Εμφανίζονται 100 (επί συνόλου 137) τίτλοι με αναζήτηση: Βιογραφίες στην ευρύτερη περιοχή: "ΑΪΔΙΝ Επαρχία ΤΟΥΡΚΙΑ" .
ΑΛΑΒΑΝΔΑ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Hermogenes. An architect of Alabanda, in Caria, who invented what was called the
pseudodipterus, that is, a form of a temple, with apparently two rows of columns,
whereby he effected a great saving both of money and labour in the construction
of temples. (Vitruv. iii. 2.6, 3.8.) His great object as an architect was to increase
the taste for the Ionic form of temples, in preference to Doric temples. (Vitruv.
iv. 3.1.) He was further the author of two works which are now lost; the one was
a description of the temple of Diana which he had built at Magnesia, a pseudodipterus,
and the other a description of a temple of Bacchus, in Teos, a monopterus. (Vitruv.
vii. Praef. § 12.)
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
ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Paeonius (Paionios). An architert of Ephesus who, with Demetrius, completed the great temple of Artemis in that city. With Daphnis, a Milesian, he began the so-called Didymaeum or temple of Apollo Didymus at Miletus--a structure, however, which was never finished ( Herod.vi. 19; Pausan. vii. 5, 4).
Demetrius, an architect, who, in conjunction with Paeonius, finished the great
temple of Artemis at Ephesus, which Chersiphron had begun about 220 years before.
He probably lived about B. C. 340, but his date cannot be fixed with certainty.
Vitruvius calls him servus Dianae, that is, a hierodoulos. (Vitruv. vii. Praef.
§ 16.)
ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
A Greek architect, born at Miletus in the second half of the
fifth century B.C. He was the first inventor of a system of laying out towns on
geometrical principles, carried out, under his direction, in the laying out of
the Piraeus, the harbour-town of Athens, and also at the building of Thurii (B.C.
443) and of Rhodes (408); it was also used in subsequent times in the foundation
of new towns.
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Hippodamus, (Hippodamos: the etymological origin of the name is no doubt the same as that of the Homeric word hippodamos, which so frequently occurs as an epithet, and once as a proper name, Il. xi. 335; Aristophanes, however, Equit. 327, uses it with the a, as if it were a Doric form from lppos and demos; but this must be by way of some joke, for we cannot suppose such an absurd compound to have existed as a proper name.) Hippodamus was a most distinguished Greek architect. a native of Miletus, and the son of Euryphon or Eurycoon. His fame rests on his construction, not of single buildings, but of whole cities. His first great work was the town of Peiraeeus, which Themistocles had made a tolerably secure port for Athens, but which was first formed into a regularly-planned town by Hippodamus, under the auspices of Pericles. It has been clearly shown by Miiller (Attika, in Ersch and Gruber's Encyclopadie, vol. vi., and Dorier, vol. ii., 2nd edit.) that this work must be referred to the age of Pericles, not to that of Themistocles. The change which Hippodamus introduced was the substitution of broad straight streets, crossing each other at right angles, for the crooked narrow streets, with angular crossings, which had before prevailed throughout the greater part, if not the whole, of Greece. When the Athenians founded their colony of Thurii, on the site of the ancient Sybaris (B. C. 443), Hippodamus went out with the colonists, and was the architect of the new city. Hence he is often called a Thuother rian. He afterwards built Rhodes (B. C. 408-7). How he came to be connected with a Dorian state, and one so hostile to Athens, we do not know ; but much light would be thrown on this subject, and on the whole of the life of Hippodamus, if we could determine whether the scholiast on Aristophanes (Equit. 327) is right or wrong in identifying him with the father of the Athenian politician and opponent of Cleon, Archeptolemus. This question is admirably discussed by Hermann, but no certain conclusion can be attained. We learn from Aristotle that Hippodamus devoted great attention to the political, as well as the architectural ordering of cities, and that he wished to have the character of knowing all physical science. This circumstance, with a considerable degree of personal affectation, caused him to be ranked among the sophists, and it is very probable that much of the wit of Aristophanes, in his Birds, is aimed at Hippodamus. (Aristot. Polit. ii. 5,and Schneider's note; Hesych. s. v. Hippodamou nemesis; Phot. s. v. Hippodamou nemesis; Harpocr. s. v. Ippodameia ; Diod. xii. 10; Strab. xiv.; C. F. Hermann, Disputatio de Hippodamo Milesio, Marburg. 1841, 4to.)
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
Isidorus of Miletus, the elder and younger, were eminent architects in the reign of Justinian. The elder of them was associated with Anthemius of Tralles, in the rebuilding of the great church of St. Sophia, at Constantinople, before A. D. 537. The younger Isidorus rebuilt the dome of St. Sophia, after it had been destroyed by an earthquake, A. D. 554, and made some additions to the interior of the church. (Procop. i. 1; Agathias, v. 9; Malalas, p. 81; Muller, Archeool. d. Kunst, Β§ 194, n. 4 ; Kugler, Kunstgeschichte, p. 360, &c.)
ΠΡΙΗΝΗ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Αρχιτέκτων του 4ου αι. π.Χ., το όνομα του οποίου συνδέεται με το Μαυσωλείο της Αλικαρνασσού.
ΤΡΑΛΛΕΙΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Anthemius (Anthemios), an eminent mathematician and architect, born at Tralles, in Lydia,
in the sixth century after Christ. His father's name was Stephanus, who was a
physician (Alex. Trall. iv. 1); one of his brothers was the celebrated Alexander
Trallianus; and Agathias mentions (Hist.), that his three other brothers, Dioscorus,
Metrodorus, and Olympius, were each eminent in their several professions. He was
one of. the architects employed by the emperor Justinian in the building of the
church of St. Sophia, A. D. 532, and to him Eutocius dedicated his Commentary
on the Conica of Apollonius. A fragment of one of his mathematical works was published
at Paris, by M. Dupuy, 1777, with the title "Fragment d'un Ouvrage Grec d'Anthemius
sur des 'Paradoxes de Mecanique'; revu et corrige sur quatre Manuscrits, avec
une Traduction Francoise et des Notes". It is also to be found in the forty-second
volume of the Hist. de l'Acad. des Inscr. 1786, pp. 72, 392-451.
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
ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Artemidorus, the Geographer, a native of Ephesus, who travelled about B.C. 100 through the countries bordering on the Mediterranean and part of the Atlantic coast, and wrote a long work on his researches, the Geographoumena, in eleven books, as well as an abstract of the same. Of both works, which were much consulted by later geographers, we have only fragments.
Artemidorus, of Ephesus, a Greek geographer, who lived about B. C. 100. He made voyages round the coasts of the Mediterranean, in the Red Sea, and apparently even in the southern ocean. He also visited Iberia and Gaul, and corrected the accounts of Eratosthenes respecting those countries. We know that in his description of Asia he stated the distances of places from one another, and that the countries beyond the river Tanais were unknown to him. The work in which he gave the results of his investigations, is called by Marcianus of Heracleia, a periplous, and seems to be the same as the one more commonly called called ta geographoumena, or ta tes geographias Biblia. It consisted of eleven books, of which Marcianus afterwards made an abridgement. The original work, which was highly valued by the ancients, and is quoted in innumerable passages by Strabo, Stephanus of Byzantium, Pliny, Isidorus, and others, is lost ; but we possess many small fragments and some larger ones of Marcianus' abridgement, which contain the periplus of the Pontus Euxeinus, and accounts of Bithynia and Paphlagonia. The loss of this important work is to be regretted, not only on account of the geographical information which it contained, but also because the author entered into the description of the manners and costumes of the nations he spoke of. The fragments of Artemidorus were first collected and published by D. Hoschel in his Geographica, Aug. Vindel. 1600.
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Agasias, son of Dositheus, a distinguished sculptor of Ephesus. One of the productions
of his chisel, the statue known by the name of the Borghese gladiator, is still
preserved in the gallery of the Louvre. This statue, as well as the Apollo Belvidere,
was discovered among the ruins of a palace of the Roman emperors on the site of
the ancient Antium (Capo d'Anzo). From the attitude of the figure it is clear,
that the statue represents not a gladiator, but a warrior contending with a mounted
combatant. Thiersch conjectures that it was intended to represent Achilles fighting
with Penthesilea. The only record that we have of this artist is the inscription
on the pedestal of the statue; nor are there any data for ascertaining the age
in which he lived, except the style of art displayed in the work itself, which
competent judges think cannot have been produced earlier than the fourth century,
B. C.
It is not quite clear whether the Agasias, who is mentioned as the
father of Heraclides, was the same as the author of the Borghese statue, or a
different person.
There was another sculptor of the same name, also an Ephesian, the
son of Menophilus. He is mentioned in a Greek inscription, from which it appears
that he exercised his art in Delos while that island was under the Roman sway;
probably somewhere about 100, B. C.
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Mentor. The most celebrated master of the toreutic art among the ancients (Pliny , Pliny H. N.xxxiii. 154). As some of his works were destroyed at the burning of the temple of Artemis at Ephesus, in B.C. 356, obviously he lived before that event, and probably flourished in the best period of Greek art, though he is never mentioned by any earlier Greek writer than Lucian (Lexiphanes, 7). He worked mainly in silver. The orator Crassus paid 100,000 sesterces ($4000) for two cups chased by his hand, but, from regard to their value, refrained from using them. Varro possessed a statue wrought by him in bronze; and one Diodorus at Lilybaeum, two fine cups in the style of those adorned with figures of animals by Thericles, the Corinthian potter. Martial (iii. 41) mentions a cup with a lifelike representation of a lizard, and often refers to him (cf. Juv.viii. 104).
ΜΑΓΝΗΣΙΑ ΕΠΙ ΜΑΙΑΝΔΡΩ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Bathykles (Bathukles), a celebrated artist of Magnesia on the Maeander (Heyne,
Antiq. A fs. i.), the head of a band of artists of the same town, who constructed
for the Lacedaemonians the colossal throne of the Amyclaean Apollo, covered with
a great number of bas-reliefs, and supported and surmounted by statues. This throne,
the most considerable work of art of the period, was destined for a statue of
Apollo, which was of a much earlier date, and consisted of a brazen pillar, thirty
cubits high, to which a head, arms, and the extremities of the feet were affixed.
Accordingly this statue was standing on the throne, and not sitting like that
of Zeus at Olympia, however strange the combination of a chair and a man standing
on it must have looked. Pausanias (iii. 18.6) gives a minute description of the
throne, or rather of the sculptures upon it, according to which Quatremere de
Quincy undertook to restore it, and gave a picture of it in his "Jupiter
Olympien," on the accuracy of which we cannot of course rely at all, considering
the indistinctness with which Pausanias speaks of the shape of the throne. It
is not even certain whether the throne was constructed of wood, and covered with
golden and ivory plates to receive the bas-reliefs, or wrought in any other material.
(K. O. Muller, Handb. d. Archaol.) The same doubts exist as to its height, which
Quatremere fixes at thirty cubits, Welcker at fifty. (Welcker, Zeitschrift fur
Gesch. d. alt. Kunst, i.) Of the age of Bathycles we have no definite statements
of the ancient writers. However, all modern scholars (Winckelmann, Bottiger, Voss,
Quatremere, Welcker, Sillig) except Thiersch agree, that he must have flourished
about the time of Solon, or a little later. Thiersch was evidently wrong (Epochen,
Anm.) when he placed Bathycles as early as 01. 29, relying mostly on a passage
of Pausanias (iii. 18.6), which however is far from being decisive. (Voss, Myth.
Briefe, ii.; Sillig, Catal. Artiff. s. v.)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Sep 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Bathycles, (Bathukles). A celebrated artist, supposed to have
been a native of Magnesia on the Maeander. The period when he flourished has given
rise to much discussion. It was probably in the age of Croesus.
ΠΡΙΗΝΗ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Archelaus (Archelaos), a Sculptor of Priene, the son of Apollonius, made the marble
bas-relief representing the Apotheosis of Homer, which formerly belonged to the
Colonna family at Rome, and is now in the Townley Gallery of the British Museum
(Inscription on the work). The style of the basrclief, which is little, if at
all, inferior to the best remains of Grecian art, confirms the supposition that
Archelaus was the son of Apollonius of Rhodes, and that he flourished in the first
century of the Christian aera. From the circumstance of the "Apotheosis" having
been found in the palace of Claudius at Bovillae (now Frattocchi), coupled with
the known admiration of that emperor for Homer (Suet. Claud. 42), it is generally
supposed that the work was executed in his reign.
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ΤΡΑΛΛΕΙΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Apollonius and Tauriscus of Tralles, were two brothers, and the sculptors of the
group which is commonly known as the Farnese bull, representing the punishment
of Dirce by Zethus and Amphion. It was taken from Rhodes to Rome by Asinius Pollio,
and afterwards placed in the baths of Caracalla, where it was dug up in the sixteenth
century, and deposited in the Farnese palace. It is now at Naples. After its discovery,
it was restored, in a manner not at all in keeping with its style, by Battista
Bianchi of Milan. There is some reason to believe that additions were made to
it in the time of Caracalla. It was originally formed out of one block of marble.
A full description of the group, is given by Winckelmann, who distinguishes the
old parts from the new. From the style of the ancient portions of the group, Winckelmann
and MΓΌller refer its execution to the same period to which they imagine the Laocoon
to belong, that is, the period after Alexander the Great. Both groups belong to
the same school of art, the Rhodian, and both probably to the same period. If,
therefore, we admit the force of the arguments of Lessing and Thiersch respecting
the date of the Laocoon, we may infer, that the Farnese bull was newly executed
when Asinius Pollio took it to Rome, and consequently, that Apollonius and Tauriscus
flourished at the beginning of the first century of the Christian aera. It is
worth while to notice, that we have no history of this work before its removal
from Rhodes to Rome. Pliny says of Apollonius and Tauriscus, "Parentum ii certamen
de se fecere: Menecratem videri professi, sed esse naturalem Artemidorum". which
is understood to mean, that they placed an inscription on their work, expressing
a doubt whether their father, Artemidorus, or their teacher, Menecrates. ought
to be considered their true parent. The Farncse bull bears no such inscription,
but there are the marks of an effaced inscription on a trunk of a tree which forms
a support for the figure of Zethus. (Plin. xxxvi. 4.10)
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ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
624 - 547
Ενας από τους Επτά Σοφούς της αρχαιότητας, που έζησε ανάμεσα στον 7ο-6ο αι. π.Χ.
(Thales). An Ionian, the founder of Greek philosophy. He was a contemporary of Solon and Croesus, and one of the Seven Sages, and was born at Miletus about B.C. 636, and died about 546, at the age of ninety, though the exact dates of his birth and death are not known. He is said to have predicted the eclipse of the sun which happened in the reign of the Lydian king Alyattes; to have diverted the course of the Halys in the time of Croesus; and later, in order to unite the Ionians when threatened by the Persians, to have instituted a federal council in Teos. Aristotle preserves a story of his knowledge of meteorology which was turned to a practical use. In the lists of the Seven Sages his name seems to have stood at the head, and he displayed his wisdom both by political sagacity and by prudence in acquiring wealth. In mathematics we find attributed to him only proofs of propositions which belong to the first elements of geometry, and which could not possibly have enabled him to calculate the eclipses of the sun and the course of the heavenly bodies. He may, however, have obtained a knowledge of the higher branches of mathematics from Egypt, which country he is said to have visited. In the annals of Greek philosophy he was probably the first who looked for a physical origin of the world instead of resting upon mythology. Thales maintained that water is the origin (arche) of things, meaning thereby that it is water out of which everything arises and into which everything resolves itself, and that the earth floated upon the water. Thales left no works behind him.
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ΠΡΙΗΝΗ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
One of the Seven Wise Men of Greece. He was son of Teutamus,
and was born at Priene, in Ionia, about B.C. 570. Bias was a practical philosopher,
studied the laws of his country, and employed his knowledge in the service of
his friends, defending them in the courts of justice, settling their disputes.
He made a noble use of his wealth. His advice, that the Ionians should fly before
the victorious Cyrus to Sardinia, was not followed, and the victory of the army
of Cyrus confirmed the correctness of his opinion. The inhabitants of Priene,
when besieged by Mazares, resolved to abandon the city with their property. On
this occasion Bias replied to one of his fellow-citizens, who expressed astonishment
that he made no preparations for his departure, "I carry everything with
me." He remained in his native country, where he died at a very advanced
age. His countrymen buried him with splendour, and honoured his memory. Some of
his apophthegms are still preserved.
