In this paper I shall approach Hesiod's poetry from two, rather different, directions; consequently, the paper itself falls into two parts, the argument and conclusions of which are largely independent. In I offer some observations on the vexed question of the organisation of Works and Days; that is, my concern is with the coherence of the poem's form and content. In my attention shifts to the function of this poem and of its companion, Theogony; given the form and content (...) of these two poems, what can we plausibly conjecture about the end or ends to which they were composed? In particular, I shall consider whether, and in what sense, these poems may be regarded as didactic in intent. Much of what I have to say in I say with a measure of confidence; in , by contrast, my primary aim is to undermine unwarranted confidence — although I do, even here, reach some positive conclusions. (shrink)

In this paper I shall approach Hesiod's poetry from two, rather different, directions; consequently, the paper itself falls into two parts, the argument and conclusions of which are largely independent. In I offer some observations on the vexed question of the organisation of Works and Days; that is, my concern is with the coherence of the poem's form and content. In my attention shifts to the function of this poem and of its companion, Theogony; given the form and content (...) of these two poems, what can we plausibly conjecture about the end or ends to which they were composed? In particular, I shall consider whether, and in what sense, these poems may be regarded as didactic in intent. Much of what I have to say in I say with a measure of confidence; in, by contrast, my primary aim is to undermine unwarranted confidence — although I do, even here, reach some positive conclusions. (shrink)

In their introduction to the recent excellent volume Plato & Hesiod, the editors G.R. Boys-Stones and J.H. Haubold observe that when we think about the problematic relationship between Plato and the poets, we tend to narrow this down to that between Plato and Homer. Hesiod is practically ignored. Unjustly so, the editors argue. Hesiod provides a good opportunity to start thinking more broadly about Plato's interaction with poets and poetry, not in the least because the ‘second poet’ of Greece (...) represents a different type of poetry from Homer's heroic epics, that of didactic poetry. What goes for Plato and Hesiod goes for Proclus and Hesiod. Proclus , the productive head of the Neoplatonic school in Athens, took a great interest in poetry to which he was far more positively disposed than Plato had ever been. He wrote, for example, two lengthy treatises in reaction to Socrates' devastating criticism of poetry in the Republic as part of his commentary on that work in which he tries to keep the poets within the Platonic pale. This intriguing aspect of Proclus' thought has, as one might expect, not failed to attract scholarly attention. In Proclus' case too, however, discussions tend to concentrate on his attitude towards Homer . To some extent this is only to be expected, since much of the discussion in the Commentary on the Republic centres on passages from Homer. Proclus did not, however, disregard Hesiod: we still possess his scholia on the Works and Days, now available in a recent edition by Patrizia Marzillo. (shrink)

Roughly half way through the fourthGeorgic, Virgil confronts a sad reality: on occasion the entire population of a hive can perish without warning and leave the bee-keeping farmer bee-less. In response to such a devastating loss, the poet describes an Egyptian procedure, to which modern critics have given the namebugonia, whereby the farmer acquires a new swarm of bees from the putrefying carcass of a dead ox (4.281–314). After the account ofbugonia, the poem takes a notoriously unexpected turn. Virgil asks (...) the Muses about the origins of this practice and then recounts the exploits of Aristaeus, an inhabitant of the georgic world whose own bees once succumbed to famine and disease. In the narrative that follows, Aristaeus consults his mother Cyrene and the seer Proteus, who tells him about Orpheus’ descent to the underworld. The narrative ends when Aristaeus, thanks to the teaching of his mother, performs a series of activities that culminates in a new swarm of bees bursting forth from the putrefying carcass of a dead ox (4.315–558). The aetiological character of the Aristaeus narrative is clear—Virgil promises to trace the Egyptian procedure back to its firstorigo(4.286), and when he addresses the Muses, he specifically asks what god discovered the practice and whence it took its first beginnings (4.315–16). But for what activity does the story actually offer anaition? (shrink)

The employment of mythological language and imagery by an Epicurean poet - an adherent of a system not only materialist, but overtly hostile to myth and poetry - is highly paradoxical. This apparent contradiction has often been ascribed to a conflict in the poet between reason and intellect, or to a desire to enliven his philosophical material with mythological digressions. This book attempts to provide a more positive assessment of Lucretius' aims and methodology by considering the poet's attitude to (...) myth, and the role which it plays in the De Rerum Natura, against the background of earlier and contemporary views. The author suggests that Lucretius was not only aware of the tension between his two roles as philosopher and poet, but attempted to resolve it by developing his own, Epicurean poetic, together with a bold and innovative theory of the origins and meaning of myth. (shrink)

