This note addresses the longstanding question of whether Parmenides B6.9 should be read as an allusion to Heraclitus B51. It offers a response to some recent objections that have been raised against such a reading, and in particular draws attention to the reception context of both texts, a topic that has been largely overlooked in the scholarship on this issue.

In 2004 The New York Times launched a weekly Times Supplement with Taiwan’s United Daily News. This article aims to explore non-lexicalized allusion variation between TS headlines and NYT headlines as a discourse strategy. A textual survey was conducted on a corpus comprising 605 TS news articles and their corresponding NYT articles. Non-lexicalized allusions were identified and explored within a reader-oriented approach. And a stylistic analysis was performed to explore cognitive, pragmatic, and rhetorical roles of non-lexicalized allusions in (...) the corpus. The results show that non-lexicalized allusions occur in far fewer TS than NYT headlines. The allusion downsizing increases the accessibility of TS headlines to general TS readers at the cost of cultural diverseness and stylistic expressiveness in the headline language, making the language of TS headlines stylistically more restricted and culturally less Western. NYT headline language exemplifies English as a native language, whereas TS headline language is a specific genre of English as an international language. This article also discusses cultural implications of non-lexicalized allusions for EIL learning. It is pointed out that EIL is an integration of elements of all varieties of English involved in international or intercultural discourse. The cultural knowledge behind non-lexicalized allusions dealt with in this article represents one such element of EIL. (shrink)

What is the literary antecedent to Newman’s famous “Lead, Kindly Light”? This essay proposes that Newman’s phrase—“Kindly Light”— is an allusion to a specific passage of Vergil’s Aeneid. Understood in this light, Newman’s poem is a prologue to the epic journey Newman began as he returned to England to commence the Oxford Movement.

Tacitus gives lavish treatment to the mutiny of the German legions in the aftermath of Augustus' death in a.d. 14 and provides an excellent centrepiece in a speech by Germanicus to the troops of the Lower German army at Ara Ubiorum . After the harsh treatment of a delegation from Rome, Germanicus responded to requests that he send Agrippina and Caligula to safety. As the family was leaving the camp the troops surrounded Germanicus, who moved them to repentance by his (...) speech. Previous writers have already discussed particular debts to Livy and to Virgil, but none has, I think, pointed to the most likely source for Germanicus' opening remarks: ‘Non mihi uxor aut filius patre et re publica cariores sunt…’. Goodyear dismisses the sentiment as a variety of the ‘commonplace’. that the state was more important than the individual and refers the reader to Béranger. However, none of these passages is as close or as pointed as the examples I consider below. (shrink)

Violence against women is a global stigma. At least two conditionsstirred the global community: Malala Yousafzai who took a bullet in 2012 andwho advocate girl’s education to date, and the 2014 reported kidnap of 300Nigerian girls by Boko Haram. There are oppressive stereotypes of women.Violence can come in different forms. These can come as verbal abuse, intimatepartners violence, non-intimate partner violence, trafficking, forced prostitution,exploitation of labor, debt bondage, physical and sexual violence, sex selectiveabortion, female infanticide and femicide, deliberate neglect and (...) girl’s education,rape in war, dowry murder, pornography, dating violence, female genitalmutilation/circumcision, and acid attack. With the aid of Hermeneutics, therich allusions and strong Feminist voices that exhume the elements of VAW areinherent characteristics of the Cebuano-Visayan Feminist poetry. The poemsconvince women to reclaim femininity, regain self-worth, challenge patriarchy,defy social prescriptions and conventions for women’s behavior. The four selectedCebuano-Visayan poetry with sound Feminist voices are support systems forwomen. Further studies on VAW in Cebuano-Visayan poetry are recommended. Keywords: Hermeneutics, poetry, Violence Against Women , descriptive research,Cebuano-Visayan language, Philippines. (shrink)

