106), compares Lucian's journey to heaven with " the three stages " of the journey
to Paradise "widely entertained in the East.
to Paradise "widely entertained in the East.
Allinson - Lucian, Satirist and Artist
Pater, in his own bril liant way, works into this chapter the content of the Hermotimus which, although imitated less continuously through the centuries than the Dialogues of the Dead and the True Story,
has been again and again a stimulant to our author's more thoughtful readers. One rather violent change is made by Pater in Lucian 's dramatis personae. Lucian's sixty-year -old
[182]
ARTIST
lucian's creditors and debtors
Stoic undergraduate, who has barely reached the foot-hills of the steep height of Virtue, is turned into an eager beginner in his early youth. This alters the perspective materially but it is done for artistic reasons and we cannot quarrel with
the result in Pater's exquisite setting.
To turn to Andrew Lang's Letters to Dead
Authors, ranging, more widely than Pe trarch's,144 from Homer to Pepys, is to raise the curtain and to watch across the brilliant foot lights of his facetiae the entrances and all too sudden exits of dead actors who still take their unerring cues from life. Into the seven brief pages devoted to " Lucian of Samosata " Lang compacts more that is vital to an understanding of Lucian, more that recalls, to those who al ready know him well, the versatility of his fan tasy than seems credible in so small a compass. Incidentally, the parody on the Sale of Soul Samples is so perfect that one grieves to think that Lucian himself, on receipt of the letter, must fail, from ignorance of the world of to day, to detect all the nuances of delicate satire.
" The literary device of Dialogues of the Dead, that maintained its popularity from Lucian down to Lyttleton, and from Lyttleton up to
[183]
LUCIAN, SATIRIST AND ARTIST
Landor," 145 reappears in altered and much ex panded form in the three hundred pages of Marion Crawford's With the Immortals, but Lucian's ghost gives forth no whisper at the behest of the cold-storage battery installed by Crawford in the outraged Mediterranean. The nearest reminder is the immortal ghost of Heine, happily selected by Crawford as pro tagonist.
The New Lucian, by Henry D. Traill,146 re habilitates with vigour and wit the often ill- used Dialogues of the Dead. The dialogue be tween Lucian and Pascal, so happily paired, is a special contribution to Lucianic study.
Lucian, finally, is not wholly forgotten, even in this industrial twentieth century. Fridtjof Nansen's In Northern Mists (ion) is the work of a scholar as well as a famous explorer. The very frequent use that he makes of Lu cian's True Story, along with other Greek sources, from the Odyssey on, reenforces our conception of Lucian's influence, aside from his familiar place in literature, as an active ele ment through oral tradition in the extension, if not the creation, of popular beliefs concern ing the uncharted mysteries of the physical
world.
[184]
lucian's creditors and debtors
Especially in Chapter rx, entitled "Wine- land the Good," Nansen's metamorphosis of the " Islands of the Blest " and the " Elysian Fields," etc. , into the derivative Germanic Schlaraffenland, and other congeners, is at once a stimulating study in comparative Irish and Scandinavian folk-lore and, what is more to our purpose, furnishes copious parallels for Lu cian's True Story. These details are so numer ous and so striking that Nansen concludes: " It looks as if Lucian's stories had reached Ireland
{e. g. , by Scandinavian travellers or through
long before the Navigatio Brandani was written. "147 If Nansen is right Lucian in the underworld must often have been vexed at having his fantasy thus turned into fact!
Further details might be mentioned. Nansen, in his subsequent volume,148 draws a parallel between the fabulous chasm — the Norse " Gin- nungagap " — and Lucian's most unbridled flight of fancy when his ship, in the True Story, comes suddenly upon the one-thousand-furlong- deep chasm of air dividing the sea.
A nobler work by Lucian, The Charon, is also cited by Nansen, with parallels from the Norse and Germanic tradition, for the essential
[185]
Arabs? )
LUCIAN, SATIRIST AND ARTIST
idea of the " Ferry of Death. " But the vari ants are as striking as the resemblances — the Scandinavian Acheron and Styx are as wide as the North Sea!
As tail-piece to this first quarter of the twen tieth century, we may close with a reference to the Lucianic Dialogue between Socrates in Hades and Certain Men of the Present Day, by W. F. R. Hardie. 149 This is written in Greek more academically flawless than Lucian's. Here De Valera comes off badly when he tries to ex plain to Socrates his notion of " freedom, free to slay herself. " Lloyd George has his atten tion called to his inconsistency in " black guarding landholders, though a farmer him self ":
tovs yfjv exovras XotSopw yeupyds &v.
