Aratus’ Phaenomena calls upon its reader to scrutinize the letters of the text as carefully as the stars and constellations that form its subject matter. The poem abounds with clever letter-play and wordplay, and its reception too is characterized by verbal cleverness, as later authors vie with Aratus and one another to create ingenious textual effects. Among the best-known examples is the word ἄρρητον at Phaen. 2, a witty hidden sphragis for Aratus, who nowhere in his work (...) directly names himself. Later poets picked up on this pun: Callimachus speaks of the λεπταὶ ῥήσιες Ἀρήτου, repeating the verbal root of ἄρρητον in ῥήσιες and its sound in Ἀρήτου. Leonidas of Tarentum meanwhile rates Aratus ‘second after Zeus’, acknowledging the hidden sphragis, which follows directly after the invocation of Zeus in line 1 of the Phaenomena. (shrink)

That Cicero as a young didactic poet embraced the traditions of Hellenistic hexameter poetry is well recognized. Those traditions encompass various forms of wordplay, one of which is the acrostic. Cicero's engagement with this tradition, in the form of an unusual Greek-Latin acrostic at Aratea 317–20, prompts inquiry regarding both the use of the acrostic technique as textual commentary and Cicero's lifelong concerns regarding translation.

It is characteristic of A. to use words that occur only once in Homer, and such a word is ρρητος. In Od. 14. 466 it describes the remark that is better left unspoken, πέρ τ' ρρητον μεινον. But it has the distinction of occurring once also in Hesiod, and this time it is used of men without fame, ητοί τ' ρρητοί τε Διòς μεγάλοιο κατι . It is clearly this line in Hesiod's proem that A. is echoing in his own, (...) and in the same kind of sense, though, as Martin points out, A. ‘renverse en quelque sorte une expression d'Hésiode’. In the Phaenomena it is Zeus who is always being celebrated by men. The idiom with ν and negative is used by Plato, Lg. 793 b, οτε νόμους δε προσαγορεύειν ατ οτε ρρητα ν, and it may have been a familiar expression. But here in A., with the emphatic οδέποτε, it does seem rather contrived, and this may account for the fanciful explanation in the scholia that Zeus here represents the air we use every time we speak. The phrasing is certainly designed to give the maximum emphasis to ρρητον, which comes in enjambement at the beginning of the second line and is then followed by a strong sense pause. It is tempting, therefore, to suggest that the poet is indulging in a kind of pun on the sound of his own name, which usually has a long α in its first syllable and sometines η in its second: e.g. Call. Epigr. 27. 4 ρήτου σύντονος γρυπνίη, and Leonidas, A.P. 9. 25. 1 γράμμα τόδ' ρήτοιο δαήμονος. Other Hellenistic poets have contrived puns on the derivation oftheir names: Philodemusin A.P. 5. 115, Meleager in A.P. 12. 165, and Crates in A.P. 11. 218. 4. Closer to A. is the story recorded in the ancient biographical tradition of Antigonus complimenting the poet with the pun εδοξóτερον ποιες τòν Eδοξον. (shrink)

At the end of his life of Aratus Plutarch recounts the death of the Achaean statesman in 213 BC, the subsequent transport of his body — after a consultation of the Delphic oracle — from Aigion to his native Sicyon, his burial inside of the city, and the annual festival established in his honor. Although Plutarch’s account of the retrieval of the body is for several reasons highly suspect historically, his description of the festival rings true and appears to (...) derive — not directly, I argue, but indirectly through an intermediate source — from an inscription. Most of the content and language finds close parallels in surviving inscriptions concerned with the conduct of sacrifices and, especially, with the large, organized processions that very often preceded them. I use material from these inscriptions to supplement and shed light on Plutarch’s brief account and to offer a tentative reconstruction of the festival and its procession, in the context of what is known of the topography of Hellenistic Sicyon. I also make a suggestion, again tentative, of the identity of Plutarch’s source for the passage. (shrink)

