the theme of spectrality, the givenness of the other who remains here after departure as a ghost. It explores how this spectrality functions in Plato’s funeral oratory in the Menexenus dialogue. In the first part, the article discusses J. Patočka’s account of the specific givenness of the departed, which is experienced as a privation of a former intersubjectively intertwined life. The deceased other causes a twofold crisis. On the one hand, with the death of the other (...) also comes the withering of part of myself, for I am unable to realise possibilities dependent on his or her presence. On the other hand, the meaning of the other’s project, which becomes institutionalised through participation in the events and re-formation of the world, is endangered if no one is willing to take on and realise this meaning as one’s own. The second part of the article discusses how Socrates’ oratory addresses this crisis through specific temporality of the speech, one in which the past provides the present with a paradigm for appropriate civic action which is to be imitated in the future. In this context, he creatively uses the concept of shame to induce an attitude of responsibility for the polis, whose greatness is grounded in the virtuous deeds of spectrally present ancestry. (shrink)

You were one of the noblest, the most genuine people, who have ever walked this earth. And though both friend and foe know this, I don't think it unwarranted to verbally bear witness to it before your grave. For we know the world, we know Spinoza's fate. For the world could lay shadows around Nietzsche's memory as well. And therefore I conclude with the words: Peace to your ashes! Holy be thy name to all those to come!1The only historical person (...) Peter Gast puts in relation to his much-revered master in these closing words of the funeral oration he delivered in front of Friedrich Nietzsche's open grave in Röcken on August 28, 1900, is Baruch de Spinoza.2 His intentions are clear: Nietzsche is to avoid the fate of .. (shrink)

The last years of Michael Psellos' life are clouded in obscurity. He was certainly active at the court of his student Michael VII (1071–1078), but when Nikephoritzes, the logothetes tou dromou, became imperial advisor (Attaleiates, Historia, 200,12ff) he practically disappeared from the scene. One of the last chronological references found in his Chronographia is the death of Crispinus in 1075 (VII, b 39, 3–4). In that year he also wrote a description of the “usual miracle” which occurred regularly in the (...) church of Blachernai and somewhat later a funeral oration for Patriarch Ioannes Xiphilinos. Among his writings survives another funeral oration which he dedicated to the young Andronikos Doukas. This work is transmitted only in part by cod. Parisinus gr. 1182 and is dated in 1076. From that point on, practically nothing is known about his subsequent life. (shrink)

TheMenexenusis usually described as a ‘riddle’ or ‘puzzle’. The difficulties it poses have given rise to a multitude of exegeses, revolving around two antithetical readings. On the one hand, some scholars tend to consider the dialogue an ironic critique of Athenian democracy and/or of democratic rhetoric. According to this perspective, Plato expressed this criticism through a paradoxical and somehow feverishepitaphios. On the other hand, some scholars consider the funeral oration to be quite serious. According to this perspective, Plato (...) aimed at reforming the genre and at introducing his theory of the ideal stateorhis theory of virtue. In this paper I will be moving beyond these standard readings in an attempt to supplement them by identifying the real moral issue behind theMenexenus. (shrink)

Like Socrates, Aspasia did not leave any writings. We know about her from secondary sources. In this paper, I will show a number of things in the reports of what Aspasia said and did that are philosophically interesting, especially in what they show about dealing with various kinds of crises, from marital to political ones. First, I will argue for the most probable reconstruction of her life. Second, I will elucidate what kind of method Aspasia employed when considering marital issues. (...) Third, I will endeavor to prove that Plato’s representation of Aspasia was not a mockery, as some authors argue. Furthermore, the most significant philosophical points of Aspasia’s Funeral Speech will be highlighted and assessed. Eventually, I will attempt to figure out what Plato’s reasons might have been to ascribe this speech to a woman. (shrink)

Jacques Derrida is, in the words of the_ New York Times_, "perhaps the world's most famous philosopher—if not the only famous philosopher." He often provokes controversy as soon as his name is mentioned. But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. _The Work of Mourning_ is a collection that honors those friendships in the wake of passing. Gathered here are texts—letters of condolence, memorial essays, (...) eulogies, funeral orations—written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jabès, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-François Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servière. With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead—the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself. "In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes—how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work."—Steven Poole, _Guardian_ "Strikingly _simpa_ meditations on friendship, on shared vocations and avocations and on philosophy and history."—_Publishers Weekly _. (shrink)

Classics of Political and Moral Philosophy provides in one volume the major writings from nearly 2,500 years of political and moral philosophy. The most comprehensive collection of its kind, it moves from classical thought (Plato, Aristotle, Epicurus, Cicero) through medieval views (Augustine, Aquinas) to modern perspectives (Machiavelli, Hobbes, Spinoza, Locke, Rousseau, Hume, Adam Smith, Kant). It includes major nineteenth-century thinkers (Hegel, Bentham, Mill, Nietzsche) as well as twentieth-century theorists (Rawls, Nozick, Nagel, Foucault, Habermas, Nussbaum). Also included are numerous essays from (...) The Federalist Papers and a variety of notable documents and addresses, among them Pericles' Funeral Oration, the Declaration of Independence, the Constitution of the United States, and speeches by Edmund Burke, Abraham Lincoln, Elizabeth Cady Stanton, John Dewey, and Martin Luther King, Jr. The readings are substantial or complete texts, not fragments. An especially valuable feature of this volume is that the works of each author are introduced with a substantive and engaging essay by a leading contemporary authority. These introductions include Richard Kraut on Plato, Aristotle, Epicurus, and Cicero; Paul J. Weithman on Augustine and Aquinas; Roger D. Masters on Machiavelli; Jean Hampton on Hobbes; Steven B. Smith on Spinoza and Hegel; A. John Simmons on Locke; Joshua Cohen on Rousseau and Rawls; Donald W. Livingston on Hume; Charles L. Griswold, Jr., on Smith; Bernard E. Brown on Hamilton and Madison; Jeremy Waldron on Bentham and Mill; Paul Guyer on Kant; Richard Miller on Marx and Engels; Richard Schacht on Nietzsche; Thomas Christiano on Nozick; John Deigh on Nagel; Thomas A. McCarthy on Foucault and Habermas; and Eva Feder Kittay on Nussbaum. Offering unprecedented breadth of coverage, Classics of Political and Moral Philosophy is an ideal text for courses in social and political philosophy, moral philosophy, or surveys in Western civilization. (shrink)

