This article explores the role of Athenian literary prizes in the development of ancient literary criticism. It examines the views of a range of critics , and identifies several recurrent themes. The discussion reveals that ideas about what was good or bad in literature were not directly affected by the award of prizes; in fact the ancient critics display what is called an “anti-prize” mentality. The article argues that this “anti-prize” mentality is not, as is often thought, a product of (...) intellectual developments in the fourth century BC. It is suggested that the devaluation of prizes is actually a contemporary, integral feature of prize-awarding culture in general. This article draws on recent approaches from cultural sociology to offer some conclusions about the way in which prizes function in popular and critical discourse. (shrink)

The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period (...) before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy. (shrink)

This article focuses on a set of problems involving a controversial portion of the HHA that describes the performance of the Delian chorus in a rare instance of early performance criticism. First, the two variants for a key noun in line 162, bambaliastus and krembaliastus, are discussed. Skepticism is expressed about the applicability to this scene of the first variant. On the contrary, krembaliastus——the suitability of which has not been discussed in detail, even by scholars who seem to have favored (...) it——can make good sense. Literary and iconographic evidence makes it plausible that krembaliastus denotes the act of generating through percussion devices called krembala rhythmic patterns meant to govern stylized movement, what the Greeks called schêêmata. The marked term krembaliastus was probably employed to evoke a characteristic trait of the highly skilled Deliades. Furthermore, as vocal and kinetic activities were inextricably linked in choral practices, they are ultimately conceptualized as part of the same unified expressive mechanism. The author also questions the conventional interpretation of mimeisthai as ““mimicking,”” instead reading it as ““representation,”” involving the evocation of the essence of an entity but not necessarily exact reproduction of its formal details. Finally the essay argues that the Delian chorus' art of ““knowing how to represent the voices and the rhythmic patterns of all people”” designates the perfection of choral performance, as an all-inclusive enactment that forms a powerful trans-local bond. (shrink)

Selfhood and the Soul is a collection of new and original essays in honour of Christopher Gill, Emeritus Professor of Ancient Thought at the University of Exeter. Although they all share the same concern - the experience of being a person and the question of how best to live - as in the work of the honorand himself they are distinguished by a diversity of approach and subject matter, taking the reader on a journey from ancient philosophy to medical writing (...) via discussions of topics as varied as money, love, free will, and cookery. (shrink)

Natural law political theory grounds the authority of law in the law's capacity to advance the common good, but questions about what this common good is and how it relates to political life remain highly contested. The influential new natural law theory of John Finnis reduces political association to the operation of government and makes it a merely instrumental good that serves to secure and facilitate individual and social goods. Political community, on this account, does not realize any further human (...) good not already experienced in smaller human communities. In A Vindication of Politics, Matthew Wright challenges this account and argues that political community itself realizes an aspect of social life intrinsic to full human flourishing. Wright develops an account of the political common good that is both inclusivist and distinctive--that is to say, it includes within its orbit the diverse goods of individuals and other associations, and it recognizes the good of the political association itself. Drawing on the work of Edmund Burke and the example of Abraham Lincoln, Wright argues that political community has its own distinctive goods, including civic friendship and political culture, embodied in its history, institutions, practices, and ideals. Individuals do not have to run for office to be engaged in the political common good. Participation in the vibrant cultural life of one's political community is an intrinsic part of the common good. (shrink)

Our extant texts never give a fully comprehensive or representative impression of classical literature. Fragments are valuable because they tell—or hint at—a different story. They represent vestigial traces of a counterfactual alternative version of literary history, and they offer tantalizing glimpses of voices or varieties of human experience that were (accidentally or deliberately) excluded from the classical canon. To ‘think fragmentarily’ is to think beyond the canon and to question traditionally dominant modes of thought. This article uses a neglected fragment (...) of Damoxenus (fr. 3 PCG) as a case study for ‘fragmentary thinking’. This extraordinary fragment reveals that Damoxenus’ comedy dramatized a homosexual love story, in sharp contrast to the familiar heteronormative marriage plots of Menander and other Greek and Roman comic playwrights. Careful examination of a single fragment can prompt us to re-examine conventional scholarly narratives of sexuality in New Comedy. (shrink)

This article examines the place of tragic poetry within the early history and development of ancient literary criticism. It concentrates on Euripides, both because his works contain many more literary-critical reflections than those of the other tragedians and because he has been thought to possess an unusually 'critical' outlook. Euripidean characters and choruses talk about such matters as poetic skill and inspiration, the social function of poetry, contexts for performance, literary and rhetorical culture, and novelty as an implied criterion for (...) judging literary excellence. It is argued that the implied view of literature which emerges from Euripidean tragedy is both coherent and conventional. As a critic, Euripides, far from being a radical or aggressively modern figure (as he is often portrayed), is in fact distinctly conservative, looking back in every respect to the earlier Greek poetic tradition. (shrink)