Εμφανίζονται 22 τίτλοι με αναζήτηση: Βιογραφίες στην ευρύτερη περιοχή: "ΤΑΡΑΝΤΑΣ Πόλη ΠΟΥΛΙΑ" .
ΘΟΥΡΙΟΙ (Αρχαία πόλη) ΠΟΥΛΙΑ
372 - 270
Alexis. One of the most prolific and important writers of
the Middle Attic Comedy, and uncle to Menander. He was born at Thurii, B.C. 392,
and is said to have lived to the age of one hundred and six years, and to have
died on the stage with the crown of victory on his head. Some two hundred and
forty-five plays are attributed to him, of which numerous extracts are still extant
and display both wit and elegance.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Alexis. A comic poet, born at Thurii, in Magna Graecia (Suidas s. v. Al.), but
admitted subsequently to the privileges of an Athenian citizen, and enrolled in
the deme Oion, belonging to the tribe Leontis (Steph. Byz.). He was the uncle
and instructor of Menander (Suidas s. v. Alexis; Proleg. Aristoph.). When he was
born we are not expressly told, but he lived to the age of 106 (Plut. Defect.
Orac.), and was living at least as late as B. C. 288. Now the town of Thurii was
destroyed by the Lucanians about B. C. 390. It is therefore not at all unlikely
that the parents of Alexis, in order to escape from the threatened destruction
of their city, removed shortly before with their little son to Athens. Perhaps
therefore we may assign about B. C. 394 as the date of the birth of Alexis. He
had a son Stephanus, who also wrote comedies (Suidas l. c). He appears to have
been rather addicted to the pleasures of the table (Athen. viii.). According to
Plutarch (De Senis Administ. Reipubl.), he expired upon the stage while being
crowned as victor. By the old grammarians he is commonly called a writer of the
middle comedy, and fragments and the titles of many of his plays confirm this
statement. Still, for more than 30 years he was contemporary with Philippides,
Philemon, Menander, and Diphilus, and several fragments shew that he also wrote
pieces which would be classed with those of the new comedy.
He was a remarkably prolific writer. Suidas says he wrote 245 plays,
and the titles of 113 have come down to us. The Meropis, Ankulion, Olumpidoros,
and Paraditos, in which he ridiculed Plato, were probably exhibited as early as
the 104th Olympiad. The Agonis, in which he ridiculed Misgolas, was no doubt written
while he was alive, and Aeschines (c. Timarch.) in B. C. 345, speaks of him as
then living. The Adelphoi and Stoatiotes, in which he satirized Demosthenes, were
acted shortly after B. C. 343. The Hippos, in which he alluded to the decree of
Sophocles against the philosophers, in B. C. 316. The Puraunos in B. C. 312. The
Pharmakopole and Hupobolimaios in B. C. 306. As might have been expected in a
person who wrote so much, the same passage frequently occurred in several plays;
nor did he scruple sometimes to borrow from other poets, as, for example, from
Eubulus (Athen. i.). Carystius of Pergamus (ap. Athen. vi.) says he was the first
who invented the part of the parasite. This is not quite correct, as it had been
introduced before him by Epicharmus; but he appears to have been the first who
gave it the form in which it afterwards appeared upon the stage, and to have been
very happy in his exhibition of it. His wit and elegance are praised by Athenaeus
(ii.), whose testimony is confirmed by the extant fragments. A considerable list
of peculiar words and forms used by him is given by Meineke. His plays were frequently
translated by the Roman comic writers (Gell. ii. 23). The fragments we possess
of his plays have been preserved chiefly by Athenaeus and Stobaeus.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΤΑΡΑΝΤΑΣ (Αρχαία πόλη) ΠΟΥΛΙΑ
A Greek comic poet, son of a potter of
Tarentum, who lived about B.C. 300, and invented a style of composition of his
own, which was much diffused in Magna Graecia, and is said to have been imitated
even by the Romans. It was called the Hilarotragoedia (Hilarotragoidia) -- cheerful
tragedy. It was a travesty of tragic myths by the intermixture of comic scenes.
The scanty fragments of the thirty-eight plays of Rhinthon do not give us any
adequate idea of this kind of composition.
Aristonicus, of Tarentum, the author of a mythological work which is often referred
to (Phot. Cod. 190; Serv. ad Aen. iii. 335; Caes. Germ. in Arat. Phaen. 327; Hygin.
