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A commentary on selected elegies of Propertius.
(1984) Lambert, Michael.
Standard commentaries on the elegies of Propertius tend either to ignore or to pay curt lip service to literary criticism. Linguistic and textual problems are often discussed, translations of difficult passages and explanations of logical transitions are sometimes offered, parallel passages are frequently cited, allusions and exempla are usually explained and occasional reference is made to metrical and stylistic devices. The possible background situations to the elegies are often ignored or inadequately explored; exempla are rarely interpreted within the context of the poem as a whole, the rich resonance of Propertius' style, language and imagery is hardly ever appreciated and the technique of line-by-line commentary adopted by all standard commentaries tends to dismantle the poem into a number of component parts, a process which often obscures the overall 'message' or point of the poem and blunts its impact. Consequently, I have chosen the running commentary format for this thesis, in the belief that this format (with extensive use of footnotes) more adequately enables the literary critic to interpret the multi-faceted complexity of Propertius' elegies without destroying the poem's coherence or losing sight of its overall point. Introductory essays are provided before each commentary: these deal with major problems raised by the poem, discuss other critical opinions without paying too much attention to the more lunatic theories, provide a general estimate of the poem and prepare the way for the running commentaries, which offer a detailed appreciation of the elegy. Five elegies (1.2; 1.20; 2.2; 2.26A; 2.29A) have been selected for literary analysis. Each of these poems is characterised by a complex and varied use of mythology, and I have attempted to demonstrate that the exempla are not merely decorative baubles designed to show off the poet's doctrina but are an integral part of the poem, reflecting the poem's central themes and issues. Furthermore, all the elegies reveal Propertius' imaginative, sophisticated, elegant, versatile and often witty approach to love. For the purpose of this thesis, I have used the text of W.A. Camps (Cambridge, Book I 1961, Book II 1967). Textual problems have not been ignored but such are their number and complexity in Propertius that I decided that detailed textual criticism was beyond the scope of this commentary. In addition to this, because of the highly subjective and often controversial nature of some aspects of literary criticism, I have frequently used tentative expressions such as 'might', 'perhaps' and 'seems'. Such expressions also avoid the pitfalls of the historical/documentary fallacy.
Azania - some etymological considerations.
(Classical Association of South Africa., 1992) Hilton, John Laurence.
There have been a number of attempts to establish an etymology for the name Azania. Liddell and Scott offer the derivation 'land of Zan or Zeus', Casson suggests that Azania has the same root as Zanzibar, and that this root had the meaning 'black'. Huntingford argues that the name derives from the Greek 'to dry, parch up'. Finally, Dreyer points out that the Afro-Asiatic languages of north-east Africa have a word meaning 'brother' which may have given rise to the name. Liddell and Scott's derivation refers to Azania in Arcadia, whereas the others refer to a region in north-east Africa. This article investigates these derivations and goes on to ask whether the use of the same name for the Arcadian and the African Azania is a coincidence or not.
Peoples of Azania.
(University of Otago., 1993) Hilton, John Laurence.
The name Azania, referring to North-East Africa, has long been used for a wide range of political and ideological ends. Modern interpretations given to the name are typically based more on current concerns than on the complex and long-standing relationship between the people of the region and the inhabitants of the Mediterranean basin and its environs.
Cohesion in Latin.
(Taylor & Francis., 1993) Hilton, John Laurence.
This article discusses ancient and modern concepts of textual coherence and in Latin. A number of ideas about the degree of cohesion in the letters of Cicero, compared with those of Seneca and Pliny are discussed. The article shows that Seneca and Pliny make more use of asyndeton within the sentence than Cicero, and undertakes a statistical analysis of coordinate and subordinate connectors in a selected corpus of texts. This analysis gives a reliable indication of the degree of cohesion in the corpus.
Psychiatry and the plays of Euripides.
(1994) Hift, Walter.; Mackay, E. Anne.