The article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on (...) heroic aretalogies, and on Heracleids and Theseids in particular, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’. (shrink)

The relations of philosophy and poetry include but are not exhausted by Plato’s hostility to mimetic poetry in the Republic and Aristotle’s defence of it in the Poetics. For poetry has often carried a philosophical message itself, from the work of Chaucer and Milton to that of T.S. Eliot. In yet earlier generations, poetry was chosen as the medium for conveying a philosophical message by (among Greek philosophers) Xenophanes, Parmenides and Empedocles, and (at Rome) by Lucretius, (...) who struggled both with the Latin language and with the standard metre of didactic poetry, hexameters, to spread what he considered enlightenment and to reach for his Epicureanism an audience that might otherwise have remained unreached. To the extent that poets such as Lucretius succeeded, the philosophical critics of poetry in the tradition of Plato would have to recognise merit in some mimetic poetry. (Thus Lucretius compares clouds of atoms to flocks of sheep, which he graphically depicts.) Yet a defence of poetry other than Aristotelian katharsis would be needed for works such as those of Empedocles and Lucretius. Perhaps Enlightenment can be conveyed equally well in verse as in prose, mimetic components notwithstanding; for some purposes perhaps itcan be conveyed uniquely well. De nihilo nil fit, to quote Lucretius, comprises an example. (shrink)

This paper examines ways leading Song-dynasty Chan teachers, especially Cishou Huaishen 慈受懷深 (1077–1132), a prominent poet-monk (shiseng 詩僧) and temple abbot from the Yunmen lineage, transform the intricate rhetorical techniques of Chinese poetry in order to explicate the relationship between an experience of spiritual realization beyond language and logic and the ethical decision-making of everyday life that is inspired by transcendent principles. Huaishen’s poetry expresses didactic Buddhist doctrines showing how an awareness of nonduality and the surpassing of (...) all conceptual boundaries and categories can and must be applied to negotiating moral choices in concrete everyday situations that are either conducive or detrimental to the attainment of enlightenment. My main argument is that Song Chan discourse does not lead to antinomianism or an indifference to the conflicts of the mundane world but, instead, features an ethical approach for determining an aspirant’s degree of illumination. This function is central to the school’s overall teaching mission of assisting those seeking to overcome their egocentric delusions by realizing the benefits of Chan insight. (shrink)

In their didactic poems on fishing and chocolate, both published in 1689, two Neapolitan Jesuits digressed to record and lament a devastating 'plague' of 'hypochondria'. The poetic plagues of Niccolò Giannettasio and Tommaso Strozzi have literary precedents in Lucretius, Vergil, and Fracastoro, but it will be argued that they also have a real, contemporary significance. Hypochondria was considered to be a serious illness in the seventeenth century, with symptoms ranging from depression to delusions. Not only did our Jesuit poets (...) claim to have suffered from it, but so did prominent members of the 'Accademia degl'Investiganti', a scientific society in Naples that was at odds with both the religious and medical establishments. (shrink)

Classical Arabic poetry, which constitutes an important aspect of Islamic Civilization, has an important function in understanding Islamic texts, especially the Qur'an and hadith. In this context, the poetry of Jahiliyyah, which is the source of the Qur'an's style and expressive power (expression/utterance), is important in terms of having the mentioned function.The work, which was introduced, fills a significant gap in the field by referring to the contacted function of the poem of Jahiliyyah in a theoretical and practical (...) sense. The work analyzes selected eulogies from the poems of important poets of the Jahiliyyah period in a deep way, taking into account the morphological and syntactic functions of the language. The work, which refers to the elements that should be considered in the analysis of poetry through the texts, draws attention with its didactic and dialectical style, on which the taste for language is based. (shrink)

Twice in the Poetics, Aristotle contrasts poetry with history. Whatever its didactic value, the contrast has not seemed to readers of special philosophical interest. The aim of this paper is to show that this contrast is philosophically significant not just for our understanding of tragedy but also for the light it sheds on Aristotle’s overall methodology. I shall show how he uses the method sketched in the Topics to define tragedy and explain why the same method will not (...) define history. In particular, tragedy admits of definition because its parts constitute a unity, and much of the Poetics aims to show how, despite being defined through six distinct parts, tragedy can be one. In contrast, history, though a proper preliminary to poetics and concerned also with human action, does not admit of scientific treatment because it contains no essential unities. Aristotle’s understanding of ‘science’ is used here to explain why any attempt to create a scientific history would turn history into poetry. (shrink)

