scholarly journals From Commentary to paribhāṣās: Kātyāyana and Patañjali vis-à-vis Vyāḍi

2018 ◽  
Vol 72 (2) ◽  
pp. 515-566
Author(s):  
Maria Piera Candotti ◽  
Tiziana Pontillo
Keyword(s):  
Fourth Century ◽  
Second Century ◽  
Third Century ◽  
Integrative Approach ◽  
Fourth Century Bce

Abstract The present paper is targeted on three landmarks in the long story of the paribhāṣās’ development. Two of these landmarks descended from the earliest testimony of Vyākaraṇa meta-rules, i. e. those included in Pāṇini’s grammar (fifth–fourth century BCE), and one which has been handed down as the first independent collection of paribhāṣās and attributed to Vyāḍi. In particular a shift is highlighted between Kātyāyaṇa’s (third century BCE) integrative approach (vacana) and Patañjali’s (second century BCE) recourse to implicit paribhāṣās in the Aṣṭādhyāyī as a powerful hermeneutical tool. A shift that helps in interpreting the need for a validation and collection of implicit pāṇinian paribhāṣās as carried out by authors such as Vyāḍi.

The Aftermath of Paracomedy

Paracomedy ◽  
2020 ◽  
pp. 248-264
Author(s):  
Craig Jendza
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
Second Century ◽  
Third Century ◽  
Fourth Century Bce

This chapter explores three cases where authors engage with paracomedy after the fifth century BCE. It proposes that the anonymous fourth-century BCE tragedy Rhesus employs paracomedy and that it does so either because the author was indiscriminately copying from fifth-century drama or because he wanted to imitate Euripides’s penchant for paracomedy. It investigates the highly fragmentary evidence for Rhinthon’s third-century BCE hilarotragedies, normally thought to be theatrical farces, and posits that Rhinthon was utilizing a more explicit type of paracomedy than in the fifth century. It also provides an explanation for the surprising assertion from the second-century CE scholar Pollux that Euripides and Sophocles frequently employed a comic parabasis. The chapter argues that these cases of reception highlight paracomedy’s importance in antiquity and indicate that paracomedy was a noted hallmark of Euripidean stagecraft that had an indelible effect on the genre of tragedy.

Fantasising Phryne: The psychology and ethics of ekphrasis

2011 ◽  
Vol 57 ◽  
pp. 71-104 ◽  
Author(s):  
Helen Morales
Keyword(s):  
Fourth Century ◽  
Second Century ◽  
Third Century ◽  
Significant Aspect ◽  
The Third ◽  
Fourth Century Bce ◽  
Contemporary Writers

‘It's such a pity that we don't haveAnything like a photographOf her about whom the ancients rave …’…Fragments, copies, our museums still holdOf statues she modelled, or so we're told(from Phryne by Robert Conquest, 2000)Phryne, the celebrity hetaira who is said to have lived and loved some time during the fourth century BCE, was reputed to be ‘by far the most phenomenal of the hetairai’ (ἐπιφανεστάτη πολὺ τῶν ἑταίρων). This article aims to examine the anecdotes told about Phryne and argues that collectively they constitute a discourse on viewing that illuminates a significant aspect of the production and interpretation of art: the ethical and aesthetic problems involved (for the artist, subject, model and other viewers) in making and describing naturalistic art, especially that which represents the gods. A rich repertoire of written material on Phryne, and on the statue of the Aphrodite of Cnidus for which she was said to have been the model, has survived, although mostly by later rather than contemporary writers. Among the descriptions of the statue there is a group of epigrams collected in the Greek Anthology whose authorship and dating are largely uncertain. On Phryne we have accounts and imaginative scenarios in Alciphron, Lucian and Pausanias, all presumed to be writing in the second century CE; Athenaeus, who most probably wrote in the third century CE; and quotations from earlier writers.