A Coue patient, like an aspiring horse walking the rollers of an old-time threshing machine, repeats his formula: " I'm growing better every day"
ailv fiekriuv, ^eXrUtiv aiev kixavTOv
ccofxi. re kcli \fsvxyv «Ml xar' ffixap iyd>,
as well he might if he could write such good Greek or would read attentively Lucian's Lie
[186]
lucian's creditors and debtors
Fancier! Satire is still as sanatory in the twen tieth as in the second century. As a part of our " Debt to Greece " it also, like Kipling's Banjo, draws
the world together, link by link: Yea, from Delos up to Limerick and back!
[187]
NOTES AND BIBLIOGRAPHY
NOTES
Grateful acknowledgment of indebtedness for various helpful references is made to Dr. G. Alder Blumer; to Pro fessors J. C. Adams of Yale, Jos. Jastrow of Wisconsin, A. Trowbridge of Princeton; to Director L. E. Rowe of the R. I. School of Design; to the author's colleagues: Professors Clough, Crowell, Hastings, Koopman, and R. M. Mitchell; and also to Professor G. H. Chase and the Fogg Museum, Harvard, and Director B. H. Hill of Athens and the Boston Museum of Fine Arts for their courtesies in ob taining the illustrations. Also to Messrs. Ginn and Co. for permission to use matter in Allinson's Lucian (College Series of Greek Authors).
1. For a different emphasis see the able article " Lucian
the Sophist," by Emily J. Putnam, in Classical Philology,
iv. 162-177 (1909).
2. Cf. M. Croiset, La Vie et les Oeuvres de Lucien, Paris,
1882, p. 390.
3. Op. cit. , p. 393. For detailed illustration of Lucian's
influence see below, Chapter VIII, pp. 130-187.
4. Cf. A. D. Fraser, " The Age of the Extant Columns
of the Olympieium at Athens," in Art Bulletin, iv. (1921). The temple, newly oriented on the Pisistratus site, was be gun by Antiochus Epiphanes but left unfinished at his death in 164 B. C. and finished and dedicated by Hadrian in 131 A. D.
5. Only as a very recherche piece of satire could this be assigned to Lucian.
6. Cf. Franz Cumont, After Life in Roman Paganism, New Haven and London, 1922, p. 17 et passim. See, also, his Astrology and Religion among the Greeks and Romans, New York and London, 1912, p. 53: "It is to their (i. e. , the Greeks') everlasting honour that, amid the tangle of precise observations and superstitious fancies which made
[191]
NOTES
up the priestly lore of the East, they discovered and utilised the serious elements, while neglecting the rubbish. "
7. For such an imaginary banquet at the villa of Atticus, see Roads from Rome, A. C. E. Allinson, New York, 1922,
pp. 104-215-
8. See Suidas, article AovKiavSs; Photius, Biblioth. 128;
Lactantius, Inst, div. , 1. 9; Eunapius, Lives of the Philos ophers, preface — cited and discussed by Croiset, op. cit. , Chapter I.
9. Or by 117 a. d. if bom under the Emperor Trajan as Suidas vaguely asserts. Croiset, op. cit. , pp. 2 and 52, argues for 125 AJ).
10. Harmon's rendering. (See Bibliography. )
11. Pro Lapsu in Salutando, 13. For Lucian's actual cita tion or reminiscences of Latin authors, see below, p. 125
(Chapter VIII).
12. See B. L. Gildersleeve, Essays and Studies, Baltimore,
1890, p. 108, on Lucian's Complete Rhetorician.
13. If we include Asinus, Suit of Sigma against Tau, and
the Syrian Goddess.
14. Text and translation in The Loeb Classical Library
(by A. M. Harmon) will occupy eight vols, when com pleted.
15. M. Croiset (op. cit. ), decides tentatively for 4 or 5 periods: (a) Works written before Lucian's " conversion " from Rhetoric; (b) His first essays in a new genre — under the influence of Middle and New Comedy; (b. 2) The large Menippean group; (c) Maturer products under influence of Old Comedy; (d) Writings of his old age. More arbitrary is the chronological arrangement of P. M. Bolderman, Studia Lucianea, Leyden, 1898: (1) Those before 155 A. D. ; (2) From 155-165 a. d. ; (3) From 165-180 A. D. ; (4) After 180 a. d. This is usefully concrete.
16. Vera Historia, II. 21. 17. Icaromenippus, 18. 18. Dial. Mort. , 21.
19. Juvenal, Sat. , II. 4:
quamquam plena omnia gypso Chrysippi invenias.