Poet. Astr. ii. 34). He is perhaps the same as the one mentioned by Athenaeus
(i), but nothing is known about him.
ΣΥΒΑΡΙΣ (Αρχαία πόλη) ΠΟΥΛΙΑ
Hemitheon, a Sybarite of the vilest character, and the author of an obscene work.
He is mentioned by Lucian (Adv. Indoctums, c. 23, and, according to the conjecture
of Solanus, Pseudolog. c. 3). It is thought that he is the writer referred to
in a passage of Ovid (Trist. ii. 417), and, if the common reading of the passage
is correct, he appears to have flourished not long before that poet. But Heinsius
(ad loc.) conjectures that for "nuper" we should read " turpem,"
in which case, the age of Hemitheon remains undetermined. If it is to him that
Ovid refers, it may be gathered that his work was a poem, entitled Sybaritis.
(Politian, Miscellanea, c. 15; Fabric. Bibl. Gr. vol. viii.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΤΑΡΑΝΤΑΣ (Αρχαία πόλη) ΠΟΥΛΙΑ
Andronicus, Livius. The earliest Roman poet, as far as poetical literature is concerned; for whatever popular poetry there may have existed at Rome, its poetical literature begins with this writer (Quintil. x. 2.7). He was a Greek and probably a native of Tarentum, and was made prisoner by the Romans during their wars in southern Italy. He then became the slave of M. Livius Salinator, perhaps the same who was consul in B. C. 219, and again in B. C. 207. Andronicus instructed the children of his master, but was after-wards restored to freedom, and received from his patron the Roman name Livius (Hieron. in Euseb. Chron. ad Ol. 148.) During his stay at Rome, Andronicus made himself a perfect master of the Latin language, and appears to have exerted himself chiefly in creating a taste for regular dramatic representations. His first drama was acted in B. C. 240, in the consulship of C. Claudius and M. Tuditanus (Cic. Brut.. 18, comp. Tusc. Quaest. i. 1, de Senect. 14; Liv. vii. 2; Gellius, xvii. 21); but whether it was a tragedy or a comedy is uncertain. That he wrote comedies as well as tragedies, is attested beyond all doubt (Diomedes, iii.; Flavius Vopisc. Numerian, 13; the author of the work de Comoed. et Trag.). The number of his dramas was considerable, and we still possess the titles and fragments of at least fourteen. The subjects of them were all Greek, and they were little more than translations or imitations of Greek dramas. Andronicus is said to have died in B. C. 221, and cannot have lived beyond B. C. 214. As to the poetical merit of these compositions we are unable to form an accurate idea, since the extant fragments are few and short. The language in them appears yet in a rude and undeveloped form, but it has nevertheless a solid basis for further development. Cicero (Brut. 18) says, that in his time they were no longer worth reading, and that the 600 mules in the Clytemnestra and the 3000 craters in the Equus Trojanus could not afford any pleasure upon the stage (ad Famil. vii. 1). In the time of Horace, the poems of Andronicus were read and explained in schools; and Horace, although not an admirer of early Roman poetry, says, that he should not like to see the works of Andronicus destroyed (Horat. Epist. ii. 1. 69).
Besides his dramas, Livius Andronicus wrote:
1. A Latin Odyssey in the Saturnian verse (Cic. Brut. 18), but it is uncertain whether the poem was an imitation or a mere translation of the Homeric poem.
2. Hymns (Liv. xxvii. 37; Fest. s.v. Sribas), of which no fragments are extant. The statement of some writers, that he wrote versified Annals, is founded upon a confusion of Livius Andronicus and Ennius.