Isabelle Stengers’ cosmopolitical proposal is an influential attempt by a European philosopher to transform the burdensome legacy of Western thought. Reconsidering her comprehensive engagement with the cosmology of the British mathematician and philosopher Alfred North Whitehead, this article reveals two concepts as foundational to Stengers’ cosmopolitics: civilization and commerce. While not usually associated with a critical political theory, in her development of what we call a commercial political ontology, Stengers explores the modes of inheriting these ostracized notions. By tracing the (...) genealogy of this political ontology back to Pericles’ first explicit defense of persuasion as a requisite for civilization, we argue that Pericles’ famous funeral oration provides the structure for Whitehead’s cosmology, and, ultimately, Stengers’ cosmopolitics. As such, we understand her cosmopolitical proposal as a dress rehearsal of a funeral eulogy for bourgeois society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Parody in Plato's MenexenusFranco V. TrivignoIn Plato's Menexenus, Socrates spends nearly the entire dialogue reciting an epitaphios logos, or funeral oration, that he claims was taught to him by Aspasia, Pericles' mistress. Three difficulties confront the interpreter of this dialogue. First, commentators have puzzled over how to understand the intention of Socrates' funeral oration (see Clavaud 1980, 17–77).1 Some insist that it (...) is parodic, performing an essentially critical function (e.g., Loraux 1986); while others claim that it is serious, in particular as an expression of Plato's political ideal (e.g., Kahn 1963).2 Adherents on both sides seem to think that the options are mutually exclusive.3 Second, commentators have had difficulty understanding why Plato would have Socrates attribute his entire oration to Aspasia (e.g., Coventry 1989, 3; Pownall 2004, 60). Most agree that this move is ironic and that it has something to do with the alleged target of the dialogue's criticism. But scholars have differed over whether the Aspasia reference is meant to implicate Pericles' funeral oration (Monoson 1998), rhetoric in general (Pownall 2004), Athens (Loraux 1986), or even Aeschines (Clavaud 1980).4 Third, scholars have struggled to make sense of the dialogue's "deliberate and fantastic anachronism" (Dodds 1990, 24). In the funeral oration, Socrates relates the history of Athens up to the King's Peace in 386 B.C., a full thirteen years after he has died. This problem has generated the least consensus, with some scholars restricting their analysis [End Page 29] to dating considerations (e.g., Dodds 1990) and at least one speculating that Socrates speaks in this dialogue as a ghost (Rosenstock 1994).5It is the contention of this article that, by understanding the rhetoric of parody in the Menexenus, one can resolve these difficulties and come to a coherent and unified understanding of the philosophical intentions of the dialogue.6 More specifically, I will show that the anachronism is a consequence of a particular parodic strategy, that of amplification; that the dialogue's parody targets not only Pericles' funeral oration in particular but funeral oratory, rhetoric, and Athens as well; and that the parody has serious philosophical implications.7 Further, I claim that the serious philosophical content is both critical and constructive. Plato subverts the civic identity and understanding of virtue encouraged by the genre of funeral oration, and he challenges its praise-based model of political discourse. At the same time, Plato's parodic criticism is not entirely negative, for it relies on alternative paradigms of civic identity, virtue, and political discourse.I. The Rhetoric of ParodyBefore turning to the Menexenus itself, I want to clarify what I mean by parody. For a working definition, I suggest that parody is "an imitation that distorts a target text, author, or genre."8 In order to make some general observations about the rhetoric of parody, I will look briefly at an exemplar of parody from Aristophanes' Frogs. I do so for three reasons: to display two strategies of parodic distortion, to show that parody can have multiple targets, and to argue that parody can have both serious and complex intentions.9In the Frogs (1331–63), Aristophanes uses at least two techniques of parodic distortion, inversion and amplification, in his extended parody of Euripides' monodies or single-actor odes.10 Parodic inversion, broadly speaking, upsets or overturns the target text by distorting the original in a way that reverses the stylistic effect or semantic intention. Parodic amplification hones in on one aspect of the target text and amplifies it to absurdity, often exposing its artificiality as a literary trope.The parodic scene features a woman who awakens, hysterical and terrified, from a god-sent dream, which has conveyed disturbing news. We find in this passage a particular kind of parodic inversion: bathos, the unexpected introduction of the vulgar, ordinary, or mundane, which undermines an otherwise somber tone.11 Consider the following excerpt:Attendants, set alight a lamp for me,Collect the dew of rivers in pitchers [End Page 30] And heat the water,So that I may wash away the god-sent dream.Oh god of the sea... (shrink)

