bluuebunny/crossref_metadata_2025_split huggingface dataset:
Professor Gjerstad on Cyprus
Authors: Casson Stanley 
Published: May 2006

At a time when a shortage of paper is likely to hinder scholarship, the last thing I should wish to do would be to waste space indulging in controversy with Prof. Gjerstad. Nor, owing to more pressing duties, have I much time to spend on his evasions and inaccuracies. But some comments seem desirable on his review of my book Ancient Cyprus in JHS vol. LIX p. 142.He charges me with ignorance in failing to detect the fact that the Swedish Cyprus Expedition, under his leadership, identified fully the Neolithic Period of Cypriot archaeology. I regret that I must adhere to my original view that the Expedition made no such discovery. They hinted at the existence of such a period and found certain potsherds of a new type, but the discovery was made by M. Dikaios of the Cyprus Museum, and not by the Swedish Expedition. The sites of Erimi and Khirokhitia were found and excavated by M. Dikaios, and not by Prof. Gjerstad—or I have been seriously misinformed. The former site showed the more developed Neolithic and the Chalkolithic material, the latter the earlier stages when pottery was unknown. In all, some thirty sites of the Chalkolithic and Neolithic periods are now known in Cyprus. But Prof. Gjerstad, despite his exhaustive researches, found only three. Of these one, Petra tou Limniti, he labels as ‘ Pre-Neolithic ’ (as I pointed out in my book, p. 21). And yet he attempts to claim the discovery of Neolithic Cyprus as his own. I regret that this claim cannot be agreed to by any student. Prof. Gjerstad should resign himself to realities.
Excavations at Al Mina, Sueidia: III. The Red-figured Vases
Authors: Beazley J. D. 
Published: May 2006

I am indebted to Sir Leonard Woolley for his invitation to publish the red-figured vases found in his excavations at Al Mina; to Mr. Martin Robertson, who has helped me in many ways, and was the first to notice many of the joins; to Mr. C. O. Waterhouse for the drawings and photographs. I give only a selection of the finds, but have omitted, I think, little of importance. The red-figure is all Attic.The black-figure from Al Mina is scanty, poor, and no older than the earliest red-figure sherds found there, which are from eye-cups:—1. Three fragments of an eye-cup. The largest measures 0·041 m. across. A, part of the left-hand eye; shank and heel of the figure, cutting across the tear-gland. B, part of the left-hand eye and of the ground-line. The fragment not figured gives another bit of eye. Not one of the very earliest eye-cups: about 525.2. There is no saying whether a third fragment of an eye-cup belongs to the last or not: the cup was bilingual, and part of the b.f. interior remains, a centaur with a stone in his right hand: greatest breadth 0·060 m.Red-figure does not become plentiful at Al Mina until well on in the third quarter of the fifth century. In the fourth century the import increases. There is little archaic red-figure, and most of what there is belongs to the end of the period.
Archaeological Discoveries in Sicily and Magna Graecia
Authors: Zanotti-Bianco Umberto 
Published: May 2006

Reviewing the recent archaeological discoveries in the areas where the ancient Greek colonies of Italy flourished, I shall divide them, so as to facilitate the finding of the places on the modern map, according to the present Italian regions. These correspond more or less to the old Roman divisions, excepting Lucania, the western part of which (Paestum, Velia) now belongs to Campania.SicilySicily suffered a great loss last year in the death of Paolo Orsi, to whom we owe the revelation of Siculan civilisation and an incalculable number of discoveries in the Greek centres of the island and of Magna Graecia. After his death lack of funds interrupted the work he had so happily initiated of liberating the temple of Apollo in Ortygia. Of this old Sicilian temple (seventh century B.C.) there was brought to light during 1933–34, by the demolition of the sixteenth-century Spanish barracks, the southern wall of the cella, still 6 and 7 m. high, and built with orthostates.
Greek Vases in the Otago Museum
Authors: Trendall A. D. 
Published: May 2006

