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Rhetoric and argument in Chapter VI of Jerome's Vita Malchi Monachi Captivi
Get PDFThe authors argue that the density of rhetorical devices in Chapter VI of Jerome’s Vita Malchi Monachi Captivi not only serves as proof of Jerome’s literary competence, but also informs the reader about the real purpose of this short work, namely to serve as an argument in favour of celibacy. Rhetorical devices such as apostrophe, rhetorical questions, biblical allusions, metaphor, antithesis, polarity, rhyme, alliteration, parallelism and chiasmus in this short chapter are pointed out while some parallels are also drawn with the work of a contemporary Syriac-speaking author, Aphrahat the Persian Sage.http://staging.uj.ac.za/greek/EkklesiastikosPharos/tabid/5731/Default.aspxam201
Razlagi prilike o izgubljenem sinu dveh latinskih patrističnih avtorjev, sv. Hieronima in sv. Petra Krizologa
Get PDFIn this paper, a comparison is made between Jerome’s and Petrus Chrysologus’
interpretations of the parable of the prodigal son. In Letter 21, written
in 383/384, Jerome responds to a request by Pope Damasus to clarify specific
questions about this well-known parable. After an introduction in which
the specific questions are mentioned and briefly discussed, he continues with
a verse-by-verse commentary of the Lucan passage, followed by a short conclusion.
Petrus Chrysologus (c. 380–c. 450), bishop of Ravenna, delivered five
sermons on the parable of the prodigal son, of which the fifth sermon offers a
spiritual interpretation. A comparison between the two different approaches
to the parable highlights Jerome’s usual exegetical method. There is a sharper
focus on Jerome’s letter, and in comparison with Chrysologus’ work, the unique
character of Jerome’s approach is underlined. An essential aspect of Jerome’s
commentary is his identification with the contents of the parable and the fact
that he uses this work to promote himself as a biblical scholar and exegete.Prispevek primerja dve razlagi prilike o izgubljenem sinu, Hieronimovo
razlago in razlago Petra Krizologa. V Pismu 21 iz leta 383/384 odgovarja Hieronim
na prošnjo papeža Damaza, da bi razjasnil nekatera vprašanja glede te slovite
evangeljske prilike. Najprej v uvodu omenja in analizira različna podrobna
vprašanja, nadaljuje z razlago vrstic odlomka Lukovega evangelija, na koncu
sledi kratek sklep. Peter Krizolog (ok. 380–ok. 450), škof v Raveni, je pripravil
pet govorov o isti priliki, med njimi peti ponuja duhovno razlago. Primerjava
med dvema različnima pristopoma do razlage prilike poudari Hieronimovo
značilno eksegetsko metodo, ki skozi primerjavo postane še bolj jasno razvidna kot izvirna. Pomemben vidik Hieronimove razlage nastopi, ko v vsebini prilike
označi samega sebe in ko to uporabi za identifikacijo sebe kot bibličnega strokovnjaka
in razlagalca.https://ores.su/en/journals/bogoslovni-vestnikam2022Ancient Language
Teaching and illustrating the exegetical method of St Jerome : letter 21 as a case study
Get PDFThis article is intended as a case study to introduce students to the life and work of St Jerome,
and more specifically to his exegetical method. Letter 21 to Pope Damasus contains Jerome’s
interpretation of the parable of the Prodigal Son and offers the ideal text to read with third year
or honours Latin students. Since Professor Dircksen has a special interest in the teaching and
learning of Latin, this contribution is meant for that section of the Festschrift. My aim is twofold:
firstly, to offer an introduction to the text, focusing on several aspects which illustrate Jerome’s
exegetical method; and secondly, to illustrate how this material can be presented to students.
