Bread and wine in Lycian poetry. A contextual interpretation of TL 44c (original) (raw)
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2021
The paper offers a new analysis of the passage of the Xanthos trilingual containing a detailed description of the military exploits of the author of the inscription (TL 44a, 41-55). The first part (§ §1-2) discusses the overall structure of the passage and the meaning of the key term of the text, hãtahe, for which an interpretation 'victory' (gen. sg.) is proposed. The subsequent paragraphs discuss separate words and particularities of the syntax of the passage. The new proposals include, among others: tupelija-'script, writing(s)', tupa 'images, reliefs', axa-'deed, exploit', ahata-'foundation, platform' (§3); hẽmen-'shooting, hunting' (§3); terñ 'when' (adverb with temporal function) (§4); zẽmtija 'formidable' (§5); nele 'acropolis' (§5); ese … tebe-/taba-'join with' (§6); tarbi = trbbi 'against' (§7); hbãt-'hoplite' (§8); uwe 'day' (§8). The most important historical implications of the new analysis concern Trbbẽnimi and Xerẽi, who are argued to be allies (not enemies) of the author, as well as Herikle, who is identified as a governor (sehaxlaza-) of Kaunos, connected with the Persian king. The resulting translation of the text is proposed in §11.
Poetry in the Septuagint and Beyond
LXX can be studied in its wider historic and cultural context. Sometimes it is not enough to say that a certain expression or a word was translated in a certain way. It is also important to regard LXX as a coherent text, not as a sequence of words and phrases. As a text, it had its own esthetics and played a non minor role in the history of Greek literature, especially in the Christian tradition. A careful analysis makes us believe that at least some of the LXX translators tried to imitate in a sense some formal features of the original Hebrew poetry, such as rhythmic and phonetic repetitions. In fact, the difference in translating prose and poetry (however we define these two groups of the Old Testament texts) is not as prominent as the difference between individual translators’ style. The tendency to choose similarly sounding words obviously influenced translators’ choice. In many cases, as exemplified in the second chapter, the quest for more phonetic and rhythmic similarity seems to be the best explanation for some non-standard equivalents found in LXX. At least one can be sure that these features, so far mostly neglected by modern scholars, were not neglected by the LXX translators, even if they applied them unconsciously. The statistical analysis presented in the third chapter proves that the degree of rhythmic repetitions in some LXX texts is above the random distribution and their degree in classical metrical poetry. To some extent, however, these features coincided with similar features in the Greek rhetorical prose. If we approach them in the wider context of the history of Greek literature, we will also see that this experiment had a great future. This sort of poetry was widely imitated by early Christian hymn writer; in the end, a new system of versification was established; now it was based on counting syllable and stresses. It is hoped that this survey will be useful in two respects. First of all, it may enrich our understanding of LXX and broaden the methods of its analysis which are employed by modern scholars. Those who study the LXX translation technique or are involved in the Old Testament textual criticism can approach the LXX evidence more carefully, taking some new nuances into consideration. On the other hand, the study of the history of Greek literature and, in general, cultures of Pax Romana in the last centuries B.C. – first centuries C.E. can more profoundly consider this example of cultural interaction. It may also present an interesting typological parallel to scholars who study other literary traditions.
New approaches on Anatolian linguistics. José-Virgilio García Trabazo, Ignasi-Xavier Adiego, Mariona Vernet, Bartomeu Obrador-Cursach, Susana Soler (eds.). BMO 22, 135-150.
The bulk of hapax legomena in the Lycian corpus of inscriptions is concentrated in compositions produced by the local dynasts, consisting of narrations of warfare, religious decrees, or administrative texts. Compared with the Letoon Trilingual (N320), whose Greek counterpart is illuminating in enabling us to understand the vocabulary, meaning, and syntactic structures of the Lycian text, the Xanthos Pillar (TL 44) remains far more obscure. Besides Lycian, the languages that the Xanthos Pillar contains are Milyan, the elusive dialectal sister of Lycian, and Greek (CEG 177), in a short epigram which does not correspond (at least not directly) to the Lycian text. The approach to the challenges that this text presents combines comparative linguistics and etymology, internal combinatory analysis, and contextual evidence.
Between Amorges and Tissaphernes: Lycia and Persia in the Xanthos Stele
Beyond All Boundaries: Anatolia in the 1st Millennium BC (OBO 295), edited by Annick Payne, Šárka Velhartická, & Jorit Wintjes, 257-278. Leuven: Peeters., 2021
The Xanthos stele, a multilingual Lycian dynastic monument of the late 5th century BCE, testifies to the importance of diplomatic interaction between Xanthos’ rulers and Achaemenid Persian administrators in western Anatolia. Yet the stele’s Persian references are unevenly and selectively distributed between its Lycian and Lycian B inscriptions, and entirely absent from its Greek epigram. Amorges, a satrap’s son turned rebel, appears briefly in the Lycian and Lycian B texts, but scholars debate whether they present him as friend or foe of Xanthos; in contrast, the final section of the Lycian text celebrates the famous satrap Tissaphernes as an ally of Xanthos, but the Lycian B omits him entirely. This paper analyzes the stele’s Persian content and proposes that its designers added the material on Tissaphernes in a late stage of composition, trying to exploit his patronage in the context of local dynastic politics.
TOMBS AND TERRITORIES: THE EPIGRAPHIC CULTURE OF LYCIA, C. 450-197 BC
In this thesis, I look at the use of inscriptions on stone in the Lycian peninsula during the fourth and third centuries BC, considering the effect of internal and external events on the production of inscriptions in the area, and looking at aspects of continuity and change across the two centuries.
The ties that bind: pseudo-Vergilian poems in antiquity
2017
……………………………………………………………………………………………….….ii Acknowledgements ………………………………………………………………………………...iv Table of Contents …………………………………………………………………………………....vi Introduction …………………………………………………………………………………………...pg. 1 Chapter One ……………………………………………………………………………………………pg. 17 Chapter Two …………………………………………………………………………………………...pg. 69 Chapter Three …………………………………………………………………………………………pg. Chapter Four ……………………………………………………………………………………….…..pg. 184 Chapter Five……………………………………………………………………………………….…... pg. 219 Chapter Six ………………………………………………………………………………………….…..pg. Conclusion ………………………………………………………………………………………….…...pg. Appendix A ……………………………………………………………………………………….……..pg. 305 Bibliography ………………………………………………………………………………………….. pg. I am he who once having composed poems with a slender pastoral pipe And having come from the wilderness forced the neighboring fields To obey their farmer however ardent, The work was pleasing to farmers, and now the bristling Arms of Mars and a man I sing. The so-called pre-proem to the Aeneid was written to be a sphragis connecting what will come in the Aeneid to the Eclogues and Georgics through quotations of the latter two works. In the opinion of Donatus, these quotations gave needed authority to the Aeneid and confirmed the authorship of Vergil. However, it has long been acknowledged that these lines were not written by Vergil himself, and therefore cannot provide the type of authority which Donatus claims. 41 39 Peirano (2013) 273-274. In addition, the epitaph at the end of the Culex may perhaps be a sphragis for Vergilian authorship, even though the poem is clearly not an authentic work of that poet. See Chapters 2 and 3 for further discussion. 40 VSD 42. 41 See Austin (1968) and Kayachev (2011) for further discussion of this passage. I will discuss these lines more fully in Chapter 6.
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