Literary Quotation and Allusion in Lucian 9780231885720

Table of contents :
Preface
Table of Contents
Introduction
Table of Allusions
Appendix I. Tables
Appendix II. Analysis of Tables
Appendix III, Lucian’s Education
Bibliography

Citation preview

Literary Quotation and Allusion in Lucian

LITERARY QUOTATION AND ALLUSION IN LUCIAN

BY FRED WALTER HOUSEHOLDER, JR.

gb KING S C R O W N PRESS MORNINGSIDE HEIGHTS • NEW Y O R K

1941

Copyright

1941 by

FRED WALTER H O U S E H O L D E R ,

JR.

PRINTED IN THE UNITED S T A T E S OF AMERICA Z4-Staff, Napco-200

King's Croun Pre33 Is a division of Columbia University Press organized for the purpose of making certain scholarly material available at minimum cost. Toward that end, the publishers have adopted every reasonable economy except format. The work Is such as would Interfere with a legible presented substantially as submitted by the author, without the usual editorial attention of Columbia University Press.

D. M. Same 1 E l i o t B a s s e t t Praeceptorls

(Medissimi S.

PREFACE

I ulsh to express here my tratitude to Professor LaPue Van Book, at whose auéiestlon I undertook this study; to Professors Moses Badas, Clinton v. Keyes, Kurt von Fritz and Gilbert fllghet for encouragement and advice; to my wife for assistance in reading the proofs.

TABLE

Introduction

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OP CONTENTS

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xi

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41

Luclan, . .

41

Index of Quotations, Allusions and Reminiscences Appendix I , Tables

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.

.

.

1.

Sources of Quotation, Allusion In Order of Frequency .

la.

Sources

2.

The Distribution

3.

Length

4.

Chronological

5.

Authors

of

Quotation

of

.

.

Quotation Table

by Literary

In .

In Fourteen

Authors

.

of Direct

.

Quotation

Related

1

or Reminiscence . . .

or Allusion

Date .

Imperial

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.

.

.

In Luclan's

.

.

Type and In Order

.

Prose

to Type of Quotation

of Authors

of

. .

In Luclan

.

6.

Fragments

of Greek Authors

Found Only

7.

Fragments

of Greek Authors

Found Only In Pseudo-Luclanlc

Appendix II, Tables

Analysis I,

la,

of Tables

V

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52

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- 5 3

.

- 5 4

Vorks .

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46 - 5 1

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of Freouency

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.

.

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44

Vorks

55 56

.

- 5 6 66

Table

II

Table

III

68

Table

IV

70

Tables

VI,

Appendix III,

71

VII Lucian's

Education

The gncycltc

Training

The gvldence

for

Music

.

Luclan's

.

.

. Study

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Bibliography

of Luclan's .

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Educational .

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72

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72

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75

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76 76 77 79 80 84 85 90

of

Art Mathematics . . . . Philosophy . . . . . Medicine and law . . . . Grammar 1. Sketch of the Subject . 2. Lucian's Study . . Rhetoric 1. Sketch of the Subject . 2. Lucian's Study . . Reconstruction

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Career .

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94 98

INTRODUCTION In this dissertation my first aim is to provide a convenient index of passages in which Lucian quotes fro«, alludes to, or borrows expressions and thoughts fro« Greek literature. This can, I hope, be profitably used by students of Lucian, of literary criticise, and of Greek literature. To this index is appended a series of tables analyzing various aspects of Lucian's use of quotation and allusion. In the pages which follow are presented some of the conclusions which may be drawn fro« these tables, in particular as to the reading of classical literature in Lucian's education. Finally, in order to present a more complete picture, I have considered the scope and character of second century education and of Lucian's education in particular, concluding with a brief hypothetical reconstruction of his earlier years. I wish here to express «y debt to «y predecessors, particularly to the index of Scriptores Laudati found in the He«sterhuis-Reitz edition of Lucian, to Branbs,1 and to Ziegeler.1 This dissertation is not designed to supplant the work of those two. For a general introduction to Lucian and various Lucianic problems, I found Gallavotti most helpful and suggestive, while for real understanding of Lucian's character and thought Caster cannot be too highly recommended. While I do not intend to disparage the work of the earlier critics, particularly Helm and Croiset, their treatments may often be misleading, usually because of misplaced emphasis or preconceived notions. Six works in the Lucianic corpus are rejected as certainly spurious on external and objective grounds—Phtlopatris, Balcyon, Charidemus, Hero, Ocypus and at least some of the gpiéra»is. Internal evidence against three others— Astnus, Denosthenls gncomiun, Añores—«akes their genuineness extremely doubtful, although they have found defenders. I treat the other dub ta as genuine, first because the evidence against them is most inconclusive, and second because they are of such little consequence that the conclusions of this dissertation would be in no way affected by them. The material here indexed is divided into three classes: quotation, which includes also close paraphrase and parody; allusion, which includes all recognizable references to passages or works of any author; and reminiscence, by which is meant the use of statements, opinions, words, phrases, or other matter which may be confidently supposed to be derived from a particular writer. A prefixed letter q, a, or r, indicates the class. 1~ Branbs deals only with poetic quotations. He discusses Lucian's style. His reasons for quoting, formulates principles of interpretation and textual criticism based on Lucian's usage in quoting, and finally classifies and studies the quotations themselves. 2. Ziegeler discusses Lucian's criticisms of poets, lists the passages quoted, studies his imitations of poets, and gives an index of quotations from Homer. He is neither so accurate nor so thorough as Brambs.