This article argues that Virgil includes an allusion to the fourth-century censor Appius Claudius Caecus in Book 8 of the Aeneid. Three pieces of evidence point to this allusion: (1) wordplay, especially the near echo of ‘Caecus’ in ‘Cacus’; (2) semantic associations between Cacus and darkness; and (3) repeated references to sight and Cacus’ eyes. By invoking the memory of Appius, whose blinding in 312 b.c.e. allegedly came at the hands of Hercules as punishment for transferring control of the god's (...) rites at the Ara Maxima to the state, Virgil underscores the importance of properly observing religious rituals. This aligns with Evander's original intent with the Hercules–Cacus story to prove to Aeneas and the Trojans that the Arcadians’ religious practices are no uana superstitio (8.187). (shrink)

During the Late Roman Empire Terence was the most revered and the most quoted classical Latin poet after Virgil. Among authors both pagan and Christian, none made as frequent or as creative literary use of his comedies as Jerome, one of the most accomplished polymaths in all of Latin antiquity. In his estimation Terence ranked, alongside Homer, Menander and Virgil, as one of the greatest of all poets. Jerome had an encyclopedic knowledge of Terence's dramatic corpus and quoted or appropriated (...) phraseology from all six of his comedies. A significant number of these reminiscences have already been identified, but others await discovery. The purpose of the present study is to make a further contribution to this particular branch of HieronymianQuellenforschungby adducing and analysing two hitherto unrecognized allusions in Jerome's correspondence to Terence'sEunuchus, apparently one of the biggest blockbusters in the history of the Roman stage. (shrink)

It is proposed that Plato Phaedrus 251a-b contains an allusion to Ibycus 287.

Our tendency is not to read Romantic poetry as alluding to the texts it reminds us of. We think of the Augustans as the author of what Reuben Brower calls "the poetry of allusion."5 We envision Romantic poets carrying on their work in reaction to these Augustans and in mysterious awe, whether fearful or admiring, of most other poets—sometimes even of each other. No self-respecting Romantic, it is usually assumed, will deliberately send his reader elsewhere for a meaning to complement (...) the effect of his own words. If a reader's mind wanders to an earlier poem, that is not the Romantic poet's fault but a matter of accident or perhaps of cruel destiny. The Romantic wants to keep the poem an intimate affair—just the two of us—and does what he can to keep his reader's attention on himself.[…]What follows is an effort to test the applicability of Wasserman's Augustan hypothesis to the poetic mode of high Romanticism. This effort should not be taken to imply either that the Romantics simply continue in the allusive mode of the Augustans or that the assumptions that lead Bloom and others to read Romantic poetry as they do are utterly mistaken. I will in fact be arguing quite otherwise. Nor must there be any confusion about Wasserman's conception of the Augustan mode. Some of the language of his summary, for example where he speaks of "the rich interplay between the author's text and the full contexts it allusively arouses," might lead one to liken his work to the criticism now associated with the notion of "intertextuality." For the practitioners of this criticism, as Jonathan Culler explains, "to read is to place a work in a discursive space, relating it to other texts and to other codes of that space, and writing is a similar activity."8 Writing and reading a poem are in this account both acts of "intertextual location," if you will, but the reader of the poem need not concern himself with the aims and circumstances of its writer's "similar activity." The decisive difference between this view and the one Wasserman offers for the Augustans is that Wasserman's is intentionalist and historicist. This shows plainly in his exegetical commentary on the Rape, where his characteristic claim follows the formula: "Pope [expects, invites, prods, wants] his reader to [discover, exercise his wit on, recognize, see] X in his allusion to such-and-such a text." And to support his claim he repeatedly brings his historicist scholarship to bear on questions about "the kind of ready knowledge Pope demands of his reader" and what "facts [were] known to any serious reader" of the time.95. See Reuben Brower, Alexander Pope: The Poetry of Allusion , esp. pp. 1-14.8. Jonathan Culler, "Presupposition and Intertextuality," MLN 91 : 1382-3; Culler refers primarily to the work of Roland Barthes and Julia Kristeva but notes that Bloom himself occasionally sounds curiously like an intertextualist critic.9. Wasserman, "Limits of Allusion," pp. 427, 429. For a response to Wasserman less sympathetic than mine, see Irvin Ehrenpreis, Literary Meaning and Augustan Values , pp. 12-15.James K. Chandler, an assistant professor of English at the University of Chicago, has published work on Wordsworth's poetry and politics and is currently completing a book on the subject. (shrink)