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
Bias, of Priene in Ionia, is always reckoned among the Seven Sages, and is mentioned by Dicaearchus (ap. Diog. Laert. i. 41) as one of the Four to whom alone that title was universally given - the remaining three being Thales, Pittacus, and Solon. We do not know the exact period at which Bias lived, but it appears from the reference made to him by the poet Hipponax, who flourished about the middle of the sixth century B. C. that he had by that time become distinguished for his skill as an advocate, and for his use of it in defence of the right. (Diog. Laert. i. 84, 88; Strab. xiv.) Diogenes Laertius informs us, that he died at a very advanced age, immediately after pleading successfully the cause of a friend: by the time the votes of the judges had been taken, he was found to have expired. Like the rest of the Seven Sages, with the exception of Thales, the fame of Bias was derived, not from philosophy, as the word is usually understood, but from a certain practical wisdom, moral and political, the fruit of experience. Many of his sayings and doings are recorded by Diogenes Laertius, in his rambling uncritical way, and by others. In particular, he suffers in character as the reputed author of the selfish maxim Philein Os misesontas ; and there is a certain ungallant dilemma on the subject of marriage, which we find fathered upon him in Aulus Gellius. (Herod. i. 27, 170 ; Aristot. Rhet. ii. 13.4; Cic. de Amic. 16, Parad. i.; Diod. Exc., ed. Wess; Gell. v. 11; Diog. Laert. i. 82-88; comp. Herod. i. 20-22; Plut. Sol. 4.)
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ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Aspasia. A celebrated woman, a native of Miletus. She came as an adventuress to
Athens, in the time of Pericles, and, by the combined charms of her person, manners,
and conversation, completely won the affection and esteem of that distinguished
statesman. Her station had freed her from the restraints which custom laid on
the education of the Athenian matron, and she had enriched her mind with accomplishments
which were rare even among men. Her acquaintance with Pericles seems to have begun
while he was still united to a lady of high birth, and we can hardly doubt that
it was Aspasia who first disturbed this union, although it is said to have been
dissolved by mutual consent. But after parting from his wife, who had borne him
two sons, Pericles attached himself to Aspasia by the most intimate relation which
the laws permitted him to contract with a foreign woman; and she acquired an ascendency
over him which soon became notorious, and furnished the comic poets with an inexhaustible
fund of ridicule and his enemies with a ground for serious charges. The Samian
War was ascribed to her interposition on behalf of her birthplace, and rumours
were set afloat which represented her as ministering to the vices of Pericles
by the most odious and degrading of offices. There was, perhaps, as little foundation
for this report as for a similar one in which Phidias was implicated ; though
among all the imputations brought against Pericles, this is that which it is the
most difficult clearly to refute. But we are inclined to believe that it may have
arisen from the peculiar nature of Aspasia's private circles, which, with a bold
neglect of established usage, were composed not only of the most intelligent and
accomplished men to be found at Athens, but also of matrons, who, it is said,
were brought by their husbands to listen to her conversation. This must have been
highly instructive as well as brilliant, since Plato did not hesitate to describe
her as the preceptress of Socrates, and to assert in the Menexenus that she both
formed the rhetoric of Pericles and composed one of his most admired harangues,
the celebrated funeral oration. The innovation, which drew women of free birth
and good standing into her company for such a purpose, must, even where the truth
was understood, have surprised and offended many, and it was liable to the grossest
misconstruction. And if her female friends were sometimes seen watching the progress
of the works of Phidias, it was easy, through his intimacy with Pericles, to connect
this fact with a calumny of the same kind.
There was another rumour still more dangerous, which grew out of the
character of the persons who were admitted to the society of Pericles and Aspasia.
No persons were more welcome at the house of Pericles than such as were distinguished
by philosophical studies, and especially by the profession of new philosophical
tenets. The mere presence of Anaxagoras, Zeno, Protagoras, and other celebrated
men, who were known to hold doctrines very remote from the religious conceptions
of the vulgar, was sufficient to make a circle in which they were familiar pass
for a school of impiety. Such were the materials out of which the comic poet Hermippus
formed a criminal prosecution against Aspasia. His indictment included two heads:
an offence against religion, and that of corrupting Athenian women to gratify
the passions of Pericles. The danger was averted; but it seems that Pericles,
who pleaded her cause, found need of his most strenuous exertions to save Aspasia,
and that he even descended, in her behalf, to tears and entreaties, which no similar
emergency of his own could ever draw from him.
After the death of Pericles, Aspasia attached herself to a young man
of obscure birth, named Lysicles, who rose through her influence in moulding his
character to some of the highest employments in the Republic. (See Plut. Pericl.;
Xen. Mem.ii. 6.)
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Aspasia. The celebrated Milesian, daughter of Axiochus, came to reside at Athens, and there gained and fixed the affections of Pericles, not more by her beauty than by her high mental accomplishments. With his wife. who was a lady of rank, and by whom he had two sons, he seems to have lived unhappily; and, having parted from her by mutual consent, he attached himself to Aspasia during the rest of his life as closely as was allowed by the law, which forbade marriage with a foreign woman under severe penalties (Plut. Peric. 24; Demosth. c. Neaer.). Nor can there be any doubt that she acquired over him a great ascendancy; though this perhaps comes before us in an exaggerated shape in the statements which ascribe to her influence the war with Samos on behalf of Miletus in B. C. 440, as well as the Peloponnesian war itself (Plut. Peric. l. c.; Aristoph. Acharn. 497; Schol. ad loc.; comp. Aristoph. Pax, 587; Thuc. i. 115). The connexion, indeed, of Pericles with Aspasia appears to have been a favourite subject of attack in Athenian comedy (Aristoph. Acharn. l. c.; Plut. Peric. 24; Schol. ad Plat. Menex.), as also with certain writers of philosophical dialogues, between whom and the comic poets, in respect of their abusive propensities, Athenaeus remarks a strong family likeness (Athen. v. p. 220; Casaub. ad loc.). Nor was their bitterness satisfied with the vent of satire; for it was Hermippus, the comic poet, who brought against Aspasia the double charge of impiety and of infamously pandering to the vices of Pericles; and it required all the personal influence of the latter with the people, and his most earnest entreaties and tears, to procure her acquittal (Plut. Peric. 32; Athen. xiii). The house of Aspasia was the great centre of the highest literary and philosophical society of Athens, nor was the seclusion of the Athenian matrons so strictly preserved, but that many even of them resorted thither with their husbands for the pleasure and improvement of her conversation (Plut. Peric. 24); so that the intellectual influence which she ex ercised was undoubtedly considerable, even though we reject the story of her being the preceptress of Socrates, on the probable ground of the irony of those passages in which such statement is made (Plat. Menex.; Xen. Occon. iii. 14, Memor. ii. 6.36); for Plato certainly was no approver of the administration of Pericles (Gorg), and thought perhaps that the refinement introduced by Aspasia had only added a new temptation to the licentiousness from which it was not disconnected (Athen. xiii). On the death of Pericles, Aspasia is said to have attached herself to one Lysicles, a dealer in cattle, and to have made him by her instructions a first-rate orator (Aesch. ap. Plut. Peric. 24). For an amusing account of a sophistical argument ascribed to her by Aeschines the philosopher, see Cic. de Inxent. i. 31; Quintil. Inst. Orat. v. 11. The son of Pericles by Aspasia was legitimated by a special decree of the people, and took his father's name (Plut. Peric. 37). He was one of the six generals who were put to death after the victory at Arginusae.
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Aspasia
Summary
Aspasia was the mistress of Pericles, the leader of Athens during
the Classical Age. She was a hetaira, a trained and paid companion who accompanied
upper-class men to the symposiums. According to some ancient sources she was skilled
in rhetoric and took part in the intellectual discussions of the leading men in
Athens, including Socrates. As the mistress of Pericles, she suffered attacks
from his political enemies. Aspasia and Pericles had one son, who was later legitimized.
After the death of Pericles she married Lysicles a man of humble birth who became
a successful politician in Athens through her assistance. Factual information
about Aspasia is difficult to locate in the ancient sources. Playwrights, biographers
and other ancient authors use Aspasia to illustrate their views on philosophy,
rhetoric and Pericles.
Family
Modern scholars agree that the basic facts of Aspasia's life as recorded
by Diodoros the Athenian (FGrHist 372 F 40 ), Plutarch (Plut. Per. 24.3 ) and
the lexicographers are correct. She was born in the city of Miletus between 460-455
B.C., the daughter of Axiochus. Miletus, part of the Athenian empire, was one
of the leading cities in Ionia, an area of Greek settlement located along the
coast of Asia Minor.
It was probably in Ionia, before she left for Athens, that Aspasia
was educated. Women in that part of the Greek world were generally given more
of an education than women in Athens. As a hetaira she would have been trained
in the art of conversation and of musical entertainment including singing, dancing
and playing instruments.
Biography
Arriving in Athens as a free immigrant around 445 B.C., Aspasia worked
as a hetaira. In fact Aspasia, which meant "Gladly Welcomed", was probably
her professional name. Hetairai were much more than just high-class prostitutes.
According to ancient literary sources and scenes from vase paintings, many hetairai
were intelligent, beautiful, well-dressed and had fewer restrictions on their
lives than the respectable, married women in Athens (Athenaeus, Deipnosophistae
583f. ). This description would also apply to Aspasia. As a hetaira, however,
she would not have had financial security or any legal or family protection.
As the paid companion of aristocratic men Aspasia attended symposiums,
drinking parties combined with political and philosophical discourse. At the symposiums
she met the most influential and powerful men in Athens, including Pericles. Sometime
around 445 B.C. Aspasia began to live with Pericles, who at that time was the
leader of Athens. He had been divorced from his wife for five years, with whom
he had two sons. According to Plutarch, it was an amiable divorce because the
marriage was not a happy one (Plut. Per. 24.5).
Plutarch relates more information about Aspasia than any other ancient
author. Unfortunately, Plutarch's Lives are full of distortions and historical
inaccuracies. His purpose in the Lives was to exemplify the virtues and vices
of great men, not to write history. In respect to Aspasia and Pericles he states
that Pericles valued Aspasia's intelligence and political insight, but he emphasizes
that Pericles' feelings for her were primarily erotic. This may be an attempt
on Plutarch's part to remove the stigma from Pericles of having been overly influenced
by a woman.
Plutarch describes the relationship between Aspasia and Pericles as
a very happy one. He states that she was so loved by Pericles that he kissed her
everyday when he left the house and again when he returned (Plut. Per. 24). Plutarch
portrays Aspasia as the influential courtesan. He writes that Aspasia was trying
to emulate Thargelia, a famous Milesian courtesan whose lovers were the most powerful
men in Greece. Using her influence over these men Thargelia helped win Thessaly
over to the Persians at the time of Xerxes' invasion.
Plutarch blames Aspasia for Pericles' decision to start the war against
Samos, a wealthy and powerful member of the empire. The Milesians and the Samians
were involved in a border dispute. The Samians refused to submit the conflict
to Athenian arbitration. Supposedly, Aspasia pressured Pericles to take military
action against Samos (Plut. Per. 25.1). Although it would have been natural for
Aspasia to take the side of her native city, she and Pericles both must have realized
that the loss of Samos to the empire would have meant the rapid end of Athenian
domination of the Aegean.
The exact status of Aspasia's relationship with Pericles and her position
in Pericles' household is disputed. While some say that she was his a pallake
(concubine ), Plutarch (Plut. Per. 24) seems to imply, and Diodorus the Athenian
(FGrHist 372 F 40) says, that she was his akoitis. She and Pericles had one son
also named Pericles. As the mistress of Pericles' household and hostess to his
friends and supporters, Aspasia participated in discussions revolving around politics
and philosophy with the leading men of the Athenian empire. According to several
ancient authors, Socrates respected her opinions (Plut. Per. 24.3; Xen. Ec. 3.15;
Cicero, De Inventione 31.51). As a pallake she would have been outside of the
legal, traditional role of an Athenian wife. Freed from the social restraints
that tied married women to their homes and restricted their behavior, Aspasia
was able to participate more freely in public life.
Strong evidence that Aspasia's role in Athens went beyond that of
mistress to Pericles is given by Plato in the Menexenus. In this dialogue Plato
has Socrates recite a funeral oration composed by Aspasia that glorifies the Athenians
and their history. The Menexenus is a humorous vehicle for Plato to make a serious,
but negative comment on rhetoric and popular opinion in Athens. Everything in
Aspasia's speech is selected, arranged and stated by Plato in order to produce
the greatest possible irony. By satirizing a speech "written" by Aspasia,
Plato acknowledges her role as a leader of rhetoric in the Greek Classical Age.
In Cicero's book on rhetoric he uses as an example of the Socratic
method a dialogue attributed to Aspasia by Aeschines a student of Socrates. In
this dialogue Aspasia skillfully proves to a husband and wife that neither one
of them will ever be truly happy with the other because they each desire the ideal
spouse. Aeschines and another student of Socrates, Antisthenes, both wrote dialogues
titled Aspasia. Unfortunately, only fragments of these works survive (Diogenes
Laertius, Antisthenes 6.16).
Several ancient authors state that Aspasia herself operated a house
of courtesans and trained young women in the necessary skills (Plut. Per. 24.3).
Aristophanes and others refer to "Aspasia's whores" (Aristoph. Ach.
527). Although as Pericles' pallake she was taken care of financially, Aspasia
may have been preparing for her future after the death of Pericles. According
to Plutarch, she was known in Athens as a teacher of rhetoric. Perhaps these women
were her pupils (Plut. Per. 34). Aspasia's hetairai would have had as patrons
the elite men of Athens, especially the supporters of Pericles.
Around 438 B.C. Pericles' political enemies began attacking those
close to him in court and eventually brought charges against Pericles himself.
Soon Aspasia became a target. She was brought to trial on charges of impiety and
of procuring free women. She was acquitted thanks to a passionate and tearful
defense by Pericles (Plut. Per. 32.1-3). Although her political wisdom was valuable
to Pericles, not having an Athenian citizen as a legal wife, but rather living
with a foreign hetaira in an unofficial marriage may have been a political liability
for him.
In the contemporary comedy The Acharnians, Aristophanes parodies the
imputations that Aspasia had undue influence on Pericles' political decisions.
One of his characters blames the start of the Peloponnesian War in 431 B.C. on
the abduction of two of Aspasia's hetairai (Aristoph. Ach. 527-530). The joke
worked because the audience knew that Aspasia had some influence on Pericles,
but not enough to start a war.
The plague in Athens in 430 B.C. killed both of Pericles' sons by his first wife. This led him to ask for an exemption from the citizenship law, which he himself had enacted, for his illegimate son by Aspasia. The citizenship law decreed that only persons whose father and mother were both Athenians could be legal citizens. The people of Athens agreed to Pericles' request. His son was legitimized and made a citizen of Athens. He later became a general, but was executed in 406 B.C.
In 429 B.C. Pericles died from the plague. A year later Aspasia became
involved with a sheep seller named Lysicles in another unofficial marriage. He
was an uneducated man of humble birth who rose to prominence thanks to her guidance.
She taught him how to speak in public and gave him the benefit of her valuable
insights and personal contacts in Athenian politics (Plut. Per. 24.6; Scholia
to Plato, Menexenus 235E). He was one of the new type of political leaders who
came to prominence after the death of Pericles. This was probably the same group
who had led the earlier attacks against Pericles and his friends, including Aspasia
herself. Questions remain regarding Aspasia's decision to marry so quickly after
Pericles' death. She might have been in need of a protector from Pericles' enemies.
The selection of another politician as her husband might also suggest a desire
to remain involved in the politics of Athens.
There is no information about Aspasia's life after this point. Although
the actual extent of her influence on Athenian politics and society during Athens'
most glorious period will never be certain, she did become one of the few women
in the ancient Greek world to be noted and remembered. She became so famous that
Cyrus, a prince of Persia, Athens' most hated enemy, gave the name Aspasia to
his favorite concubine. Through the succeeding centuries ancient authors, including
playwrights and biographers, used Aspasia as a well-known historical figure to
illustrate their views on philosophy, politics, rhetoric, Pericles and Socrates.
The primary sources give little information about Aspasia. Plutarch
relates more than the other ancient authors, but he seems almost wholly dependent
on Athenian comedy and stories from the Socratic circle for his information, all
of which is difficult to verify. The secondary sources tend to discuss Aspasia
in relation to Pericles or Athenian politics and society.
Elizabeth Lynne Beavers, ed.
