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E. K. Borthwick [74]E. Kerr Borthwick [29]
  1.  19
    Zoologica Pindarica.E. K. Borthwick - 1976 - Classical Quarterly 26 (02):198-.
    Bowra , referring to the image of the , and to the striking impression , states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘The thus becomes a flower’, implies a similar assumption, that the (...)
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  2.  15
    Emendations and Interpretations in the Greek Anthology.E. K. Borthwick - 1971 - Classical Quarterly 21 (02):426-.
    Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...)
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  3.  12
    The Dances of Philocleon and the Sond of Carcinus in Aristophanes' Wasps.E. K. Borthwick - 1968 - Classical Quarterly 18 (01):44-.
    Philocleon's dance in the exodus of the Wasps, and its allusions to, and caricatures of, contemporary composers or dancers, have often been discussed, and much is bound to remain inconclusive in view of the dubious nature of such scanty material as has survived in explanation of the scene in the scholiastic tradition. It is particularly unfortunate that it is not certain who is the Phrynichus referred to in 1490 ff.
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  4.  13
    The "Flower of the Argives" and a neglected meaning of "HANTHOS".E. Kerr Borthwick - 1976 - Journal of Hellenic Studies 96:1-7.
  5.  15
    Two Textual Problems in Euripides' Antiope, Fr. 188.E. K. Borthwick - 1967 - Classical Quarterly 17 (01):41-.
    In a recent article I drew attention to the fact that the well-known fable of the improvident cicada and the industrious ant has a close resemblance to the story of the twin brothers Amphion and Zethus and their classic debate on the respective merits of the artistic and practical life in Euripides' Antiope, which is reflected not only in the argument of Callicles and Socrates in the Gorgias and Horace, Ep. i. 18.
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  6.  5
    Zoologica Pindarica.E. K. Borthwick - 1976 - Classical Quarterly 26 (2):198-205.
    Bowra, referring to the image of the, and to the striking impression, states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘The thus becomes a flower’, implies a similar assumption, that the secondimage is entirely (...)
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  7.  30
    An allusion to Sophron in [Lucian]?E. K. Borthwick - 1969 - The Classical Review 19 (03):270-271.
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  8.  25
    Aristophanes, Clouds 1371.E. K. Borthwick - 1971 - The Classical Review 21 (03):318-320.
  9.  20
    A 'femme fatale' in Asclepiades.E. K. Borthwick - 1967 - The Classical Review 17 (03):250-254.
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  10.  38
    A Grasshopper's Diet—Notes on an Epigram of Meleager and a Fragment of Eubulus.E. K. Borthwick - 1966 - Classical Quarterly 16 (1):103-112.
    ‘Quid vero fit, quod poeta hanc plantam, tanquam munus locustae inprimis gratum, commemoret, nemo dixit; nee ego dicere possum’—so Jacobs in his note on the seventh line of this epigram. Among later commentators, Mackail thinks ‘can hardly mean “leek” here’ and he assumes it to be ‘groundsel’; Dain in the Budé edition is satisfied with the rather prosaic explanation that it is an ‘observation très juste … la cigale ne se nourrit que des sues des plantes’. I hope to show (...)
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  11.  40
    A. H. M. Kessels: Studies on the Dream in Greek Literature. Pp. xi + 269. Utrecht: HES Publishers, 1978. Paper.E. K. Borthwick - 1980 - The Classical Review 30 (02):283-.
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  12.  6
    A. H. M. Kessels: Studies on the Dream in Greek Literature. Pp. xi + 269. Utrecht: HES Publishers, 1978. Paper.E. K. Borthwick - 1980 - The Classical Review 30 (2):283-283.
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  13.  23
    A Note on Boxing-Gloves.E. K. Borthwick - 1964 - The Classical Review 14 (02):142-.
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  14.  13
    A Note on Some Unusual Greek Words for Eyes.E. K. Borthwick - 1980 - Classical Quarterly 30 (1):252-256.
    In Proceedings of the Cambridge Philological Society N.S. 14, 68, D. C. C. Young drew attention to a curious variant in the text of Longus 2.2.1, where, in a description of how, at the vintage, women ‘eyed’ Daphnis, A has concluding that ‘brothers’ must be a colloquial expression for ‘eyes’, he was however unable to cite any other example of this usage, but compared ‘picked men’, in Paulus Silentiarius, a locution found in a small range of other authors, as well (...)
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  15.  26
    Aeschylus vs. Euripides: a textual problem at Frogs 818–19.E. K. Borthwick - 1999 - Classical Quarterly 49 (02):623-.
    The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...)
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  16.  5
    Aeschylus vs. Euripides: a textual problem at Frogs 818–19.E. K. Borthwick - 1999 - Classical Quarterly 49 (2):623-624.
    The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψὑλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστ⋯ς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...)
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  17.  25
    Beetle, Bell, Goldfinch, and Weasel in Aristophanes' Peace.E. K. Borthwick - 1968 - The Classical Review 18 (02):134-139.
