4 for some direct or
indirect
connection with Lucian's Icaromenippus.
Allinson - Lucian, Satirist and Artist
, p.
351.
24. Epitrepontes, 179K, F. G. Allinson in The Loeb Clas sical Library, p. 126.
25. Cf. Franz Cumont, op. cit. , p. 39.
26. See Peregrinus, 11-13.
27. Cataplus or " The Voyage Down. "
28. Interlocutor also in the Cock, see below, p. 101. For
his literary immortality, see below, p. 150.
29. Franz Cumont (op. cit. , p. 106), compares Lucian's journey to heaven with " the three stages " of the journey
to Paradise "widely entertained in the East. " He adds: " A trace of this belief seems to linger " in Saint Paul's ref erence to being " lifted to the third heaven " (2 Corinth. , 12, 2). For the hero carried up to heaven by an eagle in the Persian epic of Firdausi, " an ancestor probably of the eagle in Chaucer's House of Fame," see W. P. Ker, The Dark Ages, New York, 1904, p. 69.
30. See Timon, 10.
31. Also of other post-Aristotelian philosophies. Compare Menander, 549K and 556K, English translation by F. G. Allinson, in The Loeb Classical Library, New York and London, 1021.
32. Philopseudes, or The Maker and Lover of Lies.
33. See below, p. 177, and add St. Patrick's extermination of snakes, etc. , in Ireland, modelled after Lucian.
34. Cf. Franz Cumont, op. cit. , especially pp. 8 and 23.
35. See photographs, fronting page 109, of the coin of Ionopolis (= Abonuteichos, cf. Pape, Griech. Eigennamen, s. v. ) and of the bronze statuette of the snake-god, Glykon, now in the Boston Museum of Fine Arts. See Museum Bulletin, Vol. II. 2, 1904.
36. Compare the curious mechanism found in the excava tions at ancient Corinth by which, as interpreted by Direc tor B. H. Hill of the American School of Classical Studies at Athens, an unseen " prophet " could give oracular answers through a concealed passage.
[193]
NOTES
37. For references see Allinson, Lucian, op. cit. , pp. xv
and 205-6.
38. Odyssey, VII. 115 ft.
39. For further details, obligations to Antonius Diogenes,
and coincidences with the Arabian Nights, see below, p. 124. 40. Unless we assume that it was borrowed, en bloc, from the lost Comedy of Antiphanes, see below, p. 122. See also
pp. 161, 180.
41. See below, pp. 1278.
42. See illustration opposite page 109.
43. For discussion of the testimony of Athenagoras, Phil-
ostratus, Eusebius, and Ammianus Marcellinus, see Allinson, Lucian, op. cit. , pp. 202-204.
44. Sandys (see Bibliography), Vol. I, pp. 320-321, how ever, is inclined to follow the opinion of Hemsterhuis that Lucian does not refer to Pollux.
45. For a happy paraphrase of the untranslatable blun ders, see the version by the Fowlers (see Bibliography).
46. E. g. , The Pseudopurist or Solecist.
47. See Harmon, Lucian, Vol. I, p. 395.
48. For Lucian's use or ridicule of predecessors, see be
low, p. 124, note; for his Vera Historia, see Rohde, p. 196
Bibliography), for his preeminence in parody, cf. Rohde, p. 206, note to 210, for Thule, p. 260; and for Lu cian's relation" to Hesiod, Comedy, etc. , and to the mediaeval Utopias, see The Greek Land of Cockaigne," by Campbell Bonner, Transactions of the American Philological Asso ciation, XLI. 175-185 (1910).
(cf.
49. See, for example, in True Story, II. 28, the mockery of the prophylactic given to Odysseus by Hermes, Od. , X. 288 ff.
50. See below, p. 185, for Nansen's comparison with the Norse " Ginnungagap. "
51. Accepted by Croiset, op. cit. , see pp. 63 and 204; also H. W. Smyth, Greek Dialects, Oxford, 1894, pp- 116-119, for Lucian's Ionism.
52. Translated (expurgated) by E. J. Smith in Selections from Lucian, Harper's, New York, 1892.
53. For pedigree of the " Ass," see The Metamorphoses [194]
NOTES
Ascribed to Lucius of Patrae, by B. F. Perry (Princeton dissertation, ioio). Sandys (op. cit. ), Vol. I, p. 310, ac cepts the Ass as Lucianic, as does Von Christ (cf. Bibliog raphy), 2nd part, 2nd half, p. 736.