This text is cited June 2005 from
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ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Parrhasius (Parrasios). A famous Greek painter of Ephesus, who with Zeuxis
was the chief representative of the Ionic school. He lived about B.C. 400 at Athens,
where he seems to have received the citizenship. According to the accounts of
ancient writers, he first introduced into painting the theory of human proportions,
gave to the face delicate shades of expression, and was a master in the careful
drawing of contours. His skill in indicating varieties of psychological expression
could be appreciated in the picture representing the Athenian State or Demos,
in which, according to ancient authors, he distinctly portrayed all the conflicting
qualities of the Athenian national character. Another of his pictures represented
two boys, one of whom seemed to personify the pertness, and the other the simplicity,
of boyhood. His inclination to represent excited states of mind is attested by
the choice of subjects like the feigned madness of Odysseus, and the anguish of
Philoctetes in Lemnos. His supposed contest with Zeuxis is well known. The grapes
painted by Zeuxis deceived the birds, which flew to peck at them; while the curtain
painted by Parrhasius deceived Zeuxis himself.
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 greatest rival of Zeuxis was Parrhasius of Ephesus. It is true
that some late authors represent him as an Athenian, but there seems no ground
for supposing that, like Polygnotus, he obtained the freedom of Athens. He began
life at Ephesus under his father's (Euenor's) tuition, and went early to Athens,
which was the principal sphere of his activity. It was doubtless here that he
came into contact with Zeuxis; their rivalry, which is by some authors declared
to have been in favour of Parrhasius, appears to have been based principally on
the difference in their methods of art. After the Peloponnesian wars, he seems
to have left Athens, for we hear of him at Rhodes and Samos. About twenty pictures
in all are attributed to him, among which some appear to have been of the character
of genre, others mythological; in the latter class he seems to have come under
the influence of Euripidean tragedy (Robert, Bild und Lied, 35); as, for instance,
in the pictures representing the Healing of Telephus, the Madness of Odysseus,
and Philoctetes on Lemnos.
In the personal traits recorded of Parrhasius, his Ionian character
is strongly marked. His genial self-consciousness comes out in his love of luxury,
in his purple mantle and gold crown; his wit, and his gift of poetry In his own
verse he calls himself habrodiaitos aner; which is turned by a contemporary into
rhabdodiaitos, living by his pencil : and he says that he is Apollinis radice
ortum, that is, through Ion, founder of the Ionian race, sprung from the god.
As to his artistic style, Brunn thinks that he can trace a radical contrast to
that of Zeuxis: in Zeuxis the pictorial element had predominated; Parrhasius displayed
a treatment of form highly finished in the drawing and modelling, Milchhofer draws
attention to his partiality for subjects depicting the emotion of pain, and points
out the peculiar power which such a picture as his Demos of Athens must have demanded,
of representing in one and the same figure the most contrary psychological effects.
In Pliny, xxxv § 68, it is stated that Parrhasius left behind et alia
multa graphidis vestigia in tabulis ac membranis eius ex quibus proficere dicuntur
artifices. The passage has given rise to much discussion; that traces of the graphis
should remain in the easel pictures does not surprise us, but what are the membrana?
Klein proposes to refer them to the sketches which Parrhasius is known to have
made for works of toreutic art; from Pausanias and Athenaeus we learn that more
than one metal-worker were occupied in reproducing in his craft the designs of
this artist. Athenaeus further gives (xi, p. 782 b) the epigram on a skyphos of
Heraclea, which represented the Iliupersis; Gramma Parrhasioio, techna Muos, emmi
de eikon Iliou aipeinas han helon Aiakidai
Moreover Pausanias (i. 28, 2), in describing the work on the shield
of Athene Promachos, says that it was executed by Mys (toreusai Mun): the designs
of Mys for this and all other of his works were drawn by Parrhasius son of Euenor.
It is clear, then, that there was a close connexion between the great painter
and the toreutic art, and it is probable that the emphatic stress laid on the
excellence of Parrhasius' drawing is mainly due to the existence of these graphidis
vestigia. Pliny especially praises his skill in terms which would suit drawings
of this nature, and quotes as his authority two writers who are known to have
published books on the toreutic art. It is therefore highly probable that the
eulogia bestowed upon Parrhasius for his drawing refer specially to this branch,
and are not to be taken as detracting from his merit in the other branches of
his profession. The evidence indeed is rather to the contrary. Of his colouring
we learn from Diodorus (xxvl. 1) that Apelles and Parrhasius in the skilful mixing
of colours brought Painting to its highest point; Parrhasius is in fact the immediate
predecessor of the perfected colouring of Apelles; not yet indeed absolutely perfect
himself, so that he is not included among those in quibus iam perfecta sunt omnia;
but, on the other hand, not to be classed in this respect with Zeuxis, Polygnotus,
and Timanthes, who did not use more than four colours (Cicero, Brutus, 18, 70).
Quintilian, in a comparison between Zeuxis and Parrhasius, says of
the latter that he so circumscribed everything that they call him the Lawgiver,
because the types which he has handed down of gods and heroes are followed, as
of necessity, by all other artists. Klein seeks to show that gods and heroes were
in fact his principal theme; his heroes, in the mentions of them that have come
down to us, appear to have been mainly single portrait figures; of his gods, only
two are named, a Dionysus with Arete (the artist's favourite patroness) and a
Hermes. Whether or no this Hermes was painted by the artist from his own portrait,
it shows us at any rate the close relation which obtains now between the portrait
and the ideal type.
The main difficulties of technique are now overcome, and the period
of struggling with material is well-nigh past; with the new facilities opening
out, it is natural that we should now hear of a number of new claimants to fame:
principal among these stand the representatives of the Sicyonian school. We saw
already that Sicyon had been one of the earliest afoot in the field of Painting;
and there seems no doubt that the tradition had been carried on there uninterruptedly:
but it is in the age following Zeuxis and Parrhasius that its sphere of activity
is most strongly marked. The great sculptor Polycleitus had been a Sicyonian,
and doubtless had left his mark on the character of the training which was imparted,
for high prices, at the Sicyonian school.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Parrhasius (Parrasios), one of the most celebrated Greek painters, was a native
of Ephesus, the son and pupil of Evenor (Paus. i. 28.2; Strab. xiv.; Harpoer.
s. r.). He belonged, therefore, to the Ionic school; but he practised his art
chiefly at Athens: and by some writers he is called an Athenian, probably because
the Athenians, who, as Plutarch informs him, held him in high honour, had bestowed
upon him the right of citizenship (Senec. Controv. v. 10; Acro, Schol. ad Horat.
Carm. iv. 8; Plut. This. 4; Junius, Catal. Artif. s. v.). With respect to the
time at which he flourished, there has been some doubt, arising from a story told
by Seneca, which, if true, would bring down his time as late as the taking of
Olynthus by Philip, in Ol. 108, 2, or B. C. 347. But this tale has quite the air
of a fiction; and it is rejected, as unworthy of attention, by all the authorities
except Sillig and Meyer, the latter of whom makes the extraordinary mistake of
bringing down the life of Parrhasius as late as the time of Alexander the Great.
On the other hand, the statement of Pausanias (i. 28.2), that he drew the outlines
of the chasing on the shield of Pheidias's statue of Athena Promachus, would place
him as early as Ol. 84, or B. C. 444, unless we accept the somewhat improbable
conjecture of Muller, that the chasing on the shield was executed several years
later than the statue. Now this date is probably too early, for Pliny places Parrhasius's
father, Evenor, at the 90th Olympiad, B. C. 420 (H. N. xxxv. 9. s. 36.1). According
to this date Parrhasius himself must have flourished about the 95th Olympiad,
B. C. 400, which agrees with all the certain, indications which we have of his
time, such as his conversation with Socrates (Xen. Mem. iii. 10), and his being
a younger contemporary of Zeuxis: the date just given must, however, be taken
as referring rather to a late than to an early period of his artistic career;
for he had evidently obtained a high reputation before the death of Socrates in
B. C. 399.
Parrhasius belongs to that period of the history of Greek painting,
in which the art may be said to have reached perfection in all its essential elements,
though there was still room left for the display of higher excellence than any
individual painter had yet attained, by the genius of an Apelles. The peculiar
merits of Parrhasius consisted, according to Pliny, in accuracy of drawing, truth
of proportion, and power of expression. "He first (or above all) gave to painting
true proportions (symmetriam), the minute details of the countenance, the elegance
of the hair, the beauty of the face, and by the confession of artists themselves
obtained the palm in his drawing of the extremities" (Plin. H. N. xxxv. 9. s.
36.5). His outlines, according to the same writer, were so perfect, as to indicate
those parts of the figure which they did not express. The intermediate parts of
his figures seemed inferior, but only when compared with his own perfect execution
of the extremities.
Parrhasius did for painting, at least in pictures of gods and heroes,
what had been done for sculpture by Pheidias in divine subjects, and by Polycleitus
in the human figure: he established a canon of proportion, which was followed
by all the artists that came after him. Hence Quintilian (xii. 10) calls him the
legislator of his art; and it is no doubt to this that Pliny refers in the words
of the above quotation (primus symmetriam picturae dedit). Several interesting
observations on the principles of art which he followed are made in the dialogue
in the Memorabilia, already referred to.
The character of Parrhasius was marked in the highest degree by that
arrogance which often accompanies the consciousness of pre-eminent ability: "Quo
nemo insolentius sit usus gloria artis", says Pliny. In epigrams inscribed on
his works he not only made a boast of his luxurious habits, calling himself Habrodiaitos,
but he also claimed the honour of having assigned with his own hand the precise
limits of the art, and fixed a boundary which was never to be transgressed. He
claimed (Epigrams in Ath. xii) a divine origin and divine communications, calling
himself the descendant of Apollo, and professing to have painted his Hercules,
which was preserved at Lindus, from the form of the god, as often seen by him
in sleep. When conquered by Timanthes in a trial of skill, in which the subject
was the contest for the arms of Achilles, he observed that for himself he thought
little of it, but that he sympathised with Ajax, who was a second time overcome
by the less worthy (Plin. l. c.; Ath.l. c.; Aelian. V.H. ix. 11; Eustath. ad Hom.
Od. xi. 545). Further details of his arrogance and luxury will be found in the
above passages and in Ath. xv. Respecting the story of his contest with Zeuxis,
see Zeuxis. The numerous encomiums upon his works in the writings of the ancients
are collected by Junius and Sillig.
Of the works of Parrhasius mentioned by Pliny, the most celebrated seems to have
been his picture of the Athenian People, respecting which the commentators have
been sorely puzzled to imagine how he could have exhibited all the qualities enumerated
by Pliny as belonging to his subject--"debebat namque varium, iracundum, injustum,
inconstantem, eundem exorabilem, clementem, misericordem, gloriosum, excelsum,
humilem, ferocem, fugacemque, et omnia pariter ostendere": as to how all these
qualities were expressed Pliny gives us no more information than is contained
in the words aryumento ingenioso. Some writers suppose that the picture was a
group, or that it consisted of several groups; others that it was a single figure;
and Quatremere de Quincy has put forth the ingeniously absurd hypothesis, that
the picture was merely that of an owl, as the symbol of Athens, with many heads
of different animals, as the symbols of the qualities enumerated by Pliny ! The
truth seems to be that Pliny's words do not describe the picture, but its subject;
the word debebat indicates as much: the picture he does not appear to have seen;
but the character of the personified Demos was to be found in the Knights of Aristophanes,
and in the writings of many other authors; and Pliny's words seem to express his
admiration of the art which could have given anything like a pictorial representation
of such a character. Possibly, too, the passage is merely copied from the unmeaning
exaggeration of some sophist.
Another famous picture was his Theseus, which was preserved in the
Capitol, and which appears to have been the picture which embodied the canon of
painting referred to above, as the Doryphorus of Polycleitus embodied that of
sculpture. This work, however, which was the masterpiece of Ionian art, did not
fully satisfy the severer taste of the Helladic school, as we learn from the criticism
of Enphranor, who said that the Theseus of Parrhasius had fed upon roses, but
his own upon beef. (Plut. de Glor. Ath. 2).
The works of Parrhasius were not all, however, of this elevated character.
He painted libidinous pictures, such as the Archigallus, and Meleager and Atalanta,
which afterwards gratified the prurient taste of Tiberius (Plin. l. c.; Suet.
Tib.44). A few others of his pictures, chiefly mythological, are enumerated by
Pliny, front whom we also learn that tablets and parchments were preserved, on
which were the valuable outline drawings of the great artist. He is enumerated
among the great painters who wrote upon their art.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Dec 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΤΡΑΛΛΕΙΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
525 - 605
Alexander, Trallianus (Alexandros ho Trallianos), one of the most eminent of the
ancient physicians, was born at Tralles, a city of Lydia, from whence he derives
his name. His date may safely be put in the sixth century after Christ, for he
mentions Aetius (xii. 8), who probably did not write till the end of the fifth
or the beginning of the sixth century, and he is himself quoted by Paulus Aegineta
(iii. 28, 78, vii. 5, 11, 19), who is supposed to have lived in the seventh; besides
which, he is mentioned as a contemporaryby Agathias (Hist. v.), who set about
writing his History in the beginning of the reign of Justin the younger, about
A. D. 565. He had the advantage of being brought up under his father, Stephanus,
who was himself a physician (iv. 1), and also under another person, whose name
he does not mention, but to whose son Cosmas he dedicates his chief work (xii.
i.), which he wrote out of gratitude at his request. He was a man of an extensive
practice, of a very long experience, and of great reputation, not only at Rome,
but wherever he travelled in Spain, Gaul, and Italy (i. 15), whence he was called
by way of eminence "Alexander the Physician". Agathias speaks also with great
praise of his four brothers, Anthemius, Dioscorus, Metrodorus, and Olympius, who
were all eminent in their several professions. Alexander is not a mere compiler,
like Aetius, Oribasius, and others, but is an author of quite a different stamp,
and has more the air of an original writer. He wrote his great work in an extreme
old age, from the results of his own experience, when he could no longer bear
the fatigue of practice. His style in the main, says Freind, is very good, short,
clear, and (to use his own term, xii. 1) consisting of common expressions; and
though (through a mixture of some foreign words occasioned perhaps by his travels)
not always perfectly elegant, yet very expressive and intelligible. Fabricius
considers Alexander to have belonged to the sect of the Methodici, but in the
opinion of Freind this is not proved sufficiently by the passages adduced. The
weakest and most curious part of his practice appears to be his belief in charms
and amulets, some of which may be quoted as specimens. For a quotidian ague, "Gather
an olive leaf before sun-rise, write on it with common ink ka, roi, a, and hang
it round the neck" (xii. 7); for the gout, "Write on a thin plate of gold, during
the waning of the moon, mei, Dreu, mor, phor, teux, za, zon, De, lou, chri, ge,
ze, on, and wear it round the ankles; pronouncing also iaz, azuph, zuon, Dreux,
bain, chook" (xi. 1), or else this verse of Homer (Il. b. 95), Tetrechei d' agore,
hupo d' estonachizeto gaia, while the moon is in Libra; but it is much better
if she should be in Leo". In exorcising the gout, he says, "I adjure thee by the
great name Iao Sabaoth", that is, and a little further on, "I adjure thee by the
holy names Iao, Sabaoth, Adonai, Elo+hi", that is; from which he would appear
to have been either a Jew or a Christian, and, from his frequently prescribing
swine's flesh, it is most probable that he was a Christian. His chief work, entitled
Biblia Iatrika Duokaideka, Libri Duodecim de Re Medica, first appeared in an old,
barbarous, and imperfect Latin translation, with the title Alexandri Yatros Practica,
&c., Lugd. 1504, 4to., which was several times reprinted, and corrected and amended
by Albanus Torinus, Basil. 1533, fol. It was first edited in Greek by Jac. Goupylus,
Par. 1548, fol., a beautiful and scarce edition, containing also Rhazae de Pestilentia
Libellus ex Syrorum Lingua in Graecam translatus...
This extract 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
ΑΛΑΒΑΝΔΑ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Leo of Alabanda, in Caria, a rhetorical and historical writer of uncertain date. He wrote the following
works, now lost:
1. Karikon Biblia d, De rebus Cariae Libri quatuor;
2. Lukiaka en Bibliois b', De rebus Lyciae, Libri duo;
3. Ho hieros polemos Phokeon kai Boioton, Bellum Sacrum inter Phocenses et Boeotos;
4. Techne, Ars (sc. Rhetorica); and
5. Peri staseon, De Statibus, or De Seditionibus.
In Villoison's edition of Eudocia the last two works are mentioned as one, the
title of which is Techne peri staseon, Ars de Statibus. If the above list of the
works of Leo be correct, we may conjecture that he lived not far from the time
of Alexander the Great, that is, after the close of the Sacred War, of which he
wrote the history and before the local history of Caria and Lycia had lost its
interest by the absorption of those provinces in the Syrian and Pergamenian kingdoms,
and subsequently in the Roman empire. It is to be observed, however, that the
authority of the Sacred War and of the work De Statibus is doubtful, as Suidas
and Eudocia enumerate works under those titles among those of Leo of Byzantium.