In World War II, however, that lonely masculine authority of experience—the bitter authority derived from direct exposure to violence, injury, and mechanized terror—was rapidly dispersing among generally populations. Graves, notes, with some discomfort, that the Second World War soldier “cannot even feel that his rendezvous with death is more certain than that of his Aunt Fanny, the firewatcher.”5 American culture was, obviously, characterized by far greater disjunctions between male and female “experience” of war than the British blitz society Graves describes, (...) and the modern tradition of soldier poetry, with its ironic emphasis on unmendable gaps between the soldier author and the civilian reader, retained its strong influence. Still, public discussions of war and literature in the United States dwell frequently on the new conjunctions between civilians and soldiers, front and home front, and men and women, focusing on their shared morale or effort as well as on their common deprivation and vulnerability.In a war newly perceived as “total,” [Marianne] Moore’s work could exemplify the power of a representative civilian voice. It could also represent modernism provisionally embracing realist and didactic functions, coming round to correcting earlier trends toward self-referentiality. Thus Richard Eberhart, arguing in his introduction to a well-known anthology of war poetry that “the spectator, the contemplator, the opposer of war have their hours with the enemy no less than uniformed combatants,” praises Moore for abandoning the “complacencies of the peignoir” to write “In Distrust of Merits.”6 His phrasing links Moore with another civilian war poet, Wallace Stevens; by dressing Moore in Stevens’ Peignoir in order to show her doffing it, he represents her as a formerly feminine object of desire who has emerged from the coquetries of her sex into a new, superior, gender-free authority Now, Eberhart argues, “the bloodshed of which she writes has caused her to break through the decorative surface of her verse” to a “different kind of utterance.” For Eberhart, the poem’s value lies in its violation of Moore’s usual mannered aestheticism. She “breaks through” a feminine surface, as if puncturing skin, but the result is not a wound but a mouth: a “different kind of utterance,” in which “the meaning has dictated the sincerity.”7 Oscar Williams, in the preface to a comparable anthology, also reads the poem as a model of transparent earnestness, offering it as a solution to the problem of Edna St. Vincent Millay, the “bad” woman war poet who is excoriated in these discussions as often as Moore is extolled. Describing one of Millay’s war poems as “a sentimental piece of verse written by an American civilian, designed to be read by … people themselves out of danger because they are protected by a wall of living young flesh, much of which will be mangled,” Williams contrasts Moore’s “In Distrust of Merits”: But with true poets the poetry is in the pity …I ask the reader to study closely a war poem peculiarly fitted to illustrate my present thesis. It is also written by a woman, a civilian. “In Distrust of Merits,” by Marianne Moore, is the direct communication of honest feeling by one ready to search her own hear to discover the causes of war and accept her full share of responsibility for its effects.8 5. Graves, “The Poets of World War II,” p. 310.6. Richard Eberhart, “Preface: Attitudes to War,” in War and the Poet: An Anthology of Poetry Expressing Man’s Attitudes to War from Ancient Times to the Present, ed. Eberhart and Selden Rodman , pp. xv, xiii.7. Ibid., p. xiii.8. Oscar Williams, ed., The War Poets: An Anthology of the War Poetry of the Twentieth Century , p. 6. Susan Schweik is assistant professor of English at the University of California, Berkeley. She is at work on a book manuscript entitled A Word No Man Can Say for Us: American Women Poets and the Second World War. (shrink)

Professor Brett has some direct acquaintance with a Joint Honours Degree in English Literature and Philosophy: and it is therefore on the basis of his own experience that he warns us that poetry and philosophy are “difficult pursuits for any man to combine” . This book has an introductory chapter and a short epilogue which deal in a philosophical way with meaning in poetry and in imaginative literature generally and with the nature of critical interpretation.In the four middle (...) chapters the author gives his account of four well-known and much discussed poems: Lycidas, the Essay on Man, the Ancient Mariner and the Four Quartets . One could imagine these chapters presented independently as interpretations and discussions of the literary and historical background of the poems: but they certainly illustrate Mr. Brett's theory of meaning in poetry and this provides a certain unity. Parts of Chapter I were first published by the author in Philosophy . What is new is the particular application of the theory to didactic and discursive poetry. To this is now added a discussion of rival theories of interpretation: first, the view expressed by Wimsatt and Beardsley in “The Intentional Fallacy” ; and, second, the views expressed by Miss Kathleen Raine in her essay on Blake. (shrink)