There has never been any doubt that an important part of Thrasyboulos’ forces in his campaign at Phyle and in the Peiraieus was non-Athenian. Lysias in his funeral oration, 2. 66 ff., gives fulsome praise to the xenoi who fought and died for the return of the democracy. Other honours paid to the living are recorded by Aeschines, 3. 187 f., and in the inscription I.G. II. 10, a decree followed by a list of names grouped by Athenian (...) tribes, some of which are certainly non-Athenian. However, little has been said about who these people were, or why they chose to help the return. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 148-152 [Access article in PDF] Paul W. Ludwig. Eros and Polis: Desire and Community in Greek Political Theory. Cambridge: Cambridge University Press, 2002. xiv + 398 pp. Cloth, $65. This is a very ambitious and very important, but also importantly flawed, book. It issues from an excellent stable, the Committee on Social Thought at the University of Chicago, and admirably maintains that stable's (...) thoroughbred tradition of sophisticated interdisciplinarity and equally sophisticated interfacing between the ancient subject matter and the target contemporary readership. It aims not merely to interpret the ancient world but also to change the modern. It takes for its subject matter rival constructions of eros (unitalicized, since this is mostly not used as a mere transliteration of the Greek word): a sometimes deadly, sometimes fructifying, amalgam of altruistic and selfish passion, emotion, and reasonable calculation. The flaws lie not so much in the conception as in the execution. This is one of those books in which the whole is palpably less than the sum of its parts, some of which are quite exceptionally thoughtful and thought-provoking. It is partial, too, in that it selects its source texts very precisely and deliberately but neglects others that a less partial (in another sense) reader might have expected the author to tackle at comparable length and with comparable assiduity. It suffers, probably, from an overlong period of gestation. It would have benefited, certainly, from a Maxwell Perkins in the editorial cutting room.Eros is currently, if the pun may be permitted, a sexy topic in ancient or classical studies. Ludwig's own generally accurate listing of works cited (381-92—not, he stresses, xiii, a "bibliography") includes nearly a score of articles and books in the titles of which "eros" or "erotic" appears, one of them a translated article by Freud (Ludwig cites in all eight Freudian works, having no truck with feminist or other rejections of any or all versions of Freudian psychodynamic theory). To these could be added (exempli gratia) Louis A. Ruprecht, Jr.'s Symposia: Plato, the Erotic and Moral Value(which appeared early enough, in 1999, for Ludwig to have taken it into account) or Thomas F. Scanlon's Eros and Greek Athleticsand Victoria Wohl's Love Among the Ruins. The Erotics of Democracy(which did not—they were also published in 2002). It is odd, however, that Ludwig seems to have overlooked Wohl's 1999 article, "The Eros of Alcibiades," which treats a subject that Ludwig himself could hardly not treat, and unfortunate that he did, in that the article appears in revised form in Wohl's new book, the chief premise of which is that "the erotics of democracy is not merely a trope but a dense point of convergence within Athenian social relations and subjectivity."Both Plato's Symposiumand Greek athletics bulk large in Ludwig's account, the former understandably more so than the latter. Indeed, Ludwig begins with a minutely detailed account of—just one speech from—the Symposium, that attributed to "Aristophanes," to which he counterpoints the views that he thinks he can confidently attribute to the "real" Aristophanes, the author of the extant comedies (on which Ludwig concentrates especially, including Clouds, Wasps, and Birds; he promises to return to Lysistrataand Ecclesiazusae). Besides [End Page 148] Plato and Aristophanes, Ludwig's author of choice is Thucydides, at any rate the Thucydides of the Periclean Funeral Oration and of the account of the Athenians' "erotic" decision to go to war in and over Sicily in 415. As for Wohl's claim (above), Ludwig could not agree more. The devil, however, is in the details.And, this is a very detailed book indeed. Ludwig first defines what he means and understands by eros in a variety of subtle and acute ways. It is a "predicament to be experienced and perhaps ameliorated rather than a problem to be solved once and for all" (18); it "occurs in cases in which the desire, whether sexual or not, becomes obsessional" (13, my emphasis); and it was... (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

The Menexenus is also known as Plato's Epitaphios or Funeral Oration. The body of the work is a fictional funeral oration, composed as an example of what should be said at a public funeral for Athenians who have fallen in war. The oration is framed by an encounter between Socrates and a certain Menexenus, an eager young man who thinks he has reached the end of education and philosophy, but who is still rather young (...) to take an active party in the city's affairs. Nevertheless, he is anxious to follow in the tradition of his family, which has always provided someone to look after the Athenians . Menexenus' interest in public affairs has led him to attend a meeting of the Council at which a speaker was to be chosen to compose and deliver the funeral oration at the imminent public funeral. However, no final decision was reached at the meeting, and Menexenus remarks that by the time the choice is made, the speaker will have almost to improvise his speech. Socrates gently mocks Menexenus' respect for public orators, saying that speeches about a dead person follow a predictable pattern; a speaker exaggerates all a dead person's good points and minimizes all the bad, so that one who has died appears a paragon of virtue even if he was not really good for much. Socrates claims that listening to such public orations, when not only individuals but also the state is eulogized, always makes him feel that in living in Athens he is living in the Islands of the Blessed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Homeric Allusions at the Close of Thucydides' Sicilian NarrativeJune W. Allison.(Marcellinus Vita Thucydidis 37)When Thucydides composed his history, the inclusion of elements from epic was natural. Both the subjects and compositional techniques of epic were at home in this evolving genre.1 Herodotus' mighty prose epic, with its own debts to Homer, was the culmination of the process, successfully combining the mythic and epic with historical narrative.2 Thucydides' method, however, (...) was going to be different: the mythic was to be done away with and the epic made to serve the account of the most destructive war in historical memory.Thucydides in some places mentions Homer directly and in others makes artful allusions to Homeric epic.3 In his Archaeology he repeatedly [End Page 499] holds up the Trojan War as the first great naval expedition and records its failings. In his programmatic passages, moreover, Thucydides draws comparisons between Homer's methods and his own.4 Marcellinus, his biographer, reflects a tradition that attributed even individual features of Thucydides' style and language to Homer. Epic conventions abound: there are angry speeches between antagonists; there are catalogues of warriors, in particular, the fine example before the final battle at Syracuse (7.57–59); and there are splendid battle scenes, where individuals, such as Brasidas, are singled out.5 When Thucydides turns to compose the events of the Sicilian Expedition, he allows the reader to dwell on parallels between it and its ancestral expedition to Troy.6 The parallels with the Homeric poems on a thematic level are large and obvious: a monumental Greek naval expeditionary force travels far in order to besiege a city. The insistence in book 6 on heavy preparations for Sicily recalls Thucydides' criticism in book 1.9 of Agamemnon's effort. Unlike their poetic ancestors, who prolonged the siege because they had to spend valuable time gathering supplies by means of raids on nearby cities, the Athenians would take their necessities with them. Like the Iliad, the History has war as its pervading theme, but also like the Iliad, it is not simply about war; rather it is about the human motivations and reactions which that most dehumanizing phenomenon elicits. In depicting what is poignant Thucydides competes with Homer. He [End Page 500] does not fail to draw on the values of the Iliad to highlight his own narrative and to imbue his account with the powerful sensitivity to suffering found in both Homeric poems.My focus in these pages is Thucydides' use of Homeric words in his description of the final battle in the great harbor and the retreat of the Athenians from Sicily. In 1900 Smith collected some of these terms but made no claims for completeness: "A few terms and idioms borrowed from poetry and traceable directly or indirectly to Homer may give some idea of what might be found if one knew classical Greek usage thoroughly well and were perfectly familiar with Homer" (70).7 So it is not easy to pinpoint specific verbal allusions to Homer in the History. The historian may have used other works in the epic cycle or tragedies now lost that made use of epic.8 Moreover, the atmosphere of high poetry we encounter may result from the effect of a few words or even one word or a setting which will recall Homer without, however, alluding to a specific passage in the poems.9 The poetic influence upon prose was long and profound. Indeed, prose of the fifth century had not yet totally divorced itself from poetry. What I suggest here is that Thucydides created an atmosphere in the final chapters on the Sicilian disaster which derives its Homeric aura from a number of attributes, among these, words of epic coloring.In two places Thucydides seems to make conspicuous use of Homer: in the Funeral Oration, and at the end of book 7. The Funeral Oration deserves analysis, but because it is a formal, epideictic, state address over fallen warriors and is traditional (as Pericles says repeatedly), [End Page 501] it attracts epic forms, as it were, by nature. I shall concentrate on book 7, where Thucydides has employed Homeric echoes to enhance in... (shrink)