Vossius supposes that either Leo of Alabanda or Leo of Byzantium is the writer
referred to by Hyginus (Astron. Poetic. c. 20), as having written a work on the
history of Egypt.
(Suidas, s. v. Deon Alabandeus; Eudocia, Violetum, s. v. Deon Halabandeus; Fabric.
Bibl. Graec. vol. vi. p. 132, vol. vii. p. 713; Voss. de Hist. Graec. Lib. iii.
p. 179).
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ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Alexander Cornelius (Alexandros Kornelios), surnamed Polyhistor (Poluistor), a
Greek writer and contemporary of Sulla. According to Suidas he was a native of
Ephesus and a pupil of Crates, and during the war of Sulla in Greece was made
prisoner and sold as a slave to Cornelius Lentulus, who took him to Rome and made
him the paedagogus of his children. Afterwards Lentulus restored him to freedom.
From Suidas it would seem as if he had received the gentile name Cornelius from
Lentulus, while Servius (ad Aen. x. 388) says, that he received the Roman franchise
from L. Cornelius Sulla. He died at Laurentumin a fire which consumed his house,
and as soon as his wife heard of the calanity, she hung herself. The statement
of Suidas that he was a native of Ephesus is contradicted by Stephanus Byzantius
(s. v. Kotiaeon), who says that he was a native of Cotiaeum in Lesser Phrygia,
and a son of Asclepiades, and who is borne out by the Etymologicum Magnum (s.
vv. dedoika and terirredes), where Alexander is called Kotiaeus. The surname of
Polyhistor was given to him on account of his prodigious learning. He is said
to have written innumerable works, but the greatest and most important among them
was one consisting of 42 books, which Stephanus Byzantius calls Pantodapes Hules
Dogoi. This work appears to have contained historical and geographical accounts
of nearly all countries of the ancient world. Each of the forty books treated
of a separate country, and bore a corresponding title, such as Phrygiaca, Carica,
Lyciaca, &c. But such titles are not always sure indications of a book forming
only a part of the great work; and in some cases it is manifest that particular
countries were treated of in separate works. Thus we find mention of the first
book of a separate work on Crete (Schol. ad Apollon. Rhod. iv. 1492), and of another
on the " Tractus Illyricus" (Val. Max. viii. 13, ext. 7). These geographico-historical
works are referred to in innumerable passages of Stephanus Byzantius and Pliny.
A separate work on the Phrygians musicians is mentioned by Plutarch (De Mus. 5),
and there is every probability that Alexander Polyhistor is also the author of
the work Diadochai Philosophon which seems to be the groundwork of Diogenes Laertius.
A work on the symbols of the Pythagoreans is mentioned by Clemens Alexandrinus
(Strom. i.) and Cyrillus (adv. Julian. ix.). He also wrote a history of Judaea,
of which a considerable fragment is preserved in Eusebius. A history of Rome in
five books is mentioned by Suidas, and a few fragments of it are preserved in
Servius. A complete list of all the known titles of the works of Alexander Polyhistor
is given in Vossius, De Hist. Graec.
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
Logographi (logographoi) is a name applied by the Greeks to two distinct classes
of persons.
1. To the earlier Greek historians previous to Herodotus, though Thucydides (i.
21) applies the name logographer to all historians previous to himself, and thus
includes Herodotus among the number. The Ionians were the first of the Greeks
who cultivated history; and the first logographer, who lived about Olympiad
60, was Cadmus, a native of Miletus, who wrote a history of the foundation
of his native city. The characteristic feature of all the logographers previous
to Herodotus is, that they seem to have aimed more at amusing their hearers or
readers than at imparting accurate historical knowledge. They wrote in the unperiodic
style called lexis eiromene. They described in prose the mythological subjects
and traditions which had previously been treated of by the epic and especially
by the cyclic poets. The omissions in the narratives of their predecessors were
probably filled up by traditions derived from other quarters, in order to produce,
at least in form, a connected history. In many cases they were mere collections
of local and genealogical traditions.
2. To persons who wrote judicial speeches or pleadings and sold them to those
who were in want of them. These persons were called logopoioi as well as logographoi.
Antiphon, the orator, was the first who practised this ... (see ancient Ramnous)
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
Logographi (logographoi, i. e. writers in prose). The name given to the oldest Greek historians, who by their first attempts at disquisitions in prose marked the transition from narrative poetry to prose history ( Thuc.i. 21). As in the case of epic poetry, so these earliest historical writings emanated from Ionia, where the first attempts at an exposition of philosophic reflections in prose were made at about the same time by Pherecydes, Anaximander, and Anaximenes; and, in both cases alike, it was the Ionic dialect that was used. This class of writing long preserved in its language the poetic character which it inherited from its origin in the epic narrative. It was only by degrees that it approached the tone of true prose. It confined itself absolutely to the simple telling of its story, which was largely made up of family and local traditions. It never classified its materials from a more elevated point of view, or scrutinized them with critical acumen. The logographers flourished from about B.C. 550 down to the Persian Wars. Their latest representatives extend, however, down to the time of the Peloponnesian War. When true history arose with Herodotus, they soon lapsed into oblivion, whence they were rescued in Alexandrian days. Many of the works ascribed to them were, however, believed to be spurious, or at least interpolated. There remain fragments only of a few. The larger number of the historic writers who are described as logographers were Asiatic Greeks, e. g. Cadmus of Miletus, author of a history of the founding of Miletus and the colonization of Ionia (he lived about B.C. 540, and was considered the first writer of historic prose); further, Dionysus of Miletus, a writer of Persian history; Hecataeus of Miletus (550-476); Xanthus of Sardis (about 496), a writer of Lydian history; Hellanicus of Lesbos (about 480-400); Charon of Lampsacus (about 456), a compiler of Persian history and annals of his native town; Pherecydes of the Carian island Leros (died about B.C. 400), who lived at Athens, and in his great collection of myths in ten books treated chiefly of the early days of Attica. Some belonged to the colonies in the West--e. g. Hippys of Rhegium, at the time of the Persian War the oldest writer on Sicily and Italy. The only representative from Greece itself is Acusilaus of Argos in Boeotia, the author of a genealogical work.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Sep 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Hecataeus. A Greek chronicler, born of a noble family at Miletus, about B.C. 550. In his youth he travelled widely in Europe and Asia, as well as in Egypt. At the time of the Ionian revolt he was in his native city, and gave his countrymen the wisest counsels, but in vain. After the suppression of the rising, he succeeded by his tact and management in obtaining some alleviation of the hard measures adopted by the Persians. He died about 476. The ancient critics assigned him a high place among the Greek historians who preceded Herodotus, though pronouncing him inferior to the latter. His two works, of which only fragments remain, were: (a) A description of the earth (Periodos Ges or Periegesis), which was much consulted by Herodotus, and was apparently used to correct the chart of Anaximander. It was in two parts, one relating to Europe and the other to Asia, Egypt, and Libya. (b) A treatise on Greek fables, entitled Genealogiai, or Genealogies, and also Historiai, in four books, on the poetical traditions of the Greeks. The fragments of Hecataeus have been edited by Klausen (Berlin, 1831) and C. and Th. Muller (Paris, 1841).
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
Hecataeus, (Hekataios). Of Miletus, one of the earliest and most distinguished
Greek historians (logographers) and geographers. He was the son of Hegesander,
and belonged to a very ancient and illustrious family (Herod. ii. 143). According
to Suidas, he was a contemporary of Dionysius of Miletus, and lived about the
65th olympiad, i. e. B. C. 520. Hence Larcher and others conclude that he was
born about 550, so that in B. C. 500, the time at which he acted a prominent part
among the Ionians, he would have been about fifty years old. As Hecataeus further
(Suidas, s. v. Hellanikos) survived the Persian war for a short time, he seems
to have died about B. C. 476, shortly after the battles of Plataeae and Mycale.
Suidas tells us that Hecataeus was a pupil of Protagoras, which is utterly impossible
for chronological reasons, just as it is impossible that Hecataeus should have
been a friend of Xenocrates, as Strabo says (xii.) Hecataeus must have been possessed
of considerable wealth, for, like many other eminent men of that age, he satisfied
his desire for knowledge by travelling into distant countries, and seeing with
his own eyes that which others learnt from books. We know from Herodotus that
Hecataeus visited Egypt, and from the manner in which later writers speak of his
geographical knowledge, there can be no doubt that he visited many other countries
also. (Agathem. i. 1; Agatharch. De Rubr. Mari) The fragments of his geographical
work, which have come down to us, lead us to suppose that, besides the provinces
of the Persian empire, he visited the coasts of the Euxine, Thrace, the whole
of Greece, Oenotria, and even Liguria, Spain, and Libya, though of the last-mentioned
countries he may have seen little more than the coasts. The time during which
he was engaged in these travels cannot be accurately determined, though it must
have been previous to the revolt of the lonians, that is, previous to B. C. 500,
for after that event the war between the Greeks and Persians, as well as the advanced
age of Hecataeus, would have thrown too many difficulties in his way; and it further
appears that he was well acquainted with the extent and resources of the Persian
empire at the time when his countrymen contemplated the revolt from Persia. (Herod.
v. 36.) His geographical work, moreover, must have been written after the year
B. C. 524, since in one of the extant fragments 140,ed. Muller) lie speaks of
Boryza in Thrace asa Persian town, which it did not become till that year.
The only events in the life of Hecataeus of which we have any definite
knowledge, are the part he took in the insurrection of the Ionians against the
Persians. When Aristagoras was planning the revolt of the Ionians, and all those
whom he consulted agreed with him, Hecataeus was the only one who dissuaded his
countrymen from such a rash undertaking, explaining to them the extent of the
enemy's empire and his power. When this advice was disregarded, he exhorted them
at least to provide themselves with a naval force, and for this purpose to make
use of the treasures amassed in the temple at Branchidae. But this opinion also
was overruled by the sanguine Ionians (Herod. v. 36), and the Ionians revolted
without being prepared to meet the enemy or to protect themselves. Subsequently,
when Artaphernes and Otanes had invaded Ionia and Aeolis, and taken the towns
of Clazomenae and Cuma, Aristagoras, who had brought about the misfortunes without
the courage to endure them, meditated upon flight either to Sardinia or to Myrcinus.
Hecataeus advised him to do neither, but to take up a fortified position in the
neighboring island of Leros, and there to watch the issue of the events. (Herod.
v. 124, 125.) This advice was rejected again, but the conduct of H ecataeus had
been throughout that of a wise and experienced man. Even after the fall of Ionia
under the strokes of the Persians, he did not desert his countrymen ; for we are
told that he was sent as ambassador to Artaphernes, and prevailed upon the satrap
to win the confidence of the lonians by a mild treatment. (Diod. Fragm. Vat.,
ed. Dindorf.) After this we hear no more of Hecataeus, but the little we know
of him is enough to justify the high praise which some of the ancients bestow
upon him in mentioning him along with the greatest men. (Eratosth. ap. Strab.
i., xiv. ; Aelian, V. H. xiii. 20; Hermog. De Gen. dicend. ii. 12.)
Hecataeus deposited the results of his travels and studies in two
great works; one geographical, entitled Periodos ges, or Peregesis, and the other
historical, entitled Genealogiai, or Historiai. (Suid. s. v. Hellanikos, where
the heading of the article is a mistake for Hekataios). The passage of Suidas
compared with one of Strabo (i.) clearly shows that Hecataeus wrote only two works,
and that the other names or titles we meet with refer to subdivisions of the geographical
work. The latter consisted of two parts, one of which contained a description
of Europe, and the other of Asia, Egypt, and Libya. Both parts appear to have
been subdivided into smaller sections; thus we find one section belonging to the
first part referred to under the name of Hellespontus (Steph. Byz. s. v. Tenedos),
and others belonging to the second part, under the titles of Aiolika, Periegeris
Aiguptou, and Periegesis Libues. (Steph. Byz. s. vv. Amazoneion, Diebris, Eleneios).
It is not easy to determine the order in which Hecataeus described the different
countries, and consequently also the order in which the fragments still extant
should be arranged. The mode in which he treated his subjects may still be seen
from some of the longer fragments : he first mentioned the name of the people,
then the towns they inhabited, and sometimes he gave an account of their foundation
and of any thing that was remarkable in them. The distances of the places from
one another seem to have been carefully marked. Hecataeus was the first historical
writer who exercised his own judgment on the matters which he had to record, and
used historical criticism in rejecting what appeared to him fabulous, or endeavouring
to find out the historical truth which formed the groundwork of a mythical tradition
(Paus. iii. 25.5; Arrian, Anab. ii. 16); still he is nevertheless very dependent
on Homer and other early poets, whereby he is led to mix up fables with truth;
but wherever he gives the results of his own observations, he is a correct and
trustworthy guide. Eratosthenes (ap. Strab. i.) seems to deny that Hecataeus made
geographical maps; but if we compare the statement of Agathemerus (i. 1) with
Herodotus (v. 49), it is clear, on the one hand, that Hecataeus corrected and
improved the map of the earth drawn up by Anaximander, and it is probable, on
the other, that the map which Aristagoras carried to Sparta for the purpose of
persuading Cleomenes to engage in a war against Persia was either the work of
Hecataeus, or had been drawn up according to his views of the physical structure
of the earth. Callimachus (ap. Athen. ii., comp. ix.), whose opinion seems to
be followed by Arrian (Anab. v. 6), regarded the Periegesis tes asias, ascribed
to Hecataeus, and belonging to the second part of his geographical work, as spurious,
and assigned it to a nesiotes (an islander). It is not impossible that he may
have found in the library of Alexandria a periegesis of Asia ascribed to the celebrated
Hecataeus, but which was in reality a forgery, and had nothing in common with
the genuine work but the name of the author; for such forged title-pages were
not uncommon in the time of the Ptolemies, and literary impostors made a lucrative
traffic of them. (Hippocrat. vol. xv., ed. Kuhn.) At any rate, even if we admit
that Callimachus really found a spurious periegesis, it does not follow that the
genuine work did not exist.
The second work of Hecataeus, the Histories or Genealogies, was a
prose account, in the form of genealogies, of the poetical foibles and traditions
of the Greeks. From the fragments which are quoted from it, we see that it must
have consisted of at least four sections. The first contained the traditions about
Deucalion and his descendants; the second, the stories of Heracles and the Heracleidae
; the third, apparently the Peloponnesian traditions ; and the fourth, those of
Asia Minor. The value of this, as well as his other, work cannot be diminished
in our eyes by the fact of Herodotus controverting several of his opinions (vi.
137, comp. i. 146, 202, ii. 3, 15, 21, 23, 143, iv. 8, 36); but, on the contrary,
it is evident that Herodotus looked upon him as a rival, whom it was worth whileendeavouring
to refute and excel, and that he actually did excel him, does not require to be
proved in this place. Herodotus knew the works of Hecataeus well, and undoubtedly
availed himself of them ; but the charge of Porphyrius (ap. Euseb. Praep. Evang.
x.), that Herodotus literally transcribed whole passages from Hecataeus is wholly
without foundation. (Comp. Hermog. De Form. Orat. ii. 12; Dionys. Jud. de Thuc.
5; Diod. i. 37; Strab. i. ; Suidas.) Respecting the style of Hecataeus, Strabo
says, that though prose, it approached very nearly to poetry, and Hermogenes (l.
c.) praises it for its simplicity, purity, clearness, and sweetness, and adds
that the language was the pure and unmixed Ionic dialect.
The fragments of the Genealogies are collected in Creuzer's Histor.
Grace Anitiquissimorum Fragmenta, Heidelberg, 1806, 8vo.; and the fragments of
both the Periegesis and the Genealogies by R. H. Klausen, Hecataci Milcsii Fragmenta,
Berlin, 1831, 8vo., and by C. and Th. Muller, Fragm. Hist. Graec., Paris, 1841.
Each of these collections is preceded by a dissertation on the life and writings
of Hecataeus. (Comp. Dahlmann, Herodot.; Ukert, Untersuchungen uber die Geographie
des Hecataeus u. Damastes, Weimar, 1814.)
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
Hecataeus (ca. 550-490 BC). Geographer and travel writer from Miletus (today's Turkey).
He wrote “Trip around the world” (Periodos Ges),
where he described local customs, anecdotes etc. in two volumes, one on Europe
and one on Asia. The work has only survived in fragments, and included a map as
well.