[192]
NOTES
20. Apologia, 15. Rohde (see Bibliography), p. 324. 31. See Icaromenippus, 13.
22. Erasmus, for example, see below, page 147.
23. B. L. Gildersleeve, op. cit. , 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.
has been again and again a stimulant to our author's more thoughtful readers. One rather violent change is made by Pater in Lucian 's dramatis personae. Lucian's sixty-year -old
[182]
ARTIST
lucian's creditors and debtors
Stoic undergraduate, who has barely reached the foot-hills of the steep height of Virtue, is turned into an eager beginner in his early youth. This alters the perspective materially but it is done for artistic reasons and we cannot quarrel with
the result in Pater's exquisite setting.
To turn to Andrew Lang's Letters to Dead
Authors, ranging, more widely than Pe trarch's,144 from Homer to Pepys, is to raise the curtain and to watch across the brilliant foot lights of his facetiae the entrances and all too sudden exits of dead actors who still take their unerring cues from life. Into the seven brief pages devoted to " Lucian of Samosata " Lang compacts more that is vital to an understanding of Lucian, more that recalls, to those who al ready know him well, the versatility of his fan tasy than seems credible in so small a compass. Incidentally, the parody on the Sale of Soul Samples is so perfect that one grieves to think that Lucian himself, on receipt of the letter, must fail, from ignorance of the world of to day, to detect all the nuances of delicate satire.
" The literary device of Dialogues of the Dead, that maintained its popularity from Lucian down to Lyttleton, and from Lyttleton up to
[183]
LUCIAN, SATIRIST AND ARTIST
Landor," 145 reappears in altered and much ex panded form in the three hundred pages of Marion Crawford's With the Immortals, but Lucian's ghost gives forth no whisper at the behest of the cold-storage battery installed by Crawford in the outraged Mediterranean. The nearest reminder is the immortal ghost of Heine, happily selected by Crawford as pro tagonist.
The New Lucian, by Henry D. Traill,146 re habilitates with vigour and wit the often ill- used Dialogues of the Dead. The dialogue be tween Lucian and Pascal, so happily paired, is a special contribution to Lucianic study.
Lucian, finally, is not wholly forgotten, even in this industrial twentieth century. Fridtjof Nansen's In Northern Mists (ion) is the work of a scholar as well as a famous explorer. The very frequent use that he makes of Lu cian's True Story, along with other Greek sources, from the Odyssey on, reenforces our conception of Lucian's influence, aside from his familiar place in literature, as an active ele ment through oral tradition in the extension, if not the creation, of popular beliefs concern ing the uncharted mysteries of the physical
world.
[184]
lucian's creditors and debtors
Especially in Chapter rx, entitled "Wine- land the Good," Nansen's metamorphosis of the " Islands of the Blest " and the " Elysian Fields," etc. , into the derivative Germanic Schlaraffenland, and other congeners, is at once a stimulating study in comparative Irish and Scandinavian folk-lore and, what is more to our purpose, furnishes copious parallels for Lu cian's True Story. These details are so numer ous and so striking that Nansen concludes: " It looks as if Lucian's stories had reached Ireland
{e. g. , by Scandinavian travellers or through
long before the Navigatio Brandani was written. "147 If Nansen is right Lucian in the underworld must often have been vexed at having his fantasy thus turned into fact!
Further details might be mentioned. Nansen, in his subsequent volume,148 draws a parallel between the fabulous chasm — the Norse " Gin- nungagap " — and Lucian's most unbridled flight of fancy when his ship, in the True Story, comes suddenly upon the one-thousand-furlong- deep chasm of air dividing the sea.
A nobler work by Lucian, The Charon, is also cited by Nansen, with parallels from the Norse and Germanic tradition, for the essential
[185]
Arabs? )
LUCIAN, SATIRIST AND ARTIST
idea of the " Ferry of Death. " But the vari ants are as striking as the resemblances — the Scandinavian Acheron and Styx are as wide as the North Sea!
As tail-piece to this first quarter of the twen tieth century, we may close with a reference to the Lucianic Dialogue between Socrates in Hades and Certain Men of the Present Day, by W. F. R. Hardie. 149 This is written in Greek more academically flawless than Lucian's. Here De Valera comes off badly when he tries to ex plain to Socrates his notion of " freedom, free to slay herself. " Lloyd George has his atten tion called to his inconsistency in " black guarding landholders, though a farmer him self ":
tovs yfjv exovras XotSopw yeupyds &v.