Students are introduced to a well-known patristic author’s approach to a biblical text, but in
this process, they are taught how to approach any text themselves.http://www.indieskriflig.org.zaam2020Ancient Language
Die effek van die verlies/verwerping van liefde op persoonlike identiteit in die verhaal van Echo en Narcissus in Ovidius se Metamorphoses
Get PDFDissertation (MA)--University of Pretoria, 2015.Hierdie studie bevestig dat die Metamorphoses verskeie temas bevat wat soms nou met mekaar
verweef is. Die intratekstuele analise toon duidelik aan dat, alhoewel die genre van die
Metamorphoses oorwegend dié van die epos is, die bestudeerde episode van Echo en Narcissus
deurentyd baie sterk ooreenkomste openbaar met die liefdeselegie, die genre waardeur Ovidius
aanvanklik bekendheid verwerf het. (Croally & Hyde 2011: 299)
Soos verwag, toon hierdie analise aan dat liefde een van die grootste temas van hierdie narratief in
Metamorphoses 3.339–510 uitmaak. Verwerping, verlies aan liefde en dood maak egter ook ander
groot temas in die narratief uit. Die liefdesvuur wat begin deur die aanskouing (videre) van die
karakter se liefdesvoorwerp, loop ten slotte, ná ’n proses van verlies en lyding, op die dood uit.
Die intertekstuele analise toon dat daar met Barsby (1978: 35) en Luce (1982: 802) saamgestem kan
word dat Ovidius uiters simpatiek met sy karakters omgaan. Dit geld wanneer hulle die gevare en
geheimenisse van die liefde in die gesig staar, en veral waar sy karakters met die onsekerhede van
adolessensie te doen kry. Wat boonop opval, is die feit dat, van al die outeurs wat die Narcissusverhaal
beskryf, dit slegs Ovidius is wat simpatie met die seun en sy fisieke en emosionele lyding
toon, selfs ná alles wat hy ander aangedoen het.
Die ekstratekstuele analise bevestig die gevolgtrekking van die intratekstuele analise wat aandui dat
die temas in hierdie narratief, naamlik identiteit, liefde, verlies en dood, baie nou met mekaar in
verband staan. Verder toon die ekstratekstuele analise aan dat hierdie konsepte as’t ware die
verskillende dele of stadiums van ’n bose en vernietigende proses uitmaak.
Een van die sleutelgevolgtrekkings in hierdie twee analises is dat copia in hierdie narratief in die
Metamorphoses 3.339–510 staan vir die karakter se ‘self’, en dus vir sy of haar identiteit. Met dít in
gedagte, toon die studie dat die voorgestelde hipotese wel bewys is, nl.:
Indien daar in die geval van liefde ’n wanbalans tussen die karakter se ‘self’ en die ‘ander’
ontstaan, veroorsaak die verwerping en/of verlies van/aan liefde (of die karakter se
liefdesvoorwerp), ’n verlies van die karakter se identiteit.
Uit die studie kan dit só verduidelik word: Die wanbalans tussen die karakter se ‘self’ en die
‘ander’veroorsaak dat die karakter sy/haar ‘self’ heeltemal aan die ‘ander’ koppel, met die gevolg
dat die karakter se ‘self’ hom aan die ‘ander’ of liefdesvoorwerp (hetsy dit ’n werklike persoon soos
Echo, of die illusie van ’n weerkaatsende beeld is) oorgee en dit nie meer besit nie. Indien hierdie oorgawe van die karakter se ‘self’/identiteit onbeantwoord bly of verwerp word, veroorsaak dit ’n
onomkeerbare verlies van die karakter se ‘self’ en verloor hy of sy sy of haar identiteit.
Hierdie verlies van die ‘self’ of identiteit van die karakter veroorsaak ’n intens melancholiese
lewenswyse wat die karakter van alle lewenlus ontneem. Die karakter in hierdie toestand wend
gevolglik geen poging aan om hom/haarself te red nie en aanvaar die dood as die enigste
oorblywende uitweg. Nadat hierdie besluit van passiewe selfmoord geneem is, verloor die karakter
sy/haar liggaam en menslike bestaan.
Sleutelterme: Liefde, verwerping, verlies, Ovidius, Metamorphoses, identiteit, self, ander, Echo,
Narcissus, mite, verhaal, illusieThis study confirms that the Metamorphoses contains themes which are often tightly woven
together. The intratextual study indicates that, although the genre of the Metamorphoses is mainly
that of the epic, the episode of Echo and Narcissus investigated consistently shows strong
similarities to the love elegy , the genre that originally established Ovid’s poetic renown (Croally &
Hyde 2011: 299).
