Symbolae Philologorum Posnaniensium Graecae et Latinae
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Dynamics of Telling Jokes in Plautus. The Case of the Self-Repair Routine
Full text linkThe study concerns one recurrent type of conversational joke in Plautus, which consists of three different steps: (1) some problematic formulation by the joke-teller, (2) a request for an explanation by the interlocutor, and (3) a punchline. Using methods of Conversation Analysis, I interpret the routine as a case of a self-repair sequence and examine responses it triggers in all the comedies by Plautus. According to the quantitative part of the study, in half of the cases, humour is not acknowledged by the in-play recipient of the joke who may understand it literally or ignore it whatsoever. In the rest of the examples the joker’s interlocutor mostly reacts negatively (with some form of verbal aggression or complaint) or continues the non-serious mode of talking by launching another joke. Ultimately, the jocular routine is associated with the figure of rebellious slave, who uses the powerful joker’s position to tease and abuse the rules of a collaborative conversation.The study concerns one recurrent type of conversational joke in Plautus, which consists of three different steps: (1) some problematic formulation by the joke-teller, (2) a request for an explanation by the interlocutor, and (3) a punchline. Using methods of Conversation Analysis, I interpret the routine as a case of a self-repair sequence and examine responses it triggers in all the comedies by Plautus. According to the quantitative part of the study, in half of the cases, humour is not acknowledged by the in-play recipient of the joke who may understand it literally or ignore it whatsoever. In the rest of the examples the joker’s interlocutor mostly reacts negatively (with some form of verbal aggression or complaint) or continues the non-serious mode of talking by launching another joke. Ultimately, the jocular routine is associated with the figure of rebellious slave, who uses the powerful joker’s position to tease and abuse the rules of a collaborative conversation
Z Tracji do Grecji. Sabeth z powieści Maxa Frischa i jej związek z Wergiliuszową Eurydyką
Full text linkIn dem vorliegenden Aufsatz wird von der Annahme ausgegangen, Eurydike in der Fassung von Vergils Georgica biete eine gewisse Vorlage für die Gestalt Sabeth in dem Roman Homo faber. Ein Bericht von Max Frisch. Im Folgenden werden die zwei Frauentypen miteinander verglichen, was zu der Schlussfolgerung führt, dass sie, obgleich auf dieselbe Weise ums Leben gekommen,doch sehr verschieden sind. Die Unterschiede, ganz abgesehen von den Differenzen der sie umgebenden Realität (Antike im Gegensatz zur Moderne), mögen sowohl in der Herkunft der beiden, als auch in ihren Charaktereigenschaften und der Art ihrer Liebesbeziehungen bestehen. Obendrein ist die Figur der Eurydike diejenige, die bis in die heutige Zeit einen größeren Einflussauf die europäische Kultur ausgeübt hat.The article presents the possible influence of Virgil’s epyllion in his Georgics on the shaping of Sabeth, one of the heroines of Max Frisch’s novel Homo Faber.The article presents the possible influence of Virgil’s epyllion in his Georgics on the shaping of Sabeth, one of the heroines of Max Frisch’s novel Homo Faber
While Theseus Was Sailing Away… PSI XV 1468 (= fr. 37 APHex): a Few Thoughts
Full text linkThe article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ’ αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne’s contradictory feelings and her moral dilemma.The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ’ αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne’s contradictory feelings and her moral dilemma
O Metamorfozach Owidiusza z Haarlemu
Full text linkThe article considers a series of relief prints by Hendrik Goltzius. The artist intended for these prints to become an ‘illustrated companion’ to Ovid’s Metamorphoses, or, alternatively, a sort of mirror image that reflects the poetic world of Metamorphoses in another creative medium. The first part of this analysis surveys Goltzius’ creative career and examines which life events might have encouraged the artist to start working on his adaptation of Metamorphoses. In the second part of the article, we discuss the creation of Goltzius’ drawings and copperplate engravings, explaining why the work of this Haarlem artist represents a historic breakthrough in the illustrative tradition of Ovid’s Metamorphoses. Finally, the third part of the article assesses whether Goltzius’ Metamorphoses prints adhere to established conventions of the emblematic art (ars emblematica).The article considers a series of relief prints by Hendrik Goltzius. The artist intended for these prints to become an ‘illustrated companion’ to Ovid’s Metamorphoses, or, alternatively, a sort of mirror image that reflects the poetic world of Metamorphoses in another creative medium. The first part of this analysis surveys Goltzius’ creative career and examines which life events might have encouraged the artist to start working on his adaptation of Metamorphoses. In the second part of the article, we discuss the creation of Goltzius’ drawings and copperplate engravings, explaining why the work of this Haarlem artist represents a historic breakthrough in the illustrative tradition of Ovid’s Metamorphoses. Finally, the third part of the article assesses whether Goltzius’ Metamorphoses prints adhere to established conventions of the emblematic art (ars emblematica)