Aratus has been notorious for his wordplay since the first decades of his reception. Hellenistic readers such as Callimachus, Leonidas, or ‘King Ptolemy’ seem to have picked up on the pun on the author's own name atPhaenomena2, as well as on the famous λεπτή acrostic atPhaen.783–6 that will be revisited here. Three carefully placed occurrences of the adjective have so far been uncovered in the passage, but for a full appreciation of its elegance we must note that Aratus (...) has set his readers up to notice a fourth. (shrink)

An eighth-century Latin version of a Greek edition of Aratus preserves valuable ancient scholarship on the Phaenomena, including material not preserved in Greek. Examination of over thirteen thousand Latin–Greek correspondences enables one to interpret passages of the Latin that have so far resisted analysis, including information about an ancient edition equipped with critical signs and commentary, ancient discussion of the primary narratee in Aratus and Homer, and the alternative proem to Anclides (SH 84).

Recently in the pages of The Classical Quarterly Mathias Hanses convincingly demonstrated the existence of a fourth occurrence of the programmatic adjective λεπτός in Aratus, Phaen. 783–7. This new example occurs in the form of a diagonal acrostic alongside the known ‘gamma-acrostic’ and the occurrence of the same form of the adjective in line 784. Jerzy Danielewicz has now proposed yet a fifth instance of λεπτή in the form of an acronym spread over two lines and meant to be (...) read anticlockwise. (shrink)

καλὸν δ᾽ ἐπὶ σήματι σῆμασκέπτεσθαι, μᾶλλον δὲ δυοῖν εἰς ταὐτὸν ἰόντωνἐλπωρὴ τελέθοι, τριτάτῳ δέ κε θαρσήσειας. It is a good idea to observe one sign after another, and if two agree, it is more hopeful, while with a third you can be confident. Appropriately for a poet who is ‘subtly speaking’, the epithet applied to him by Ptolemy III Euergetes, Aratus does not cease offering unexpected material to explore. This statement holds true also for the famous passage containing the (...) acrostic ΛΕΠΤΗ. (shrink)

This article presents texts recovered by post-processing of multispectral images from the fifth- or sixth-century underwriting of the palimpsest Codex Climaci Rescriptus. Texts identified include the Anonymous II Proemium to Aratus’ Phaenomena, parts of Eratosthenes’ Catasterisms, Aratus’ Phaenomena lines 71–4 and 282–99 and previously unknown text, including some of the earliest astronomical measurements to survive in any Greek manuscript. Codex Climaci Rescriptus also contains at least three astronomical drawings. These appear to form part of an illustrated manuscript, with (...) considerable textual value not merely on the basis of its age but also of its readings. The manuscript undertexts show significant overlap with the Φ Edition, postulated as ancestor of the various Latin Aratea. (shrink)

The present article discusses how linguistic and stylistic considerations are significant and even critical to the acceptance, survival, and ultimately to the canonical status of literary works. The choice of subject, style and the translation process are factors which influenced the status and fate of many literary compositions. We use this criterion to examine the case of Aratus' Phaenomena, one of the most successful poems of antiquity. Our paper focuses on how the survival and popularity of Aratus' poem (...) were affected by its being translated into Latin by Cicero, Germanicus and Avienus. El presente artículo discute de qué modo consideraciones lingüísticas y estilísticas son significativas o incluso críticas para la aceptación, la supervivencia y en última instancia para el status canónico de una obra literaria. La elección del tema, el estilo y los procesos de traducción son factores que influenciaron el status y la suerte de muchas composiciones literarias. Usamos este criterio para examinar el caso de los Phaenomena de Arato, uno de los poemas más exitosos de la antigüedad. Nuestro artículo analiza de qué modo las traducciones de Cicerón, Germánico y Avieno contribuyeron a su popularidad y supervivencia. (shrink)

What follows is an experiment in reading practice. I propose that we read some key passages of theAeneidand theMetamorphosesin the active pursuit of acrostics and telestics, just as we have been accustomed to read them in the active pursuit of allusions and intertexts; and that we do so with the same willingness to make sense of what we find. The measure of success of this reading practice will be the extent to which our understanding of these familiar and well-studied texts (...) can be usefully enriched by our interpretation of our discoveries (or rediscoveries). These will include an undiscovered authorial signature NASO in the ‘second proem’ of theMetamorphoses; an unnoticed self-referential response to Horace with NITIDO at the centre of Ovid's epic and a similarly self-referential AVSVM at the centre of Virgil's epic; in theAeneidwe will also find glances to Aratus with LEPTE and an Aratean anagram on Aeneas’ shield; and two new acrostics connecting Dido, Ajax and Lavinia. (shrink)