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  18.  19
    Bee Imagery in Plutarch.E. Kerr Borthwick - 1991 - Classical Quarterly 41 (02):560-.
    There can be few Greek prose authors who outdo Plutarch in fondness for elaborate similes, and a determination to sustain at length vocabulary appropriate to both objects of comparison within the simile, once it is embarked upon. In the essay Quomodo adulescens he uses a favourite image, in which a young man aspiring to be educated in quality literature is recommended to follow the example of the bee, which extracts material for its honey from the most pungent plants: μν ον (...)
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  19.  26
    Dio Chrysostom on the Mob at Alexandria.E. K. Borthwick - 1972 - The Classical Review 22 (01):1-3.
  20.  13
    Dietmar Najock: Anonyma de Musica Scripta Bellermanniana. (Bibliotheca scriptorum Graecorum et Romanorum Teubneriana.) Pp. xxvi + 38. Leipzig: Teubner, 1975. Cloth, 25 M.E. K. Borthwick - 1978 - The Classical Review 28 (1):195-195.
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  21.  23
    Death of a fighting cock.E. K. Borthwick - 1966 - The Classical Review 16 (01):4-5.
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  22.  5
    Emendations and Interpretations in the Greek Anthology.E. K. Borthwick - 1971 - Classical Quarterly 21 (2):426-436.
    Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...)
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  23.  23
    Greek Musical Ethos.E. K. Borthwick - 1968 - The Classical Review 18 (02):200-.
  24.  29
    Lucretius' Elephant Wall.E. K. Borthwick - 1973 - Classical Quarterly 23 (2):291-292.
    In an article1 entitled Lucrèce et les éléphants, Professor Ernout has referred to recent archaeological evidence that in palaeolithic times the skeletons of mammoths were used in the construction of primitive habitations, and observes that the well-known lines of Lucretius. 532 ff. about India being so prolific inelephants that the whole land ‘milibus e multis vallo munitur eburno’ mayrefer not to anything legendary, nor to themilitary use of elephants in large numbers for frontier defence, but to a recognitionof the fact (...)
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  25.  17
    Lasus of Hermione.E. K. Borthwick - 1967 - The Classical Review 17 (02):146-.
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  26.  13
    Limed Reeds in Theocritus, Aristophanes, and Propertius.E. K. Borthwick - 1967 - Classical Quarterly 17 (01):110-.
    Both the meaning of and the identity of the are in some doubt here. Gow's view that ‘Lacon thinks of labourers and cicadas vying with one another in the heat’ and that means ‘provoke to further exertions, put him on his mettle’ agrees in general with the scholiast.
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  27.  7
    Limed Reeds in Theocritus, Aristophanes, and Propertius.E. K. Borthwick - 1967 - Classical Quarterly 17 (1):110-112.
    Both the meaning of and the identity of the are in some doubt here. Gow's view that ‘Lacon thinks of labourers and cicadas vying with one another in the heat’ and that means ‘provoke to further exertions, put him on his mettle’ agrees in general with the scholiast.
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  28.  26
    Music and Drama – Ancient and Modern.E. Kerr Borthwick - 1980 - The Classical Review 30 (02):184-.
  29.  23
    Music, Mathematics, and Water-Organs.E. K. Borthwick - 1972 - The Classical Review 22 (03):364-.
  30.  33
    Observations on the Opening Scene of Aristophanes' Wasps.E. Kerr Borthwick - 1992 - Classical Quarterly 42 (1):274-278.
    The lack of stage directions in surviving Greek comedy which might give a clue to comic ‘business’ not clearly signalled or confirmed in the text is a considerable disadvantage to us, not least in some of the opening tableaux of Aristophanes. One thinks of restless father and snoring son in bed at the opening ofClouds, the jokes involving the incongruous entry of master, slave, donkey and baggage inFrogs, the preparations for launching the dung-beetle into space inPeace– all scenes which demand (...)
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  31.  29
    Plato and Aristotle on Musical Theory.E. K. Borthwick - 1963 - The Classical Review 13 (02):160-.
  32.  28
    Plutarch De Musica.E. K. Borthwick - 1956 - The Classical Review 6 (02):122-.
  33.  35
    Review. Greek music and musicians. Music and musicians in ancient Greece. W D Anderson.E. Kerr Borthwick - 1996 - The Classical Review 46 (2):259-261.
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  34.  27
    Suetonius' Nero and A Pindaric Scholium.E. K. Borthwick - 1965 - The Classical Review 15 (03):252-256.
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  35.  24
    Some Problems in Musical Terminology.E. K. Borthwick - 1967 - Classical Quarterly 17 (1):145-157.
    In addition to the technical writers on music, a number of ancient authors, notably Plutarch and Athenaeus, have recorded several musical terms, either by way of illustrative material—Plutarch is particularly given to musical similes and metaphors—or in the course of anecdotes about music and musicians. As musical terminology in different ages contains words or phrases not only of general acceptance and familiarity, but other more ephemeral expressions which belong to the jargon of a narrower circle of executants and critics, it (...)