54. Cf. , inter alios, the critical panegyric of M. Croiset, op. cit. , pp. 385-389, 291-296, and G. E. B. Saintsbury's verdict: A History of Criticism, Vol. I, p. 150, et passim.
55. Assuming that Antonius lived as early as the first Christian century. For detailed discussion of the extracts from Antonius in Photius: MvpioplpXiov § Bi/SXio0ijk7;, as well as for other sources, from Homer to Theopompus on to Plutarch, and also for traces of far-flung oriental tales, see E. Rohde, pp. 242-250, 260 ff.
56. M. Croiset, op. cit. , p. 70 and note.
57. See, for Lucretius, Franz Cumont, After Life in Ro man Paganism, pp. 8, 9. (Cumont's suggestion might be reenforced by Lucian's own transliteration aaKepdOrts, Alex. , 48), also p. 67 for the obvious rehearsal in Philops. 31, of Pliny's ghost story; for Virgil and the cornel-tree of Aen. iii, see C. S. Jerram: Luciani Vera Historia, Oxford, 1892, 1, 120; and, ibidem, note on V. H. , I. 37 for Juvenal; and note to V. H. , II. 33 for Ovid ; for all of these Roman authors (except Pliny), see H. W. L. Hime, Lucian the Syrian Satirist, London, New York, and Bombay, 1900, Ap pendix, pp. 92-95, i. e. , thirteen parallel passages (some more convincing than others) ; for Ovid, see also Croiset, op. cit. , p. 311; for Tacitus, see Sandys, op. cit. , II, p. 309; for Plautus, cf. Trinummus, Act. iv. , Sc.
4 for some direct or indirect connection with Lucian's Icaromenippus. Also Lu cian's True History, p. 9, by Chas. Whibley, London, 1894.
58. Ars Amat. , II. 687 ff.
59. See Bliimner (cf. Bibliography).
60. E. A. Gardner, A Handbook of Greek Sculpture,
New York and London, 1897, p. 3.
61. For the two types of the Europa story and for An
dromeda with details and citations, see Allinson, op. cit. , p. 185, notes, and pp. 181-184; cf. E. S. Hartland, Legend of Perseus, London, 1894-96.
62. See above, p. 107.
[I9S]
NOTES
63. Madvig's enticing emendation, Piscator, 39, rip, TrrtpurTiv for ri)v ye rparriv.
64. Cf. Forster, p. 18 (sec Bibliography), for Fonzio, Benvenuto Garofalo, Luca, Signorelli; p. 20 for the Alex- ander-Roxana subject; and foil. pp. for many other sug gestions. "
65. For specimens of Holbein's Dance of Death," see frontispiece.
66. The complicated Holbein question is discussed in The (N. Y. ) Nation, Nov. 19, 1903, in a review of a re-issue of
the Bell-Macmillan ed. of the Dance of Death. The origi nal drawings, now accessible, show " that they are by more
. . . " It is demonstrable that the designer
than one hand. "
was not always, and hence possibly not at all, the draughts man for the wood-engraver. " The woodcuts of the original Lyons edition of 1538 should be compared.
67. For details of the Lubeck painting, see p. 19 of the Dance of Death in Painting and Print, by T. Tindall Wild- ridge, London, 1887, an inexpensive illustrated booklet which gives, inter alia, some 30 examples in England, France, Germany and Switzerland of the " Dance of Death " in painting or (occasionally) in sculpture on bridges or in houses, churchyards, and cloisters. For the motif itself,
firmly naturalized in Europe independent of any literary tradition, see the scenes in Death's Jest Book, by Thos. Beddoes (cf. p. 179, below). For its early appearance in literature Rentsch (see Bibliography), p. 25, cites from Thibaut de Marly in the 13th century, thus antedating the passage cited by Wildridge, op. cit. , p. 13, from Piers Plowman (1350).
" 68. See Chapter I, pp. 10-12. See also Hardin Craig, Dryden's Lucian," in Classical Philology, xvi. 141-163
(1921).