Of the recent acquisitions to the Classical Collection of the Otago Museum (Dunedin, New Zealand) the most noteworthy is a particularly fine Attic white ground lekythos of about the middle of the fifth century (Plate XIV). It stands 38 cm. high and is in an excellent state of preservation, having been most carefully repaired with a minimum of repainting, which has affected only the breast of the woman, the right hand of the warrior, and some details of the small figure on top of the stele.The design represents a stele scene of the sort so popular with lekythos artists of this period. To the left stands a woman wearing a sleeved chiton, so thin that it clearly allows her bowed legs to be seen through it; with her left hand she points downward to the base of the stele, which is adorned with a fillet and a wreath. On the other side stands a hoplite with his shield and spear;
Mystical Allusions in the Oresteia
Authors: Thomson George 
Published: May 2006

Cho. 581–2τὰ δ᾿ ἄλλα τσύτῳ δεῦρ᾿ ἐποπτεῦσαι λέγω ξιφηφρους ἀγῶνας όρθώσοντί μοιIn a recent article {JHS Iv. 20-34) I have argued that this passage is based on an allusion to the Eleusinian hro-meiot, the second grade of the Mysteries. My purpose now is to explain more clearly the significance of that conception.Plato likened the soul of man to a charioteer, who drove two horses, one good, the other bad, one docile, the other recalcitrant (Phaedr. 246—7) : ἔνθα δὴ πόνος τε καὶ ἀγὼν ἔσχατος ψυχῇ πρόκειται. And he saw human life as a struggle in which many of the chariots clashed and fell (248b): θόρυβος οῦν καί ἅμιλλα λαί ἱδρὼς ἔσχατος γίγνεται … πᾶσαι δὲ πολὺν ἔχουσαι πόδρον ἀτελεῖς τῆς τοῦ ὄντος θέας ἀπέρχονται.
A Greek Inscription at Petworth
Authors: Buckler W. H. 
Published: May 2006

The slab of dark grey tufa bearing the text copied below was found last summer in the grounds of Petworth House; its origin and history, except as deducible from the stone itself, are unknown; for leave to publish it I am grateful to Lord and Lady Leconfield. The inscription is here drawn from a photograph kindly communicated by Mr. D. O. Malcolm and from notes and squeezes which Mr. S. E. Winbolt was good enough to take; Professor J. G. C. Anderson did me the favour to verify the reading.The stone is broken on three sides, the top alone being undamaged; the rear surface, which is fairly smooth, seems also to have its ancient finish; height 0·56 m., width 1·04, thickness 0·12 to 0·155, height of the letters 0·03 to 0·35; width of the inscribed tablet 0·73. A vertical cleft has destroyed one or two letters in the middle of each line.
Greek Accent and the Rational
Authors: Carson J. 
Published: May 2006

The description of our accent system by Professor Dodds as ‘Byzantine’ is of course disingenuous. Its Alexandrian origin and evolution are taken for granted since Laum and Schwyzer; the fact that Barrett could so swiftly and soundly adapt the peripheral matter of synenclisis to the system's own basic principles is a pointer to its internal soundness and consistency. Again, that a system is complex is no reason for its being jettisoned; the language itself is complex. Nor does Dodds' defeated acceptance of Dutch-English mispronunciation strengthen a case against the accent. What I think he meant was that no-one since Byzantine times has been able to interpret the accent marks in significant terms of sound; that we are therefore better rid, not of a system, but of a clueless labyrinth inefficiently described in an insufferably tedious jargon and entirely unrelated to the language which it was invented to illuminate.This position would be understandable if it were now possible to hold it. It is farcical in the light that philologists/linguists are now throwing on Greek accent. The obstacles they have had to overcome fall broadly into two classes: first, the passive, inertial persistence of the formal, meaningless ‘rules’ on one hand, and, on the other, the cloudy mysticism of those who have never thought to examine the term ‘music’ in their glib phrase ‘musical Greek accent’. The latter class falls into two sub-classes: those who (like Maas) prosaically forbade the search after Greek pronunciation because it was musical (like stressless organ-notes!); and a few who, following A. J. Ellis and Rouse, would have us believe that they are giving us Homer ‘as he was sung’, when they apply to the hexameter what they (as I hope to prove, wrongly) attribute to Dionysius of Halicarnassus in the famous passage where his subject was not verse—but prose!
Two Buildings in Sanctuaries of Asklepios
Authors: Tomlinson R. A. 
Published: May 2006