Wokół badań nad „Commentariolum Petitionis”
Full text linkDoubts concerning the authorship of the work contemporarily entitled Commentariolum Petitionis were raised even in the late nineteenth century. Both those researchers who regarded Quintus (Cicero’s brother) as the author and those who questioned his authorship found their supporters. In this context, Michael Alexander stands out, arguing in his publications that the intention behind the pamphlet was to provide a distanced or even warped image of late-Republican electioneering. The debate continues, and the importance of the present-day interpretation must be emphasised. Even if perhaps satisfactory for those who attribute the authorship to Marcus Cicero, recent computerassisted stylometric studies in fact fail to provide a conclusive answer as to who the author of the Commentariolum Petitionis actually was. Stylometric evidence may even be quoted to prove that it might have been written by someone skilful enough to imitate the eminent orator’s style.Doubts concerning the authorship of the work contemporarily entitled Commentariolum Petitionis were raised even in the late nineteenth century. Both those researchers who regarded Quintus (Cicero’s brother) as the author and those who questioned his authorship found their supporters. In this context, Michael Alexander stands out, arguing in his publications that the intention behind the pamphlet was to provide a distanced or even warped image of late-Republican electioneering. The debate continues, and the importance of the present-day interpretation must be emphasised. Even if perhaps satisfactory for those who attribute the authorship to Marcus Cicero, recent computerassisted stylometric studies in fact fail to provide a conclusive answer as to who the author of the Commentariolum Petitionis actually was. Stylometric evidence may even be quoted to prove that it might have been written by someone skilful enough to imitate the eminent orator’s style
Greckie wyrazy βόρατον, βράθυ, βουρί jako przykłady zapożyczenia wielokrotnego
Full text linkThe paper discusses three Ancient Greek appellatives βόρατον, βράθυ, βουρί denoting conifers from the Cupressaceae family and demonstrates a common Semitic origin of these dendronyms. They should be treated as examples of multiple borrowing, the ultimate source of which was the uniform Proto-Semitic archetype *burāṯ- ‘juniper, Juniperus L.’. It should be assumed that the ancient Greeks borrowed two synonymous terms βόρατον n. ‘stinking juniper, Juniperus foetidissima Willd.; savin juniper, Juniperus sabina L.’ and βράθυ n. ‘id.’ from two different Aramaic sources. On the other hand, the Pamphylian dialectism βουρί n. ‘Mediterranean cypress, Cupressus sempervirens L.’ was borrowed from an Akkadian source via Anatolian languages to Ancient Greek (Gk. Pamph. βουρί n. ‘cypress’ ← Lycian *burhi < *burehi < Luwian *burašiš c. ← Assyrian or Akkadian burāšu ‘(Phoenician) juniper’ < Old Akkadian burāšum ‘juniper’ < Proto-Semitic *burāṯ-). A carefully conducted analysis of lexical data clearly demonstrates that language contacts between the Semites and the Greeks took place at different times and in many places, so potential Semitisms could have gradually penetrated the Greek vocabulary by various ways.The paper discusses three Ancient Greek appellatives βόρατον, βράθυ, βουρί denoting conifers from the Cupressaceae family and demonstrates a common Semitic origin of these dendronyms. They should be treated as examples of multiple borrowing, the ultimate source of which was the uniform Proto-Semitic archetype *burāṯ- ‘juniper, Juniperus L.’. It should be assumed that the ancient Greeks borrowed two synonymous terms βόρατον n. ‘stinking juniper, Juniperus foetidissima Willd.; savin juniper, Juniperus sabina L.’ and βράθυ n. ‘id.’ from two different Aramaic sources. On the other hand, the Pamphylian dialectism βουρί n. ‘Mediterranean cypress, Cupressus sempervirens L.’ was borrowed from an Akkadian source via Anatolian languages to Ancient Greek (Gk. Pamph. βουρί n. ‘cypress’ ← Lycian *burhi < *burehi < Luwian *burašiš c. ← Assyrian or Akkadian burāšu ‘(Phoenician) juniper’ < Old Akkadian burāšum ‘juniper’ < Proto-Semitic *burāṯ-). A carefully conducted analysis of lexical data clearly demonstrates that language contacts between the Semites and the Greeks took place at different times and in many places, so potential Semitisms could have gradually penetrated the Greek vocabulary by various ways