While the relationship between fathers and sons, real or metaphorical, is still a dominant paradigm among classicists, this paper considers the rival contribution of Roman sons-in-law to the processes of collaboration and succession. It discusses the tensions, constraints, and obligations that soceri – generi relationships involved, then claims a significant role for sons-in-law in literary production. A new category is proposed here: “son-in-law literature,” with texts offered as recompense for a wife or her dowry, or as substitute funeral orations. (...) Cicero and Tacitus are two authors for whom the relationship played a key role in shaping realities and fantasies of advancement. The idealized in-law bonds of De Amicitia, Brutus, and De Oratore are set against Cicero's intellectual aspirations and real-life dealings with a challenging son-in-law, while Tacitus' relationship to Agricola can be seen to affect both his historiographical discussions of father–son-in-law relationships and the lessons he drew from them about imperial succession. (shrink)

Aus-einander-setzung between Hermeneutics and Deconstruction and Gadamer's Concept of Solidarity This paper will analyze the debate between Gadamer and Derrida and Gadamer's concept of solidarity. The previous research literature focused only on their first debate, which could only lead to limited results, even though the exchange between these two philosophers continued after the first debate. In addition, Gadamer revised a large part of his speech, which caused the first debate with Derrida, for publication. In this way, the accentuation of concepts (...) and themes that Derrida found problematic in the published version differs considerably from that in Gadamer's real speech. For this reason, this paper will consider Gadamer's original manuscript, which is preserved in Deutsches Literatur Archiv in Marbach. My point is that in Derrida's funeral oration for Gadamer, Uninterrupted Dialogue, can be found some shared points of view between both philosophers, namely their interpretation of Paul Celan's poems. By means of their Celan interpretations, I will demonstrate that it is not good will that unites all human beings, but their existential fate to find death. Here we encounter the problem of solidarity in Gadamer's work, since in his interpretation of Celan he considers death (or mortality) to be the "ultimate solidarity" of human beings, whereas in his other texts he defines solidarity as a kind of friendship. Hence, Gadamer's understanding of solidarity is discussed in the last part of this paper. My argument is that the concept of solidarity and that of belonging are interconnected in Gadamer's texts and that in this point the concept of openness shows its fundamental role. (shrink)