The Date of the Muratorian Fragment

2020 ◽  
pp. 1-172
Author(s):  
John F. Lingelbach
Keyword(s):  
New Testament ◽  
Explanatory Power ◽  
Fourth Century ◽  
Church History ◽  
Second Century ◽  
Current Work ◽  
Third Century ◽  
Historical Theology ◽  
First Time ◽  
Objective Methodology

Three hundred years after its discovery, scholars find themselves unable to determine the more likely of the two hypotheses regarding the date of the Muratorian Fragment, which consists of a catalog of New Testament texts. Is the Fragment a late second- to early third-century composition or a fourth-century composition? This present work seeks to break the impasse. The study found that, by making an inference to the best explanation, a second-century date for the Fragment is preferred. This methodology consists of weighing the two hypotheses against five criteria: plausibility, explanatory scope, explanatory power, credibility, and simplicity. What makes this current work unique in its contribution to church history and historical theology is that it marks the first time the rigorous application of an objective methodology, known as “inference to the best explanation” (or IBE), has been formally applied to the problem of the Fragment’s date.

scholarly journals Brooches from the Cemetery of Opushki and Their Role in Costume (According to the 2003–2020 Excavation Materials)

2021 ◽  
pp. 22-39
Author(s):  
Anastasia А. Stoianova
Keyword(s):  
Roman Empire ◽  
Cervical Vertebrae ◽  
General Pattern ◽  
Central Area ◽  
Fourth Century ◽  
Roman Period ◽  
Second Century ◽  
First Century ◽  
Third Century ◽  
Archaeological Cultures

This paper presents a review of the brooches from the cemetery of Opushki located in the central area of the Crimean foothills. The cemetery was used from the first century BC to the fourth century AD by peoples of various archaeological cultures. 72 of 318 graves excavated there contained brooches. The total number of complete and fragmented brooches discovered there is 190. The largest group comprises one-piece bow-shaped brooches with returned foot and the brooches with flattened catch-plate from the first to the first half of the third century AD. There is a series of brooches made in the Roman Empire, with the most numerous group of plate brooches. There are a few violin-bow-shaped brooches, highly-profiled brooches of the Northern Black Sea type, two-piece violin-bow-shaped brooches with returned foot, and brooches with curved arched bow (P-shaped): great many pieces of these types occurred at other sites from the Roman Period in the Crimean foothill area. In Opushki, brooches appeared in all types of burial constructions, and mostly in the Late Scythian vaults from the first century BC to the second century AD. They accompanied graves of women, men, and children. In the overwhelming majority of cases, one burial was accompanied with one and rarely two brooches; there is only one burial of a child with three clasps. Most often brooches occurred at the chest, in rare cases on the shoulder, near the cervical vertebrae, pelvic bones, or outside the skeleton. It is noteworthy that a great number of brooches was found in the burials of children of different ages, from 1- to 8-12-year-old. Apparently, brooches as a part of the child’s costume were used throughout the child’s life from the very infancy. Generally, the brooch types from the cemetery of Opushki, their distribution in the assemblages and location on the skeletons correspond to the general pattern typical of barbarian cemeteries in the Crimean foothill area dated to the Roman Period.

Plutarch and the Persica

2018 ◽  
Author(s):  
Eran Almagor
Keyword(s):  
Fourth Century ◽  
Second Century ◽  
Achaemenid Empire ◽  
Fourth Century Bce ◽  
Ancient Persia

This book addresses two historical mysteries. The first is the content and character of the fourth century BCE Greek works on the Persian Achaemenid Empire treatises called the Persica. The second is the method of work of the second century CE biographer Plutarch of Chaeronea (CE 45-120) who used these works to compose his biographies, in particular the Life of the Persian king Artaxerxes. By dealing with both issues simultaneously, Almagor proposes a new way of approaching the two entangled problems, and offers a better understanding of both the portrayal of ancient Persia in the lost Persica works and the manner of their reception and adaptation nearly five hundred years later. Intended for both scholars and students of the Achaemenid Empire and Greek imperial literature, this book bridges the two worlds and two important branches of scholarship. The book builds a picture of the character and structure of the lost Persica works by Ctesias of Cnidus, Deinon of Colophon, Heracleides of Cyme. While focusing on the Artaxerxes (and certain other passages), it shows how Plutarch used the Persica.