The period from the eighth to the fifth centuries B.C. was one of extraordinary creativity in the Greek-speaking world. Poetry was a public and popular medium, and its production was closely related to developments in contemporary society. At the time when the city states were acquiring their distinctive institutions epic found the greatest of all its exponents in Homer, and lyric poetry for both solo and choral performance became a genre which attracted poets of the first rank, writers (...) of the quality of Sappho, Alcaeus and Pindar, whose influence on later literature was to be profound. This volume covers the epic tradition, the didactic poems of Hesiod and his imitators, and the wide-ranging work of the iambic, elegiac and lyric poets of what is loosely called the archaic age. The contributors make use of recent papyrus finds to fill out the picture of a cosmopolitan and highly sophisticated literary culture which had not yet found its intellectual centre in Athens. (shrink)

In "The Metamorphosis of Plants" (1790) and the related didactic poem (1798) Goethe describes the generation and development of plants as six metamorphoses of the primal plant and its organ, the leaf. In a first step, I will try to analyze the nature of the primal plant and its organ, the leaf. Is the primal plant and its organ, the leaf, an idea or does it consist in matter? If it is an idea, is it the idea of all (...) plants (the plant), the idea of a particular species of plants, or the idea of the individual plant? If it is matter – which kind of matter? In a second step, I will analyze the generic nature of the primal plant and its organ, the leaf. How does the metamorphosis of plants proceed? Suppose the leaf is A and the parts of the plants are B, C and D. Does A transform into B, C, D by a process from A to B to A, from A to C to A, and from A to D to A; or does A transform into B, proceed from B as B to C, and proceed from C as C to D; or does A transform into B, while remaining at the same time A, and proceed from B as A to C, while remaining at the same time A, and proceed from C as A to D, while remaining at the same time A? Which of these models explains our experience of plant generation and growth and allows a meaningful interpretation of Goethe's mysterious claim that 'All is leaf'? (shrink)

It is easy to overlook the fact that the kind of personalist criticism Brower, Wimsatt, and other New Critics were reacting against was a method of interpretation bequeathed by the nineteenth century which most of us would now regard as naïve, simplistic, and sometimes absurd. With the exception of a few poems such as Browning's dramatic monologues, which provided the speaker with an explicit identity as unmistakable as that of a character in a play—"I am poor brother Lippo, by your (...) leave! / You need not clap your torches to my face"—lyric and didactic poems of the first person were invariably treated as personal statements. The voice, emotions, attitudes, and state of mind of the speaker were those of the poet, and even the most symbolic details were often read as literal aspects of the poet's self or environment. Many critical studies and anthologies remain today on library shelves testifying to the persistence of these critical habits of the late 1940s and 1950s. On the assumption that Rochester's love poems describe his actual sexual experiences, Vivian de Sola Pinto was able to write a much longer biography of the poet than would have been possible if personalist criticism had not been in vogue.1 David Nichol Smith could assert that Dryden's Religio Laici "was wholly spontaneous"—the familiar Romantic criterion - and show the poet arguing out "his problems for the peace of his own mind."2 If it became unfashionable to speak in that manner of these and numerous other poems, it was because the New Critics, along with the Chicago critics, had shown convincingly that a lyric poem can be dramatic, the imitation of a fictitious speaker responding to an imagined situation, and that a didactic poem can deal with public issues instead of private agonies. · 1. See Vivian de Sola Pinto, Rochester: Portrait of a Restoration Poet .· 2. David Nichol Smith, John Dryden , p. 61. Phillip Harth is Merritt Y. Hughes Professor of English at the University of Wisconsin, Madison, and is the author of Swift and Anglican Rationalism and Contexts of Dryden's Thought. (shrink)

Concentrating on the motif of the heavenly journey in Manilius’s “Astronomica”, this contribution raises the question as to whether the combination of poetry and teaching in didactic poetry can bring about intrinsic advantages. It is argued that the motif does not just transport the poet’s claim to have privileged access to knowledge, but can also have objective functions in the transfer of knowledge. According to recent cognitive studies, perception is deeply rooted in the sensorimotor system; in light (...) of these insights, the motif can be seen to make the subject of instruction more experienceable for the recipients as it depicts bodily interaction with the cosmos. (shrink)