In this study, the nineteen extant plays of Euripides are reviewed from a psychiatric point of view. This has not been done before, as few classicists have an intimate knowledge of modern psychology and psychiatry, and few psychiatrists have the requIsIte classIcal background. Two major areas of interest emerge: l.(a) The clinical descriptions of major psychiatric disorders found in some of these plays are astonishingly accurate by modern standards. The main examples are to be found in the Herakles (epilepsy), Hekabe (manic-depressive disease), Orestes (paranoia) as well as in some of the minor characters in other plays, particularly Kassandra (Troades, hysteria), Andromache (Troades, anankastic personality), Helene (Troades, histrionic-narcissistic personality), Hermione (Andromache, parasuicide), Euadne (Hiketides, schizophrenia). l.(b) Equally good descriptions can be found of characters which could nowadays not be regarded as suffering from a mental "disease" but are decidedly unusual and within the field of psychiatric endeavour. They are the main characters of the Medeia, Elektra and Hippolytos. l.(c) The remainder of the plays, with the exceptions of the Kyklops and the Rhesos which are discussed separately, contain astonishingly modern studies of the psychological motivation of ordinary people. These are the phenomena of role playing (Alkestis), ambivalence and the causes of irrational behaviour (Iphigeneia among the Taurians) , the morality of slogans (Herakleidai), the fight for social status (Andromache), guilt feelings (Phoinissai) , the causes of violence and war (Hike tides), the basic psychology of politics (lphigenia in Aulis), the contrast of religious and everyday morality (Helene), the adolescent's struggle for social and religious integration (Ion) and the search for social and religious integration in the adult (Bakchai). 2. Based on the above it is proposed that Euripides' main interest in writing his plays was in the search for human motivation: why do people behave in the (often ridiculous) way in which they do? In this he differs from Aischylos and also from the ideas of Aristotle. The main interest of the thesis lies in the way that when the plays are viewed from this angle virtually all the passages which have been severely criticised in the past suddenly make perfect sense. Many parts of the plays have been dubbed inept, irrelevant, contradictory or put in for effect only. Seen from the psychiatric point of view they all fulfil vital functions in their respective plays. Choral odes are not detached embolima; epilogues really solve the psychological problems of the play; humorous, patriotic, xenophobic and sophistic passages all have their reasons. Where there are contradictions they invariably arise from the fact that different characters have different approaches, or frequently the same character is torn between two possible approaches. Euripides himself hardly ever makes a definite statement but allows his characters to put forward the various points of view and the audience is invited to judge. In the process the audience itself often becomes the butt of the playwright's condemnation for they are frequently inveigled by this past master of deceit into adopting a premature stance on various issues which is later shown to be foolish, immoral or plain ridiculous.
The role of discourse and lexical meaning in the grammaticalisation of temporal particles in Latin.
(Vandenhoeck & Ruprecht., 1997) Hilton, John Laurence.
No abstract available.
A novel compendium.
(University of Otago., 1997) Hilton, John Laurence.
No abstract available.
The meaning of antitheos (HLD. 4.7.13) again.
(Classical Association of South Africa., 1997) Hilton, John Laurence.
No abstract available.
Honour and revenge : a study of the role of honour in Euripides' Medea and Hippolytus with reference to a selection of contemporary societies.
(1998) Barrett, Deborah.; Lambert, Michael.
My purpose in this study is twofold. Firstly, I intend to examine the existence of honour in Greek society by an analysis of its presentation in works of Greek literature. In order to achieve this, I shall first examine the values of the Homeric, heroic society so that a picture of the code of honour that was used in those times, might be established. This code of honour provided the foundation upon which later honourable behaviour was based and from which it grew; it is, therefore, a necessary addition in a study such as this. Then, I shall proceed to a study of Euripides' Medea and Hippolytus, two plays that firmly incorporate the motif of honour and revenge. Secondly, I intend to examine a few examples of modern societies. The purpose of this is to ascertain whether any relationship between archaic, classical and contemporary cultures can be established. Shared values and beliefs will be examined in order to determine any possible similarities between cultures and societies that are chronologically separated by hundreds of years.
An Ethiopian paradox : Heliodorus, Aithiopika 4.8.
(Cambridge Philological Society., 1998) Hilton, John Laurence.
No abstract available.
A commentary on books 3 and 4 of the Ethiopian story of Heliodorus.
(1998) Hilton, John Laurence.; Kytzler, Bernhard.; Mackay, Anne.