Solon's cryptic injunction : "Call no man happy until dead" -- A mourning happiness : the Athenian funeral oration -- Difficult happiness : the case of tragedy -- Aristotle's hermeneutic of happiness : the first forgetting -- The trial narrative in Richardson's Pamela : suspending the hermeneutic of happiness -- Effects of the trial narrative on the concept of happiness -- Marriage plot -- The tragedies of sentimentalism -- Kantian ethics and the discourses of modernity -- Happiness in (...) revolution : erasing the political concept of happiness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Diseased Body Politic, Athenian Public Finance, and the Massacre at Mykalessos (Thucydides 7.27–29)Lisa KalletIn the midst of his account of the Sicilian expedition Thucydides pauses to describe the economic and financial effects of the Spartan fortification of Dekeleia in Attica in 413 (7.27–28); one result of signal importance for the empire was Athens' decision to abolish tribute, and in its place to levy a harbor tax, the eikostē. (...) Following this digression the historian relates an episode emblematic of the atrocity of war, the wholesale slaughter of the inhabitants of the defenseless Boiotian town of Mykalessos by 1,300 Thracian mercenaries. Most scholars would not adhere to Eduard Schwartz's view that the financial/economic digression has nothing to do with the representation of the Thracians' savagery;1 nevertheless, the two sections have tended to be examined separately, the former by historians of the Athenian empire and finance2 or by Thucydidean scholars looking at the passage historiographically but as distinct from 7.29,3 and the latter by Thucydidean scholars exploring its function in the History.4 There are, however, strong grounds for reading them together: in particular, a degree of detail in each not otherwise warranted by the narrative, a framing device, and the shared use of language common to the description of disease, all suggest that Thucydides was intentionally linking the two sections. By this linkage, I propose, Thucydides not only draws a connection between Athenian public finance and human suffering, but also develops themes central to the work as a whole, namely, those of moral responsibility, human nature, [End Page 223] the conflict between reason and passion, and the nexus of finances, leadership, and military power.First, the detail in both the fiscal digression and the episode at Mykalessos immediately stands out, given their placement within the Sicilian account, the most self–contained and focused part of the History.5 Much of the substance of 7.27–28 concerns a gradual process of fiscal and economic deterioration, yet Thucydides is prompted to embed a diachronic, thematic account in the context of an event utterly trivial to the expedition and the entire course of the war, namely, the tardy arrival of Thracian mercenaries in Athens and the decision to send them home. Moreover, shocking atrocity that the massacre at Mykalessos was, it was peripheral to the war, a minor event that could have been easily omitted, or relegated to a sentence. It is relevant to note in this connection the differing treatments of Skione and Melos. What happened in those places, in 422 and 416 respectively, was identical—a siege and subsequent massacre of the males and enslavement of the women and children—yet Thucydides relates the information about Skione as a passing mention in one sentence (5.32.1), whereas he devotes pages to Melos (5.84–116).The prominence given to the fiscal digression and to what happened at Mykalessos, through such detailed narrative and especially the juxtaposition of the two sections, is in itself a sign that Thucydides intended a larger significance—through their interrelation—to be accorded to these events. The comparative example of Melos is again relevant, for its significance lies partly in its juxtaposition to the Sicilian books (which would explain why Thucydides chose to highlight it, rather than the identical case of Skione's treatment), as is similarly the case with the juxtaposition of the Funeral Oration and the plague (and Perikles' last speech).Thucydides constructs a second link between the two sections by using the subject of the Thracian mercenaries as a framing device for his digression on the economic effects of Dekeleia: in 27.1–2, the Thracians arrive in Athens too late for the expedition for which they had been intended, that of reinforcing the army in Sicily. The Athenians, Thucydides continues, decided to send them home, because "to keep them for the Dekeleian War seemed very costly; for each received a drachma a day" ( [End Page 224] ).6 Yet rather than immediately return to Sicilian events, or continue with the Thracian narrative, he instead undertakes a lengthy analysis of what was a gradual process of fiscal deterioration that could have... (shrink)

"Michael Psellos was the 'Cicero of Byzantium,' except that his interests were more wide-ranging than those of his Roman predecessor. In addition to being a politician, poet, and writer of letters, speeches, and treatises on philosophy and rhetoric, he was an innovative historian and a practical educator who interested himself in all aspects of learning, from mathematics and medicine to theurgy. Before now, only his 'Chronographia' has been at all well known. Anthony Kaldellis has done a great service in making (...) accessible a collection of texts bearing upon personal familial relationships, of which we know so little in Byzantium. His translations read well, are accurate, and reflect Psellos' literary subtlety. His commentaries are scholarly and give vital information for the better understanding of this facet of Byzantine society." —_Antony R. Littlewood, University of Western Ontario_ “Anthony Kaldellis is a skilled and gifted translator, one of the best I have ever encountered. I am very excited that we will have access to Psellos’ two important encomia of his mother and daughter in an accurate and readable translation, so that more scholars and students will be able to read these works which offer such fascinating insights into family life in eleventh-century Byzantium. This book will be an excellent lead-off volume in the Psellos series, and make scholars anxious for the subsequent volumes to appear.” —_Alice-Mary Talbot, Director, Byzantine Studies, Dumbarton Oaks_ _Mothers and Sons, Fathers and Daughters_ makes available for the first time complete English translations from the works of Michael Psellos, a key philosopher of the Byzantine Empire. This book contains the works that Psellos wrote about his family, including a long funeral oration for his mother that features unique recollections from a childhood spent in Constantinople; a funeral oration for his young daughter Styliane, which includes a detailed description of her physical appearance and a moving account of her illness and death; a legal work pertaining to the engagement of his second, adopted, daughter; and various letters and other works that relate to the private life of this Byzantine family. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Diseased Body Politic, Athenian Public Finance, and the Massacre at Mykalessos (Thucydides 7.27–29)Lisa KalletIn the midst of his account of the Sicilian expedition Thucydides pauses to describe the economic and financial effects of the Spartan fortification of Dekeleia in Attica in 413 (7.27–28); one result of signal importance for the empire was Athens' decision to abolish tribute, and in its place to levy a harbor tax, the eikostē. (...) Following this digression the historian relates an episode emblematic of the atrocity of war, the wholesale slaughter of the inhabitants of the defenseless Boiotian town of Mykalessos by 1,300 Thracian mercenaries. Most scholars would not adhere to Eduard Schwartz's view that the financial/economic digression has nothing to do with the representation of the Thracians' savagery;1 nevertheless, the two sections have tended to be examined separately, the former by historians of the Athenian empire and finance2 or by Thucydidean scholars looking at the passage historiographically but as distinct from 7.29,3 and the latter by Thucydidean scholars exploring its function in the History.4 There are, however, strong grounds for reading them together: in particular, a degree of detail in each not otherwise warranted by the narrative, a framing device, and the shared use of language common to the description of disease, all suggest that Thucydides was intentionally linking the two sections. By this linkage, I propose, Thucydides not only draws a connection between Athenian public finance and human suffering, but also develops themes central to the work as a whole, namely, those of moral responsibility, human nature, [End Page 223] the conflict between reason and passion, and the nexus of finances, leadership, and military power.First, the detail in both the fiscal digression and the episode at Mykalessos immediately stands out, given their placement within the Sicilian account, the most self–contained and focused part of the History.5 Much of the substance of 7.27–28 concerns a gradual process of fiscal and economic deterioration, yet Thucydides is prompted to embed a diachronic, thematic account in the context of an event utterly trivial to the expedition and the entire course of the war, namely, the tardy arrival of Thracian mercenaries in Athens and the decision to send them home. Moreover, shocking atrocity that the massacre at Mykalessos was, it was peripheral to the war, a minor event that could have been easily omitted, or relegated to a sentence. It is relevant to note in this connection the differing treatments of Skione and Melos. What happened in those places, in 422 and 416 respectively, was identical—a siege and subsequent massacre of the males and enslavement of the women and children—yet Thucydides relates the information about Skione as a passing mention in one sentence (5.32.1), whereas he devotes pages to Melos (5.84–116).The prominence given to the fiscal digression and to what happened at Mykalessos, through such detailed narrative and especially the juxtaposition of the two sections, is in itself a sign that Thucydides intended a larger significance—through their interrelation—to be accorded to these events. The comparative example of Melos is again relevant, for its significance lies partly in its juxtaposition to the Sicilian books (which would explain why Thucydides chose to highlight it, rather than the identical case of Skione's treatment), as is similarly the case with the juxtaposition of the Funeral Oration and the plague (and Perikles' last speech).Thucydides constructs a second link between the two sections by using the subject of the Thracian mercenaries as a framing device for his digression on the economic effects of Dekeleia: in 27.1–2, the Thracians arrive in Athens too late for the expedition for which they had been intended, that of reinforcing the army in Sicily. The Athenians, Thucydides continues, decided to send them home, because "to keep them for the Dekeleian War seemed very costly; for each received a drachma a day" ( [End Page 224] ).6 Yet rather than immediately return to Sicilian events, or continue with the Thracian narrative, he instead undertakes a lengthy analysis of what was a gradual process of fiscal deterioration that could have... (shrink)