The fragments of Livius Andronicus are contained in the collections of the fragments of the Roman dramatists mentioned under ACCIUS. The fragments of the Odyssea Latina are collected in H. Duntzer et L. Lersch, de Versu quem vocant Saturnino; all the fragments are contained in Duntzer's Livii Andronici Fragmenta collecta et illustrata, &c. Berlin, 1835.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
The first half of the 3rd century B.C. was the period at which the influence of Greek literature began to be directly felt by the Romans. Tarentum was the greatest of the Greek colonies in Southern Italy. After the fall of Tarentum in 272 B.C., the intercourse between Romans and Greeks became more familiar. In the First Punic War (263-241 B.C.) Sicily was the principal battle-ground; and in Sicily the Romans had ample facilities for improving their acquaintance with the Greek language. They had also frequent opportunities of witnessing Greek plays. Just after the close of the war the first attempt at a Latin reproduction of Greek tragedy was made by Livius Andronicus (240 B.C.). He was a Greek, probably of Tarentum, and had received his freedom from his master, M. Livius Salinator, whose sons he had educated. He then settled at Rome, and devoted the rest of his life to literary work. It may be conjectured that most of his plays were translated from the Greek. All of them, so far as we know, were on Greek subjects. Among the titles are Aegisthus, Ecus Trojanus, Ajax, Tereus, Hermione. His Latin style appears to have been harsh and crude. Livianae fabulae non satis dignae quae iterum legantur is Cicero's concise verdict (Brutus, 18, 71).
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited August 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Eugenes, the author of an epigram, in the Greek Anthology, upon the statue of Anacreon intoxicated. (Brunck, Anal. vol. ii.; Jacobs, Anth. Graec. vol. iii.; Paus. i. 93.1). The epigram seems to be an imitation of one by Leonidas Tarentinus on the same subject.
Hegesippus. Of Tarentum, a writer ofOpsartutika (Athen. x. p. 429, d.; xii. p. 516, c.; Pollux, vi. 10.)
They were saying that he was safe in Italy and that they had left him flourishing at Tarentum
ΘΟΥΡΙΟΙ (Αρχαία πόλη) ΠΟΥΛΙΑ
Cleinomachus (Kleinomachos), a Megaric philosopher of Thurium, is said by Diogenes Laertius (ii. 112) to have been the first who composed treatises on the fundamental principles of dialectics (peri axiomaton kai kategorematon). We learn from Suidas (s. v. Purron), that Pyrrhon, who flourished about 330 B. C., attended the instructions of Bryso, and that the latter was a disciple of Cleinomachus. We may therefore set the date of Cleinomachus towards the commencement of the same century.
ΣΥΒΑΡΙΣ (Αρχαία πόλη) ΠΟΥΛΙΑ
Diocles. Of Sybaris, a Pythagorean philosopher (Iamb. Vit. Pyth. 36), who must be distinguished from another Pythagorean, Diodes of Phlius, who is mentioned by Iamblichus (Vit. Pythag. 35) as one of the most zealous followers of Pythagoras. The latter Diocles was still alive in the time of Aristoxenus (Diog. Laert. viii. 46), but further particulars are not known about him.
ΤΑΡΑΝΤΑΣ (Αρχαία πόλη) ΠΟΥΛΙΑ
Aristoxenus (Aristoxenos). A Greek philosopher and musician, a native of
Tarentum, and a pupil of Aristotle. He lived about B.C. 330, and was a prolific
writer on various subjects, but most particularly on music. In contrast with the
Pythagoreans, who referred everything to the relations of numbers, he regarded
music as founded on the difference of tones as perceived by the ear. Of his Harmonika
Stoicheia three books are preserved, but they are neither complete nor in their
original shape. Only a part of his Rhuthmika Stoicheia has survived.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
. . .The "harmonic" Aristoxenus Tarentum, a pupil of Aristotle, was held by the ancients to be the greatest authority on music; from his numerous works was drawn the greatest part of subsequent musical literature. Of other writers on music we may mention the well-known mathematician Euclid, and the great astronomer Claudius Ptolemaeus, who perfected musical acoustics.
This extract is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Aristoxenus (Aristoxenos), a philosopher of the Peripatetic school. The date of
his birth is not known; but from the account of Suidas, and from incidental notices
in other writers, we learn that he was born at Tarentum, and was the son of a
learned musician named Spintharus (otherwise Mnesias) (Aelian, H. A. ii. 11).
He learnt music from his father, and having been afterwards instructed by Lamprus
of Erythrae and Xenophilus the Pythagorean, finally became a disciple of Aristotle
(Gell. iv. 11; Cic. Tusc. Disp. i. 18), whom he appears to have rivalled in the
variety of his studies, though probably not in the success with which he prosecuted
them. According to Suidas, he produced works to the number of 453 upon music,
philosophy, history, in short, every department of literature. He gained so much
credit as a scholar of Aristotle, that it was expected, at least by himself, that
he would be chosen to succeed him; and his disgust at the appointment of Theophrastus
caused him afterwards to slander the character of his great master. This story
is, however, contradicted by Aristocles (ap. Euseb. Praep. Evang. xv. 2), who
asserts that he never mentioned Aristotle but with the greatest respect. We know
nothing of his philosophical opinions, except that he held the soul to be a harmony
of the body (Cic. Tusc. Disp. i. 10, 18), a doctrine which had been already discussed
by Plato (in the Phaedo) and combated by Aristotle (De An. i. 4).