The thesis consists of an introduction to and commentary on books 3 and 4 of the Ethiopian Story of Heliodorus. The introduction explores the meagre evidence for the life of the author, and concludes that he was probably a Phoenician living in the Syrian city of Emesa. The nature of the personal relationship between Heliodorus and the cult of the sun, mentioned explicitly in the final sentence of the romance, is discussed but must remain inconclusive. References to Helios in the romance are shown to be largely literary rather than programmatically religious. The narrative context surrounding the encounter between the hero and heroine of the story and the latter's strange birth, which constitutes the true opening of the romance, are investigated particularly closely. The possibility that the author represented his heroine, paradoxically born white to the black king and queen of Ethiopia, as what would today be termed an albino, is analysed, and the literary and cultural implications of this evaluated. Comparative anthropological studies of this hereditary condition in a variety of cultures show a strong connection with religious cults of the sun, while the internal evidence in the romance (particularly the heroine 's miraculous birth, the constrained sexuality of the hero and heroine, and the high degree of cultural alienation in the work) further corroborate this argument. The introduction also reviews the evidence for the date of the romance, such as the extent of the author's knowledge of the contemporary kingdoms of Axum and Meroe, his use of words and linguistic forms that were prevalent in the fourth century, the traces of Christian doctrines in the romance, the comparison between the sieges of Syene and Nisibis, and the similarity between the account of the triumphal procession of Aurelian in Vopiscus' biography of the emperor and the presentation of ambassadors to Hydaspes. This survey shows that there are strong arguments for the fourth century date for the romance. The introduction concludes with a brief survey of the language and style of Heliodorus. The commentary provides detailed discussion of key passages for the interpretation of the author's narratological strategy, with particular regard to the role of Kalasiris in the plot. Other substantial notes look at the author's treatment of the conventions of romance , his ironical use of the superstition of the 'evil eye', his subtle characterisation, and his use of literary topoi. The thesis concludes with appendices on the intertextual relationship between the Homeric epics and the Ethiopian Story, the significance of the word uvn6Eoc;, and the 'amphibolies', or double explanations for events in the narrative.
Mask or mirror? : a study of Juvenal's Satires as a reflection of authorial personality and perspective.
(1999) Tennant, Peter Michael Wellesley.; Dominik, William.
This study aims to present Juvenal's Satires as a whole as the fundamentally coherent and plausible product of the author's own personality, convictions and circumstanceswhere the latter may be reasonably inferred. It therefore questions the view that the dichotomy which the persona theory creates between the author and his notional 'speaker' provides the basis for a better insight into Juvenal's Satires. There is no compelling reason to reject the impression that in his earlier Books Juvenal was genuinely writing from the standpoint of a disaffected client; and an examination of the Epigrams of Juvenal's contemporary, Martial, suggests that complaints of paupertas should not be dismissed as a merely conventional literary facade. Juvenal's own resentment as a neglected dependant and his contempt for the corrupt Roman elite give the first three Books their basic coherence. However, while Satires 7, 8 and 9 are not characterised to the same extent by the strident invective which is the hallmark of the earlier poems, the notion that the image of the 'indignant' satirist is deliberately abandoned, albeit tentatively, after Book 2 is less convincing , if one gives due weight to the types of themes treated in the third Book and to the nature of the satirical vehicle used in each instance. Juvenal's empathy with the plight of the neglected intellectuals in Satire 7 and his condemnation of the effete and corrupt elite in Satires 8 and 9 are clear and forthright: the shift in satirical technique away from aggressive invective towards a more analytical treatment of the themes in Satires 7 and 8, as indeed befits the subject matter, and towards wryly ironic 'humour in the sordid dialogue with Naevolus in Satire 9 are not to be interpreted as the manifestation of a refashioned authorial