69. Cf. Saintsbury, Hist. Criticism, I. 474.
" 70. Cf. Sandys, op. cit. , versus Pauly-Wissowa, article Alciphron. "
71. See W. C. Wright, Phttostratus, Introd. , p. xiv, in The Loeb Classical Library.
J2. Orat. , No. XXV (Teubner text). [196]
NOTES
73. For Libanius, see Introd. , p. 33s, to W. C. Wright'9 edition of Eunapius (The Loeb Class. Libr. ).
74. Cf. J. Rentsch, Das Totengesprdch in der Litteratur, Plauen, 1805, p. 17, note.
75 Lives of the Philosophers and Sophists, ed. at. , The Loeb Classical Lib. , p. 348.
76. See K. Krumbacher (cf. Bibliography), p. 405, § 211 and Rentsch, op. ext. , p. 21.
77. Sandys, op. cit. , I. p. 4gi.
78. Sandys, op. cit. , p. 399.
79. Krumbacher, op. cit. , pp. 526-536, § 219.
80. See detailed resume in Rentsch, op. cit. , pp. 21 ff.
Also see Krumbacher, p. 218, for Psellus as Lucianic pam phleteer.
81. Cf. Krumbacher, op. cit. , pp. 492-495, and Rentsch, op. cit. , p. 22.
82. See Krumbacher, op. cit. , p. 756, §313 (13), and Sandys, op. cit. , I. 410.
83. The content of this dialogue is accessible in Bolder- man's dissertation, see above, note 15, or in Notices et Extraits des Manuscrits de la Bibliothique implriale, 1810,
Art. 37.
84. Cf. F. Schumacher, De Johanne Katrario Luciani
imitatore, Bonn, 1908, who decides for the later dating.
85. Sandys, op. cit. , p. 36.
86. See R. Forster, op. cit. , p. 8. This particular dialogue
had a great vogue among imitators of Lucian.
87. See G. Gregory Smith, The Transition Period, New York, 1900, pp. 140 ft. and pp. 306 and 387; also Forster,
op. cit. , pp. 9, 10.
88. See below, pp. 161, 180, the different conceptions by
Moliere and Bulwer.
89. G. B. E. Saintsbury, Earlier Renaissance, New York,
1901, p. 24, note.
90. Cf. Saintsbury, ibidem, p. 406, and p. 72.
91. Cf. Cicero by J. C.
24. Epitrepontes, 179K, F. G. Allinson in The Loeb Clas sical Library, p. 126.
25. Cf. Franz Cumont, op. cit. , p. 39.
26. See Peregrinus, 11-13.
27. Cataplus or " The Voyage Down. "
28. Interlocutor also in the Cock, see below, p. 101. For
his literary immortality, see below, p. 150.
29. Franz Cumont (op. cit. , p. 106), compares Lucian's journey to heaven with " the three stages " of the journey
to Paradise "widely entertained in the East. " He adds: " A trace of this belief seems to linger " in Saint Paul's ref erence to being " lifted to the third heaven " (2 Corinth. , 12, 2). For the hero carried up to heaven by an eagle in the Persian epic of Firdausi, " an ancestor probably of the eagle in Chaucer's House of Fame," see W. P. Ker, The Dark Ages, New York, 1904, p. 69.
30. See Timon, 10.
31. Also of other post-Aristotelian philosophies. Compare Menander, 549K and 556K, English translation by F. G. Allinson, in The Loeb Classical Library, New York and London, 1021.
32. Philopseudes, or The Maker and Lover of Lies.
33. See below, p. 177, and add St. Patrick's extermination of snakes, etc. , in Ireland, modelled after Lucian.
34. Cf. Franz Cumont, op. cit. , especially pp. 8 and 23.
35. See photographs, fronting page 109, of the coin of Ionopolis (= Abonuteichos, cf. Pape, Griech. Eigennamen, s. v. ) and of the bronze statuette of the snake-god, Glykon, now in the Boston Museum of Fine Arts. See Museum Bulletin, Vol. II. 2, 1904.
36. Compare the curious mechanism found in the excava tions at ancient Corinth by which, as interpreted by Direc tor B. H. Hill of the American School of Classical Studies at Athens, an unseen " prophet " could give oracular answers through a concealed passage.
[193]
NOTES
37. For references see Allinson, Lucian, op. cit. , pp. xv
and 205-6.