In describing the sacred grove () of Asklepios in the territory of Epidaurus, Pausanias (ii 27.1) mentions two of the rules that were in force there: (he has just mentioned that the ἄλσος is surrounded on all sides by boundary stones), and, secondly, Those about to give birth or to die were eventually accommodated immediately outside the peribolos in a building constructed for them in Pausanias' own time by ‘Antoninus, a Senator’. The eating accommodation was provided earlier, most obviously in the building generally described as the καταγώγιον. Since this lies between the temple of Asklepios and the theatre, which is itself, according to Pausanias we can assume that sacrificial meat consumed in it had not been taken outside the boundaries.
Flutes and Elegiac Couplets
Authors: Campbell David A. 
Published: May 2006

My purpose in this article is to call attention to the inconclusive nature of the evidence for the view that the proper accompaniment of early Greek elegiac poetry was the flute. The elegiac couplet has been aptly called ‘a variation upon the heroic hexameter in the direction of lyric poetry’. But how far did it go in this direction? In particular, did early elegiac poetry have a close connexion with music? A distinction is commonly drawn between poetry written κατὰ στίχον, for example the epic hexameter and the iambic trimeter, which was spoken or at most intoned, and poetry in lyric metres which was sung to musical accompaniment: to which group does elegiac poetry belong?Passages in Plutarch and Pausanias and hints in the lexicographers and in the early elegists themselves have suggested to some scholars that there was a connexion between elegiac poetry and the flute.
A New Interpretation of the Portland Vase
Authors: Ashmole Bernard 
Published: May 2006

For three hundred years and more the meaning of the figures on the Portland Vase has been a matter for speculation of the most strange and varied character.During the first half of this century there was something of a lull, but ten years ago Professor Erika Simon, after a wide-ranging and sensitive study of all the evidence, put forward a highly ingenious theory connecting the scenes with the ancestry of Augustus and, shortly after, Professor L. Polacco embroidered it further. In 1964 Mr Denys Haynes produced the excellent little book which is on sale at the British Museum: this was reviewed by Professor H. Möbius, who had his own theory, elaborated since in a longer article; and Professor H. Biesantz has exposed the weaknesses of all the solutions, without however propounding one of his own.The wide differences of opinion among these scholars have prompted me to place on record some observations I made twenty years ago, when we first acquired the vase at the British Museum; and I shall take Mr Haynes' book as a starting-point, because it is the latest comprehensive account, and, being persuasively argued, bids fair to hold the field.However, before we begin to examine the vase in detail, a few words must be said on its technique, its date, and the circumstances in which it was made (plates I–IV, VI–VII). The technique was to make a bubble of very dark blue glass, clear but so thick that it cannot be seen through, and over it a skin of white translucent glass reaching as far upwards as the base of the neck: then to join two deep-blue glass handles from the middle of the neck to the shoulder of the vase; and, finally, using the technique of the cameo-carver, to carve, and carve away, the white glass layer in order to produce figures and landscape. The blue glass becomes the background of the scene where the white has been completely removed: where the white has been thinned but not completely removed, the blue provides suggestions of shadow and distance.
Attic Vases in Australia and New Zealand
Authors: Trendall A. D. 
Published: May 2006

A growing interest in the study of archaeology has led in recent years to very substantial developments in the several collections of antiquities in Australia and New Zealand. Pottery has perhaps made the greatest contribution to this expansion, and the total amount of available material here has reached a point at which definitive publication in the Corpus Vasorum has become well worth while. Provision for this has already been made, but in the meantime it seemed to me that some account of the Attic vases in this part of the world might be of service and interest to scholars, since our collections by reason of their remoteness are not well known, although they contain several distinguished pieces, including a few which have been lost to sight for some time. For the sake of brevity, and because they are likely to be of wider interest, I confine myself here to Attic black-figure, red-figure and white-ground.The main Australian collection of Greek vases is housed in the Nicholson Museum at the University of Sydney. The nucleus of this collection was acquired, some 90 years ago, by Sir Charles Nicholson, Chancellor of Sydney University from 1854 to 1862, during his travels in Italy and was catalogued by Miss Louisa Macdonald in 1898. Considerable additions have since been made by gift or purchase, as may be seen from a comparison between the vases listed by Miss Macdonald and those mentioned in the second edition of the Handbook to the Nicholson Museum, published fifty years later.
Empedocles' Account of Breathing
Authors: Booth N. B. 
Published: May 2006