persona. The importance of theme as a major determinant of the satirical method or technique employed is equally evident in the fourth Book. Here, the themes lend themselves, in general, to a more consistently didactic approach, reminiscent of Horace's Sermones. From the outset of Book 1, Juvenal focuses perSistently on avaritia, in all its manifestations, as a root cause of the malaise in Roman society; and this vice continues to playa dominant role in Book 3 (particularly in Satires 7 and 9). Not only does avaritia come under further attack in Satires 11 , 12 and 13, but the prominence given to it in Satire 14 provides cogent evidence of the extent to which the satirist is preoccupied with this most pernicious of social evils. These poems also illustrate the fact that, even when Juvenal adopts a more didactic or reflective approach, his urge towards acerbic satire is far from suppressed; and, as in the cases of Satires 7 and 8, he shows his predilection for using ostensibly positive themes as platforms for attacks on vice and depravity. Similarly. when other themes congenial to his prejudices and convictions present themselves - such as an appalling act of barbarism perpetrated by the Egyptians - that urge can readily find expression through the poet's innate propensity towards ira and indignatio. Furthermore, Books 4 and 5 provide ample evidence of the very qualities which characterize the so-called 'angry' satirist of the first two Books: vigorous and persistent denunciation of contemporary greed and other vices, strong moral convictions, brooding pessimism and cynicism and , not least, an acerbic wit and a genius for crafting powerfully evocative images. The evidence is tenuous, but sufficient to suggest that the shifts in tone and focus in Books 4 and 5 could also be attributed , in part, to Juvenal's circumstances and state of mind at that time. In Satires 10-14 Juvenal shows a particular interest in the Epicurean virtue of tranquillitas. This is perhaps to be attributed to a realization that angry protests could effect no real changes for the better and that some solace could be derived from a more detached perspective, and to the comforting conviction that ultimately wickedness finds its nemesis in the torture of a guilty conscience. For one steadfastly convinced that he lived in an age of unsurpassed and incorrigible vice, in which the gods were apparently ineffectual, it was probably both satisfying and logical to cultivate such a perspective. One should also not lose sight of the fact that the poet's age could well have contributed to shifts of both attitude and interest. Satire 15 provides strong corroboration of the view that Juvenal's personality and attitudes remain basically consistent and that theme is a major determinant of the satirical manner adopted. The merciless attack on the Egyptians is not to be seen as a consciously contrived return to the 'old style' or, more fancifully, as an exercise in selfii mockery. Rather, it is clear proof that Juvenal has not forsaken his inherently aggressive xenophobia, which was so prominent in Books 1 and 2. Similarly, what remains of Satire 16 suggests the same character traits which are so powerfully conveyed in the first Satire. Thatone can still feel the presence of the bitter and acerbic pessimist of that first Satire is not the effect of calculated mask-changing , but a further indication that the Satires as a whole should be seen as a reflection of the author's own personality and perspective.
The Roman-Dutch law of evidence at the Cape.
(University of Otago., 2001) Hilton, John Laurence.
No abstract available.
The dream of Charikles (4.14.2) : intertextuality and irony in the Ethiopian story of Heliodorus.
(Classical Association of South Africa., 2001) Hilton, John Laurence.
There are strong but previously unnoticed intertextual links between the dream of Charikles in Heliodorus (4.14.2), the portent of the eagle in Achilles Tatius (2.12.1-3), and the dream of Penelope in Homer (Od. 19.535-69). The allusion to Achilles Tatius' Leukippe and Kleitophon may have alerted Heliodorus' readers to the approach of an important turning-point in the plot, but it is the Homeric link that is the primary focus. The dream of Penelope provides moral underpinning for marriage in the Aithiopika and helps to underline the complex ironies in Heliodorus' narrative at this crucial turning-point in the plot.
From marriage comes virgin flesh : a comparison between classical male and Christian male perceptions of female sexuality with the advent of Christianity in the Roman Empire in the first four centuries AD.
(2002) Haskins, Susan Louise.; Hilton, John Laurence.