ABSTRACTThis article draws attention to the presence of a previously unnoticed transliterated telestich in the transformation of stones into bodies in the episode of Deucalion and Pyrrha in Ovid's Metamorphoses. Detection of the Greek intext, which befits the episode's amplified bilingual atmosphere, is encouraged by a number of textual cues. The article also suggests a ludic connection to Aratus’ Phaenomena.

The article provides a reconstruction of Eudoxus' approach to simultaneous risings and settings in his two works dedicated to the issue: the Phaenomena and the Enoptron. This reconstruction is based on the analysis of Eudoxus’ fragments transmitted by Hipparchus. These fragments are difficult and problematic, but a close analysis and a comparison with the corresponding passages in Aratus suggests a possible solution.

Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present (...) purposes I disregard the separate, though related, phenomenon of correspondingnumbers of linesin parallel passages: G. Knauer,Die Aeneis und Homer(Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursuein extenso); thus Virgil'sfagus, beech, corresponds with Theocritus'phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in theAeneidis proposed below. (shrink)

Theocritus' twenty-second idyll is cast in the form of a hymn to the Dioscuri, who are addressed in the proem as saviours of men, horses, and ships. This opening section of the idyll is modelled loosely on the short thirty-third Homeric hymn, and like that hymn contains an expanded account of the twins' rescue of ships about to be lost in a storm. As is hardly surprising, Theocritus in reworking the Homeric hymn draws on other literary antecedents as well, and (...) like other Alexandrian poets makes prominent use of diction borrowed and adapted from the Homeric epics. At the same time, the proem also shares several points of contact, largely overlooked or disputed by previous scholarship, with the poetry of Theocritus' own contemporaries. In the present paper, I shall suggest that in the storm scene of the proem references to Aratus' Phaenomena and Apollonius Rhodius' Argonautica occur in a carefully arranged pattern with potentially significant implications for our understanding of the proem and the idyll as a whole. (shrink)

From the scholarly activity of the fourth and fifth centuries A.D. stem several collections of scholia to the poems of Virgil, most of which make copious reference to prose and verse composed in Latin before Virgil's time. The authors of these scholia were the last of a long line of commentators whose labours began soon after Virgil's death. Just as Virgil walked in the tracks of Theocritus, Hesiod, Aratus, Nicander, Homer, and Apollonius, so did his students in the tracks (...) of the great Alexandrian expositors of the Greek poets. They sought to explain Virgil not only through Virgil himself, but also through the poets and prose writers, Greek and Latin, whom they imagined Virgil to have read. Thus we have scholia citing early republican literature in order to parallel words uncommon in or absent from the fourth-century classical syllabus, as well as unclassical usages, inflections, and constructions; in order to demonstrate ‘imitations’ on the part of Virgil; and in order to elucidate the structure of episodes of the three poems where Virgil appears to depart from the most commonly known versions of myth and history. Argument concerning the text or interpretation of a disputed passage is frequently based on appeal to the usage of Virgil's Latin predecessors. (shrink)

Recent decades have witnessed a growing interest injeux de motsin Greek poetry. It was especially the discovery of the ΛΕΠΤΗ acrostic in Aratus'Phaenomenaby J.-M. Jacques in 1960 that stimulated the desire for joining the elite club of those capable of detecting such encrypted messages. This period of intensiveRätselforschungrecently found its culmination in the publication of C. Luz's monograph on linguistic games in Greek poetry, in which an impressive variety of these is discussed: acrostics, palindromes, anagrams, isopsephic poems,carmina figurata, and (...) so forth. Yet even Luz's list is incomplete, and the present discussion aims to offer a brief supplement to her admirable book. I will discuss a playful device used by Greek poets which may not be as spectacular as acrostics but beats them in one hardly negligible respect – that a plausible new discovery may be easier to make in this field. (shrink)