Empedocles' Fragment 100 contains an account of ‘the way that all things breathe in and out’. It may conveniently be divided into three sections:A. Lines 1–5, the apparatus of breathing.B. Lines 6–8, the manner in which breathing takes place.C. Lines 8–25, an illustration taken from the working of the klepsydra.I shall discuss the fragment under thesethree headings.A. The Apparatus of BreathingThese lines (1–5) are translated as follows by Diels-Kranz: ‘Also aber atmet alles ein und aus: Allen sind blutarme Fleischröhren über die Oberfläche des Körpers hin gespannt, und an ihren Mündungen ist mit vielen Ritzen durchweg durchbohrt der Haut äusserste Oberfläche, so dass zwar das Blut drinnen geborgen bleibt, der Luft aber freier Zutritt durch die Öffnungen gebahnt ist.’ Thus the picture which Diels gives us is of tubes running out to the skin all over the body, and at the ends of the tubes perforated flaps of skin which will allow the passage of air but not of blood. The tubes are, furthermore, only partly filled with blood.This line of interpretation has been followed by most scholars since, and it appears to derive some reinforcement from Aristotle, who in his comment on the passage atde respiratione7, p. 473, b 1 ff., says:‘They have passages through to the outer air.’ The ‘outer air’ would appear to mean the outer air outside the body, and we might therefore be tempted to suppose that Aristotle meant to say that these tubes ended up at the surface of the skin.
Greek Lyric Metre
Authors: Thomson George 
Published: May 2006

In her review of my book (JHS lxxxii 171) Professor A. M. Dale writes: ‘… in Pind. Pyth. 2.21 we are asked to hear doch., pher., iambus, the last five syllables forming another doch, by overlap (the extra syllable at the beginning of pher. is not explained). It is not always clear what happens to ictus in these overlaps where there is a conflict, e.g. E. Alc. 443 where λίμναν is left stranded (link?), is Anacreontic and is pher. by overlap Has -σας ictus or not?’The identity of the pherecratic-iambus Ἰξίονα φαντὶ ταῦτᾶ βροτοῑς is established by the occurrence of the same phrase in the First Olympian, as I pointed out (pp. 76, 143). The initial syllable is explained by the fact that here the phrase echoes 2 ἵππων τε σιδαροχαρμᾶν, just as it is itself echoed in the final cadence 24 ἐποιχομένους τίνεσθαι. All this is made quite clear, I think, in my analysis of the composition as a whole (pp. 141–2, 157).
Early Greek Ships of Two Levels
Authors: Williams R. T. 
Published: May 2006

As the point of departure I take that controversial passage in Thucydides i. 13.2—Now the controversy turns on the type of ship that Ameinocles built. Thucydides uses the general word ναῦς, which in Herodotus certainly and, according to Liddell and Scott, in Greek literature generally does seem to be a synonym for τριέρεις, and after Thucydides' use of the word τριήρεις in the previous sentence it would be natural to take ναῦς in the same sense. The Corinthians built the first triremes in Greece and Ameinocles built four of them for the Samians at the end of the eighth century, and there would be at least a reliable terminus ante quem for the introduction of the trireme into Greece. Here the matter would have rested, had not this date conflicted not only with the other literary records, including Thucydides himself, but also with the archaeological evidence, such as it is, which both seem to preclude such an early date.The marshalling of the literary evidence against the supposition that triremes were built in Greece at the end of the eighth century has been admirably done by Professor Davison in the Classical Quarterly of 1947. He rightly comes to the conclusion that triremes could not have been introduced into Greece before the third quarter of the sixth century, and that in the disputed passage Thucydides was using ναῦς of ships generally and refraining from specifying the class; but in this case how flat the second part of the sentence sounds—the Corinthians were the first in Greece to use triremes, and Ameinocles the Corinthian built four ships of some sort or other for the Samians—nor does it seem to warrant the luxury of a precise date; and why four ships?
Aeschylus, Agamemnon 984–6
Authors: Cunningham I. C. 
Published: May 2006

