Alan Douglas Edward Cameron and P. J. Parsons
Anthropology and the classics currently enjoy a fairly good relationship, but one which has never been stable. In the 19th cent. the interest of evolutionary anthropology in a ‘savage’ period through which all societies must pass meant that studies of contemporary simple societies began to be used to illuminate the classical past. After the First World War, classicists reacted against what were perceived as the excesses of the work of Jane Harrison and the Cambridge school, in which it was claimed that knowledge of ‘things primitive’ gave a better understanding of the Greeks. Meanwhile, in social anthropology, the rise of the static structural-functional paradigm and an insistence on an identity as ‘the science of fieldwork’ combined to cause a rejection of history. In the last 50 years, the divorce between the subjects has been eroded from both sides, with comparative studies increasingly valued as enabling us to escape from our intellectual heritage and the specific—though, to us, self-evident—ways it has formulated questions and sought answers.
Patricia E. Easterling
Peter G. M. Brown
John Percy Vyvian Dacre Balsdon and Barbara Levick
After the deaths of persons deemed by the senate enemies of the state, measures to erase their memory might follow. Originally there was no set package, as the phrase implies (cf. Ulp.Dig. 24. 1. 32. 7) but a repertoire (Tac.Ann. 3. 17. 8–18. 1): images might be destroyed (*Sejanus; *Valeria Messal(l)ina), and their display penalized (L. *Appuleius Saturninus, 98
Edward Courtney and Gail Trimble
Epyllion (diminutive of epos), term applied in modern (not ancient) times to some ‘short epics’, hexameter poems of mythological narrative in not more than one book. The texts most frequently called ‘epyllion’ are Hellenistic (especially the Hecale of *Callimachus (3), certain poems of *Theocritus, and Moschus’ Europa) and Roman (the sixty-fourth poem of *Catullus (1), lost works by other *neoterics, and the *Ciris).
Characteristics often considered typical of epyllion include: unfamiliar mythical subject-matter, often erotic; a subjective, emotional style; an uneven narrative scale, with some events elaborated and others quickly passed over; the inclusion of a second theme within the main narrative by means of a speech or *ekphrasis.
However, many of these features are shared with other Hellenistic or neoteric poetry, with earlier poems in the post-Homeric epic tradition, or with shorter poetic narratives in other metres (especially lyric), while some poems usually identified as ‘epyllia’ exhibit only one or two of them. The meaningfulness of the term has therefore been questioned, although its convenience is generally agreed.
Catherine A. Morgan and Peter Heather
‘Which of the gods was it that brought the two together in strife?’, asks the Iliad as it launches its narrative (1.8); early in the Odyssey*Zeus complains that mortals blame the gods when they are responsible for their own sufferings (1.32–3). Both poems however swiftly complicate any attempt to limit explanations to either the human or the divine level. Achilles and Agamemnon quarrel, Achilles kills Hector, and Odysseus gets home, largely because they are the people that they are, but gods often intervene too. The Greeks win because they are better fighters; they also win because more gods are on their side. The poems also suggest another form of explanation, not tracing events to their origins but relating them to a familiar pattern of human life. Suffering is the lot of humanity (Il. 24.525–6); outrages like those of the suitors are punished. Life is like that, and one should not be surprised.
Monica S. Cyrino
Ancient Greece and Rome play starring roles as ideal sites for the iconic characters and plots that cinema and television use to depict the spectacle of the ancient world. The viewing audience is invited to experience the cinematic and televisual depiction of classical antiquity as it is deployed to accomplish a number of different objectives: the image of the ancient world on screen can be used to support contemporary political goals, to interrogate current social issues, or to engage in cultural debates about the modern world’s connection to the classical past. Since the ancient Greek and Roman worlds are frequently used as the visual and narrative backdrop for adventure and romance, the audience is often thrilled to view the luxury, decadence, and excess notoriously enjoyed by the uninhibited ancients. Viewers of films and television series about the ancient world remain engaged in a long and sometimes complex relationship with the representation of classical antiquity on screen, an engagement that has been well analyzed in the last few years by scholars and critics.
Gian Biagio Conte and Glenn W. Most
A grouping of texts related within the system of literature by their sharing recognizably functionalized features of form and content. Theory of genre as such is quite lacking in antiquity (its place is taken by theories of *imitatio) and ancient theoretical discussions of specific literary genres are few and for the most part unsatisfactory. They operate according to criteria which are one-sidedly formal (generally metrical), thematic (the characters' moral or social quality, the general subject-matter), or pragmatic (the situation of performance), but scarcely attempt to correlate or justify them; they are more interested in classifying existing works than in understanding the mechanisms of literary production and reception and are directed to the needs of the school and the library, not to the critic's; they bungle some genres (lyric) and ignore others (the novel). Rhetorical handbooks sometimes distinguish among oratorical genres, but the precise relation between their (often pedantic) prescriptions and the literary works remains uncertain.
Peta G. Fowler and Don P. Fowler
Subject of a painting exhibited in 1785 by J.-L. David, who however appears to have made up the idea of the oath, though the men depicted are certainly the famous legendary *Horatii.