38. Odyssey, VII. 115 ft.
39. For further details, obligations to Antonius Diogenes,
and coincidences with the Arabian Nights, see below, p. 124. 40. Unless we assume that it was borrowed, en bloc, from the lost Comedy of Antiphanes, see below, p. 122. See also
pp. 161, 180.
41. See below, pp. 1278.
42. See illustration opposite page 109.
43. For discussion of the testimony of Athenagoras, Phil-
ostratus, Eusebius, and Ammianus Marcellinus, see Allinson, Lucian, op. cit. , pp. 202-204.
44. Sandys (see Bibliography), Vol. I, pp. 320-321, how ever, is inclined to follow the opinion of Hemsterhuis that Lucian does not refer to Pollux.
45. For a happy paraphrase of the untranslatable blun ders, see the version by the Fowlers (see Bibliography).
46. E. g. , The Pseudopurist or Solecist.
47. See Harmon, Lucian, Vol. I, p. 395.
48. For Lucian's use or ridicule of predecessors, see be
low, p. 124, note; for his Vera Historia, see Rohde, p. 196
Bibliography), for his preeminence in parody, cf. Rohde, p. 206, note to 210, for Thule, p. 260; and for Lu cian's relation" to Hesiod, Comedy, etc. , and to the mediaeval Utopias, see The Greek Land of Cockaigne," by Campbell Bonner, Transactions of the American Philological Asso ciation, XLI. 175-185 (1910).
(cf.
49. See, for example, in True Story, II. 28, the mockery of the prophylactic given to Odysseus by Hermes, Od. , X. 288 ff.
50. See below, p. 185, for Nansen's comparison with the Norse " Ginnungagap. "
51. Accepted by Croiset, op. cit. , see pp. 63 and 204; also H. W. Smyth, Greek Dialects, Oxford, 1894, pp- 116-119, for Lucian's Ionism.
52. Translated (expurgated) by E. J. Smith in Selections from Lucian, Harper's, New York, 1892.
53. For pedigree of the " Ass," see The Metamorphoses [194]
NOTES
Ascribed to Lucius of Patrae, by B. F. Perry (Princeton dissertation, ioio). Sandys (op. cit. ), Vol. I, p. 310, ac cepts the Ass as Lucianic, as does Von Christ (cf. Bibliog raphy), 2nd part, 2nd half, p. 736.
54. Cf. , inter alios, the critical panegyric of M. Croiset, op. cit. , pp. 385-389, 291-296, and G. E. B. Saintsbury's verdict: A History of Criticism, Vol. I, p. 150, et passim.
55. Assuming that Antonius lived as early as the first Christian century. For detailed discussion of the extracts from Antonius in Photius: MvpioplpXiov § Bi/SXio0ijk7;, as well as for other sources, from Homer to Theopompus on to Plutarch, and also for traces of far-flung oriental tales, see E. Rohde, pp. 242-250, 260 ff.
56. M. Croiset, op. cit. , p. 70 and note.
57. See, for Lucretius, Franz Cumont, After Life in Ro man Paganism, pp. 8, 9. (Cumont's suggestion might be reenforced by Lucian's own transliteration aaKepdOrts, Alex. , 48), also p. 67 for the obvious rehearsal in Philops. 31, of Pliny's ghost story; for Virgil and the cornel-tree of Aen. iii, see C. S. Jerram: Luciani Vera Historia, Oxford, 1892, 1, 120; and, ibidem, note on V. H. , I. 37 for Juvenal; and note to V. H. , II. 33 for Ovid ; for all of these Roman authors (except Pliny), see H. W. L. Hime, Lucian the Syrian Satirist, London, New York, and Bombay, 1900, Ap pendix, pp. 92-95, i. e. , thirteen parallel passages (some more convincing than others) ; for Ovid, see also Croiset, op. cit. , p. 311; for Tacitus, see Sandys, op. cit. , II, p. 309; for Plautus, cf. Trinummus, Act. iv. , Sc.
4 for some direct or indirect connection with Lucian's Icaromenippus. Also Lu cian's True History, p. 9, by Chas. Whibley, London, 1894.
58. Ars Amat. , II. 687 ff.
59. See Bliimner (cf. Bibliography).
60. E. A. Gardner, A Handbook of Greek Sculpture,
New York and London, 1897, p. 3.
