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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
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- 27 April 2015, pp ix-xxx
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Rescuing Horace, Pyrrha and Aphra Behn: A Directive
- Rosemary M. Nielsen, Robert H. Solomon
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The question before us at the turn of both century and millennium is how one determines whether Horace is a dangerous love-poet (unrecognised because we read badly). Or a panderer, playing to our delight in the comedy of manners. Or a serious analyst of communication between the sexes—even a prophet for our time. The choice varies from villain to vates, the extremes reminding us how certainly the past exists, as Robert Frost laments in ‘Directive’: ‘Back in a time made simple by the loss/Of detail, burned, dissolved, and broken off,/Like a graveyard marble sculpture in the weather.’
Recently, a Classical scholar, writing about what she termed ‘Horace's detachment as a love poet’, asserted that his readers ‘remain trapped, perhaps by necessity, in male assumptions about desire that they are unable to question.’ She believes that there is a ‘disturbing picture of love and desire’ which critics have missed because we read, almost all of us, with half-closed eyes, ignoring ‘erotic subterfuge’ in the love-odes. We overlook, she insists, ‘the overpowering desire’ of the male ‘poet/lover’ because, in ‘unacknowledged identification’ with Horace, we put on Horatian eyes. This charge raises disquieting questions about distinctions between speaker and poet, persona and historical figure, art and life.
Horace and Hopkins: The Point of Balance in Odes 3.1
- Rosemary M. Nielsen, Robert H. Solomon
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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latter he describes the emotional effect he wanted poems to have upon readers: some poems must, Hopkins asserted, ‘explode’ within the reader. Intensifying the psychological reaction of the readers of literature was one of Hopkins's aims when he created poetry, just as it was a goal when he wrote redactions of the speeches in Shakespeare's tragedies or when he chose from among variant readings for Greek drama. In September 1868, when he entered the priesthood as a Jesuit, Hopkins began a new life of personal intensity and, perhaps to his own surprise, a second poetic career. But a number of poems survived the destruction. One is his translation of Horace's Odes 3.1, the longer of the only two extant translations of complete Latin poems. As with A. E. Housman's sole surviving translation of a Latin ode, Horace's 4.7, this one reveals a profound identification with Horace, a subtle understanding of the original poem, and an intense revelation of the mind of the English writer during the period of translating. The emotional intensity, technical virtuosity and psychological richness of the translation make Hopkins's version of 3.1 a significant poem for scholars of English and classical poetry.
Catullus 9 and 31: The Simple Pleasure
- Rosemary M. Nielsen
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Verani, omnibus e meis amicis
antistans mihi milibus trecentis,
uenistine domum ad tuos penates
fratresque unanimos anumque matrem?
uenisti. o mihi nuntii beati! 5
uisam te incolumem audiamque Hiberum
narrantem loca, facta, nationes,
ut mos est tuus, applicansque collum
iucundum os oculosque suauiabor?
o quantum est hominum beatiorum, 10
quid me Iaetius est beatiusue!
(Catullus 9)
Veranius, whose friendship means more
To me than all the rest —
Can it be true that you've come home?
Home to your aged mother, to the brothers
Who stand as one with you?
You've come! What wonderful news for me!
Will I see you soon, safe and sound?
Will I hear you chatter (for that's your way)
Tales from Spain: its land, exploits and peoples?
When can I hug you, kiss your mouth and eyes?
What man is more blessed or happier than I?