In the "Doxographi Graeci" the preferred short heading of Aët. 2.31 (Greek text below, p. 28) is 'On Distances', though ps.Plutarch has a long heading. This chapter is about the distances of the sun and moon from each other and from the earth (lemmas 1 to 3, in both ps.Plutarch and Stobaeus), and of the real or apparent shape of the heaven relative to its distance from the earth (lemmas 4 and 5, Stobaeus only). Parallels from Ioann. Lydus and Theodoret (...) for what is in ps.Plutarch are given by Diels in apparatu. To the best of my knowledge it has not been noticed that a version of ps.Plutarch's text is preserved in a scholium on the "Almagest", which constitutes our earliest evidence for the text. The correctness of Diels' reconstruction is questionable. Though certainty, naturally, is beyond our reach it is quite possible that these two sets of lemmas represent two distinct Aëtian (or proto-Aëtian) chapters. These may have been coalesced by Stobaeus (or Aëtius), while ps.Plutarch abridged the second (or the two final lemmas) away. These considerations necessitate an inquiry into the parallels that are available, including material from an introduction to Aratus. The vexing question of short versus long(er) chapter headings is also relevant in this context. Furthermore, the contrasting views regarding cosmic distances are not only a feature of the Placita literature with a distant origin in Aristotle, but also, apparently, of the commentary literature on Plato's "Timaeus". Arguably in a passage in Plutarch's "De facie" these two traditions intersect. Finally, a case can be made out for Eudemus not Theophrastus as an intermediary source of Presocratic astronomical data in the Placita. (shrink)

This book offers a new description of the significance of Hesiod's 'myth of the races' for ancient Greek and Roman authors, showing how the most detailed responses to this story go far beyond nostalgia for a lost 'Golden' age or hope of its return. Through a series of close readings, it argues that key authors from Plato to Juvenal rewrite the story to reconstruct 'Hesiod' more broadly as predecessor in forming their own intellectual and rhetorical projects; disciplines such as philosophy, (...) didactic poetry and satire all engage in implicit questions about 'Hesiodic' teaching. The first chapter introduces key issues; the second re-evaluates the account in Hesiod's Works and Days. A major chapter outlines Plato's use of Hesiod through close study of the Protagoras, Republic and Statesman. Subsequent chapters focus on Aratus' Phaenomena and Ovid's Metamorphoses; the final chapter, on the Octavia attributed to Seneca and Juvenal's sixth Satire, broadens ideas of Hesiod's reception in Rome. (shrink)

From what has already been said it will be clear that Alcaeus of Messene, like the anonymous author of Anth. Pal. xvi. 6, was a supporter of Philip V at least until 201 B.C., that is, until the Second Macedonian War. The view that his breach with Philip followed the Messenian events of 215–214 has, however, been so frequently upheld that it deserves consideration. It appears to be based on one or more of the following assumptions. Philip's activities in Messene (...) resulted in driving that state into the Aetolo-Spartan camp: Alcaeus, as a loyal Messenian, will have followed the official Messenian policy. Further, Alcaeus wrote a poem accusing Philip of poisoning his guests: this is to be connected with the death of Aratus, in which the Achaean himself professed to see the hand of Philip. Finally, it is assumed that Alcaeus had already started his literary career at the time of the Messenian events of 215–214, since he has left an epigram celebrating the threefold victory at the Isthmus of the famous Cleitomachus of Thebes, whose floruit, it is claimed, was 216–212 . None of these arguments is really cogent: a very good case can be, and has been, made out for dating Cleitomachus’ success towards the end of the third century; the poisoning referred to is undoubtedly that of Callias and Epicrates which, being itself undated, cannot be used as a chronological index; and politically Alcaeus, as we shall see, was far from being an orthodox Messenian. (shrink)