It is only in his character as a musician that Aristoxenus appears
to have deserved and acquired a reputation for real excellence; and no considerable
remains of his works have come down to us except three books of harmonika stoicheia,
or rather, as their contents seem to shew, fragments of two or three separate
musical treatises. They contain less actual information on the theory of Greek
music than the later treatises ascribed to Euclid, Aristeides Quintilianus, and
others; but they are interesting from their antiquity, and valuable for their
criticisms on the music of the times to which they belong. Aristoxenus, at least
if we may trust his own account, was the first to attempt a complete and systematic
exposition of the subject; and he aimed at introducing not only a more scientific
knowledge, but also a more refined and intellectual taste than that which prevailed
among his contemporaries, whom he accuses of cultivating only that kind of music
which was capable of sweetness. He became the founder of a sect or school of musicians,
called, after him, Aristoxeneans, who were opposed to the Pythagoreans on the
question whether reason or sense should furnish the principles of musical science
and the criterion of the truth of its propositions. Pythagoras had discovered
the connexion between musical intervals and numerical ratios; and it had been
found that the principal concords were defined by simple ratios which were either
superparticular (of the form n+1/n) or multiple (of the form n/1). From this fact,
he or his followers inferred, that no interval could be consonant which was defined
by a ratio of a different kind; and hence they were obliged to maintain (contrary
to the evidence of the senses), that such intervals as the octave and fourth (the
eleventh), for example, were dissonant. Aristoxenus justly blamed them for their
contempt of facts, but went into the opposite extreme of allowing too much authority
to the decisions of the ear, though without denying the existence of a certain
truth in the arithmetical theory. He maintains, for instance, not only that every
consonant interval added to the octave produces another consonance, which is true;
but also that the fourth is equal to two tones and a half, the falsity of which
proposition is not directly apparent to the ear, but indirectly would become evident
by means of the very experiment which he suggests for the confirmation of it.
The titles of a good many other works of Aristoxenus have been collected from
various sources by Meursius and others. Among them are lives of Pythagoras, Archytas,
Socrates, Plato, and other distinguished persons; and several treatises on subjects
connected with music, including one Peri Tragikes Orcheseos, and one Peri Aulon
Treseos. A fragment of Hputhmika stoicheia was edited by Morelli, Ven. 1785. A
collection of fragments of the other works is given in the essay by Mahne referred
to below.
The three books of Harmonika stoicheia were first edited in Latin,
with the Harmonics of Ptolemy, by Ant. Gogavinus, Ven. 1562. The Greek text, with
Alypius and Nicomachus, by Meursius (Lugd. Bat. 1616), who, like his predecessor,
seems not to have had sufficient musical knowledge for the task. The last and
best edition is at present that of Meibomius, printed (with a Latin version) in
the Antiquae Musicae Auctores Septem, Amst. 1652.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Archytas. A famous Tarentine astronomer and geometrician, the son of Hestiaeus. He was seven times elected governor of his native city. He is said to have been instrumental in rescuing Plato from the tyrant Dionysius. Many stories are told of his ingenuity. For him is claimed the invention of the screw, of the pulley, and of a wooden pigeon that could fly. He is also reported to have attempted to calculate the number of the grains of sand upon the sea-shore. Only a single fragment of his writings has come down to us in Porphyry. He perished in a shipwreck about B.C. 394.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Archytas (Archutas), a Greek of Tarentum, who was distinguished as a philosopher, mathematician. general. and statesman and was no less admired for his integrity and virtue, both in public and in private life. Little is known of his history, since the lives of him by Aristoxenus and Aristotle (Athen. xii.) are lost. A brief account of him is given by Diogenes Laertius (viii. 79-83). His father's name was Mnasarchus, Mnesagoras, or Histiaeus. The time when he lived is disputed, but it was probably about 400 B. C., and onwards, so that he was contemporary with Plato, whose life he is said to have saved by his influence with the tyrant Dionysius (Tzetzes, Chil. x. 359, xi. 362; Suidas, s. v. Archutas), and with whom he kept up a familiar intercourse (Cic. de Senect. 