Monumental Writing and the Expansion of Roman Society in the Early Empire

1996 ◽  
Vol 86 ◽  
pp. 22-39 ◽  
Author(s):  
Greg Woolf
Keyword(s):  
Roman Empire ◽  
Fourth Century ◽  
Formative Period ◽  
Second Century ◽  
Third Century ◽  
Late Imperial ◽  
Cultural Phenomenon ◽  
Latin Epigraphy ◽  
Set Up ◽  
Subsequent Rise

The vast majority of surviving Roman inscriptions originated in a cultural phenomenon that is characteristic of, and in some senses defines, the early Roman Empire. At the end of the last century B.C. — roughly co-incident, then, with the transition to autocracy, the Roman cultural revolution, and the formative period of provincial cultures throughout the Empire — an epigraphic boom occurred, in Italy and in every province of the Empire. That explosion of new inscriptions, and the subsequent rise and fall of an epigraphic culture, was experienced by eastern and western provinces alike, in Greek as well as in Latin epigraphy. Many regional epigraphies remain to be characterized in terms of their chronology, but such local studies as have been done strongly suggest that, although there was certainly some inter-regional variation in the scale, rate, and timing of this phenomenon, in its broad outlines this pattern was very widespread. Across the entire Empire, the number of inscriptions set up each year began to rise from the Augustan period and increased more and more steeply through the second century. In every region that has been examined in detail, the majority of extant inscriptions were produced in the late second and early third centuries. The peak or turning-point seems to have been reached at slightly different times in each area. But everywhere the subsequent decline was much faster than the original rise, reaching a new low between the middle and the end of the third century A.D. Epigraphy does survive into the fourth century — in most areas of the Empire, if not in most cities — but late imperial inscriptions are very much rarer and differ markedly from early imperial examples in genre, form, and style.

Corinna

1970 ◽  
Vol 20 (2) ◽  
pp. 277-287 ◽  
Author(s):  
M. L. West
Keyword(s):  
Good Reason ◽  
Fourth Century ◽  
Fifth Century ◽  
Second Century ◽  
Third Century ◽  
The Third ◽  
The Difference ◽  
Made In

In the controversy over the date of Corinna, the following points may be taken as agreed:1. An edition was made in Boeotia about the end of the third or beginning of the second century B.C.2. The texts of Corinna current in the late Hellenistic and Roman periods were all descended from that Boeotian edition.3. Before its dissemination, Corinna was unknown in Greece at large. If she wrote at an earlier period, she must have been remembered only locally.The difference between Boeotian spelling of the fifth century and that of the fourth is very great: but the difference in this respect between the mid-fourth century and the late third or early second is comparatively slight. It is therefore tenable that whereas there would be a good reason for the re-spelling of fifth-century Boeotian into the later convention of any period, there would be no obvious or adequate reason for re-spelling Boeotian of the fourth century into the orthography of the third, or that of the third into that of the second. Even those features of fourth-century spelling which have ceased to preponderate are by no means unknown or even uncommon at the end of the third century.

An Athenian Tradition of Dactylic Paeans to Apollo and Asclepius: Choral Degeneration or a Flexible System of Non-Strophic Dactyls?

Mnemosyne ◽  
2011 ◽  
Vol 64 (2) ◽  
pp. 206-231 ◽  
Author(s):  
C.A. Faraone
Keyword(s):  
Fourth Century ◽  
Second Century ◽  
Classical Version ◽  
Flexible System ◽  
Fourth Century Bce ◽  
Varying Length

AbstractThe different epigraphic versions of the so-called Erythraean Paean date from the early fourth century BCE to the mid-second century CE and are generally thought to trace the degeneration of an original monostrophic lyric poem attested in the eponymous late-classical version. I argue that such an approach is inadequate and that the later versions of this poem are witnesses to a hitherto unappreciated genre of paean to Apollo and Asclepius composed almost entirely in dactyls and organized into segments of varying length, which generally begin with a dactylic tetrameter and end with a version of the traditional paeonic cry (the so-called epiphthegma): Παιν or Παιν. The space between the opening tetrameter and the closing cry can, however, accommodate between four to eight additional dactylic feet. The late Hellenistic paean composed in Athens by Macedonicus of Amphipolis is yet another witness to this tradition, which probably dates back at least as early as a famous—albeit almost entirely lost—paean of Sophocles and is reflected in the first two strophes of the parodos of his Oedipus Rex.

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