Hecataeus traveled in Egypt,
Persia and Scythia.
His father was a wealthy land owner and there are indications the family was involved
with trade.
He also wrote “Genealogies”, a treatise on noble families
and heir relations with mythical heroes. When he described the histories and myths,
he liked the stories to be reasonable, and so concluded that the Danaids were
20 and not 50 etc.
This text is cited Sept 2003 from the In2Greece URL below.
Cadmus. A native of Miletus, who flourished about B.C. 520. Pliny calls him the most ancient of the logographi. In another passage he makes him to have been the first prosewriter, though elsewhere he attributes this to Pherecydes. According to a remark of Isocrates (in his discourse Peri Antidoseos), Cadmus was the first that bore the title of sophistes, by which appellation was then meant an eloquent man. He wrote on the antiquities of his native city. His work was abridged by Bion of Proconnesus.
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
Cadmus of Miletus, a son of Pandion, and in all probability the earliest Greek historian or logographer. He lived, according to the vague statement of Josephus (c. Apion. i. 2; comp. Clem. Alex. Strom. vi.), very shortly before the Persian invasion of Greece; and Suidas makes the singular statement, that Cadmus was only a little younger than the mythical poet Orpheus, which arises from the thorough confusion of the mythical Cadmus of Phoenicia and the historian Cadmus. But there is every probability that Cadmus lived about B. C. 540. Strabo (i.) places Cadmus first among the three authors whom he calls the earliest prose writers among the Greeks: viz. Cadmus, Pherecydes, and Hecataeus; and from this circumstance we may infer, that Cadmus was the most ancient of the three--an inference which is also confirmed by the statement of Pliny (H. N. v. 31), who calls Cadmus the first that ever wrote (Greek) prose. When, therefore, in another passage (vii. 56) Pliny calls Pherecydes the most ancient prose writer, and Cadmus of Miletus simply the earliest historian, we have probably to regard this as one of those numerous inconsistencies into which Pliny fell by following different authorities at different times, and forgetting what he had said on former occasions. All, therefore, we can infer from his contradicting himself in this case is, that there were some ancient authorities who made Pherecydes the earliest Greek prose writer, and not Cadmus; but that the latter was the earliest Greek historian, seems to be an undisputed fact. Cadmus wrote a work on the foundation of Miletus and the earliest history of Ionia generally, in four books (Ktidis Miletou kai tes holes Ionias). This work appears to have been lost at a very early period, for Dionysius of Halicarnassus (Jud. de Thuc. 23) expressly mentions, that the work known in his time under the name of Cadmus was considered a forgery. When Suidas and others, call Cadmus of Miletus the inventor of the alphabet, this statement must be regarded as the result of a confusion between the mythical Cadmus, who emigrated from Phoenicia into Greece; and Suidas is, in fact, obviously guilty of this confusion, since he says, that Cadmus of Miletus introduced into Greece the alphabet which the Phoenicians had invented.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Sep 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Cadmus of Miletus, the Younger, is mentioned only by Suidas, according to whom he was a son of Archelaus, and a Greek historian, concerning whose time nothing is said. Suidas ascribes to him two works, one on the history of Attica, in sixteen books, and the second on the deliverance from the sufferings of love, in fourteen books.
Clytus (Klutos), a Milesian and a disciple of Aristotle, was the author of a work on the history of his native city. The two passages of Athenaeus (xii., xiv.), in which this work is quoted, must be assimilated to one another either by reading Klutos in the first or Kleitos in the second, for it is clear that reference is made in both to the same author and the same treatise. In the passage of Diogenes Laeirtius (i. 25) -kai autos de phesin, hos Herakleides historei, k. t. l.- Menagius proposes, with much show of probability, the substitution of Klutos for autos, as a notice of Thales would naturally find a place in an account of Miletus. It does not appear what ground there is for the assertion of Vossius, that Clytus accompanied Alexander on his expedition. The passage in Valerius Maximus to which he refers (ix. 3, extern.1), speaks only of the Cleitus who was murdered by the king.
Hesychius. Of Miletus, is called by almost all the ancients who mention him ho Illoustrios, which is commonly understood as an indication of rank (Illustris), derived from some office which he held, though by some construed as a cognomen " Illustrius." He was a native of Miletus, son of Hesychius, a dikegoros, or pleader, and his wife Sophia (Sophia), as she is called in Suidas and in the older editions of Photius, but, according to Bekker's Photius, Philosophia (Thilosophia). He lived in the time of the emperors Anastasius I., Justin I., and Justinian I.; but nothing is known of his history, except that he had a son Joannes, whose loss prevented his continuing his account of Justinian's reign. He is known as the author of the following works: 1. Peri ton en paideiai lampsanton sophon , De his qui Eruditionis Fama claruere. The word sophon in the above title is rejected by some critics as spurious. The notice of Hesychius in the present copies of Suidas, which is probably corrupt,--at any rate it is obscure, --is understood by some to affirm that Hesychius wrote two works, one entitled Pinax ton en paideai onomaston, the other called Onomatologos, an epitome of the Pinax. Meursius, who contends that the passage is corrupt, proposes a conjectural emendation, according to which the two titles belong to one and the same work, Onomatologos e Pinax, k. t. l., which he supposes Suidas to have described as an epitome of Diogenes Laertius, De Vitis Philosophorum. The work is in its general character similar to that of Diogenes ; and though a good deal shorter, comprehends much of the same matter. But the differences are too great to allow one to be regarded as the epitome of the other. As the ecclesiastical writers are avowedly omitted by Hesychius, the opinion has been entertained that he was a pagan; but his belief in Christianity has been satisfactorily shown by several writers, especially by Thorschmidius in a dissertation on the subject, reprinted by Orellius in his Hesychii Opuscula. The work of Hesychius was first published with a Latin version by Hadrianus Junius, 8vo. Antwerp, 1572, and has been reprinted several times. For a long time the standard edition was that of Meursius, in his Hesychii Opuscula, 8vo. Leyden, 1613, reprinted in the seventh vol. of the Opera Meursii, fol. Florence. 1741, &c. A late edition of the Opuscula Hesychii, that of Joan. Conrad. Orellius of Zurich, 8vo. Leipzig, 1820, contains much valuable illustrative matter, especially the dissertation of Thorschmidius above mentioned. 2. Patria Konstinoupoleos, Res Patriae Constantinopolitanae. It is probable that this work is a fragment of that next mentioned. A considerable part of it is incorporated, word for word, in the Peri ton Patrion Konstantinoupoleos,, De Originibus Constantinopolitanis of Codinus, which was first printed in A. D. 1596, by George Dousa; but the work (or fragment) of Hesychius with the author's name, was first published by Meursius in his Hesychii Opuscula, noticed above, and was reprinted in the Florentine edition of the works of Meursius, and in the Opuscula Hesychii of Orellius. 3. A work described by Photius as Biblion historikon hos en sunopsei kosmikes historias, a synoptical view of universal history, and by Suidas as Chronike tis Historia, and by Constantine Porphyrogenitus as Chronika. It is described by Photius as divided into six parts (tmemata), or, as the writer himself called them, diastemata, by which term they were commonly quoted, e. g. en toi e? (sive s?) diastemati tes historias . (See Charles Labbe's Veteres Glossae Verborum Juris quae passim in Basilicis reperiuntur, s. vv. Palmatiois ekouois (Palmatiis equis), Tholis.) The whole history comprehended a period of 1920 years, and extended from the reign of Belus, the reputed founder of the Assyrian empire, to the death of the Byzantine emperor, Anastasius I., A. D. 518: according to Photius, it was thus distributed among the six parts:-- (1) Before the Trojan war. (2) From the taking of Troy to the foundation of Rome. (3) From the foundation of Rome to the abolition of kingly power and the establishment of the consulship in the 68th Olympiad. (4) From the establishment of the consulship in the 68th, to the sole power (monarchia) of Julius Caesar in the 182d Olympiad. (5) From the sole power of Julius Caesar till Byzantium (Constantinople) was raised to greatness, in the 277th Olympiad. (6) From the settlement of Constantine at Byzantium to the death of Anastasius in the 11th year of the indiction. The Patria Konstantinoupoleos, published by Meursius, appears to be the earlier part of the sixth book. 4. A book recording the transactions of the reign of Justin I. (A. D. 518--527), and the earlier years of Justinian I., who reigned A. D. 527-566. This work, which was discontinued through domestic affliction, is lost. It was apparently intended as a continuation of the foregoing, and as the work of a contemporary whose high office (for the title "Illustris" was given to the highest officers, the praefecti praetorio, praefecti urbi, &c.) must have implied political knowledge, and have procured access to the best sources of information, it was probably the most valuable part. Photius characterizes the historical style of Hesychius as concise, his language well chosen and expressive, his sentences well constructed and arranged, and his figures as striking and appropriate. Hesychius of Miletus has sometimes been confounded with Hesychius of Alexandria, the author of the Lexicon. (Phot. Bibl. Codd. 69 ; Constant. Porphyrog. De Themat. lib. i. th. 2, lib. ii. th. 8; Suidas, s. v. Heouchios milesios; Tzetzes, Chil. iii. 877; the notes of Meursius in his Hesychii Opuscula ; Cave, Historic Litt. vol. i. p. 518; Fabric. Bibl. Gr. vol. vii.; Thorschmidius, De Hesychio Milesio Illustri Christiano Commentatio, ap. Orellium, Hesychii Opera.)
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Hesychius. A Milesian, called Illustris, who lived about A.D. 540, and wrote an Onomasticon or biography of illustrious men (ed. by Orelli, 1820), and a Chronicon or synopsis of universal history, in six parts, beginning with Belus, the alleged founder of the Assyrian State, and ending with the death of the Byzantine emperor, Anastasius I. (A.D. 518). The latter work is lost. See Krumbacher, Grundriss der byzantinischen Literatur (in I. Muller's Handbuch, vol. ix.), pp. 110 foll.
Dionysius. Of Miletus, one of the earliest Greek historians, and according to Suidas (s. v. Hekataios), a contemporary of Hecataeus, that is, he lived about B. C. 520; he must, however, to judge from the titles of his works, have survived B. C. 485, the year in which Dareius died. Dionysius of Miletus wrote a history of Dareius Hystaspis in five books. Suidas further attributes to him a work entitled ta meta Dareion in five hooks, and also a work Persika, in the Ionic dialect. Whether they were actually three distinct works, or whether the two last were the same, and only a continuation of the first, cannot be ascertained on account of the inextricable confusion which prevails in the articles Dionusios of Suidas, in consequence of which our Dionysius has often been confounded with Dionysius of Mytilene. Suidas ascribes to the Milesian, " Troica," in three books, "Mythica," an "Historical Cycle," in seven books, and a " Periegesis of the whole world," all of which, however, probably belong to different authors. (Nitzsch, Hist. Homeri, i.; Bernhardy, in his edition of Dionys. Perieg., and ad Suidam, i.; Lobeck, Aglaoph. ii.; Welcker, Der Epische Cyclus.)
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Evanthes. Of Miletus, is mentioned as an author by Diogenes Laertius (i. 29), and seems to have been an historian, but is otherwise unknown.
Leander or Leandrius (Leansdros or Leandrios), of Miletus, seems to have been the author of a work on the history of his native city. A few quotations from it are still extant, but we have no means of determining the age at which Leander lived. (Diog. Laert. i. 28, 41; Clem. Alex. Protrept., Strom. i., vi.; Euseb. Praep. Ev. ii.; Theodoret. Therap. i., viii.; Schol. ad Apollon. Rhod. ii. 706.)
Maeandrius (Maiandrios), an historian (sungrapheus), who wrote a work in which
mention was made of the Heneti (Strab. xii.). He was also the author of a work
entitled parangelma, which is quoted by Athenaeus (x.), and which appears to have
been a kind of A B C book (comp. Welcker, in Rheinisches Museum for 1833, p. 146).
Maeandrius is also referred to by Macrobius (Sat. i. 17). We learn from an inscription,
which Boeckh places between Olymp. 140 and 155, that this writer was a native
of Miletus. It has been conjectured with considerable probability, that this Maeandrius
may be the same as the Leandrius or Leander of Miletus, who was also an historian,
and who is mentioned by several ancient writers.
ΤΡΑΛΛΕΙΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
A Greek writer, of Tralles in Caria, freedman of the emperor
Hadrian. He wrote in the first half of the second century A.D. a work entitled
Peri Thaumasion ("On Wonderful Events"). It is a tasteless composition,
but instructive as to the superstitions of antiquity. Also a dry catalogue of
persons who attained a great age (Peri Makrobion). Of his great chronological
work, a catalogue of victors at the Olympian games in 229 Olympiads (B.C. 776
to A.D. 137) in 17 books, only fragments remain.
ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Βatalus (Batalos), according to some, the author of lascivious drinking-songs,
and according to others, an effeminate flute-player, who must have lived shortly
before the time of Demosthenes, for the latter is said to have been nick-named
Batalus on account of his weakly and delicate constitution. (Plut. Dem. 4, Vit.
X. Orat.) According to Libanius ( Vit. Dem., ed. Reiske), Batalus, the flute-player,
was a native of Ephcsus, and the first man that ever appeared on the stage in
women-s shoes, for which reason he was ridiculed in a comedy of Antiphanes. Whether
the poet and the flute-player were the same, or two different persons, is uncertain.
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ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Greek musician and dithyrambic poet. He added one or more strings
to the lyre, whereby he incurred the displeasure of the Spartans and Athenians.
He was in fact condemned by the Lacedaemonians for adding four new strings to
lute.
He composed musical works of a mythological and historical character.
This text is cited July 2003 from the Malaspina Great Books URL below.
ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Xenophon of Ephesus, a writer of prose fiction, as to whose date and personality nothing is known. His remaining work is entitled Ephesiaca, or the Loves of Anthia and Abrocomas (Ephesiaka, ta kata Anthian kai Abrokomen). The style of the work is simple, and the story is conducted without confusion, notwithstanding the number of personages introduced; but the adventures are of a very improbable kind. Xenophon was possibly the oldest of the Greek romance writers. Editions of his work are those by Peerlkamp (Haarlem, 1818); and by Passow (Leipzig, 1833). See Novels and Romances.
Andron, of Ephesus, who wrote a work on the Seven Sages of Greece, which seems to have been entitled Tripous. (Diog. Laert. i. 30, 119; Schol. ad Pind. Isth. ii. 17; Clem. Alex. Strom. i.; Suid. and Phot. s. v. Samion ho demos; Euseb. Pracp. Ev. x. 3.)
ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Aristides. The author of a licentious romance, in prose, entitled Milesiaca,
having Miletus for its scene. It was translated into Latin by L. Cornelius Sisenna,
a contemporary of Sulla, and became popular with the Romans. The title of his
work gave rise to the term "Milesian" as applied to works of fiction.
Aristeides, the author of a work entitled Milesiaca (Milesiaka or Milesiakoi logoi), which was probably a romance, having Miletus for its scene. It was written in prose, and was of a licentious character. It extended to six books at the least (Harpocrat. s.. v. dermestes). It was translated into Latin by L. Cornelius Sisenna, a contemporary of Sulla, and it seems to have become popular with the Romans (Plut. Crass. 32; Ovid. Trist. ii. 413, 414, 443, 444; Lucian, Amor. 1). Aristeides is reckoned as the inventor of the Greek romance, and the title of his work is supposed to have given rise to the term Milesian, as applied to works of fiction. Some writers think that his work was imitated by Appuleius in his Metamorphoses, and by Lucian in his Lucius. The age and country of Aristeides are unknown, but the title of his work is thought to favour the conjecture that he was a native of Miletus. Vossius supposes, that he was the same person as the Aristeides of Miletus, whose works on Sicilian, Italian, and Persian history (Sikelika, Italika, Persika) are several times quoted by Plutarch (Parall.), and that the author of the historical work peri Knidou was also the same person (Schol. Pind. Pyth. iii. 14).