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  36.  43
    Socrates, Socratics, and the Word B e e aim n.E. K. Borthwick - 2001 - Classical Quarterly 51 (1):297-301.
  37.  18
    Seeing Weasels: The Superstitious Background of the Empusa Scene in the Frogs.E. K. Borthwick - 1968 - Classical Quarterly 18 (02):200-.
    Every Greek scholar knows the celebrated lapsus linguae committed by the tragic actor Hegelochus at the Great Dionysia of 408 B.C., when he faltered in his enunciation of line 279 of Euripides' Orestes and gave the impression to the mirthful audience of having said I am surprised, however, that the commentators on this line have only partially explained the reason for its having seemed exceptonally funny.
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  38.  3
    Seeing Weasels: The Superstitious Background of the Empusa Scene in the Frogs.E. K. Borthwick - 1968 - Classical Quarterly 18 (2):200-206.
    Every Greek scholar knows the celebrated lapsus linguae committed by the tragic actor Hegelochus at the Great Dionysia of 408 B.C., when he faltered in his enunciation of line 279 of Euripides' Orestes and gave the impression to the mirthful audience of having said I am surprised, however, that the commentators on this line have only partially explained the reason for its having seemed exceptonally funny.
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  39.  51
    The Cynic and the Statue.E. K. Borthwick - 2001 - Classical Quarterly 51 (2):494-498.
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  40.  27
    Two Emendations in Alciphron.E. K. Borthwick - 1965 - The Classical Review 15 (03):261-262.
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  41.  17
    Two notes on the Birds of Aristophanes.E. K. Borthwick - 1967 - The Classical Review 17 (03):248-250.
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  42.  25
    Three notes on Euripides' Bacchae.E. K. Borthwick - 1966 - The Classical Review 16 (02):136-138.
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  43.  26
    The Odyssey.E. Kerr Borthwick - 1990 - The Classical Review 40 (02):203-.
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  44.  13
    Two scenes of combat in Euripides.E. Kerr Borthwick - 1970 - Journal of Hellenic Studies 90:15-21.
    The lines come from the messenger's speech describing the attack of the Delphians on Neoptolemus, a passage which I have discussed elsewhere in connexion with the tradition of Neoptolemus as inventor of the armed Pyrrhic dance. LSJ seem to be in several minds about the meaning and connexion of some of the words describing the missiles used by the Delphians. S.v. ‘σφαγεύς’, they give ‘sacrificial knife, spit’ uniquely of a word elsewhere meaning ‘slayer, murderer’, etc.. S.v. ‘βουπόρος’, they cite ἀμφωβόλοι (...)
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  45.  6
    The scene on the Panagjurischte Amphora: a new solution.E. Kerr Borthwick - 1976 - Journal of Hellenic Studies 96:148-151.
  46.  9
    Two Unnoticed Euripides Fragments?E. K. Borthwick - 1968 - Classical Quarterly 18 (02):198-.
    In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188' , in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.
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  47.  13
    Two Unnoticed Euripides Fragments?E. K. Borthwick - 1968 - Classical Quarterly 18 (2):198-199.
    In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188', in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.
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  48.  13
    The Verb AYω and its Compounds.E. K. Borthwick - 1969 - Classical Quarterly 19 (2):306-313.
    In a recent article Mr. D. A. West investigated the meaning of haurire, haustus, showing how the primary sense ‘to take by scooping, to draw’ is present in a number of passages which have been incorrectly interpreted in the light of extensions made only later of this usage. He noted in passing that ‘this sense may well survive in, the cognate of haurire’. In this article I hope to show that the recognition of this as the basic sense of and (...)
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  49.  11
    ‘The Wise Man and the Bow’ in Aristides Quintilianus.E. Kerr Borthwick - 1991 - Classical Quarterly 41 (01):275-.
    In the second book of the De Musica, Aristides Quintilianus discourses at length on the educational value of music, drawing on many earlier sources, Pythagorean, Damonian, and of course Plato and Aristotle. In ch. 6 Plato's censorious views in the Republic are particularly referred to, but, like Aristotle in the eighth book of his Politics, Aristides takes a less severe attitude towards the pleasure-giving content of melody on appropriate occasions, and points to the natural human taste for such music: τς (...)
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  50.  11
    ‘The Wise Man and the Bow’ in Aristides Quintilianus.E. Kerr Borthwick - 1991 - Classical Quarterly 41 (1):275-278.
    In the second book of the De Musica, Aristides Quintilianus discourses at length on the educational value of music, drawing on many earlier sources, Pythagorean, Damonian, and of course Plato and Aristotle. In ch. 6 Plato's censorious views in the Republic are particularly referred to, but, like Aristotle in the eighth book of his Politics, Aristides takes a less severe attitude towards the pleasure-giving content of melody on appropriate occasions, and points to the natural human taste for such music: τ⋯ς (...)
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