, The Loeb
Classical
Lib.
Allinson - Lucian, Satirist and Artist
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. Rolfe, in the Series, Our Debt to
Greece and Rome, pp. 137 ft.
92. His strictures upon a previous (unnamed) translator,
see Epistles, ed. by Nichols (cf. Bibliography), Vol. I, 408, [197]
NOTES
are interesting in connection with the Shakespeare tradition. He is certainly not referring to Boiardo's II Timone, see above, p. 142.
93. Cf. Epistles, op. cit. , II. p. 49.
94. Epistles, cccclxiii.
95- Cf. J. A. Froude, Life and Letters of Erasmus, New
York, 1896, p. 220.
96. Epistle to the Bishop of Chartres, No. 179, Nichols,
op. cit. , I. p. 415.
97. Cottoq. , No. xiii, ed. London, 1725, L'Estrange (Thos.
Brown), p. 199: "This story . . . outdoes Menander's Phasma. "
98. Cottoq. , vii, op. cit.
99. Colloq. , Patrick's ed. , London, 1750, p. 380.
100. Cf. Froude, op. cit. , pp. 81 ff.
101. Froude, op. cit. , p. 86. See Nichols, op. cit. , I. p. 404, who corrects Froude's error, op. cit. , p. 300, in attributing to Erasmus this letter by More. This somewhat distorts Froude's estimate.
102. See Saintsbury, Earlier Renaissance, p. 86.
103. Holbein illustrated More's Utopia as well as Eras mus's Encomium Moriae.
104. Cf. Saintsbury, Earl. Ren. , p. 92.
105. See Saintsbury, Earl. Ren. , p. 81 and pp. 99, 100 for resume. See also Forster, op. cit. , p. 14, where Pirckheimer is accepted as the author.
106. For a good, if nationalistic, account of their contri butions, see Forster, op. cit. , where Erasmus, however, is nonchalantly listed (p. 7) as a German! For Erasmus's attitude to his own (Dutch) language and his own state ment that he did not even understand German, see Nichols, I. p. 153, and Froude, op. cit. , p. 306.
107. See Rentsch, op. cit.
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. Rolfe, in the Series, Our Debt to
Greece and Rome, pp. 137 ft.
92. His strictures upon a previous (unnamed) translator,
see Epistles, ed. by Nichols (cf. Bibliography), Vol. I, 408, [197]
NOTES
are interesting in connection with the Shakespeare tradition. He is certainly not referring to Boiardo's II Timone, see above, p. 142.
93. Cf. Epistles, op. cit. , II. p. 49.
94. Epistles, cccclxiii.
95- Cf. J. A. Froude, Life and Letters of Erasmus, New
York, 1896, p. 220.
96. Epistle to the Bishop of Chartres, No. 179, Nichols,
op. cit. , I. p. 415.
97. Cottoq. , No. xiii, ed. London, 1725, L'Estrange (Thos.
Brown), p. 199: "This story . . . outdoes Menander's Phasma. "
98. Cottoq. , vii, op. cit.
99. Colloq. , Patrick's ed. , London, 1750, p. 380.
100. Cf. Froude, op. cit. , pp. 81 ff.
101. Froude, op. cit. , p. 86. See Nichols, op. cit. , I. p. 404, who corrects Froude's error, op. cit. , p. 300, in attributing to Erasmus this letter by More. This somewhat distorts Froude's estimate.
102. See Saintsbury, Earlier Renaissance, p. 86.
103. Holbein illustrated More's Utopia as well as Eras mus's Encomium Moriae.
104. Cf. Saintsbury, Earl. Ren. , p. 92.
105. See Saintsbury, Earl. Ren. , p. 81 and pp. 99, 100 for resume. See also Forster, op. cit. , p. 14, where Pirckheimer is accepted as the author.
106. For a good, if nationalistic, account of their contri butions, see Forster, op. cit. , where Erasmus, however, is nonchalantly listed (p. 7) as a German! For Erasmus's attitude to his own (Dutch) language and his own state ment that he did not even understand German, see Nichols, I. p. 153, and Froude, op. cit. , p. 306.
107. See Rentsch, op. cit.