Laughing with the Dead «Only one boy was capable of laughing while Derossi was declaiming the funeral oration of the king, and Franti laughed.» We must be aware of this: our remembrance of Umberto Eco risks bringing back Franti, who laughed at the funeral of another Umberto, killed in Monza by Gaetano Bresci. Of course, it’s not exactly the same thing, because Franti was laughing at the dead man, or at least at the obsequies, and maybe at (...) Derossi and his way of expressing them, while we are t... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2003) 289-290 [Access article in PDF] Monoson, S. Sara. Plato's Democratic Entanglements: Athenian Politics and the Practice of Philosophy. Princeton: Princeton University Press, 2000. Pp. 256. Cloth, $39.50. Sara Monoson is that rare exception to the rule that political theorists cannot sustain the interest of political philosophers: her training in ancient history and classical Greek gives her treatment of Plato's complicated relationship (...) to democracy a depth and richness that will repay the efforts of the most exacting of critics. The book under review has much to offer philosophers as well as historians of philosophy. Notably, Monoson answers the question, "What is democracy?" with attention to a whole constellation of "cultural practices and normative imagery" (237) constitutive of the Athenian polis, on which the narrow conception of democracy qua system of government depends. The experience of festival participation, including processions, theater, and funeral orations; multifarious opposition to tyranny; and parrhe sia, frank speech, were practices that contributed to the Athenian citizen's confidence and expectation that he should and could participate actively in the governing of his polis. One of Monoson's implicit arguments is that Platonic political philosophy is inextricably bound up with its context; thus, when we excise a Platonic "position" or argument and test its soundness, we are doing philosophy, not the history of philosophy.Monoson details the democratic practices and images that are woven into the dialogues, and she features passages others have neglected or treated as anomalous (e.g., Statesman 303a-d, Letter 7 342d), arguing convincingly that it is an unfair oversimplification to view Plato as anti-democratic, or indeed as a doctrinaire writer in any sense (133-137). Thus she does not describe Plato as simple-mindedly pro-democratic either. Rather, she does an impressive job of demonstrating just how very deeply ambivalence toward democracy runs in the dialogues, most markedly in the Republic and Gorgias,but even in the Laws. Plato was as attracted to democracy as he was wary of it, as committed to its institutions as he was apprehensive of their untoward effects.The parts of Monoson's book devoted to theater participation, frank speech, and opposition to tyranny—in relation to democracy and in Plato—are especially fine and contain a wealth of evidence that withstands scrutiny admirably. Her treatment of the funeral oration, including an interpretation of Plato's Menexenus, is less successful, but because her thesis is demonstrated without it, I need not digress from the book's virtues. Monoson's historical sections on the tyrannicides, the early Academy, and Plato's Sicilian involvement are lucid and compelling. All along in this book, one notes passages that serendipitously bear on contemporary debates and on widely shared—but controversial—interpretations of the dialogues. To take but one example from [End Page 289] what I think of as the centerpiece of the book on the realizability of the Republic's ideal city (130-133), consider the well known and variously interpreted passage suggesting how to realize the ideal the "quick and easy way": send away everyone over ten, and let the philosophers educate the remaining children (541a). The conclusion and crux of Monoson's thoughtful reply is, "I suggest we see in this passage an indication that Plato acknowledged that all governing regimes can be supported or unsettled by cultural formations. He is deeply involved here with the question of how it is that a person or people can imagine themselves out of a dominant discourse." (I should add that the book is remarkably free of jargon.) Although Monoson has given us so much so well, I am greedy to know what she makes of democracy in the Protagoras,how she views the success of sycophants after the Peloponnesian War, and how she would incorporate deme politics into her account.The deficiencies of the work as a whole are few and minor: the sole structural weakness of this excellent book is that Monoson sometimes cites, instead of evidence or argument, the judgments of others whose work... (shrink)