Sophocles’ Ajax: A Matter of Judgment
- Rosemary M. Nielsen
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- Journal:
- Antichthon / Volume 12 / 1978
- Published online by Cambridge University Press:
- 08 May 2015, pp. 18-27
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- 1978
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Ajax is unmatched among the works of Sophocles in its barren, cruel atmosphere and its repulsive view of society. The dominant mood is hatred; sometimes it simply breaks out; but always it is there in language and action. Ajax’ curious emotional appeal to us was noted by earlier critics. ‘Odysseus is the wise man, Odysseus adopts the correct attitude, but it is to Ajax that the heart goes out.’ More recently, Kitto and Knox have modified the conception of an Ajax deserving of our pity. His suffering is largely self-inflicted, and is admirable solely because he labours so fiercely to purge his reputation of the damage caused by his wrongdoing. ‘Ajax had little Wisdom in the handling of his life, and his lack of Wisdom destroyed him, but nevertheless Ajax was magnificent.’ This view typifies the conventional opinion. Knox finds the essential issue to be the inadequacy of the old morality (τούς μέν φίλους εΰ ποιεϊν, τούς δ’ έχϑρούς κακῶς — to help your friends, harm your enemies). Its disadvantages are illustrated in Ajax’ blind retaliation at whatever cost. Knox builds a superb case from the scene where Ajax awakens to the fluctuation of human relationships in his famous soliloquy about the inroads of time (646 ff.). The instinctive resilience and self-control of Odysseus make him the triumphant figure. Indeed, the emergence of these qualities softens and harmonizes a discordant presentation of the hybris-ate motif. ‘The nature of man’s life in time, its instability, is recognized by all three parties, Ajax, Odysseus, the Atridae. The only code of conduct proper to such a vision of the human condition is that of Odysseus, a tolerant and tragic humility.’
Catullus 45 and Horace Odes 3.9: The Glass House
- Rosemary M. Nielsen
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Late in the fifties Munro's long-standing and influential verdict on the Acme and Septimius poem (‘the most charming picture in any language of a light and happy love’) suddenly came under fire. A flurry of scholarly reaction arose, and strangely enough, almost as quickly subsided, to support, then condemn, and finally to modify beyond recognition S. Baker's proposition that Catullus ‘never wrote about love without some irony’. A rehearsal of the various responses to Baker's assessment is especially illustrative both of the particular difficulties in this poem and, more importantly, of the misconceptions which have for years plagued interpretations of the love poetry of Horace as well as Catullus. Indeed, it is fortunate that the frequently observed relationship between Odes 3.9 and its predecessor enables us to examine comprehensively what is symptomatic of general critical approaches to both poets.
Baker's doubt of the idyllic proportions of the love portrait presented in Carmen 45 is certainly not unfounded. However, his arguments in favor of an overriding ironic tension result, if correctly understood, from his conviction that, since elsewhere Catullus cannot ‘speak of love directly and simply for many lines running’, the lovers' bliss is therefore immediately suspect. The poems used in corroboration of this view are nearly all drawn from the so-called Lesbia cycle (2, 5, 7, 51, together with the two epithalamia, 61-62). While in a very restricted sense Catullus' ofttimes exaggerated declaration of passionate love for Lesbia may seem a unifying feature of these pieces, it is incorrect to assume that any single modulation of the love experience is an automatic cipher for all others.
Alcestis: A Paradox in Dying
- Rosemary M. Nielsen
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Euripides' Alcestis presents its audience with a curious problem. Why is a blatant coward rewarded? The answer has usually been discovered in Admetus' scrupulous observance of the law of hospitality (10), that is, in a personal trait. The significance of this solution is important because the ostensible morality of the play, one characterized by its peculiar blend of fairy-tale and harsh reality, is now dependent upon the single redeeming quality of one individual. Conversely, the less attractive features of Admetus, and they exist in varying degrees of unpleasantness, become defensible solely as progressive steps in the testing of his mettle. Impropriety, therefore, functions as the necessary adjunct of anagnorisis and reparation. By contrast, the sacrifice of Alcestis assumes an even more notable proportion; her rescue from the dead appears more an absolute act of justice than a miracle. Nonetheless, by the end of the play doubt still persists concerning the extent to which Admetus has revised his perception of right and wrong, his virtue notwithstanding.
Verrall, at the turn of the century, protested vigorously against just such a pragmatic acceptance of Admetus' philoxenia as a facile explanation. Ironically enough, he inadvertently predicted a trend which was not only to grow, but to become more entrenched. Admetus' saving grace has indeed carried the day. A husband's untoward submission to a wife's substitution; a son's disgraceful argument with his father before the rites of interment; a host's inner crisis as he juggles the respective merits of hospitality versus bereavement; a man's shallow repentance for living at another's expense — in short, each vital turning point in Admetus' private dilemma has received thorough and shrewd analysis, but always through the special refraction of the host motif.