As anticipated, this analysis shows that love constitutes one of the important themes of this
narrative in Metamorphoses 3.339–510. Rejection and loss of love are also among the major
themes, as is death. The fire of love which begins at the seeing (videre) of the character’s object of
love ultimately, after a process of loss and suffering, culminates in death.
The intertextual analysis confirms the views of Barsby (1978: 35) and Luce (1982: 802) that Ovid
treats his characters with the utmost sympathy when they face the dangers and mysteries of love,
and especially touching the uncertainties of adolescence. One of the highlights of this analysis is the
revelation that Ovid is the only one of the Narcissus poets who sympathises with the boy and his
physical and emotional suffering, despite everything he has done to others.
The extratextual analysis confirms the findings of the intratextual analysis, which demonstrates that
the themes of this narrative, namely identity, love, loss and death, are closely related to each other,
and that this concept in fact constitutes the various parts or stages of an evil and destructive process.
One of the key findings in these two analyses is that copia stands for the character’s ‘self’ and thus
for his or her identity. With this in mind, the study shows that the proposed hypothesis is proven,
namely:
Regarding love, if an imbalance occurs between the character’s ‘self’ and the ‘other’, the rejection
and/or loss of love (or the character’s love object), causes loss of the character’s identity.
The study explains this phenomenon as follows: The imbalance between the character’s ‘self’ and
‘other’ leads the character to transfer his/her ‘self’ wholly to the ‘other’, resulting in the character’s
‘self’ being surrendered to the ‘other’ or love object (whether this is a real and existing person like
Echo, or an illusion created by a reflected image), and the ‘self’ no longer owns it. If this surrender
of the character’s ‘self’/identity is unrequited or is rejected, it causes an irreversible loss of the
character’s ‘self’ and he/she loses his/her identity.
This loss of the ‘self’ or identity of the character causes an intensely melancholic lifestyle which
deprives the character of all vitality. In this condition the character refuses to take any action to save him/herself, and accepts death as the only remaining refuge. Once ‘passive suicide’ has been
decided on, the character loses his/her body and human existence, i.e. dies.tm2015Ancient LanguagesMAUnrestricte
Three love stories; three caves; three suicides : Aeneas and Dido, Pyramus and Thisbe, Malchus and his ‘wife'
Get PDFThis paper was read at the APECSS conference in St. Petersburg, 9-11 September, 2016.In her commentary on Jerome’s Vita Malchi, in the section called ‘Literary form and
texture’ Gray discusses the existing literature on which Jerome drew in composing Vita
Malchi. She provides a detailed account of the sources and possible influences on
Jerome under the headings Christian literature, biblical quotations and allusions, and
secular literature. In a previous article, I have indicated multiple references and allusions
to both classical sources and the Bible in this work of St Jerome. In this article the
focus falls on a possible allusion to the story of Pyramus and Thisbe, a source which has
not previously been considered amongst the possible influences on Vita Malchi. The
love stories of Aeneas and Dido and Pyramus and Thisbe are compared to and contrasted
with the story of Malchus and his ‘wife’.http://booksandjournals.brillonline.com/content/journals/18177565am2018Ancient Language
Rahab, illa meretrix
Get PDFThis article focuses on the controversial Biblical figure, Rahab, the harlot of Jericho, and especially how the Latin Church fathers saw her. Rahab, whose story is told in the second chapter of the book of Joshua, betrayed her own people by receiving the spies of the enemy into her home and when the city of Jericho collapsed, she and her family were saved. For the Latin Fathers, Rahab was a symbol of the church, and the fact that she and her family were saved also pointed to the inclusion of the gentiles into the church
A translation of the Linnaean dissertation The Invisible World