This paper examines C.L.R James’s interpretation of Athenian democracy in “Every Cook Can Govern” (1956). It seeks to explain why Athenian democracy remained indispensable to James’s political thought. I argue that James reinterprets Athens as a proto-workers’ state, and explore the resulting contradictions and complexities. Within “Every Cook Can Govern” James presents a radical interpretation of Athenian Democracy at three points: (1) James claims that slavery in Athens was humane and economically insignificant, (2) he supports the theory of the “Athenian (...) Miracle” found in Pericles’s Funeral Oration, and (3) he chooses to end his essay with a misleading interpretation of the anti-tyranny oath of Demophantos. James idealizes Athenian political realities, and ultimately invents his own version of Athens. But his idealization arose from principled skepticism regarding mainstream views of Athenian democracy and his political commitment to defending the capabilities of the ordinary person. (shrink)

This paper reads Sophocles' " Antigone " contextually, as an exploration of the politics of lamentation and larger conflicts these stand for. Antigone defies Creon's sovereign decree that her brother Polynices, who attacked the city with a foreign army and died in battle, be dishonoured - left unburied. But the play is not about Polynices' treason. It explores the clash in 5th century Athens between Homeric/elite and democratic mourning practices. The former memorialize the unique individuality of the dead, focus on (...) the family's loss and bereavement and call for vengeance. The latter memorialize the dead's contribution to the immortal polis and emphasize the replaceability of those lost. Each economy of mourning sees the other as excessive and politically unstable. The remainders of both, managed by way of exception institutions such as tragedy and the Dionysian Festival, continue to haunt us now. (shrink)

In this essay, I propose a reading of two contrasting passions, two kinds of erōs, in the "Symposium." On the one hand, there is the imperialistic desire for conquering and possessing that Alcibiades represents; and on the other hand, there is the productive love of immortal wisdom that Diotima represents. It’s not just what Alcibiades says in the Symposium, but also what he symbolizes. Alcibiades gives a speech in honor of Socrates and of his unrequited love for him, but even (...) here Alcibiades recounts his attempted seduction of Socrates as a failed conquest, as an unsuccessful attempt to violently take possession of something that Socrates has within him. Even more importantly, in 416 BCE (the dramatic date of Agathon’s symposium) Alcibiades was soon to encourage his fellow countrymen to set off on the ruinous Sicilian expedition. Alcibiades’s actions behind-the-scenes of the "Symposium" reveal the clearest manifestation of his imperialistic erōs (for political power in Athens). They also constitute some necessary background to the dialogue, which Plato’s Athenian readers would have had in mind. Where else can we catch a glimpse of this disastrous desire? It is best illustrated in Thucydides’s "History." I show that the beginnings of this political passion can already be seen in Pericles’s funeral oration (2.35-46, specifically 2.43.1) and that after Pericles’s death, Alcibiades stokes this erōs to such a fevered pitch that the Athenians agree to launch the tragic venture against Sicily. Opposed to this political passion, is Diotima’s. She tries to reorient this misguided erōs and presents an alternative form of desire for everlasting wisdom (philosophia). (shrink)

A democratic polis requires a citizenry that is capable of choice, that is, a decision informed by reason and facts. Tyranny requires obedient subjects. Democratic citizens normally pursue happiness, a life of virtuous activity, a way of living that requires family and friendship. Periclean Athens demonstrates the perils of democracy when the polis assumes the prerogatives of the family and friendship, substituting patriotism. The Funeral Oration illustrates how a seductive charismatic leader undermines Aristotelian conditions of ideal citizenship by (...) subordinating the citizen to the polis. (shrink)

The primary aim of this important study is to produce a reliable account of Peter Martyr’s life before he left Italy in 1542. Earlier biographers had been content to follow the Swiss Calvinist Josiah Simler, who knew Peter Martyr in later years, delivered his funeral oration and published it in 1563. Dr McNair has tried ‘to delve beneath Simler to contemporary records’. He has discovered, for example, that Peter Martyr was born in 1499 not, as is usually said, (...) in 1500. He has been concerned to find out when Peter Martyr left his order and his Church, suggesting that there is little reason to believe that his apostasy began in his years at the University of Padua, 1518-26; it was in Naples, between 1537 and 1540, when he came to know Juan de Valdés, that Peter Martyr’s conversion took place. ‘He arrived a reformer after the order of Ximénez, he left a reformer after the order of Zwingli’, writes Dr McNair, meaning by this the Zwingli of the years immediately before 1523, when he wished to go further than Erasmus but not so far as Luther. (shrink)

This essay explores an aspect of Cicero's use of cultural writing for political ends: his employment of the epideictic rhetorical mode in two of his speeches, Pro Archia and In Pisonem. The epideictic is a ludic rhetorical domain that embraces paradoxes: it encompasses both praise and blame, is both markedly Greek and proximate to the Romans' laudatio funebris, and is associated both with textual fixity and viva voce improvisation. The epideictic mode is thus an ideal vehicle for Cicero's self-fashioning and, (...) moreover, constitutes a framework which reveals that Cicero's encomiastic defense of Archias' Roman citizenship and his invective against his aristocratic nemesis Piso are polar and complementary opposites. The self-consciously literary quality of epideictic allows Cicero to transform the Pro Archia from a legal defense to a general meditation on literary culture in which Cicero blurs himself with his client to defend his own status within Rome's elite while fixing his version of his consulate in ornate prose. The Pro Archia simultaneously becomes a simulacrum of the poem which Cicero hopes Archias will write and Cicero's own pre-mortem funeral oration. Yet the Pro Archia's suppressed legal arguments pregure the eventual failure of his immediate self-fashioning aims. The In Pisonem's invective inverts the Pro Archia's self-fashioning strategies in order to debunk Piso's image and to recuperate Cicero's own prestige at the expense of Piso's. The In Pisonem has the same long-range cultural ambitions as the Pro Archia, but without the previous speech's hopes for tangible short-term success. Faced with his inability to cause Piso real political damage, Cicero crafts an ornately polished caricature of Piso designed to achieve canonical longevity. Cicero's reception by the orators of Seneca's Suasoriae and Controversiae gives evidence of the successes, and limitations, of these long-term cultural goals. (shrink)