xii

LITERARY QUOTATION AND ALLUSION

The best classification of a passage is often difficult to determine, especially as Lucian frequently mingles direct quotation vfith loose paraphrase. Therefore some passages indexed as quotation will have paraphrases of nearby lines in the inaediate context. If the passage listed is either the only source or the chief one of a fragment or vestigium of some author, that fact is indicated by the sign #. Wherever Lucian's words may be interpreted as casting some light on his opinion of a writer, they are either translated or summarized. Purely personal references to writers are omitted; they may be found in the index of any complete edition. In this paper I have made no study of proverbs, which Lucian uses freely. For these the reader may consult the dissertation of Rein listed in the bibliography.5 The abbreviations used are in general those of the new Liddell-ScottJones lexicon. Others, it is hoped, are self-explanatory. The volume and page references to Lucian's works are to the Hemsterhuis-Reitz edition; these numbers are found in the margin of the Teubner edition. In referring to ancient works pseudepigraphs are not distinguished unless real misunderstanding might result.

3. This work is unfortunately very difficult to obtain.

TABLE OP ALLUSIONS

ACHAHJS TRAGICUS q #Fr. 44 N.

Laps. 6. I 732

AIMEnJS (An otherwise unknown poet of the second century A.D.) q IPreger 46. Demon.44. I I 389 AESCHINES ORATOR a

I

(contra

Tlmarch.)

Apol.7.

I

714

Ind. 27. I l l 122 II

( d e Falsa

Leiat.)1

Par.

56. I I

879

The references to Aeschines in Rh.Pr. 10 and Somn. 12 suggest that Lucian thought well of his oratory. r

III

( i n Cteslph.)

244,

Par.42. I I 866 Par.42. I I 866

253.

I l l 171-2. AESCHINES SOCRATISUS a jfAspasla, vest.13 (Krauss).

Im.17. I I 476 Par.32. I I 867

glltlades.

AESCHYLUS q Myrmidons,

fr.

Am.54. I I 457 Dem.Enc.13. I l l 501

13G N .

Htobe. fr.162 N;, 1-2.

r

Prometheus Vlrctus, the opening scene.

Proa.

I 185-204

Septem, 151,160; the rare words S-roßoc xal x. f»r. 2 2 - 4 , 124-156, 174-6 , 2 9 2 - 7 , 3 0 9 - 1 2 , 4 4 2 5 , 4 7 8 - 9 , Herodlan, etc. Q u i n t . I 4.17, 7.1-9, D.Thr. 7 - 1 0 , Sch.D.Thr. 4 8 - 5 6 , 2 0 4 - 1 1 , 2 4 4 - 5 2 , 5 0 8 - 1 2 , Sextus 6.121-41, D.Hal. C.r. 15. Not q u i t e the same as our list. S e x t u s 7 . 1 4 2 - 5 8 , 8 . 1 5 9 - 6 8 , D.Thr. 112 0 , Sch.D.Thr. 56-106, 211-92, 3 5 2 - 4 4 2 , 512-65, D . H a l . C. T. 2 , P h l l o Confr. 2 6 . 1 4 8 - 5 0 , Quint. I 4.17-29. P h l l o Congr. 26.149, lists six. W o r d - p u n c t u a t i o n (hyphen, a p o s t r o p h e , d i a s t o l e ) is u s u a l l y treated as part o f p r o s o d y , but cf. An.Ox. 4 . 3 0 9 - 1 0 . F o r s e n t e n c e - p u n c t u a t i o n (the t h r e e p o i n t s ) see a l s o D.Thr. 4 .

110. Sufipl. D . T h r . Ill, Sextus 8 . 1 5 9 - 6 8 , the a n c i e n t m e t r i c i a n s generally. 111. to.Ox. 4 . 3 1 3 - 5 , Sch.D.Thr. 450-2« lie. S e x t u s 9.169-75, 10. 176-213, Sch.D.Thr. 4 6 3 - 6 , 4 4 7 , 4 5 0 , Q u i n t . I 5 . 5 - 3 3 , Anon. ap. V a l c k e n a e r 191-2, 193-7. 113. Or p e r h a p s more e x a c t l y p r o n u n c i a t i o n . But the g r a m m a r i a n s r e g u l a r l y confound speech and writing. 114. A l s o treated under analogy. 115. The v i r t u e is x u p i o X o f i a , the v i c e axupoXoyCix. V a l c k . 197, T r y p h o III 191 Sp. , Sch.D.Thr. 4 4 6 , 456. 116. One should avoid ^¿vai x£^etc or aXXo^uXok. x£(;cic or YXUKJOUI. The verb ^ e v i ^ u is used with reference to this fault, but a p p a r e n t l y not the noun Sevicriioc. Valck. 192, Sch.D.Thr. 447, tn.Ox. 4 . 3 1 5 . 117. Or " t e c h n i c a l . " tn.Ox. 4.311, Sch.D.Thr. 10, 123, 164, Quint. I 6 - 1 (ratio), A p o l l . Synt. 11 4 9 ( l i e Bekker). 118.