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Novels and Romances. Fiction in its origin is with difficulty separated from myth--myth, however, being unconscious and due to a desire to give concrete form to various beliefs that spring up in the primitive mind; while fiction, as a literary motive, originates in a desire to amuse and occasionally to instruct. Hence, the earliest form of fiction is the Beast Fable, which is found in every quarter of the earth and at every period of history. A papyrus dating from B.C. 1200 gives an Egyptian version of the Aesopic fable of the Lion and Mouse; the inscribed Babylonian bricks afford examples of the same thing, and the Hindus probably originated most of the fables which Aesop, Babrius, and Phaedrus made popular in Europe. Akin to conscious fiction and at the same time allied to myth are the folk-tales of nymphs, satyrs, ghosts, fairies, demons, and vampires which Greeks and Romans alike propagated, but which have nearly all been lost to us because they seemed to the ancients unworthy of preservation in formal literature; so that we have now only here and there tantalizing half-glimpses and vanishing suggestions of the curious and fascinating legends told by the common people. Such bits as remain, however, are quite sufficient to prove the existence of a great unwritten literature, and examples of these may still be found, though no longer preserved in their original simplicity, in the stories of the love of Echo for Narcissus, the legend of Hylas and the Naiads, of Cupid and Psyche, and in the various allusions to the monsters known as the Lamiae, Mormolyce, Incubus, and Empusa, the spectre with the brazen leg and the ass's hoof. Ghosts figure in Greek literature as early as Homer, and are introduced with striking effect in the Odyssey, as also by the Romans Attius and Vergil, and in the famous story preserved by Pliny the Younger. To this informal fiction belong also the tales of the Lares and the Larvae.
The earliest form of literary prose fiction, however, is to be found
in the short stories collected by Herodotus, most of which have their origin in
the East, the home of storytelling. Such are the famous anecdotes of Candaules
(i. 8-12), of Arion and the Dolphin (i. 24), of Rhampsinitus and the Robber (ii.
121), and of Polycrates and the Ring (iii. 39), all being admirable instances
of the short story in its earliest form--brief, simple, and embodying a single
incident.
Of a <b>more formal type are the so-called Milesian Tales (Milesiaka),
a generic term for the short anecdotes which were produced in great numbers in
the luxurious cities of Asia Minor prior to the second century B.C., and first
ascribed to one Aristides,</b> who is said to have written six books of
them. No actual examples are known to exist, though their nature may be judged
of by the short stories found in later writers, especially Petronius, from which
it would appear that they were very much like the stories told in the Decameron
of Boccaccio and the Cent Nouvelles Nouvelles of Louis XI. of France--brief, witty,
and indecent. The choice of subjects in these early novelettes is seen in the
existing collection of Parthenius of Nicaea, who taught Vergil Greek. From him
have come down thirty-six skeleton stories, or rather hints for stories gathered
by Parthenius for the use of Cornelius Gallus, and intended to be treated by him
poetically. They can be found in both Greek and Latin versions in the Didot Collection
(Paris, 1856). Other stories of this sort, written in other cities than Miletus,
were produced by a host of storywriters who gave to their collections the titles
Ephesian, Babylonian, Cyprian, Egyptian, Sybaritic, Naxian, Lydian, Trojan, and
Bithynian Tales, though these do not seem to have differed, except in name, from
those of Miletus. Some of them are preserved in epitome by Photius (q.v.). One
of the most important writers of them after Aristides was Conon , from whom Cervantes
borrowed an episode in his Don Quixote. While the short story was reaching its
full development, it was used philosophically by Plato in the story of Er, and
by Prodicus in his epilogue on the Choice of Heracles.
At about this time fiction underwent a further development as a result
of the contact of the Greeks with the East at the time of the Persian Wars and
of the spirit of adventure resulting from the conquests of Alexander. We now have
instances of the historical romance in the Atlantis of Plato and the Cyropaedia
of Xenophon, which find their echo in modern times in the Utopia of Sir Thomas
More and the New Atlantis of Francis Bacon. The Cyropaedia contains the first
romantic love-story in Greek fiction. These works, however, are partly political,
and are of less literary consequence than the romance of adventure which was afterwards
introduced, and which finds an illustration in the novel entitled Ta Huper Thoulen
Apista (Marvels Beyond Thule), by one Antonius Diogenes, the Munchausen of antiquity.
It relates to the love-adventures of an Arcadian youth, Dinias, [p. 1107] with
a Tyrian girl, Dercyllis, and abounds with most extraordinary incidents. It is,
in reality, nothing more than a collection of short stories or episodes strung
together by a very slender plot. More homogeneous and artistic are the later romances
of Lucius of Patrae of uncertain date called Metamorphoses, drawn upon by Lucian
and Apuleius; of Iamblichus of Syria, who wrote Babulonika, the adventures of
a married pair, Sinonis and Rhodanes, with a double plot; of Xenophon of Ephesus,
author of Ephesiaka, the loves of Abrocomas and Anthia, the ultimate source of
Romeo and Juliet; and especially of Heliodorus of Emesa, in the fourth century
A.D., whose Aithiopika is still in existence, and is regarded as the best of the
novels of adventure produced by the Greeks. It is in ten books, and relates the
adventures of two lovers, Theagenes and Chariclea. It has some quite interesting
episodes, is regularly developed, and contains one curious passage on the influence
of pre-natal conditions upon the unborn child. It was much read in its day, and
again in the seventeenth century, when it was the favourite novel of the French
poet, Racine. See Heliodorus.
Other instances of the romantic novel are those of Achilles Tatius
of Alexandria, entitled Ta kata Leukippen kai Kleitophonta (The Loves of Leucippe
and Clitophon) in eight books; the Chaereas and Callirrhoe of Chariton of Aphrodisias;
and the novelette called Apollonius Tyrius, of unknown authorship, preserved only
in a Latin version, in which it was much read in the Middle Ages, and suggested
a part of Gower's Confessio Amantis (iii. 284 foll.), and probably Shakespeare's
Pericles, Prince of Tyre. Of very late origin are the trashy Greek novels by Theodorus
Prodromus of Constantinople, and the imitation of this by Nicetas Eugenianus (both
in doggerel verse), and last of all the eleven books on the adventures of Hysmine
and Hysminias, perhaps the original source of the story of Don Juan.
Early in the Christian era, fiction was written in the form of letters
by Alciphron, a Greek sophist, of whose imaginary epistles 118 are still preserved
and give valuable pictures of low life in Athens during the second century A.D.
They are very lively and entertaining, and are the best character sketches that
Greek fiction can show us. Other writers of the same class are Aristaenetus of
Nicaea (?), the author of two books of erotic letters written in a cynical spirit;
and Theophilus of Simocatta (A.D. 610), from whom we have 85 letters, rhetorical
and epigrammatic, but of no literary merit.
The prose pastoral was created by Longus (perhaps not the author's
name), whose romance Poimenika ta kata Daphnin kai Chloen, usually called Daphnis
and Chloe, is one of the most original and pleasing things in ancient literature.
Its theme is the growth of the sexual instinct in two children, a boy and a girl,
who have been brought up together in a state of perfect innocence. Its physico-psychological
motive makes it unique in the history of early fiction, and the warmth and beauty
of its descriptions of nature are also very striking. It has been many times translated
into all the modern languages, and is the original of Bernardin de St. Pierre's
Paul et Virginie, of Allan Ramsay's Gentle Shepherd, and of many other less important
works.
The Romans have left us only two specimens of true prose fiction--the
Satiricon of Petronius Arbiter and the Metamorphoses of Apuleius; but these are
in many ways superior to anything of their kind in Greek. The Satiricon, in fact,
though incomplete, is one of the first great novels of our time, and is remarkable
for its modern tone, its subtle touches of character, its wit, its vivid pictures
of life in the Roman provincial towns, and for the grace and elegance of its style.
It also gives us some of the best existing specimens of the sermo plebeius, the
colloquial Latinity of uneducated men. (See Petronius; Sermo Plebeius.) The Metamorphoses
of Apuleius is based upon the Metamorphoses of Lucius of Patrae, and possibly
upon the Loukios e Onos of Lucian, the contemporary of Apuleius; but it is more
likely that both Apuleius and Lucian drew independently from the earlier writer.
The novel of Apuleius, which is in eleven books, tells the story of one Lucius,
who, by a mistake, swallowed a magic potion which turned him into an ass, in which
form he passed through a maze of curious and amusing adventures, until at last
he regained his natural shape. The novel is highly diverting and is told with
much cleverness, though often with a disregard for even an elemental sense of
propriety. Among its episodes is the very famous one giving the story of Cupid
and Psyche, one of the most exquisite things in literature and one that has inspired
innumerable works of art. See Apuleius; Psyche.
In the Middle Ages, when the knowledge of ancient literature and history
became lost to Western Europe, confused recollections of them still existed in
the minds of men, and, together with many Teutonic folk-tales, became blended
into a curious collection of stories known as the Gesta Romanorum, which were
told and retold in many forms by the medi?vals. They mingle together the characters
of antiquity in a most remarkable way, having no chronological or historical accuracy,
but reproducing the legends of the past in a sort of literary mirage. Vergil,
Homer, Alexander the Great, the Roman emperors, and Hercules, Romulus, and Remus,
appear and reappear side by side with knights and wizards and dragons; but the
tales have a certain value in literary history as forming the connecting link
between the fiction of Greece and Rome and the fiction of modern times, which
took its early themes largely from those monkish legends.
The ancient novel is far inferior to the modern, because
(1) it was developed only after literature had entered upon its decline;
(2) because of the difference in the social spirit of antiquity which made impossible
the modern romantic treatment of the relations of men and women; and
(3) because the true fiction of the Greeks was to be found, not in prose, but
in the great epics which more perfectly represented the highest manifestation
of the Hellenic imagination.
Bibliography.--For the general subject of the origin of pure fiction, see Clauston's
Popular Tales and Fictions (London, 1887); Rutherford's introduction to his edition
of Babrius (1883); Rhys-Davids, Buddhist Birth-Stories (1880); Benfey's introduction
to the Panchatantra (1859); Bedier, Les Fabliaux (1893); and Lang, Custom and
Myth (1885). On the Greek and Roman novels, see Dunlop, History of the Novel (last
ed. London, 1887); Salverte, Le Roman dans la Grece Ancienne (Paris, 1893); Chauvin,
Les Romanciers Grecs et Latins (Paris, 1862); Chassang, Histoire du Roman dans
l'Antiquite Grecque et Latine (Paris, 1862); Rohde, Der Griechische Roman (Leipzig,
1876); Warren, History of the Novel (N. Y. 1895). The principal Greek romances
are printed in the Erotici Graeci of the Didot Collection (Paris, 1856); and the
epistolographers in the Epistolographi Graeci of the same collection. For special
texts, translations, etc., see the separate articles in this Dictionary on the
writers named above. The Gesta Romanorum will be found edited by Oesterley (Berlin,
1872); and translated into English by Swan, revised by Hooper (London, 1877).
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ΤΡΑΛΛΕΙΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Αποικία των κατοίκων της Θράκης και του Αργους, οι οποίοι επέλεξαν την εύφορη περιοχή κοντά στις όχθες του ποταμού Μαίανδρου για να ιδρύσουν τη νέα πόλη.
Callinus, (Kallinos). The creator of the Greek political elegy.
He was a native of Ephesus, and flourished probably about B.C. 700, at the time
when the kings of Lydia were harassing the Greek colonies of Asia Minor by constant
wars. One elegy from his hand has survived, in which, in a simple and manly tone,
he endeavours to arouse the degenerate youth of his fatherland.
Callinus (Kallinos), of Ephesus, the carliest Greek elegiac poet, whence either he or Archilochus is usually regarded by the ancients as the inventor of elegiae poetry. As regards the time at which he lived, we have no definite statement, and the ancients themselves endeavoured to determine it from the historical allusions which they found in his elegies. It has been fixed by some at about B. C. 634, and by others at about B. C. 680, whereas some are inclined to place Callinus as far back as the ninth century before the Christian aera, and to make him more ancient even than Hesiod. The main authorities for determining his age are Strabo (xiv.), Clemens Alexandrinus (Strom. i.), and Athenaecus (xii.). But the interpretation of these passages is involved in considerable difficulty, since the Cimmerian invasion of Asia Minor, to which they allude, is itself very uncertain; for history records three different inroads of the Cimmerians into Asia Minor. We cannot enter here into a refutation of the opinions of others, but confine ourselves to our own views of the case. From Strabo it is evident that Callinus, in one of his poems, mentioned Magnesia on the Maeander as still existing, and at war with the Ephesians. Now, we know that Magnesia was destroyed by the Treres, a Cimmerian tribe, in B. C. 727, and consequently the poem referred to by Strabo must have been written previous to that year, perhaps about B. C. 730, or shortly before Archilochus, who in one of his earliest poems mentioned the destruction of Magnesia. Callinus himself, however, appears to have long survived that event; for there is a line of his which is usually referred to the destruction of Sardis by the Cimmerians, about B. C. 678. If this calculation is correct, Callinus, must have been in the bloom of life at the time of the war between Magnesia and Ephesus, in which he himself perhaps took a part. We possess only a very few fragments of the elegies of Callinus, but among them there is one of twenty-one lines, which forms part of a war-elegy, and is consequently the most ancient specimen of this species of poetry extant (Stobaeus, Floril. li. 19). In this fragment the poet exhorts his countrymen to courage and perseverance against their enemies, who are usually supposed to be tile Magnesians, but the fourth line of the poem seems to render it more probable that Callinus was speaking of the Cimmerians. This elegy is one of great beauty, and gives us the highest notion of the talent of Callinus. It is printed in the various collections of the "Poetae Graeci Minores". All the fragments of Callinus are collected in N. Bach's Callini, Tyrtaei et Asii Fragmenta (Leipzig, 1831).
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Elegia (elegeion, a distich consisting of an hexameter line followed by a pentameter;
then in the plural, a collection of such distichs, and hence elegeia). The general
term in Greek for any poem written in the elegiac metre, a combination of the
dactylic hexameter and pentameter in a couplet. The word elegos is probably not
Greek, but borrowed from the Lydians, and means a plaintive melody accompanied
by the flute. How it happened that the word was applied to elegiac poetry, the
earliest representatives of which by no means confined it to mournful subjects,
is doubtful. It may be that the term was chosen only in reference to the musical
setting, the elegy having originally been accompanied by the flute. Like the epic,
the elegy was a production of the Ionians of Asia Minor. (See Epos.)
Its dialect was the same as that of the epos, and its metre only a variation of
the epic metre, the pentameter being no more than an abbreviation of the hexameter.
The elegy marks the first transition from the epic to lyric proper. The
earliest representatives of the elegy, Callinus of Ephesus (about B.C. 700)
and Tyrtaeus of Aphidnae in Attica (about B.C. 600), gave it a decidedly warlike
and political direction, and so did Solon (B.C. 640-559) in his earlier poems,
though his later elegies have mostly a contemplative character. The elegies of
Theognis of Megara (about B.C. 540), though gnomic and erotic, are essentially
political. The first typical representative of the erotic elegy was Mimnermus
of Colophon, an elder contemporary of Solon. The elegy of mourning or sorrow was
brought to perfection by Simonides of Ceos (died B.C. 469). After him the emotional
element predominated. Antimachus of Colophon (about B.C. 400) gave the elegy a
learned tinge, and was thus the prototype of the elegiac poets of Alexandria,
Phanocles, Philetas of Cos, Hermesianax of Colophon, and Callimachus of Cyrene,
the master of them all. The subject of the Alexandrian elegy is sometimes the
passion of love, with its pains and pleasures, treated through the medium of images
and similes taken from mythology; sometimes learned narrative of fable and history,
from which personal emotion is absent.
This type of elegy, with its learned and obscure manner, was taken
up and imitated at Rome towards the end of the Republic. The Romans soon easily
surpassed their Greek masters both in warmth and sincerity of feeling and in finish
of style. The elegies of Catullus are among their earliest attempts; but in the
Augustan Age, in the hands of Cornelius Gallus , Propertius, Tibullus, and Ovid,
the elegiac style was entirely appropriated by Latin literature. Ovid, in his
Fasti, showed how a learned subject could be treated in this metre. From his time
onward the elegiac metre was constantly employed, and was used even in schools
for practice in style. In the later literature it was applied, like the epic metre,
to every possible subject, as, for instance, by Rutilius Namatianus in the description
of his return from Rome to Gaul (A.D. 416). In the sixth century A.D. the poet
Maximianus, born in Etruria at the beginning of that century, is a late instance
of a genuine elegiac poet.
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Ananius (Ananios), a Greek iambic poet, contemporary with Hipponax (about 540 B. C.) The invention of the satyric iambic verse called Scazon is ascribed to him as well as to Hipponax. (Hephaest. p. 30, 11, Gaisf.) Some fragments of Ananius are preserved by Athenaeus, and all that is known of him has been collected by Welcker. (Hipponactis et Ananii Iambographorum Fragmenta)
Ctesias, of Ephesus, an epic poet, who is mentioned by Plutarch (de Fluv. 18) as the author of an epic poem, Perseis. His age is quite unknown. Welcker (Der Episch. Cycl.) considers this Ctesias to be the same as the Musaeus (which he regards as a fictitious name) of Ephesus to whom Suidas and Eudocia ascribe an epic poem, Perseis, in ten books. But this is a mere conjecture, in support of which little can be said.