Ekwiwalencja funkcjonalna, czyli o przekładzie Plautyńskiej parabazy („Curc.” 462–486)
Full text linkDynamic equivalence is eagerly used by translators in works strongly rooted in the realities of the original culture of a text or saturated with various kinds of wordplay, especially if the text was created with the intention of performing it on stage. An interesting example of the use of functional equivalence and the consequences of such use is Choragus’ monologue, sometimes called parabasis, opening Act IV of Plautus’ comedy Curculio (v. 462–486). Choragus’ performance is primarily a catalogue of places in Rome, where specific types of people (swindlers, perjurers, pimps) like to gather. The topography mentioned in the monologue has a humorous overtone, which is largely due to the fact that Plautus’ audience knew these places mentioned on the stage and accepted their implicit associations as true. Therefore, to achieve a comparable effect in translation, it is best to use dynamic equivalence. The article discusses two variants of dynamic equivalence and their consequences. The first example assumes that the comedy will be staged in Poznań and the translation changes the topography of Rome to the topography of this Polish city. The disadvantage of this type of translation is that its reception is limited to an audience familiar with the topography of Poznań. Otherwise, this Plautine parabasis would have to be translated anew for each performance, taking into account the place of staging and the recipients of the translation. The second example extends the topography to the whole of Poland, but the application of affective equivalence (which evokes similar feelings to those evoked by the original) would require an accurate reading of the tastes of the audience and adjusting the appropriate topography to them, which seems almost impossible. The use of dynamic equivalence in the translation of the scene in question would therefore have to be verified with each performance, which discourages translators and encourages the use of formal equivalence.Dynamic equivalence is eagerly used by translators in works strongly rooted in the realities of the original culture of a text or saturated with various kinds of wordplay, especially if the text was created with the intention of performing it on stage. An interesting example of the use of functional equivalence and the consequences of such use is Choragus’ monologue, sometimes called parabasis, opening Act IV of Plautus’ comedy Curculio (v. 462–486). Choragus’ performance is primarily a catalogue of places in Rome, where specific types of people (swindlers, perjurers, pimps) like to gather. The topography mentioned in the monologue has a humorous overtone, which is largely due to the fact that Plautus’ audience knew these places mentioned on the stage and accepted their implicit associations as true. Therefore, to achieve a comparable effect in translation, it is best to use dynamic equivalence. The article discusses two variants of dynamic equivalence and their consequences. The first example assumes that the comedy will be staged in Poznań and the translation changes the topography of Rome to the topography of this Polish city. The disadvantage of this type of translation is that its reception is limited to an audience familiar with the topography of Poznań. Otherwise, this Plautine parabasis would have to be translated anew for each performance, taking into account the place of staging and the recipients of the translation. The second example extends the topography to the whole of Poland, but the application of affective equivalence (which evokes similar feelings to those evoked by the original) would require an accurate reading of the tastes of the audience and adjusting the appropriate topography to them, which seems almost impossible. The use of dynamic equivalence in the translation of the scene in question would therefore have to be verified with each performance, which discourages translators and encourages the use of formal equivalence
Problem nieśmiałych młodzieńców, czyli ‘vitiosa verecundia’
Full text linkBoth Greeks and Romans considered shame an important instrument of moral education. However, while respect for elders and superiors was a desirable trait of young people, it could also turn sometimes into a serious character flaw – excessive compliance with all who made any demands, even the wrong ones. Therefore, shyness was often considered ‘a disease of the soul’ as a feeling that made one feel ashamed to do the right thing. In the article, the concept of vitiosa verecundia is presented on the basis of texts by Seneca, Aristotle, Quintilian, Livy and, above all, Plutarch’s treatise De falso pudore.Both Greeks and Romans considered shame an important instrument of moral education. However, while respect for elders and superiors was a desirable trait of young people, it could also turn sometimes into a serious character flaw – excessive compliance with all who made any demands, even the wrong ones. Therefore, shyness was often considered ‘a disease of the soul’ as a feeling that made one feel ashamed to do the right thing. In the article, the concept of vitiosa verecundia is presented on the basis of texts by Seneca, Aristotle, Quintilian, Livy and, above all, Plutarch’s treatise De falso pudore