61. For the two types of the Europa story and for An
dromeda with details and citations, see Allinson, op. cit. , p. 185, notes, and pp. 181-184; cf. E. S. Hartland, Legend of Perseus, London, 1894-96.
62. See above, p. 107.
[I9S]
NOTES
63. Madvig's enticing emendation, Piscator, 39, rip, TrrtpurTiv for ri)v ye rparriv.
64. Cf. Forster, p. 18 (sec Bibliography), for Fonzio, Benvenuto Garofalo, Luca, Signorelli; p. 20 for the Alex- ander-Roxana subject; and foil. pp. for many other sug gestions. "
65. For specimens of Holbein's Dance of Death," see frontispiece.
66. The complicated Holbein question is discussed in The (N. Y. ) Nation, Nov. 19, 1903, in a review of a re-issue of
the Bell-Macmillan ed. of the Dance of Death. The origi nal drawings, now accessible, show " that they are by more
. . . " It is demonstrable that the designer
than one hand. "
was not always, and hence possibly not at all, the draughts man for the wood-engraver. " The woodcuts of the original Lyons edition of 1538 should be compared.
67. For details of the Lubeck painting, see p. 19 of the Dance of Death in Painting and Print, by T. Tindall Wild- ridge, London, 1887, an inexpensive illustrated booklet which gives, inter alia, some 30 examples in England, France, Germany and Switzerland of the " Dance of Death " in painting or (occasionally) in sculpture on bridges or in houses, churchyards, and cloisters. For the motif itself,
firmly naturalized in Europe independent of any literary tradition, see the scenes in Death's Jest Book, by Thos. Beddoes (cf. p. 179, below). For its early appearance in literature Rentsch (see Bibliography), p. 25, cites from Thibaut de Marly in the 13th century, thus antedating the passage cited by Wildridge, op. cit. , p. 13, from Piers Plowman (1350).
" 68. See Chapter I, pp. 10-12. See also Hardin Craig, Dryden's Lucian," in Classical Philology, xvi. 141-163
(1921).
69. Cf. Saintsbury, Hist. Criticism, I. 474.
" 70. Cf. Sandys, op. cit. , versus Pauly-Wissowa, article Alciphron. "
71. See W. C. Wright, Phttostratus, Introd. , p. xiv, in The Loeb Classical Library.
J2. Orat. , No. XXV (Teubner text). [196]
NOTES
73. For Libanius, see Introd. , p. 33s, to W. C. Wright'9 edition of Eunapius (The Loeb Class. Libr. ).
74. Cf. J. Rentsch, Das Totengesprdch in der Litteratur, Plauen, 1805, p. 17, note.
75 Lives of the Philosophers and Sophists, ed. at. , The Loeb Classical Lib. , p. 348.
76. See K. Krumbacher (cf. Bibliography), p. 405, § 211 and Rentsch, op. ext. , p. 21.
77. Sandys, op. cit. , I. p. 4gi.
78. Sandys, op. cit. , p. 399.
79. Krumbacher, op. cit. , pp. 526-536, § 219.
80. See detailed resume in Rentsch, op. cit. , pp. 21 ff.
Also see Krumbacher, p. 218, for Psellus as Lucianic pam phleteer.
81. Cf. Krumbacher, op. cit. , pp. 492-495, and Rentsch, op. cit. , p. 22.
82. See Krumbacher, op. cit. , p. 756, §313 (13), and Sandys, op. cit. , I. 410.
83. The content of this dialogue is accessible in Bolder- man's dissertation, see above, note 15, or in Notices et Extraits des Manuscrits de la Bibliothique implriale, 1810,
Art. 37.
84. Cf. F. Schumacher, De Johanne Katrario Luciani
imitatore, Bonn, 1908, who decides for the later dating.
85. Sandys, op. cit. , p. 36.
86. See R. Forster, op. cit. , p. 8. This particular dialogue
had a great vogue among imitators of Lucian.
87. See G. Gregory Smith, The Transition Period, New York, 1900, pp. 140 ft. and pp. 306 and 387; also Forster,
op. cit. , pp. 9, 10.
88. See below, pp. 161, 180, the different conceptions by
Moliere and Bulwer.
89. G. B. E. Saintsbury, Earlier Renaissance, New York,
1901, p. 24, note.
90. Cf. Saintsbury, ibidem, p. 406, and p. 72.
91. Cf. Cicero by J. C.