En el exordio de Argonáuticas, Apolonio emplea una serie de alusiones hímnicas que le otorgan a su poema una mayor profundidad de sentido y una textura literaria diferente. En este trabajo analizaremos cómo a partir de una serie de alusiones al exordio de Fenómenos de Arato, Apolonio introduce elementos del repertorio hímnico en su épica, y cómo fusiona la invocación épica a las Musas con la plegaria hímnica y cuáles son los significados y funciones de esta fusión. Estas alusiones presentan (...) al poema como una “nueva épica”, que enfatiza su novedad en la incorporación de elementos de otros géneros. In the exordium of the Argonautica, Apollonius makes a series of hymnic allusions that gives his poem a greater depth of meaning and a different literary texture. In this work we will analyze how, from a series of allusions to the exordium of the Phaenomena of Aratus, Apollonius introduces elements of the hymnic repertoire in his epic, and how he fuses the epic invocation to the Muses with the hymnic prayer and what are the meanings and functions of this fusion. (shrink)

The assumption that Ptolemy adopted star coordinates from a star catalog by Hipparchus is investigated based on Hipparchus’ equatorial star coordinates in his Commentary on the phenomena of Aratus and Eudoxus. Since Hipparchus’ catalog was presumably based on an equatorial coordinate system, his star positions must have been converted into the ecliptical system of Ptolemy’s catalog in his Almagest. By means of a statistical analysis method, data groups consistent with this conversion of coordinates are identified. The found groups show (...) a high degree of agreement between Hipparchus’ and Ptolemy’s data. The value of the obliquity of the ecliptic underlying the conversion is estimated by adjustment and statistically agrees with Ptolemy’s value of this parameter. The results allow the assumption that Ptolemy’s coordinates were determined from Hipparchus’ coordinates by an accurate star globe or even by calculation. For a calculative derivation of ecliptical coordinates from equatorial ones, possible calculation methods are discussed considering the mathematics of the Almagest. (shrink)

In Virgil's third eclogue, the goatherd Menalcas responds to his challenger Damoetas by offering as his wager in their contest of song a pair of embossed cups,caelatum diuini opus Alcimedontis, decorated with a pattern of vine and ivy. In the middle of this design, he says, are two figures. One is the astronomer Conon, and the other—at this point Menalcas, afflicted with a sudden loss of memory, professes to have forgotten the name of the second figure, and breaks off into (...) a question :quis fuit alter, | descripsit radio totum qui gentibus orbem, | tempora quae messor, quae curuus arator haberet?Various candidates for the identity of this second astronomer have been suggested, one of the most favoured being Eudoxus of Cnidus, whosePhaenomenahad been versified by the Hellenistic poet Aratus. In 1930 it was proposed by Léon Herrmann that Menalcas in fact answers his own question in his reference tocuruUS ARAToratEcl.3.42: the solution to Virgil's riddle is already written into the question, in the form of the anagram ofAratusconcealed within these two words. Strictly speaking, Hermann notes only that ‘Aratorau v. 42 évoque le nom d’Aratos’; he and later exponents of the theory tend to ignore the preceding ‘-us’—but there seems no reason to exclude it if an allusion to the Greek poet is to be seen in the two following syllables. (shrink)

With B. M. Pap. 273 , which consists of a number of fragments from a papyrus book containing an unknown epic on the subject of Dionysus and his Indian expedition, is bound up a small fragment, evidently by a different hand. This I have recently identified as from the Phaenomena of Aratus; and I therefore publish it here. Apparently no papyrus fragment of this poem has yet been discovered; there is, however, at Berlin a portion of a commentary on (...) Aratus, which has been published by Maass in his Commentariorum in Aratum Reliquiae, Berlin, 1898, pp. 556–558. (shrink)

In lines 646–60 of his translation of Aratus’ Phaenomena, Germanicus narrates the story of Orion, the mythical hunter killed by a scorpion sent by Diana because of his attempt to rape the goddess, and then transformed into a star. In particular, line 651 describes Orion's hunting:nudabatque feris angusto stipite siluas.

Translating in his Arati Phaenomena the Aratean myth of Orion and the scorpion, Germanicus introduces a series of allusions to the parallel episode in the proem of Nicander’s Theriaka, which was modelled in turn on the passage of Aratus’ Phaenomena. In so doing, Germanicus emphasizes the intertextual connection between the two hellenistic poems, and incorporates both of them in his Aratean translation. At the same time, some of these Nicandrean borrowings are reformulated through the use of Virgilian vocabulary. The (...) Orion episode can therefore be seen as a sample of Germanicus’ poetical technique and allusive art, highlighting the various components of his refined literary culture. (shrink)