Humour in the Special Features of the Costumes in the Comedies by Plautus
Full text linkThe article aims to discuss these elements of costumes which are mentioned in the comedies of Plautus but have been omitted yet in the studies on Plautine stage conventions. The first part of the text concerns the costumes which are worn by actors representing characters that have some special physical features. It appears that drunk characters always wear garlands, which point to their state. Big-bellied costumes are worn by male actors who play pregnant women (Alcmene in Amphitruo) but by those who present pimps during the performance, as well. Moreover, many Plautine slaves are rendered as stout, which, combined with big feet, adds much humour to running-slave scenes. The source of laughter lies not only in the padding used to recreate a big belly but also to show the illusion of large breasts, which are exaggerated in size. Such costumes were worn by male actors who presented meretrices, tibicinae and nutrices on stage. The costumes of foreigners consisted of a tunic with long sleeves, earrings, a headdress called causea, tiara and some kind of sandals. Many of these elements were grotesque, which, on the one hand, helped to increase the visibility of the costumes in the theatre, and on the other, contributed to the comicality of the performance. The article presents passages from the Plautine plays which contain such metatheatrical remarks about costumes used in the 3rd and 2nd century BC.The article aims to discuss these elements of costumes which are mentioned in the comedies of Plautus but have been omitted yet in the studies on Plautine stage conventions. The first part of the text concerns the costumes which are worn by actors representing characters that have some special physical features. It appears that drunk characters always wear garlands, which point to their state. Big-bellied costumes are worn by male actors who play pregnant women (Alcmene in Amphitruo) but by those who present pimps during the performance, as well. Moreover, many Plautine slaves are rendered as stout, which, combined with big feet, adds much humour to running-slave scenes. The source of laughter lies not only in the padding used to recreate a big belly but also to show the illusion of large breasts, which are exaggerated in size. Such costumes were worn by male actors who presented meretrices, tibicinae and nutrices on stage. The costumes of foreigners consisted of a tunic with long sleeves, earrings, a headdress called causea, tiara and some kind of sandals. Many of these elements were grotesque, which, on the one hand, helped to increase the visibility of the costumes in the theatre, and on the other, contributed to the comicality of the performance. The article presents passages from the Plautine plays which contain such metatheatrical remarks about costumes used in the 3rd and 2nd century BC
Comical Features in Constructions with Transformation and Identification Motifs in Plautus’ Comedies
Full text linkIn this paper, constructions with transformation and identification motifs (Fraenkel, Plautine Elements in Plautus 2007) are analysed against the background of Lakoff and Johnson’s concept of metaphor (Metaphors We Live By 2003, 1st ed. 1980). The typology of these constructions as well as their wider context is presented. The paper shows that constructions with transformation and identification motifs can range from easy-tounderstand figurative expressions to riddles where two domains from distant semantic fields are connected on a very unusual ground. The constructions are highly contextual phenomena. In them, there is a playing out of various connotated meanings that depend on cultural, pragmatic, and other contexts.In this paper, constructions with transformation and identification motifs (Fraenkel, Plautine Elements in Plautus 2007) are analysed against the background of Lakoff and Johnson’s concept of metaphor (Metaphors We Live By 2003, 1st ed. 1980). The typology of these constructions as well as their wider context is presented. The paper shows that constructions with transformation and identification motifs can range from easy-tounderstand figurative expressions to riddles where two domains from distant semantic fields are connected on a very unusual ground. The constructions are highly contextual phenomena. In them, there is a playing out of various connotated meanings that depend on cultural, pragmatic, and other contexts