Expurgating the Classics. Editing Out in Greek and Latin by Stephen Harrison, Christopher Stray

By Stephen Harrison, Christopher Stray

Within the first assortment to be dedicated to this topic, a special solid of individuals explores expurgation in either Greek and Latin authors in historic and smooth occasions. the foremost concentration is at the interval from the 17th to the 20 th century, with chapters starting from early Greek lyric and Aristophanes via Lucretius, Horace, Martial and Catullus to the expurgation of schoolboy texts, the Loeb Classical Library and the Penguin Classics. The participants draw on proof from the papers of editors, and on fabric in publishing data. The creation discusses either the differing kinds of expurgation, and the way it differs from similar phenomena equivalent to censorship.

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I with only limited success. II. 0 cm, a dimension that appears to be at the low end of the range for sheet size (Typology 47-48). 5 cm. The eight columns show a pronounced tilt to the right; the last lines of the columns of Fragment A begin five letters further to the left than the first lines of the column; for Fragment B, the last lines of the column begin about three letters further to the left. ) There are between twenty and twenty-four letters per line; spacing and letter size is quite regular at the beginning of the line, but the scribe frequently crowds his letters at the end.

Moreover, it provides evidence not so much of an Egyptian love story circulating in a Greek translation, but of an Egyptian political tool borrowed by the Ptolemies in their own imperial program. Just as it was unnecessary for the story of Alexander's divine birth to have been written down, oral transmission can account for narrative types of varying levels of sophistication passing directly from one culture to another. E. (Vanderlip 1972: 63-74). The fourth hymn relates the story of Amenophis, a king of the Twelfth Dynasty, whose cult was prominent in this region, a story we are told explicitly that Isidoros got from the local Egyptian priests and translated for Greeks.

4 and 10). In any case, although the "Dream of Nektanebos," like the "Oracle of the Potter," is to be counted as a genuine instance of a written text transmitted from one culture to another, its real importance is its conceptualization of the ideology of apocalypse in Christian, Gnostic, and Manichean writing, not its possible role as Ur-material for Greek novels (Koenen 1985:171-84). To approach this another way: we know of only one example of a story definitively Egyptian in origin that has survived in any of the extant Greek novel material.

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