Hipponax. A Greek iambic poet of Ephesus, who about B.C. 540
was banished to Clazomenae by Athenagoras and Comas, tyrants of his native city.
At Clazomenae, two sculptors, Bupalus and Athenis, made the little, thin, ugly
poet ridiculous in caricature; but he avenged himself in such bitter iambic verses
that, like Lycambes and his daughter, who were persecuted by Archilochus, they
hanged themselves.
The burlesque character of the poems which he composed in the
Ionic dialect found an appropriate form in his favourite metre, which was probably
invented by himself. This metre is known as the choliambus ("the halting
iambus"), or the scazon ("limping"), from its having a spondee
or trochee in the last place, instead of the usual iambic foot. He is also reckoned
among the very first to produce parodies of epic poetry, and in his satire he
spared neither his own parents nor the gods. Of his poems we have only a few fragments,
which are collected by Bergk in his Poetae Lyrici Graeci (4th ed. 1878).
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Hipponax, (Ipponax). Of Ephesus, the son of Pytheus and Protis, was, after Archilochus
and Simonides, the third of the classical Iambic poets of Greece. (Suid. s. v.
; Strabo, xiv.; Clem. Alex. Strom. i.; Procl. Chrestom. ap. Phot. Cod. 239, ed.
Bekker; Solin. xl. 16.) He is ranked among the writers of the Ionic dialect. (Gram.
Leid. ad calcem Gregor. Cor.; comp. Tzetz. Proley. ad Lycoph. 690.) The exact
date of Hipponax is not agreed upon, but it can be fixed within certain limits.
The Parian marble (Ep. 43) makes him contemporary with the taking of Sardis by
Cyrus (B. C. 546) : Pliny (xxxvi. 5. s. 4.2) places him at the 60th Olympiad,
B. C. 540: Proclus (l. c.) says that he lived under Dareius (B. C. 521--485) :
Eusebius (Chron. Ol. 23), following an error already pointed out by Plutarch (de
Mus. 6, vol. ii.), made him a contemporary of Terpander; and Diphilus, the comic
poet, was guilty of (or rather he assumed as a poetic licence) the same anachronism
in representing both Archilochus and Hipponax as the lovers of Sappho. (Athen.
xiii.) Hipponax, then, lived in the latter half of the sixth century B. C., about
half a century after Solon, and a century and a half later than Archilochus.
Like others of the early poets, Hipponax was distinguished for his
love of liberty. The tyrants of his native city, Athenagoras and Comas, having
expelled him from his home, he took up his abode at Clazomenae, for which reason
he is sometimes called a Clazomenian. (Sulpicia, Sat. v. 6.) He there lived in
great poverty, and, according to one account, died of want.
In person, Hipponax was little, thin, and ugly, but very strong. (Athen.
xii.; Aelian. V. H. x. 6; Plin. l. c.) His natural defects, like the disappointment
in love of Archilochus, furnished the occasion for the development of his satirical
powers. The punishment of the daughters of Lycambes by the Parian poet finds its
exact parallel in the revenge which Hipponax took on the brothers Bupalus and
Athenis. These brothers, who were sculptors of Chios, made statues of Hipponax,
in which they caricatured his natural ugliness ; and he in return directed all
the power of his satirical poetry against them, and especially against Bupalus.
(Plin. l. c.; Horat. Epod. vi. 14 ; Lucian, Pseudol. 2; Philip. Epiyr. in Anth.
Pal. vii. 405; Brunck. Anal. vol. ii.; Julian. Epist. 30; Schol. ad Aristoph.
Av. 575; Suid. s. v.) Later writers improved upon the resemblance between the
stories of Archilochus and Hipponax, by making the latter poet a rejected suitor
of the daughter of Bupalus, and by ascribing to the satire of Hipponax the same
fatal effect as resulted from that of Archilochus. (Acron. ad Horat. l. c.) Pliny
(l. c.) contradicts the story of the suicide of Bupalus by referring to works
of his which were executed at a later period. As for the fragment of Hipponax
(Fr. vi., Welcker) O Klasomenoioi, Boupalos katekteithen, if it be his (for it
is only quoted anonymously by Rufinus, p. 2712, Putsch.), instead of being considered
a proof of the story, it should more probably be regarded as having formed, through
a too literal interpretation, one source of the error.
The most striking feature in the satirical Iambics of Hipponax is
the change which he made in the metre, by introducing a Spondee or Trochee in
the last foot, instead of an Iambus. This change made the verse irregular in its
rhythm (arruthmon), and gave it a sort of halting movement, whence it was called
the Choliambus (Choliambos, lame iambic), or Iambus Scazon (skason, limping).
By this change the Iambic Trimeter was converted into much ingenuity has been
expended in the explanation of the effect of this change; but only let the reader
recite, or rather chaunt, a few verses of Hipponax according to the above rhythm,
and he will have little difficulty in perceiving how admirably adapted it is to
the warm, but playful satire of the poet. He introduces similar variations into
the other Iambic metres, and into the Trochaic Tetrameter.
When the variation on the sixth foot of the trimeter coexists with
a spondee in the fifth place, the verse becomes still more irregular, and can,
in fact, hardly be considered an Iambic verse, but is rather a. combination of
an iambic diameter with a trochaic monometer. Such lines are called by the grammarians
Ischiorrhogic (broken-backed) : they are very rarely used by Hipponax. The choliambics
of Hipponax were imitated by many later writers: among others, the Fables of Babrius
are composed entirely in this metre. (Clem. Alex. Strom. i.; Cic. Orat. 56; Athen.
xv.; and the Latin grammarians, see Welcker, p. 18; Bockh, de Metr. Pind.) A few
of the extant lines of Hipponax are in the pure iambic metre; but there is no
evidence that he used such verses in connection with choliambi in the same poem.
We know, from Suidas, that he wrote other poems besides his choliambi
and his parody. His choliambi formed two books, if not more. (Bekker, Anecd. vol.
i.; Pollux, x. 18.) The other poems mentioned by Suidas were probably lyrical.
As to parody, of which Suidas and Polemo (Athen. xv.) make him the inventor (though
it is self-evident that the origin of parody is much older), we possess the opening
of a poem in heroic metre which he composed as a parody on the Iliad. (Athen.
l. c.) The Achilles of the parody is an Ionian glutton, and the object of the
poet seems to have been to satirize the luxury of the Ionians. (See Mozer, Ueber
d. parod. Poes. d. Griech. in Daub and Creuzer's Studien, vol. vi., Heidelb. 1811.)
The choliambics of Hipponax, though directed chiefly against the artists
Bupalus and Athenis, embraced also other objects of attack. He severely chastised
the effeminate luxury of his Ionian brethren; he did not spare his own parents;
and he ventured even to ridicule the gods. The ancients seem to have regarded
him as the bitterest and most unkindly of all satirists, generally coupling his
name with the epithet pikros. (Eustath. in Od. xi.; Cic. Epist. ad Fam. vii. 24.)
Leonidas of Tarentum, in an elegant epigram, warns travellers not to pass too
near his tomb, lest they rouse the sleeping wasp (Brunck. Anal. vol. i.); and
Alcaeus of Messene says that his grave, instead of being covered, like that of
Sophocles, with ivy, and the vine, and climbing roses, should be planted with
the thorn and thistle. (Brunck, Anal. vol. i.) But Theocritus, probably with greater
truth, warns the wicked alone to beware of his tomb, and invites the good to sit
near it without fear, applying to the poet at the same time the honourable epithet
of mousopoios. (Brunck, Anal. vol. i.) He may be said to occupy a middle place
between Archilochus and Aristophanes. He is as bitter, but not so earnest, as
the former, while in lightness and jocoseness he more resembles the latter. Archilochus,
in his greatest fury, never forgets his dignity: Hipponax, when most bitter, is
still sportive. This extends to his language, which abounds with common words.
Like most satirists, he does not spare the female sex, as, for instance, in the
celebrated couplet in which he says that " there are two happy days in the
life of a married man--that in which he receives his wife, and that in which he
carries out her corpse."
There are still extant about a hundred lines of his poems, which are
collected by Welcker (Hipponactis et Ananu Iambographorum Fragmenta, Getting.
1817, 8vo.), Bergk (Poetae Lyrici Graeci), Schneidewin (Delect. Poes. Graec.),
and by Meineke, in Lachmann's edition of Babrius. (Babru Fat. Aesop. C. Lachmannus
et amic. emend., ceteror. poet. chcliamb. ab A. Meinekio coll. et emend. Berol.
1845.) Several ancient grammarians wrote in Hipponax, especially Hermippus of
Smyrna. (Schol. ad Arist. Pac. 484; Athen. vii.)
Contemporary with Hipponax was another iambic poet, Ananius or Ananias.
The two poets are so closely connected with one another that, of the existing
fragments, it is sometimes impossible to determine which belongs to the one and
which to the other.
The invention of the choliambus is by some ascribed to Ananius. One
grammarian attributes the regular Choliambus to H ipponax, and the Ischiorrhogic
verse to Ananius (see Tyrwhitt, Dissert. de Babrio), but no reliance can be placed
on this statement. The fragments of Ananius accompany those of Hipponax in the
collections mentioned above. (Welcker, as above cited ; Muller, Hist. of Lit.
of Greece; Ulrici, Gesch. d. Hellen. Dichtkunst, vol. ii.; Bode, Gesch. d. Hellen.
Dichtkunst, vol. ii.)
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Herodes, an ancient Greek Iambic poet, a contemporary and rival, as it seems, of Hipponax, though there is some doubt about the true reading of the line in which Hipponax mentions him. The ancient writers quote several choliambic lines of Herodes, who also wrote mimes in Iambic verse.
(Manouel ho Philes). A Byzantine poet, and a native of Ephesus, was born about A.D. 1275, and died about 1340. His poem, De Animalium Proprietate, chiefly derived from Aelian, is edited with a revised text by Lehrs and Dubner in the Bucolici Graeci, forming part of Didot's Bibliotheca Graeca (Paris, 1846), and his other poems on various subjects by Wernsdorf (Leip. 1768
Menecrates, A poet of Ephesus, who wrote of husbandry, Varr. R. R. 1, 1, 9
Ion, of Ephesus, a rhapsodist in the time of Socrates, from whom one of Plato's dialogues is named, has been confounded by many writers with Ion of Chios; but Bentley has clearly proved that they are different from the character and circumstances of the rhapsodist as described by Plato. (Epist. ad Mill.; Nitzsch, Proleg. ad Plat. Ion. ; Kayser, Hist. Crit. Trag. Graec. p. 180.)
ΜΑΓΝΗΣΙΑ ΕΠΙ ΜΑΙΑΝΔΡΩ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Timotheus, (Timotheos). A celebrated musician and poet of the
later Athenian dithyramb. He was a native of Miletus, and the son of Thersander.
He was born B.C. 446, and died in 357, in the ninetieth year of his age. He was
at first unfortunate in his professional efforts. Even the Athenians, fond as
they were of novelty, were offended at the bold innovations of Timotheus, and
hissed his performance. On this occasion it is said that Euripides encouraged
Timotheus by the prediction that he would soon have the theatres at his feet.
This prediction appears to have been accomplished in the vast popularity which
Timotheus afterwards enjoyed. He delighted in the most artificial and intricate
forms of musical expression, and he used instrumental music, without a vocal accompaniment,
to a greater extent than any previous composer. Perhaps the most important of
his innovations, as the means of introducing all the others, was his addition
to the number of the strings of the cithara, which he seems to have increased
to eleven.
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Timotheus : Perseus Encyclopedia
An Ionian poet of Miletus, born B.C. 560. His poetry was chiefly
gnomic, and only a few fragments of it survive, 18 in number. A poem in 217 hexameters,
entitled Poiema Nouthetikon, which has come down under his name, is a later forgery.
Arctinus (Arktinos), of Miletus, is called by Dionysius of Halicarnassus (A. R.
i. 68, &c.) the most ancient Greek poet, whence some writers
have placed him even before the time of Homer; but the ancients who assign to
him any certain date, agree in placing him about the commencement of the Olympiads.
We know from good authority that his father's name was Teles, and that he was
a descendant of Nautes (Suid. s. v. Arktinos; Tzetzes, Chil. xiii. 64..) He is
called a disciple of Homer, and from all we know about him, there was scarcely
a poet in his time who deserved this title more than Arctinus. He was the most
distinguished among the so-called cyclic poets. There were in antiquity two epic
poems belonging to the cycle, which are unanimously attributed to him. 1. The
Aethiopis (Aithiopis), in five books. It was a kind of continuation of Homer's
Iliad, and its chief heroes were Memnon, king of the Ethiopians, and Achilles,
who slew him. The substance of it has been preserved by Proclus. 2. The Destruction
of Ilion (Iliou persis), in two books, contained a description of the taking and
destruction of Troy, and the subsequent events until the departure of the Greeks.
The substance of this poem has likewise been preserved by Proclus. A portion of
the Little Iliad of Lesches was likewise called Iliou persis, but the account
which it gave differed materially from that of Arctinus. A third epic poem, called
Titanomachia, that is, the fight of the gods with the Titans, and which was probably
the first poem in the epic cycle, was ascribed by some to Eumelus of Corinth,
and by others to Arctinus (Athen. i., vii.).
Cercops, of Miletus, the contemporary and rival of Hesiod, is said by some to have been the author of an epic poem called " Aegimius," which is also ascribed to Hesiod. (Diog. Laert. ii. 46; Athen. xi.; Apollod. ii. 1.3)
Lamynthius Lamunthios), of Miletus, a Greek poet of uncertain age, who celebrated in a lyric poem the praises of his mistress Lyde. (Athen. xiii.)
ΑΛΑΒΑΝΔΑ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Apollonius of Alabanda, surnamed ho Malakos, was some years older than Apollonius Molon,
with whom he has sometimes been confounded. He was a rhetorician, and went from
Aiabanda to Rhodes, where he taught rhetoric (Strab. xiv.). Scaevola in his praetorship
saw him and spoke with him in Rhodes. He was a very distinguished teacher of rhetoric,
and used to ridicule and despise philosophy (Cic. de Orat. i. 17). Whenever he
found that a pupil had no talent for oratory, he dismissed him, and advised him
to apply to what he thought him fit for, although by retaining him he might have
derived pecuniary advantages (Cic. de Orat. i. 28; comp. Spalding, ad Quintil.
i., ii., iv.)
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Apollonius of Alabanda, surnamed Molon, likewise a rhetorician, who left his country and went to Rhodes (Strabo, xiv.); but he appears to have also taught rhetoric at Rome for some time, as Cicero, who calls him a great pleader in the courts of justice and a great teacher, states that, in B. C. 88, he received instructions from him at Rome (Cic. Brut. 89). In B. C. 81, when Sulla was dictator, Apollonius came to Rome as ambassador of the Rhodians, on which occasion Cicero again benefited by his instructions (Brut. 90). Four years later, when Cicero returned from Asia, he staid for some time in Rhodes, and had an opportunity of admiring the practical eloquence of Apollonius in the courts as well as his skill in teaching (Brut. 91). Apollonius is also called a distinguished writer, but none of his works has come down to us. They appear however to have treated on rhetorical subjects, and on the Homeric poems. Josephus (e. Apion. ii. 36) mentions some work of his in which he spoke against the Jews. Julius Caesar was also one of his disciples (Plut. Caes. 3; Suet. Caes. 4; comp. Cic. ad Att. ii. 1, Brut. 70, de Invent. i. 56; Plut. Cic. 4; Quintil. iii. 1.16, xii. 6.7)
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Hierocles (Hierokles), a Greek rhetorician of Alabanda in Caria, who, like his brother Menecles, was distinguished by that kind of oratory which was designated by the name of the Asiatic, in contrast with Attic oratory. His brother was the teacher of the famous Molo of Rhodes, tile teacher of Cicero, so that Hierocles must have lived about B. C. 100. We do not hear that he wrote any rhetorical works, but his orations appear to have been extant in the time of Cicero. (Brut. 95, Orat. 69, de Orat. ii. 23; Strab. xiv.)
(Hierokles). A rhetorician of Alabanda, in Caria, who lived in the beginning of
the first century before the Christian era. He excelled in what Cicero termed
the Asiatic style of eloquence.
(Menekles). Of Alabanda, a celebrated rhetorician. He and his brother Hierocles
taught rhetoric at Rhodes, where the orator M. Antonius heard them, about B.C.
94.
