A pásztor és a szirének. Megjegyzések Apollónios Rhodios Butés-elbeszéléséhez (Arg. IV, 885–921)

Author(s): Elvira Pataki / Language(s): Hungarian Issue: 1/2016

The aim of the paper is to examine the Apollonian narration about Boutes. Mentioned never before in the tradition, he seems to belong to the many minor characters of the Argonautica, who could emerge into the surface of the events only being heroi eponymoi of local aetiological myths giving a historical-geographical credibility to the narration. Nevertheless, the myth of Boutes is more profound than a marginal foundation story. While his name evokes pastoral ideas, his figure is strictly attached to Orpheus, which places him into an aesthetic context. He becomes protagonist at the crucial meeting with the Sirens, when Orpheus, to save his fellows, opposes the dangerous voice of bird-maidens by making curious sounds, without being able to prevent Boutes, captivated by the song of Sirens, from jumping into the see and swimming to them. The man lost in the waves is saved by Aphrodite, who raises him as paredros at her mountain sanctuary. The article, after analyzing the relationship of the new Apollonian myth with the Homeric episode of Sirens, searches other literary models of this particular story. The figure of the shepherd delighted by the music and semi-divinised by the love of a goddess evokes the Hesiodic scene of poetical initiation as well as the figure of Anchises, shepherd-musician of the Homeric Hymn to Aphrodite, while the iuxtaposition of a shepherd and the Sirens would make an allusion to the Platonic passage on enthusiasm in Phaedrus. The story of Boutes can be regarded as an indirect poetic commentary on these main texts of the Greek aesthetics thought about poetry and knowledge.

A Médeia-szerelem tragikus vonásai az Argonautika harmadik könyvében

Author(s): Benedek Solymosi / Language(s): Hungarian Issue: 1/2016

The purpose of this paper is to carry out a case study on the Apollonian Medea-in-love portrayed in the 3rd book of Argonautica and puts forward several aspects on love theme and epic characteristics inspired by tradition of the classical Athenian tragedy, particularly by Euripides. This analysis emphasises that Medea of Euripides was not the sole tragic model of the Apollonian heroine by demonstrating the Apollonian Medea depicted in the 3rd book echoes Phaedra’s characteristics from Hippolytus-tragedy (cf. among lines 373-524) with regard to the motifs of uprising and wicked love. Finally, it attempts to address few secondary literary elements also inspired by Euripides’ Hippolytus, which underline the theory that Apollonius alludes to Phaedra’s state of mind and the play in greater details.

Drámai elemek a szónoki érvelésben

Author(s): László Horváth / Language(s): Hungarian Issue: 1/2016

Callimachus Pindaricus (Call. Hec. fr. 69 H)

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 1/2016

Plutarchos a barátságról

Author(s): Anna Katalin Aklan / Language(s): Hungarian Issue: 2/2015

The topic of friendship had been present in Greek philosophical literature since Plato. By the 2nd century CE ready-made stock arguments were available in rhetorics regarding the basic questions of friendship. In his ethical work De amicorum multitudine, Plutarch expounds Aristotle’s thesis „εἶναι φίλον … οὐκ ἔστι πρὸς πολλούς” (Arist. EN 1171a 18–20). Plutarch’s vast knowledge of literature and philosophy makes his rendering of the topic unique. The present study first takes a brief view of Plutarch’s predecessors in the topic, then taking Plutarch’s anthropology as a starting point, inquires into his theory of friendship. Plutarch places a special emphasis on the similarity of brotherhood and friendship and the difference between the friend and the flatterer, which is demonstrated in a comparison of the relevant works found in the Moralia. After the analysis of De amicorum multitudine, the present study concludes in a comparison between Plutarch’s essay and Aristotle’s theory of friendship (NE 8–9), which seems to have exercised the deepest influence on Plutarch’s present work.

Oidipus bölcsessége Pindaros, Pyth. 4. 263–269

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 2/2015

Az Argónauták történetének elbeszélését követően, mely a legterjedelmesebb mítosz Pindaros epinikion-költészetében, a költő visszatér a jelenhez és Arkesilaoshoz, Kyréné urához és a költemény címzettjéhez fordul azzal a tanáccsal, hogy érdemes lesz megfontolnia Oidipus bölcsességét...