This book is designed to appeal both to those interested in Roman poetry and to specialists in ancient philosophy. In it David Sedley explores Lucretius ' complex relationship with Greek culture, in particular with Empedocles, whose poetry was the model for his own, with Epicurus, the source of his philosophical inspiration, and with the Greek language itself. He includes a detailed reconstruction of Epicurus' great treatise On Nature, and seeks to show how Lucretius worked with this as his (...) sole philosophical source, but gradually emancipated himself from its structure, transforming its raw contents into something radically new. By pursuing these themes, the book uncovers many unrecognised aspects of Lucretius ' methods and achievements as a poetic craftsman. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

This dissertation in classics might be of interest for gender studies as well since it is a sustained demonstration how one social and literary sterotype (the elegiac lover -- der elegisch Liebende) is systematically transformed into another (the artist of love -- der Liebeskünstler) as part of generic transformation (turning Latin love elegy into didactic poetry). The counterpart of these stereotypes is the "harsh lady" (dura domina), who is domesticated in the third book of the Ars amatoria. The (...) copyright for the book belongs to the author, who has uploaded it to the site. Please feel free to use it for non-profit purposes. (shrink)

Lucretius' didactic poem De rerum natura ('On the Nature of Things') is an impassioned and visionary presentation of the materialist philosophy of Epicurus, and one of the most powerful poetic texts of antiquity. After its rediscovery in 1417 it became a controversial and seminal work in successive phases of literary history, the history of science, and the Enlightenment. In this Cambridge Companion experts in the history of literature, philosophy and science discuss the poem in its ancient contexts and in (...) its reception both as a literary text and as a vehicle for progressive ideas. The Companion is designed both as an accessible handbook for the general reader who wishes to learn about Lucretius, and as a series of stimulating essays for students of classical antiquity and its reception. It is completely accessible to the reader who has only read Lucretius in translation. (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

`Therefore this terror and darkness of the mind Not by the sun's rays, nor the bright shafts of day, Must be dispersed, as is most necessary, But by the face of nature and her laws.' Lucretius' poem On the Nature of the Universe combines a scientific and philosophical treatise with some of the greatest poetry ever written. With intense moral fervour Lucretius demonstrates to humanity that in death there is nothing to fear since the soul is mortal, and the (...) world and everything in it is governed not by the gods, but by the mechanical laws of nature. By believing this, men can live in peace of mind and happiness. Lucretius bases his argument on the atomic theory expounded by the Greek philosopher Epicurus. His poem explores sensation, sex, cosmology, meteorology, and geology through acute observation of the beauties of the natural world and with moving sympathy for man's place in it. Sir Ronald Melville's accessible and accurate verse translation is complemented by an introduction and notes situating Lucretius' scientific theories within the thought of 1st century BCE Rome and discussing the Epicurean philosophy that was his inspiration and why the issues Lucretius' poem raisies about the scientific and poetical views of the world continue to be important. (shrink)

This collection of 11 studies provides a new discussion of Lucretius' History of the Human Mankind and of other topics (Lucretius' explanation of sleep, dreams and optical illusions) in relationship to other philosophical and scientific doctrines of Antiquity.

Ce livre retrace le cheminement du chercheur: le journal de ses intuitions, ses espoirs, ses doutes, ses certitudes, - jusqu'au silence d'avril 1908. Il replace la quete dans l'activite d'ensemble du savant: monographies, cours de linguistique generale, travaux de mythographie. Il la situe dans un paysage intellectuel scrupuleusement balise. Par dela des considerations d'une technicite souvent rebutante, et non exemptes de contradictions (parfois flagrantes), il s'attache a suivre le fil d'une quete autant mystique que linguistique. Par surcroit il donne a (...) lire le texte de Lucrece (accompagne de sa traduction), et la facon dont le transfigurent les Cahiers (dont une part importante est reproduite en fac simile). Il en soumet la lecture a certaines epreuves (dont un test informatique), qui demontrent que le phenomene echappe a la prison binaire qu'evoquait R. Barthes (son/graphie, demontre/indemontrable...), et reste d'une implacable actualite: qu'il pose dans toute son acuite la problematique d'une ecriture. Reste largement meconnu, Saussure le sera-t-il moins apres ce livre? Une chose est sure: on ne pourra, une fois ces pages refermees, conserver le meme regard sur celui qui fut en linguistique, selon le mot de Benveniste, une 'autre facon de commencer'. (shrink)

In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)