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ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Alexander the orator, surnamed Lychnus, who was a statesman, and wrote history, and left behind him poems in which he describes the position of the heavenly bodies and gives a geographic description of the continents, each forming the subject of a poem.
Damianus, (Damianos), of Ephesus, a celebrated rhetorician and contemporary of Philostratus, who visited him at Ephesus, and who has preserved a few particulars respecting his life. In his youth Damianus was a pupil of Adrianus and Aelius Aristeides, whom he afterwards followed as his models. He appears to have taught rhetoric in his native place, and his reputation as a rhetorician and sophist was so great, that even when he had arrived at an advanced age and had given up rhetoric, many persons flocked to Ephesus to have an opportunity of conversing with him. He belonged to a very illustrious family, and was possessed of great wealth, of which he made generous use, for he not only instructed gratis such young men as were unable to remunerate him, but he erected or restored at his own expense several useful and public institutions and buildings. He died at the age of seventy, and was buried in one of the suburbs of Ephesus. It is not known whether he ever published any scientific treatise on rhetoric or any orations or declamations. (Philostr. Vit. Soph. ii. 23; Suid. s. v. Damianos; Eudocia, p. 130.)
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ΜΑΓΝΗΣΙΑ ΕΠΙ ΜΑΙΑΝΔΡΩ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
A Greek orator, born in Magnesia on Mount Sipylus in the first
half of the third century B.C. He was the founder of what was termed the Asiatic
style of oratory.
Hegesias. A native of Magnesia, who addicted himself to rhetoric and history. There is some reason for supposing that he wrote not later than Timaeus of Tauromenium, and lived about the time of Ptolemaeus Lagi, in the early part of the third century B. C. Strabo (xiv.) speaks of him as the founder of that degenerate style of composition which bore the name of the Asiatic, though lie professed to be an imitator of Lysias and Charisius. Cicero and Dionysius of Halicarnassus agree in thinking the man himself a thorough blockhead, and in describing his style as utterly destitute of vigour and dignity, consisting chiefly of childish conceits and minute prettinesses. (Cic. Brut. 83, Orat. 67, 69 ; Dionys. de Compos. Verb. 4, 18.) Specimens of his style are given by Dionysius and by Photius (Cod. 250., ed. Bekker.) Varro had rather an admiration for it. (Cic. ad Att. xii. 6.) The history of Alexander the Great was the theme which he selected to dilate upon in his peculiar fashion. As regards the subject-matter of his history, Gellius (ix. 4) classes him with those writers who deal rather plentifully in the marvellous. Plutarch (Alex. 3) makes rather a clumsy pun in ridicule of a joke of his about Diana not being at liberty to come to the protection of her temple at Ephesus, when it was set on fire on the day on which Alexander the Great was born. (Fabric. Bibl. Gracec. vol. iii., vol. ii.; Voss. de Hist. Gr., ed. Westermann; Ruhnken, ad Rutil. Lup. i. 7.)
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ΤΕΜΝΟΥΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Hermagoras. Of Temnos, a distinguished Greek rhetorician of the time of Pompey
and Cicero. He belonged to the Rhodian school of oratory, and appears to have
tried to excel as an orator (or rather declaimer) as well as a teacher of rhetoric.
(Quintil. v. 3.59, viii. pr. § 3; Suid. s. v. Hermagoras.) But it is especially
as a teacher of rhetoric that he is known to us. He devoted particular attention
to what is called the invention, and made a peculiar division of the parts of
an oration, which differed from that adopted by other rhetoricians. (Quintil.
iii. 1.16.) Cicero (de Invent. i. 6) opposes his system, but Quintilian defends
it (iii. 3.9, 5.4, 16, &c., 6.56), though in some parts the latter censures what
Cicero approves of. (Cic. de Invent. i. 11; Quintil. iii. 6.60, &c.) But in his
eagerness to systematise the parts of an oration, he entirely lost sight of the
practical point of view from which oratory must be regarded. (Quintil. iii. 11.22;
Tacit. de Oral. 19.) He appears to have been the author of several works which
are lost; Suidas mentions Hpetorikai, Peri ezergasias, Peri phraseos, Peri schenaton,
Peri prepontos. (See the passages in which Cicero discusses the views of Hermagoras
in Orelli's Onom. Tull. s. v.; comp. Westermann, Gesch. d. Griech. Beredtsamk.
§ 81. note 11, § 83. notes 11-13; C. G. Piderit, de Hermagora Rhetore Commentatio,
Hersfeld, 1839, 4to.)
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Hermagoras. Of Temnos, a distinguished Greek rhetorician of the time of Cicero, belonging to the Rhodian school of oratory.
ΤΡΑΛΛΕΙΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Damasus, (Damasos), of Tralles in Cilicia, is mentioned by Strabo (xiv.) among the celebrated
orators of Tralles. He is surnamed Scombrus (Ekombros), and is in all probability
the same as the Damos Scombros mentioned by Seneca (Controv. ii. 14), and may
possibly be the same as the rhetorician who is also spoken of by Seneca (Suas.
1; comp. Schott, ad Controv. ii. 14) under the name of Damaseticus. But nothing
further is known about him.
Dionysocles, (Dionusokles), of Tralles, is mentioned by Strabo (xiv.) among the distinguished rhetoricians of that city. He was probably a pupil of Apollodorus of Pergamus, and consequently lived shortly before or at the time of Strabo.
Crates (Krates) of Tralles, an orator or rhetorician of the school of Isocrates (Diog. Laert. iv. 23). Ruhnken assigns to him the logoi demegorikoik which Apollodorus (ap. Diog. l. c.) ascribes to the Academic philosopher, Crates. Menagius (Comm. in Diog. l. c.) is wrong in supposing that Crates is mentioned by Lucian (Rhet. Praecept. 9). The person there spoken of is Critias the sculptor.
ΑΦΡΟΔΙΣΙΑΣ (Αρχαία πόλη) ΑΪΔΙΝ
Chariton, of Aphrodisias, a town of Caria, is the name by which one of the Greek erotic
prose writers calls himself; but the name is probably feigned (from charis and
Aphrodite), as the time and position of the author certainly are. He represents
himself as the secretary (hupographeus) of the orator Athenagoras, evidently referring
to the Syracusan orator mentioned by Thucydides (vi. 35, 36) as the political
opponent of Hermocrates. The daughter of Hermocrates is the heroine of Chariton's
work, which is a romance, in eight books, on the Loves of Chaereas and Callirrhoe,
under the following title, Charitonos Aphrodisieos ton peri Chairean kai Kallirroen
erotikon diegematon logoi e. The work begins with the marriage of the heroine,
which is presently followed by her burial. She comes to life again in the tomb,
and is carried off by robbers. After various adventures, she is restored to Chaereas.
The incidents are natural and pleasing, and the style sinple ; but the work as
a whole is reckoned inferior to those of Achilles Tatius. Heliodorus, Longus,
and Xenophon of Ephesus. Nothing is known respecting the real life or the time
of the author. The critics place him variously between the fifth and ninth centuries
after Christ. The general opinion is, that he was the latest of the erotic prose
writers, except perhaps Xenophon of Ephesus.
There is only one known MS. of the work, from which it was printed
by James Philip D'Orville, with a Latin version and notes by Reiske, Amst. 1750.
The commentary of D'Orville is esteemed one of the best on any ancient author.
It was reprinted, with additional notes by Beck, Lips. 1783. A very beautiful
edition of the text was printed at Venice, 1812..
The book has been translated into German by Heyne, Leipz. 1753. and Schneider,
Leipz. 1807; into French by Larcher, Par. 1763 (reprinted in the Bibliotheque
des Romans Grecs, Par. 1797), and Fallet, 1775 and 1784; into Italian by M. A.
Giacomelli, Rom. 1752, and others; into English by Becket and de Hondt, 1764.
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ΕΦΕΣΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Artemidorus Daldianus (Artemidoros). The Dream-interpreter, born at Ephesus at the beginning of the
second century A.D., surnamed "the Daldian," from his mother's birthplace,
Daldis in Lydia, wrote a work on the interpretation of dreams, the Oneirokritika,
in four books. He had gathered his materials from the works of earlier authors
and by oral inquiries during his travels in Asia, Italy, and Greece. The book
is an acute exposition of the theory of interpreting dreams, and its practical
application to examples systematically arranged according to the several stages
of human life. An appendix, counted as a fifth book, gives a collection of dreams
that have come true. For the light thrown on the mental condition of antiquity,
especially in the second century A.D., and for many items of information on religious
rites and myths relating to dreams, these writings are of value.
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
Artemidorus Daldianus, was a native of Ephesus, but is usually called Daldianus (Daldianos), to distinguish him from the geographer Artemidorus (Lucian, Philopatr. 22), since his mother was born at Daldia or Daldis, a small town in Lydia. Artemidorus himself also preferred the surname of Daldianus (Oneirocr. iii. 66), which seems to have been a matter of pride with him, as the Daldian Apollo Mystes gave him the especial commission to write a work on dreams (Oncirocr. ii. 70). He lived at Rome in the reign of Antoninus Pius and M. Aurelius, as we may infer from several passages of his work (i. 28, 66, iv. 1), though some writers have placed him in the reign of Constantine, and others identify him with the friend of Pliny the younger, and son-in-law of Musonius (Plin. Epist. iii. 11). But the passages of Artemidorus's own work cited above, place the question beyond all doubt. Artemidorus is the author of a work on the interpretation of dreams (Oneirokritika), in five books, which is still extant. He collected the materials for this work by very extensive reading (he asserts that he had read all the books on the subject), on his travels through Asia, Greece, Italy, and the Grecian islands (Oneir. Prooem. lib. i). He himself intimates that he had written several works, and from Suidas and Eudocia we may infer, that one was called uionoskopika, and the other cheiroskopika. Along with his occupations on these subjects, he also practised as a physician. From his work on dreams, it is clear that he was acquainted with. the principal productions of more ancient writers on the subject, and his object is to prove, that in dreams the future is revealed to man, and to clear the science of interpreting them from the abuses with which the fashion of the time had surrounded it. He does not attempt to establish his opinion by philosophical reasoning, but by appealing to facts partly recorded in history, partly derived from oral tradition of the people, and partly from his own experience. On the last point he places great reliance, especially as he believed that he was called to his task by Apollo (ii. 70). This makes him conceited, and raises him above all fear of censure. The first two books are dedicated to Cassius Maximus. The third and fourth are inscribed to his son. The fifth book is, properly speaking, an independent work, the title of which is peri oneiron anabaseon, and which contains a collection of interesting dreams, which were believed to have been realized. The style of the work is simple, correct, and elegant; and this. together with the circumstance that Artemidorus has often occasion to allude to or explain ancient manners and usages, give to it a peculiar value. The work has also great interest, because it shews us in what manner the ancients symbolized and interpreted certain events of ordinary life, which, when well understood, throws light on various points of ancient mythology. The first edition of the Oneirocritica is that of Aldus, Venice, 1518; the next is that of Rigaltius(Paris, 1603), which contains a valuable commentary; however, it goes down only to the 68th chapter of the second book. The last edition is that of J. G. Reiff, Leipzig, 1805. It contains the notes of Rigaltius, and some by Reiske and the editor.
This text is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Anti-Montanist Greek ecclesiastical writer, between 180 and 210, probably from Asia Minor, for he is thoroughly acquainted with the Christian history of Ephesus and the doings of the Phrygian Montanists. If we may accept what the unknown author of "Praedestinatus" says (I, 26, 27, 28; P.L., LIII, 596), he was a Bishop of Ephesus, but the silence of other Christian writers renders this testimony doubtful. He undertook the defence of the Church against Montanus, and followed in the footsteps of Zoticus of Comanus, Julian of Apamaea, Sotas of Anchialus, and Apollinaris of Hierapolis. His work is cited by Eusebius (Hist. Eccl., V, 18), and is praised by St. Jerome (De vir. ill., c. xl), but has been lost, and not even its title is known. It seems certain that it showed the falsity of the Montanist prophecies, recounted the unedifying lives of Montanus and his prophetesses, also gave currency to the report of their suicide by hanging, and threw light on some of the adepts of the sect, including the apostate Themison, and the pseudo-martyr Alexander. The former, having evaded martyrdom by means of money, posed as an innovator, addresing a letter to his partisans after the manner of the Apostles, and finally blasphemed Christ and the Church; the latter, a notorious thief, publicly condemned at Ephesus, had himself adored as a god. We know from Eusebius that Apollonius spoke in his work of Zoticus, who had tried to exorcise Maximilla, but had been prevented by Themison, and of the martyr-Bishop Thraseas, another adversary of Montanism. He very probably gave the signal in it for the movement of opposition to Montanism which the reunion of the first synods developed. At all events, he recalls the tradition according to which Our Lord had advised the Apostles not to go far from Jerusalem during the twelve years immediately following His Ascension, a tradition known to Clement of Alexandria from the apocryphal "Praedicatio Petri". He moreover recounts the restoration to life of a dead man at Ephesus by the Apostle St. John, whose Apocalypse he knew and quotes. He takes rank among the opponents of Montanism with the "Anonymous" of Eusebius (Hist. Eccl., V, 16, 17), with Miltiades and with Apollinaris. Eusebius (loc. cit.) says his work constituted "an abundant and excellent refutation of Montanism". St. Jerome qualified it as "a lengthy and remarkable volume". It did not therefore pass unnoticed, and must have roused some feeling among the Montanists since Tertullian felt it necessary to reply to it. After his six books peri ekstaseos, in which he apologized for the ecstasies into which the Montanist prophetesses fell before prophesying, Tertullian composed a seventh especially to refute Apollonius; he wrote it also in Greek for the use of the Asiatic Montanists.
Francis W. Grey, ed.
Transcribed by: Fr. Paul-Dominique Masiclat, O.P.
This text is cited July 2004 from The Catholic Encyclopedia, New Advent online edition URL below.
Apollonius, a Christian writer, whose parents and country are unknown, but who is believed to have been bishop of Ephesus, and to have lived about the year A. D. 192. He wrote a work exposing the errors and the conduct of the Christian sect called Cataphryges, some fragments of which are preserved in Eusebius. (Hist. Eecles. v. 18, 21.) Tertullian defended the sect of the Montanists against this Apollonius, and the seventh book of his work peri ekstaseos was especially directed against Apollonius.
Alexander (Alexandros), surnamed Lychnus (Luchnos), a Greek rhetorician and poet. He was a native of Ephesus, whence he is sometimes called Alexander Ephesius, and must have lived shortly before the time of Strabo (xiv., who mentions him among the more recent Ephesian authors, and also states, that he took a part in the political affairs of his native city. Strabo ascribes to him a history, and poems of a didactic kind, viz. one on astronomy and another on geography, in which he describes the great continents of the world, treating of each in a separate work or book, which, as we learn from other sources, bore the name of the continent of which it contained an account. What kind of history it was that Strabo alludes to, is uncertain. The so-called Aurelius Victor quotes, it is true, the first book of a history of the Marsic war by Alexander the Ephesian; but this authority is more than doubtful. Some writers have supposed that this Alexander is the author of the history of the succession of Greek philosophers (hai ton philosophon diadochai), which is so often referred to by Diogenes Laertius (i. 116, ii. 19, 106, iii. 4, 5, iv. 62, vii. 179, viii. 24, ix. 61); but this work belonged probably to Alexander Polyhistor. His geographical poem, of which several fragments are still extant, is frequently referred to by Stephanus Byzantius and others (Steph. Byz. s. vv. Aapethos, Taprobane, Doros, Hpsrkanoi, Melitaia, &c.). Of his astronomical poem a fragment is still extant, which has been erroneously attributed by Gale and Schneider to Alexander Aetolus. It is highly probable that Cicero (ad Att. ii. 20, 22) is speaking of Alexander Lychnus when he says, that Alexander is not a good poet, a careless writer, but yet possesses some information.
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
Democritus, (Demokritos). Of Ephesus, wrote works on the Ephesian temple and the town of Samothrace. (Diog. Laert. ix. 49.) A fragment of his is preserved in Athenaeus. (xii.)
Diodorus. Of Ephesus, is mentioned by Diogenes Laertius (viii. 70) as the author of a work on the life and philosophy of Anaximander.
ΜΙΛΗΤΟΣ (Αρχαία πόλη) ΤΟΥΡΚΙΑ
Artemon, of Miletus, wrote a work on the interpretation of dreams (oneirokritika), in twenty-two books, which is now lost. (Artemid. Oneir. ii. 49 ; Eustath. ad Hom. Il. xvi. Tertull. de Anim. 46; Fulgent. i. 13)
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