A Coue patient, like an aspiring horse walking the rollers of an old-time threshing machine, repeats his formula: " I'm growing better every day"
ailv fiekriuv, ^eXrUtiv aiev kixavTOv
ccofxi. re kcli \fsvxyv «Ml xar' ffixap iyd>,
as well he might if he could write such good Greek or would read attentively Lucian's Lie
[186]
lucian's creditors and debtors
Fancier! Satire is still as sanatory in the twen tieth as in the second century. As a part of our " Debt to Greece " it also, like Kipling's Banjo, draws
the world together, link by link: Yea, from Delos up to Limerick and back!
[187]
NOTES AND BIBLIOGRAPHY
NOTES
Grateful acknowledgment of indebtedness for various helpful references is made to Dr. G. Alder Blumer; to Pro fessors J. C. Adams of Yale, Jos. Jastrow of Wisconsin, A. Trowbridge of Princeton; to Director L. E. Rowe of the R. I. School of Design; to the author's colleagues: Professors Clough, Crowell, Hastings, Koopman, and R. M. Mitchell; and also to Professor G. H. Chase and the Fogg Museum, Harvard, and Director B. H. Hill of Athens and the Boston Museum of Fine Arts for their courtesies in ob taining the illustrations. Also to Messrs. Ginn and Co. for permission to use matter in Allinson's Lucian (College Series of Greek Authors).
1. For a different emphasis see the able article " Lucian
the Sophist," by Emily J. Putnam, in Classical Philology,
iv. 162-177 (1909).
2. Cf. M. Croiset, La Vie et les Oeuvres de Lucien, Paris,
1882, p. 390.
3. Op. cit. , p. 393. For detailed illustration of Lucian's
influence see below, Chapter VIII, pp. 130-187.
4. Cf. A. D. Fraser, " The Age of the Extant Columns
of the Olympieium at Athens," in Art Bulletin, iv. (1921). The temple, newly oriented on the Pisistratus site, was be gun by Antiochus Epiphanes but left unfinished at his death in 164 B. C. and finished and dedicated by Hadrian in 131 A. D.
5. Only as a very recherche piece of satire could this be assigned to Lucian.
6. Cf. Franz Cumont, After Life in Roman Paganism, New Haven and London, 1922, p. 17 et passim. See, also, his Astrology and Religion among the Greeks and Romans, New York and London, 1912, p. 53: "It is to their (i. e. , the Greeks') everlasting honour that, amid the tangle of precise observations and superstitious fancies which made
[191]
NOTES
up the priestly lore of the East, they discovered and utilised the serious elements, while neglecting the rubbish. "
7. For such an imaginary banquet at the villa of Atticus, see Roads from Rome, A. C. E. Allinson, New York, 1922,
pp. 104-215-
8. See Suidas, article AovKiavSs; Photius, Biblioth. 128;
Lactantius, Inst, div. , 1. 9; Eunapius, Lives of the Philos ophers, preface — cited and discussed by Croiset, op. cit. , Chapter I.
9. Or by 117 a. d. if bom under the Emperor Trajan as Suidas vaguely asserts. Croiset, op. cit. , pp. 2 and 52, argues for 125 AJ).
10. Harmon's rendering. (See Bibliography. )
11. Pro Lapsu in Salutando, 13. For Lucian's actual cita tion or reminiscences of Latin authors, see below, p. 125
(Chapter VIII).
12. See B. L. Gildersleeve, Essays and Studies, Baltimore,
1890, p. 108, on Lucian's Complete Rhetorician.
13. If we include Asinus, Suit of Sigma against Tau, and
the Syrian Goddess.
14. Text and translation in The Loeb Classical Library
(by A. M. Harmon) will occupy eight vols, when com pleted.
15. M. Croiset (op. cit. ), decides tentatively for 4 or 5 periods: (a) Works written before Lucian's " conversion " from Rhetoric; (b) His first essays in a new genre — under the influence of Middle and New Comedy; (b. 2) The large Menippean group; (c) Maturer products under influence of Old Comedy; (d) Writings of his old age. More arbitrary is the chronological arrangement of P. M. Bolderman, Studia Lucianea, Leyden, 1898: (1) Those before 155 A. D. ; (2) From 155-165 a. d. ; (3) From 165-180 A. D. ; (4) After 180 a. d. This is usefully concrete.
16. Vera Historia, II. 21. 17. Icaromenippus, 18. 18. Dial. Mort. , 21.
19. Juvenal, Sat. , II. 4:
quamquam plena omnia gypso Chrysippi invenias.
[192]
NOTES
20. Apologia, 15. Rohde (see Bibliography), p. 324. 31. See Icaromenippus, 13.
22. Erasmus, for example, see below, page 147.
23. B. L. Gildersleeve, op. cit. , 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.