984 ἐπεὶ F: ἐπί Tr ξυνεμβόλοις FTr: corr. Casaubon 985 ψαμμίας FTr: corr. Wecklein ἀκάτα F: ἀκάτας Tr: corr. Wilamowitz παρήβησ' Tr.The above is the text of Wilamowitz and Fraenkel, which I believe correct, requiring only interpretation. Wilamowitz translated (Gr. Trag. ii 85), ‘Die Zeit ist grau geworden, seit der Sand von Aulis aufflog, da zur Troiafahrt das Heer die Taue löste’; Fraenkel similarly but more literally, ‘Time has grown old since with the throwing-in of the mooring-cables the sand flew up, when the naval host set forth to Ilion’. Denniston-Page make the linguistically correct objection me ‘sand does not “fly up” when mooring-cables are “thrown in”’. But this misses the real point, viz. that no one ever throws in a cable when a ship is leaving—it is pulled in: throwing occurs only when a ship is coming in to land.
Some Attic Fragments: Pot, Plaque, and Dithyramb
Authors: Boardman John 
Published: May 2006

The only common factor shared by the fragments of vase and votive plaque discussed below is that all are Attic. The plaque fragments seemed to deserve individual treatment outside the general study of votive plaques from the Athenian Acropolis on which I am engaged. The vase fragment with the Marsyas scene which is published here with some comment on the possible literary treatment of the myth is in the possession of Mr. John Leatham. To him I am indebted for permission to study and publish the piece, and to Mme. S. Karouzou, Prof. O. Broneer, the Keeper of Antiquities in the Ashmolean Museum, and the Director of the Thorvaldsen Museum for permission to publish pieces in Athens, Oxford, and Copenhagen.I. Marsyas and MelanippidesThe fragment which is here Illustrated on Plate I, 1, 3 is at present in the keeping of Mr. John Leatham. Unfortunately its provenience can be defined no more nearly than as ‘from Greece’. On the photograph reproduced on Plate I, 3 I have added in white the painted details on the sherd which the camera could not record. It is from the rim and wall of a calyx crater, part of whose lip decoration, a palmette scroll, is preserved. From the figure scene below we see the upper part of an Athena who holds her spear upright in the right hand while her arm hangs at her side, perhaps with the hand on the rim of a shield which rested on the ground beside her. She wears an aegis over her peplos, and an Attic helmet with raised cheek-pieces. She is looking to her left and slightly down towards a figure before a tree with white painted leaves. The figure is apparently seated, and his snub nose shows that he is a satyr or silen, and not a young one to judge by his shaggy white hair.
The Effect of A Simile: Empedocles' Theories of Seeing and Breathing
Authors: O'Brien D. 
Published: May 2006

A curious irony hangs over the two similes of the lantern and the clepsydra which Empedocles used to describe his theories of seeing and breathing (frr. 84 and 100). Similes were a feature of Empedocles' style, and it is clear that on these two in particular he has lavished considerable care. They have been preserved in their entirety, as almost the longest continuous quotations which Aristotle makes from any author. Despite such auspicious beginnings, these two similes have proved peculiarly resistant to modern attempts at interpretation. The reason for this, I shall try to show, is that certain features in the two similes took on a spurious significance as a result of Plato's remodelling of Empedocles' theories. Difficulties of interpretation have been caused by trying to read back these innovations of Platonic theory into details of the similes that in their original context were fortuitous and inessential.In Plato vision occurs when fire leaves the eye and joins fire outside to form a single compacted body, along which movements from the visible object are communicated as sensations to the eye.According to Theophrastus, Empedocles explained vision as the result of effluences which are given off from objects and enter the appropriate pores of the eye. Dark effluences enter the watery pores of the eyes, and bright effluences enter the fiery pores of the eye. As I have tried to show in an earlier article, Empedocles distinguished good and bad vision, by day and by night, for eyes with a predominance of fire and for eyes with a predominance of water. Good vision results when the dark and light elements which enter the eye are equally balanced. Poor vision results either when there is too much fire in the eye, so that we are dazzled, or when there is too much water in the eye, so that our vision is dimmed. In the whole of his detailed and one would have thought exhaustive account, Theophrastus says nothing about fire leaving the eye as a factor in the act of vision.