Get PDFThis study presents the first translation from Latin to English of the Linnaean dissertation Mundus invisibilis or The Invisible World, submitted by Johannes Roos in 1769. The dissertation highlights Linnaeus's conviction that infectious diseases could be transmitted by living organisms, too small to be seen. Biographies of Linnaeus often fail to mention that Linnaeus was correct in ascribing the cause of diseases such as measles, smallpox and syphilis to living organisms. The dissertation itself reviews the work of many microscopists, especially on zoophytes and insects, marvelling at the many unexpected discoveries. It then discusses and quotes at length the observations of Münchhausen suggesting that spores from fungi causing plant diseases germinate to produce animalcules, an observation that Linnaeus claimed to have confirmed. The dissertation then draws parallels between these findings and the contagiousness of many human diseases, and urges further studies of this 'invisible world' since, as Roos avers, microscopic organisms may cause more destruction than occurs in all wars.https://www.cambridge.org/core/journals/british-journal-for-the-history-of-scienceAncient Language
MORBI ARTIFICUM
Get PDFThis study presents the first full translation from Latin to English of the Linnaean dissertation Morbi Artificum or Occupational diseases, submitted by Nicholas Skragge in 1765. It consists of an essay that places the dissertation in historical and scientific context and of the translation. Skragge’s thesis has not only significance in the history of occupational medicine but also provides a perspective on Linnaeus’ thinking on dietetics. Skragge’s doctoral thesis is one of the 186 academic dissertations defended by students of Carl Linnaeus. Prior to the present study, only three of these 186 dissertations have been translated from Latin to English in our own times. The first extensive compendium on occupational diseases by Bernardino Ramazzini, with the title De Morbis Artificum Diatriba, served as a blueprint for Skragge’s thesis. The background for Skragge’s thesis was Linnaeus’ general interest in systematizing objects according to certain norms in biology, which methodology he also applied when classifying diseases in medicine. Also, Linnaeus’ life-long emphasis on the importance of dietetics is evident in the thesis. Finally, in the era when Linnaeus lived (Age of Liberty), Sweden focused greatly on improving the country’s economy. Since trade and industry were prioritized by the state, it was reasonable to map the diseases workers were prone to. Ova studija prvi je potpuni prijevod s latinskog na engleski jezik Linnaeusove disertacije Morbi Artificum ili Profesionalne bolesti koju je Nicholas Skragge podnio 1765. Sastoji se od eseja koji disertaciju smješta u povijesni i znanstveni kontekst te od prijevoda. Skra-ggeova disertacija nije samo značajna za povijest medicine rada već pruža i perspektivu Linnaeusova razmišljanja o dijetetici. Skraggeov doktorski rad jedan je od 186 akademskih disertacija koje su obranili studenti Carla Linnaeusa. Prije ove studije samo su tri diser-tacije od tih 186 prevedene s latinskog na engleski. Prvi opsežan zbornik o profesionalnim bolestima Bernardina Ramazzinija, De Morbis Artificum Diatriba, poslužio je kao nacrt za Skraggeovu disertaciju. Pozadina Skraggeove disertacije bilo je Linnaeusovo opće zanimanje za sistematizaciju objekata prema određenim biološkim normama te metodologija koju je i sam primjenjivao u klasifikaciji bolesti u medicini. U disertaciji je vidljiv i Linnaeusov cje-loživotni naglasak na važnosti dijetetike. Konačno, u doba kada je Linnaeus živio (Doba slobode), Švedska se intenzivno usredotočila na poboljšanje gospodarstva zemlje. Budući da je država dala prednost trgovini i industriji, bilo je vrlo razumno mapirati bolesti kojima su radnici bili skloni
Naming the nameless woman of Jerome’s Vita Malchi
Get PDFOne of the common methods for side-lining women in literature is to leave them nameless. This is the case with the woman in Jerome’s Vita Malchi. However, this woman is also vital to the narrative and the progression of the title character, Malchus. The aim of this study was to assist in giving this important character an identity by examining the many ways in which she is actually named, firstly in terms of the roles assigned to her, and then in terms of the associations that can be made between her and other people and characters from Jerome’s experience. Using a variety of literary techniques, including close-text, intra- and intertextual readings, it was possible to make many such identifications, turning the nameless woman into the nameful woman
The significance of the second cave episode in Jerome’s <i>Vita Malchi</i>
Get PDFThe authors argue that the second cave episode in Jerome’s Vita Malchi Monachi Captivi should, in view of the similarities with the first cave episode and the high incidence of literary devices employed in it, be recognised for its value in the interpretation of this vita. The book was intended as a defence of, and an exhortation to a life of celibacy and this dual purpose is clearly demonstrated in both episodes in which a cave is used as the setting. The second cave episode has been neglected in the scholarly debate about the purpose of the book and this article attempts to set the record straight
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