Athén, Egesta és Leontinoi. Megjegyzés egy Thukydidés szöveghelyhez (VI, 6, 1–2)

Author(s): Tamás Mészáros / Language(s): Hungarian Issue: 2/2015

Hagyomány és újítás a bizánci regényekben: Az öreg nő alakja

Author(s): Katalin L. Delbó / Language(s): Hungarian Issue: 2/2015

Csillaghasonlat és rétorikai szerkezet. Megjegyzések Alkman Partheneionjához (fr. 1. 60–63)

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 1/2015

Itt most mindenekelőtt a hasonlat vehiculumának (νύκτα δι᾽ ἀμβροσίαν ἅτε Σήριον / ἄστρον) vonatkozása forog kockán. Eltekintve két régebbi felfogástól és egy harmadiktól, amely a φαρος (sic) szót javítaná, a csillaghasonlatot egyöntetűen az αὐηρομέναι participiumra s ezzel a ταὶ Πεληάδες főnévre vonatkoztatták. Priestley azonban újabban védelmébe vette Garzya régi, ám visszhang nélkül maradt ötletét, hogy a Sírius-hasonlatot a másik participiumhoz (φεροί σαις) kösse, következésképpen a φᾶρος/φάρος (V. 61) szóval kapcsolja össze. Ez az értelmezés mindenekelőtt azért tetszetős, mert így Alkman Homérosra utalna. Ha ez a szerkesztési mód helyes, úgy a lányok által kézben hordozott (φεροί σαις) tárgynak valamilyen kelmének (φᾶρος = ruha/fátyol) kell lennie, vagyis olyan szövetnek, mely összehajtogatva vagy kiterjesztve csillagként ragyog.

Két megjegyzés Thukydidés antik életrajzi hagyományához

Author(s): Tamás Mészáros / Language(s): Hungarian Issue: 2/2014

The aim of this paper is to propose two critical notes on passages in two different biographies of Thucydides. In the transcription presented in the edition of the POxy 1800 frg. 2, col. II the reading --- seems to be objectionable for several reasons. My conjecture, the complementation ---seems adequate regarding the number of letters, moreover, the same expression also appears in the text of the biography by Marcellinus. Furthermore, I analyze in details the chapter 16 of the Marcellinus’ Life of Thucydides in the Codex Palatinus Graecus 252 in connection with the variants of the name Olorus/Orolus.

Klasszikus minták az imbrosi Kritobulos kortörténetének prooimionjában

Author(s): Iván Tóth / Language(s): Hungarian Issue: 2/2014

Kritobulos of Imbros is known to us as the author of one of the most important sources of the Halōsis. However, his historical work covering the period from 1451 to 1467 can be regarded not only as an important source of information, but as a momentous work of the late Byzantine historiography as well. It has been long acknowledged that Kritobulos was influenced to a great extent by Classical authors, in particular Thucydides. Nevertheless, relatively little research has been done concerning the manner in which these Classical notions reappear in his work. Revealing some new parallels, the present paper explores the commonplace themes present in the proem and the letter of dedication as well as the most significant features of Kritobulos’ literary imitatio.

Három új költői etimológia Pind. P. 4. 156–158, O. 2. 53–56; Bakchyl. 13. 228–231

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 2/2014

Achilleus Tatios: Kleitophón és Leukippé története 8, 18, 4, 3–4

Author(s): Tibor Szepessy / Language(s): Hungarian Issue: 2/2014

Tudomány és irodalom a hellenizmus korában

Author(s): Miklós Maróth / Language(s): Hungarian Issue: 1/2014

Researchers long have been concerned about the authorship of De mundo that was falsely ascribed to Aristotle. The article argues that it was a mistaken starting point to look for the anonymous author in an ancient Greek school of philosophy, because the book should have been written in a school of rhetoric. It is not a philosophical, but rather a rhetoric work. The view which became widespread in later ages that Arsitotle wrote esoteric and exoteric works, needs a reinterpretation in the knowledge of the tradition of schools of rhetoric: the so-called exoteric books should have been written in schools of rhetoric, and they were already attributed in that tradition to Aristotle. These works are the well-known books of Pseudo-Aristotle: De mundo, Secreta secretorum, etc.