It is common in the cognitive and computational sciences to regard virtual reality (VR) as composed of illusory experiences, given its immersive character. In this paper, we adopt an ecological-enactive perspective on cognition (Sect. 3) to evaluate the nature of VR and one’s engagement with it. Based on a post-cognitivist conception of illusion, we reject the commonly held assumption that virtual reality experiences (VREs) are illusory (Sect. 4). Our positive take on this issue is that VR devices, like other technological (...) devices, can be embodied during use, which is why they can be the source of experiences (Sect. 5). We then propose a new concept to interpret VREs, namely, _allusion_, which means that the subject acts _as if_ the virtual experiences are real (Sect. 6). This kind of engagement has a volitional aspect, which is evident in the onboarding of VR devices and which allows us to distinguish VREs from other experiences. We conclude that, even though we have experiences that afford certain interactions in VR, the strong continuity between cognitive and biological processes is not sustained therein. This characterizes a difference of kind—given the current state of technology—between VREs and fully fledged cognitive states, which nevertheless allows for constrained experimentation in cognitive science. (shrink)

This paper attempts to show how the Rhesus poet uses references to the Iliad to draw the character of Hector. Its underlying assumption is that the play was written for two audiences: ordinary Athenians, for whom the play would stand on its own, and well-educated ones, who would have been able to identify the play’s many borrowings from and allusions to Homer and to compare - and chiefly to contrast - the play’s version of events and the Homeric rendition. (...) It focuses on four episodes (Hector and the Chorus, Aeneas, Dolon, and Rhesus), in each of which the playwright uses Homeric material to show up or critique both Hector’s limitations as a military commander and the limitations of the men on whom he must rely. The analysis suggests that Homer, for all his greatness, presented an unrealistic ideal that real people could not emulate. It shows war not as an arena for great and courageous men to prove their aretē, as it is in the Iliad, but as a confused and sordid plane of brutality with little if any redeeming value. (shrink)

Nonnus, as well as being soaked in Homer and, no doubt, earlier epics on his particular theme , had a great affection for the Hellenistic master—above all Callimachus, Apollonius, Theocritus, and Euphorion. For this reason he can provide valuable help towards the study of fragments and new papyri. Pfeiffer, in his edition of the Callimachus fragments, is of course fully alive to this point, and regularly quotes Nonnus. From the other side there is a useful collection of parallels in Keydell's (...) Dtonysiaca and the new Nonnus lexicon will be invaluable, though not a complete substitute for actually reading the poem because imitation need not involve more than a small amount of verbal reminiscence. (shrink)

Allusions to the Panathenaia 1 in the final scene of the Eumenides have been pointed out by a number of scholars.2 Headlam identified the red robes of the Eumenides with the cloaks worn by the Metics in the Panathenaic procession.3 In Athena's pronouncement at 1030–1.

This article identifies a double allusion to the tragic characters of Phaedra and Eriphyle in Amm. Marc. 14.1.3 and considers its possible meanings. In combination, these allusions evoke the double nature of the story of Eriphyle, therefore functioning as a reference to the double nature of Caesar Gallus’ depiction in Ammianus. The double allusion consequently forms part of Ammianus’ tragic style throughout Book 14. Having identified the presence of this double allusion, the article illuminates its possible meaning by connecting (...) Ammianus’ passage to the Virgilian rewriting of the description of Eriphyle in Homer. (shrink)

This article is a contribution to our understanding of how Archilochean poetics may be situated in the longer poetic tradition. In examining two fragments that have received little attention, I hope to illustrate how Archilochus’ poetry both engaged with its predecessors and was in turn engaged by its successors. Fragment 222W employs a theme that was perhaps already conventional for Hesiod, in which the incompatibility of the sexes is implicated in the cycle of seasons, an idea that also seems relevant (...) to Archilochus’ quarrel with the daughters of Lycambes. Light is shed on 39W by comparing it to later words for skinning that serve as metaphors for cheating someone, the best known example of which is found in Catullus. In the first fragment the text can be elucidated by a look to Archilochus’ forerunners, and in the second by looking to his heirs. (shrink)