12). Two letters which are said to have passed between them are preserved by Diogenes. He was seven times the general of his city, though it was the custom for the office to be held for no more than a year, and he commanded in several campaigns, in all of which he was victorious. Civil affairs of the greatest consequence were entrusted to him by his fellow-citizens. After a life which secured to him a place among the very greatest men of antiquity, he was drowned while upon a voyage on the Adriatic (Hor. Carm. i. 28). He was greatly admired for his domestic virtues. He paid particular attention to the comfort and education of his slaves. The interest which he took in the education of children is proved by the mention of a child's rattle (platage) among his mechanical inventions (Aelian, V. H. xiv. 19; Aristot. Pol. viii. 6.1). As a philosopher, he belonged to the Pythagorean school, and he appears to have been himself the founder of a new sect. Like the Pythagoreans in general, he paid much attention to mathematics. Horace calls him "maris et terrae numeroque carentis arenae Mensorem". He solved the problem of the doubling of the cube, (Vitruv. ix. praef.) and invented the method of analytical geometry. He was the first who applied the principles of mathematics to mechanics. To his theoretical science he added the skill of a practical mechanician, and constructed various machines and automatons, among which his wooden flying dove in particular was the wonder of antiquity (Gell. x. 12). He also applied mathematics with success to musical science, and even to metaphysical philosophy. His influence as a philosopher was so great, that Plato was undoubtedly indebted to him for some of his views; and Aristotle is thought by some writers to have borrowed the idea of his categories, as well as some of his ethical principles, from Archytas. The fragments and titles of works ascribed to Archytas are very numerous, but the genuineness of many of them is greatly doubted. lost of them are found in Stobaeus. They relate to physics, metaphysics, logic, and ethics. A catalogue of them is given by Fabricius (Bib. Graec. i.). Several of the fragments of Archytas are published in Gale, Opusc. Mythol. Cantab. 1671, Amst. 1688. A work ascribed to him "on the 10 Categories", was published by Camerarius, in Greek, under the title Archutou pheromenoi deka logoi katholikoi, Lips. 1564; and in Greek and Latin, Ven. 1571. From the statement of Iamblichus (Vit. Pyth. 23), that Archytas was a hearer of Pythagoras, some writers have thought that there were two Pythagorean philosophers of this name. But Iamblichus was undoubtedly mistaken. The writers of this name on agriculture (Diog Laert. l. c.; Varro, R. R. i. 1; Columella, R. R. i. 1), on cookery (opsartutika, Iamblich, Vit. Pyth. 29, 34; Athen. xii.), and on architecture , are most probably identical with the philosopher, to whom the most various attainments are ascribed. Busts of Archytas are engraved in Gronovius' Thesaur. Antiq. Graec. ii. tab. 49, and in the Andichita d'Ercolano, v. tab. 29, 30.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Cleinias (Kleinias), a Pythagorean philosopher, of Tarentum, was a contemporary and friend
of Plato's, as appears from the story (perhaps otherwise worthless) which Diogenes
Laertius (ix. 40) gives on the authority of Aristoxenus, to the effect that Plato
wished to burn all the writings of Democritus which he could collect, but was
prevented by Amyclas and Cleinias. In his practice, Cleinias was a true Pythagorean.
Thus we hear that he used to assuage his anger by playing on his harp; and, when
Prorus of Cyrene had lost all his fortune through a political revolution, Cleinias,
who knew nothing of him except that he was a Pythagorean, took on himself the
risk of a voyage to Cyrene, and supplied him with money to the full extent of
his loss.
Dicaearchus. Of Tarentum, is mentioned by Iamblichus (de Vit. Pythag. 36) among the celebrated Pythagorean philosophers. Some writers have been inclined to attribute to him the Bioi which are mentioned among the works of the Peripatetic Dicaearchus.
Eurymedon. Of Tarentum, a Pythagorean philosopher mentioned by Iamblichus. (Vit. Pyth. 36.)
Histiaeus. According to Aristoxenus (in Diog. Laert. viii. 79), the father of Archytas of Tarentum was named Hestiaeus. And the name occurs in the list of Pythagoreans in Iamblichus (Vit. Pythay. c. 36.267).
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