Propertius actiumi elégiája (IV 6) és a palatiumi Apollo-templom

Author(s): Zsolt Acél / Language(s): Hungarian Issue: 1/2014

Propertius’ Elegy 4.6, written in 16 BC, is the first text, not to mention the description of Achilleus’ shield in Aeneis, that relates the building complex of Palatium, dedicated in 28 BC, to the battle of Actium. The paper seeks to demonstrate how the Propertian elegy is connected to the buildings of the temple and the library; moreover, how the poem constructs cultural memory. First, it deals with the ring composition that is essential to the elegy. Then it presents some aspects of the Propertian portrayal of Augustus. The paper also examines how the period’s efforts to create a canon manifested themselves in the respective texts of Propertius and Horatius, and finally, how these texts treated the literary public sphere as well as the cultural message of the Bibliotheca Apollinis Palatini.

Perseus ragyogása. Megjegyzés Simonides Danae-töredékéhez (Fr. 543.11 PMG)

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 1/2014

Aischinés epidaurosi felirata?

Author(s): Dániel Bajnok / Language(s): Hungarian Issue: 1/2014

Rítus múlt időben (két pausaniasi történet Achaeából)

Author(s): Sámuel Gábor / Language(s): Hungarian Issue: 2/2013

In the seventh book of the Periegesis Hellados Pausanias tells us two Patraean love-stories. One of them is about a priest of Dionysus Kalydonius, loving a girl not requiting his love, who asked god Dionysos for help. The end of the legend is sort of a melodrama, where we see both, the priest and the beloved girl to die. It is a simple but unusual and striking plot—in Pausanias’ own interpretation a story about the power of ardent Love. The other one, which is closely related to a rite performed at Patras every year, is more complex. It has two stages: the first half of the story is about a sacrilegious liaison of two lovers, and the punishment of Artemis on Patras, their city, for the lover’s deeds in the form of yearly human sacrifices, whereas the second half is about the Dionysian madness of a Thessalian hero called Eurypylus. The two parts of the story are interrelated through the final episode when Eurypylus finds remedy in the city of Patras at the same time when the Patraeans disengage from the yearly human sacrifice they had been forced to offer Artemis up to this day. The special way these two parts of the myth are combined in the rite allows us to interpret the myth in the light of the rite, and vice versa. In my analyses I try to pass beyond both the nineteenth-century concept that interprets Pausanian stories stemming from some Hellenistic literary sources, and the fashionable contemporary approach according to which such rites are primarily rites de passage, that results in explanations of the concrete ritual forms just in the primeval routines and not in the cultural life of the societies concerned. I try to understand these Patraean stories, cults, and myths told by Pausanias as one cultural complex where all the elements are interdependent and add something to each other.

Hermés tekintete a homérosi himnuszban

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 2/2013

Oidipus népe a kortárs színpadon

Author(s): Tamás Jászay / Language(s): Hungarian Issue: 2/2012

„Kórus védje a Jót, igazítsa baráti tanáccsal, / vak dühöt elfojtson, lecsitítsa a háborodottat, / zengje az egyszerü asztalokat s a szerény vacsorákat, / zengjen igaz törvényt, s a nyitott kapus emberi békét, / rejtse a titkot jól, s kérlelje imádva az istent, / hogy nyomorultat pártoljon, s letaszítsa a gőgöst” (Hor. Epist. II 3, 195–200.) Horatius Ars poeticájában részletes katalógusát adja mindazon funkcióknak, melyeket szerinte az antik tragédia kórusa betöltött. A kórus itt mintha a nézőnek már eleve birtokában lévő általános, erkölcsi-filozófiai jellegű tudást volna hivatva kimondani és a gesztus által felerősíteni: úgy tűnik tehát, a kar a közönséget reprezentálja, annak vágyaival, félelmeivel, emlékeivel együtt. A kórus kommentálja a színpadon (vagy inkább: a színpadtól távol) zajló szörnyűségeket, s ezalatt a nézőkben felmerült gondolatokat mondja ki.