Plato targets the encomiastic genre in three separate dialogues: the Lysis, the Menexenus and the Symposium. Many studies have been devoted to Plato's handling of the funeral oration in the Menexenus. Plato's critique of the encomium in the Lysis and Symposium, however, has not been accorded the same kind of treatment. Yet both of these dialogues go beyond the Menexenus in exploring the opposition between encomiastic and philosophic discourse. In the Lysis, I will argue, Plato sets up encomiastic (...) rhetoric as a foil for Socrates' dialectical method; philosophic discourse is both defined and legitimated by way of its opposition to eulogy. In the Symposium, Plato offers a much more complex critique. First, he illustrates and comments on the vices that inhere in the encomiastic genre. Second, he juxtaposes Socrates' ironic ‘praises’ of his interlocutors with traditional encomiastic discourse, thus inviting the reader to explore the relation between Socratic irony and the rhetoric of eulogy . And, third, the Symposium exhibits two untraditional ‘encomia’ – Socrates' eulogy for Eros and Alcibiades' for Socrates – that illustrate and interrogate the false ontology underlying the rhetoric of praise. (shrink)

The arguments advanced in this paper suggest that the Menexenus ought to be read as a pendent to the Gorgias and as an example of the way in which rhetoric that engages in flattery can harm the souls of its audience. The Menexenus was composed by Plato to illustrate precisely what sentiments ought to be avoided in public oratory, if the primary concern of speech-making is to benefit the lives of citizens. In addition to demonstrating the connections between the Menexenus (...) and Gorgias, a portion of the paper examines the relation between Plato and Thucydides, arguing that there is perhaps more of an affinity between Plato and Thucydides than has previously been acknowledged. Pericles’ Funeral Oration and the speech in the Menexenus suggest that both Thucydides and Plato were deeply concerned with the negative effects of oratory on the political community. (shrink)

This article attempts to gather the evidence for panhellenism in the fifth century B.C. and to trace its development both as a political program and as a popular ideology. Panhellenism is here defined as the idea that the various Greek city-states could solve their political disputes and simultaneously enrich themselves by uniting in common cause and conquering all or part of the Persian empire. An attempt is made to trace the evidence for panhellenism throughout the fifth century by combining different (...) kinds of evidence: that is, both poetic and historical texts, as well as the testimonia for monuments which are no longer extant. Any thought of a panhellenic crusade was impossible before the Persian invasions, but such an expedition, under the dual leadership of Athens and Sparta, was espoused by Cimon. After his death it remained an item of popular talk for the rest of the century and this talk intensified during the second half of the Peloponnesian War. The paper has six parts: the first finds hints of panhellenist ideology in the fragments of Simonides' Plataea elegy and in Aeschylus' Persians. The second part attempts to explain several puzzling passages in Herodotus in terms of his reflecting contemporary panhellenist discourse, especially in his account of Aristagoras of Miletus at Sparta. Part three reconstructs Cimon' s belief in dual hegemony and his plans for a joint Athenian-Spartan expedition against the Persian empire. Part four connects an anecdote about Miltiades with the Cimonian monuments and argues that the artistic program of the Stoa Poikile was intended to support Cimon's panhellenist aspirations. Part five discusses panhellenist sentiments in late fifth-century Greek poetry, and dates the Olympic Oration and Funeral Oration of Gorgias to the period 408-405 B.C., Finally, part six relates the panhellenist writings of Isocrates to earlier developments. (shrink)

This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the (...) theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality and marginality of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status embodies the social position of other “marginal” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings. (shrink)

An anonymous oration, praising the emperor Manuel II Palaiologos, has been recently published by Ch. Dendrinos, who treats it as a funeral oration. However, it is evident that the emperor was still alive at the time of the composition of that text, so we can safely assume that it was intended as a an encomium of the ruling emperor, and it was written some time after the death of the emperor's nephew John VII Palaiologos (1408). On the (...) basis of some textual parallels between that anonymous text and the works of Makarios we put forward the hypothesis that the text published by Dendrinos was written by Makres himself. Finally an anonymous text praising Manuel II Palaiologos, attributed to Isidore of Kiev by G. Mercati, is published for the first time. That piece of oratory was composed shortly after Manuel's return from the West (1403). (shrink)

It is a commonplace to observe that the idea of natural law has polarised contemporary legal philosophy; jurists who are not for it are against it. More than once in its long history, going back to the very origins of philosophy in Western Europe, the natural law has been in eclipse, but it has invariably survived and, as one of its severest critics, Bergbohm, was forced to admit, the funeral orations pronounced over it have proved to be premature. In (...) the nineteenth century Benthamite utilitarianism, Comtist positivism and the historical jurisprudence of von Savigny made a lean period for the natural law. But the twentieth century saw the revival. In 1910 appeared J. Charmont’s Renaissance du droit nature!; the 1920’s saw the first of Jacques Leclercq’s Lefons de droit nature!; in 1930 Charles Grove Haines studied the natural law in contemporary jurisprudence in The Revival of Natural Law Concepts; and in 1936 appeared the first edition of Heinrich Rommen’s Die ewige Wiederkehr des Naturrechts. The movement towards the natural law, of which these books are only some of the indications, was greatly accelerated when men discovered the need for a defence against the excesses of totalitarian power; and, after the war, the Nuremberg trials proceeded upon what amounted to a basis of natural law. Not all, of course, are prepared to admit that the natural law is the only alternative to positivism and relativism in legal philosophy or even that the concept possesses vitality: the contemporary interest in the natural law, Norberto Bobbio has observed rather sourly, is rather like the interest of anatomists in a cadaver. (shrink)