A p p l i e d c h i e f l y to inflexion and o r t h o g r a p h y . 2 7 , S e x t u s 10-176-240, D . T h r . 1, Sch.D.Thr. 15, 471.

tn.Ox. 4 . 3 3 1 , Quint. I 6 . 1 168-9, '303, 309, 446, 4 5 3 - 4 ,

119.

A v o w e d l y u n s c i e n t i f i c . Sch.D.Thr. 4 7 0 . 3 4 - 6 says, "Every g r a m m a r i a n should d e v i s e e t y m o l o g i e s in w h a t e v e r w a y his p e r c e p t i o n of the m e a n i n g of a word in a given context inclines him to a p a r t i c u l a r p u r p o s e . " The trad i t i o n is not dead; a recent text for beginners in G r e e k d e r i v e s E n g l i s h

82

LITERARY QUOTATION AND ALLUSION

ancient and current,120 of dialect comparison,121 and the metrical usage of the poets. 122 The subject of correctness in continued speech is treated twice by grammarians. If the irregularity is thought to be ornamental, it is the figure aXXoiwrtc, otherwise it is a solecism. The subdivision is the same for both. 123 Your words must be correct in number, order and syntax. Only two of the tools are used here; analogy and usage. So much for the technical side of grammar. The most important part of Ypa(i(i.at txfj for education was certainly the instruction in reading. This, with the elements, forms the whole of the subject in the outline of Dionysius Thrax. As there are three principal ways in which one may read, namely for effect, for understanding, and for criticism, so this half of grammar has three corresponding divisions. In reading aloud for effect there are three considerations; first,- one must pronounce correctly, to give the intended sound,124 second, one must make correct pauses and inflections of voice, to bring out the intended meaning,125 third, one must use the proper pitch, tempo, and intensity to produce the intended emotional effect.12* It is well to remember that reading was taught in this way, and that ancient literature was normally designed to appeal to the ear, not the eye.127 In reading for understanding we often need help, and the exegetical part of grammar fills that need.12® Exegesis may be divided in much the same way as Hellenism. One part is concerned with single words, first those properly asphalt from G r e e k acnpaXlic. Safe roads have a s p h a l t surfaces, no d o u b t . An.Ox. 331, O u i n t . I 6 . 2 8 - 3 8 , S e x t u s 11.241-7, D . T h r . 1, Sch.D.Thr. 14-5, 1 6 8 9, 302-3, 309, 454, 4 7 0 - 1 . 120.

121.

The general term is xp*i ot C* T h e test by ancient u s a g e is s o m e t i m e s called toTopia (not to be c o n f u s e d with the s i m i l a r l y named branch of e x e g e s i s ) , current usage s o m e t i m e s cruvi^Oeia. T h e test serves to d e t e r m i n e m e a n i n g or s p e l l i n g . Prom Sextus 10. 176-240, Sch.D.Thr. 4 7 1 we see that most g r a m m a r i a n s d i s t r u s t e d current u s a g e . A p o l l o n i u s , however, often a p p e a l s to it. Sch.D.Thr. 10, 123, 164, 168-9, 446, 454, 455, 470, A n o n . Sp. Ill 228, Q u i n t . I 6 . 4 2 - 5 , An .Ox. 4.311, 315, 331, A p o l l . Synt. I 60, de Pron. 2 8 (Bekker). Cf. the d i s c u s s i o n s o f Uhlig and S c h n e i d e r , GraMt.Gr. II 2.v-vi, 45 note, II 3 . 1 4 1 . To yXaxTOTina'cixov o p y a v o v , 14,

123,

164,

169,

454,

f| B i a X e x T o c .

An.Ox. 4.311,

315, 331,

Sch.D.Thr. 10,

470.

122.

An.Ox. 4.311, 315, Sch.D.Thr. 10, 123, 164, 4 5 4 - 5 . The last-named p a s s a g e adds a n u m b e r of s p e c i a l tools for use in e x e g e s i s , some o f w h i c h are noteworthy.

123.

V a l c k . 192-3, 197-204, Sch.D.Thr. 446-7, 85-90, P s . - P l u t . Homer. 41-64.

A p o l l . Synt. I 1-29, A n o n . S p .

124.

'Avayvmoic x a x a 7tpoa6 iav.

D . T h r . 2,

Sch.D.Thr. 16,

125.

'Avayvwaic

x