In a recent note, I collected instances of ‘stichometric allusion’, the technique in which poets allude, in one or more of their own verses, to source verses with corresponding line numbers. The technique existed in Hellenistic Greek poetry, but seems more prevalent among the Latin poets of the Augustan era, who applied it to Greek and Latin predecessors alike, as well as internally to their own work. New illustrations of each type may be added here to those previously brought to (...) light. Further examples, detected in an unsystematic fashion, no doubt lie dormant in published discussions and commentaries. Callimachus is still the only known Greek practitioner; perhaps his Roman successors considered the technique not merely Hellenistic but Callimachean. Authors of later ages employ the same techniques in equally haphazard fashion, although this does not mean that they had necessarily noticed examples from antiquity. (shrink)

Berenicen statim ab urbe dimisit invitus invitam.As for Berenice, he immediately dismissed her from the city against his will, against her will. Suetonius' laconic description of Titus' dismissal of his consort, the Herodian Berenice, after his accession to the Principate has attracted the attention of readers across the centuries. The biographer's use of polyptoton, invitus invitam, to describe the mental states of the Roman princeps and Judaean princess has been read as particularly moving. Perhaps most notably, Racine turned the emperor's (...) banishment of his lover into the central dilemma of his tragedy Bérénice. At the start of his preface to the text of the play, the dramatist amalgamates this sentence with another from earlier in the chapter, retaining the striking repetition, ‘Titus reginam Berenicen cui etiam nuptias pollicitus ferebatur, statim ab Urbe dimisit invitus invitam’. Racine claims that this account of the dismissal of Berenice provides appropriate subject matter for tragic poetry and, to support his case, he compares Virgil's treatment of the separation of Aeneas and Dido to the situation of Titus and Berenice. Suetonius is not normally read as a literarily sophisticated writer, but we should take a cue from Racine's response to this sentence. In this article, I argue that Suetonius himself chose to compare Titus and Berenice with Dido and Aeneas by an allusion in this sentence to Virgil's Aeneid and to Catullus' translation of the Coma Berenices. Within a rather matter-of-fact presentation of the relationship between the Flavian emperor and his Herodian consort, Suetonius evoked a more dramatic model. (shrink)

This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the (...) epic, which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examination of Vergil's manipulation of tragedy's articulation of socio-political and ideological problems may in turn illuminate the Aeneid as a national epic and its much-contested relationship with Augustan ideology. More specifically, I argue that issues of identity and moral action explored in Sophocles' Ajax are crucial in the cases of Dido and Turnus, who similarly find themselves in conflict with and unable to adapt to the new social and political structure of Aeneas' new order. Like Ajax, Dido and Turnus define themselves through constant reference to their relationship with their people. All three, however, engage in action which pits them against the interests of their communities and which results in their complete isolation. Unable to adjust their behavioral code to ensure their survival, Dido and Turnus embody a heroic ideal which, though laudable, can have no place in Aeneas' Roman future. Vergil thus mobilizes a tragic allusive register in order to illustrate the tension between the celebration of this ideal and the realization that social change has rendered it obsolete. At the same time, the loss of the ideals that Dido and Turnus represent necessitates the articulation of a comparable, if not superior, ethical code which Aeneas is called on to embody. Allusive evidence linking Aeneas to the tragic Ajax, however, seems to indicate Aeneas' failure to emerge as a superior moral force in the poem. (shrink)

Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam By GravesMargaret S., xi + 339 pp. Price HB £55.00. EAN 978–0190695910.

This article explores the allusive strategy of the late second-century cento-tragedy Medea attributed to Hosidius Geta, which recounts Medea's revenge against Jason using verses from the works of Virgil. It argues that the text's author recognized a consistent strand of characterization in earlier treatments of the Medea myth, whereby the heroine's filicide is presented as a corrupted sacrifice. Geta selectively uses verses from thematically significant episodes in the Aeneid—the lying tale of Sinon and the death of Laocoön; the murder of (...) Priam; the suicide of Dido—at key points to foreground the theme of pseudo-sacrificial violence. Geta's use of Virgil evinces a keen appreciation both of the symbolism of the broader mythic tradition in which his text is situated and of the original narrative contexts of the verses he recycles. The article's findings contribute to a growing recognition of the creative potential afforded by the cento technique. (shrink)