From the first to the fourth century AD, male perceptions of female sexuality underwent a radical change with the advent of Christianity. This thesis is an investigation into classical male and Christian male perceptions of female sexuality, to determine the manner and extent to which this change in perceptions took place. The investigation will be two-fold, studying both the laws that established these perceptions, as well as representations of female sexuality within specific, subjective male-authored texts. A study of the marriage legislation of Augustus and a male writer of the early Empire, Apuleius, shows an underlying pattern of thought, or paradigm, of female sexuality among classical males. Female sexuality was perceived as existing for the sole purpose of procreation, and males in positions of authority thought that it needed to be under male control in order to ensure acceptable sexual behaviour. They believed this would be best achieved by situating it under the authority of the family. With the advent of Christianity, however, a new competing paradigm on female sexuality emerged, which challenged the perceptions of men of the classical era. The church fathers spurned the classical view of female sexuality by instead advocating lifelong celibacy. They too, believed female sexuality had to be controlled, but they placed it under the authority of the church, and outside the family. Since the basis of the classical and Christian patterns of thought differed so markedly, especially when the Christian paradigm was first being formulated in the second century, it was inevitable that they would come into " conflict. Advocates of the classical paradigm tried to suppress Christianity by persecuting its supporters. Some Christian women became victims of this conflict. This thesis will also include an example of this conflict - the martyrdom of the female Christian Perpetua, who left a record of her persecution in the form of a diary. The conversion of the Emperor Constantine to Christianity in the fourth century brought about the end of the conflict ana a victory for the Christian paradigm. The church fathers suggest that the shift from classical to Christian was total and complete. However, closer examination of Constantine's legislation and the work of the influential church father Jerome shows that while this shift was complete in theory, it did not extend very far into social and legal practice. Although the Christian ideals of the church fathers were a major component of thenew paradigm, it also came to be composed of classical notions - now motivated by Christian thought - that were held by Constantine and the upper classes. It was these classical notions that shaped the social reality of life in the fourth century AD. The nature and extent of the paradigm shift was therefore radical and far-reaching in theory, but not in practice.
Chanting the song of sorrow : threnody in Homer and Zakes Mda.
(Taylor & Francis., 2003) Steinmeyer, Elke Gisela.
This article examines the role of threnody in ancient Greece and contemporary South Africa. The main focus is on its representation in literature, in this case a passage from Homer's Iliad and the novel Ways of Dying (1995) by Zakes Mda, which are read in their respective historical contexts. The aim is to compare the different functions which threnody fulfills in different societies in different times with special emphasis on societies in crisis and transition.
The future in the past: belief in magical divination and other methods of prophecy among the archaic and classical Greeks and among the Zulu of South Africa during the late nineteenth and early twentieth centuries.
(2003) Kirby-Hirst, Mark Anthony.; Hilton, John Laurence.
Magic and the supernatural have always been fascinating topics for investigation, none more so than the belief in prophecy. Actually being able to predict future occurrences, sometimes long before they take place, is certainly a desirable ability, and so naturally it was something that was much sought after in ancient Greece and amongst the Zulu people of South Africa. This is the domain of this dissertationbelief in the power of divination and how this belief could appear to be interrelated between two distinct peoples who are separated not only by the passage of time and their geographical locations, but also by socio-economic changes like industrialization and globalisation. The beliefs of both societies in this particular area are sometimes strikingly similar, especially in how each group understood such esoteric notions as the human soul and the afterlife or underworld. The function of magic in these cultures is also of -importance, since divination is almost always classed as a magical activity. The relative closeness to each other of their metaphysical knowledge allows a closer study of the figure of the diviner or prophet, more specifically who it was that could become a diviner and the reasons for this 'calling'. Several examples like Teiresias, the blind seer, are also useful in demonstrating certain beliefs and patterns. The major part of this dissertation deals with certain ritual practices of diviniilg. Although there exist many variations on a theme, the most important forms studied here are dreams, oracles, oionomancy (divining by understanding the song or flight of birds) and necromancy' (divining with the aid of the spirits of the dead). The method of divining by studying one's dreams is a universal constant and seems to take place in all cultures, making the practice useful for the purposes of comparative study. In terms of oracles, I contend that oracular divination is not a uniquely ancient fonn,but can be clearly seen in certain elements of the practice of Zulu divining, especially in the work of the abemilozi (diviners working with familiar spirits) Because of these similarities it is quite difficult to maintain that oracular divination· as occurred in ancient Greece, is not also practiced among the Zulu to some extent. Birds have always held a certain fascination for people and so it is not surprising that they are also used for divining. For the Greeks they could herald the favour of the gods, while the Zulu made use of them mostly for foretelling changes in the weather. Finally, necromancy because of its connection with ghosts and the dead was often frowned upon, but for both the Greeks and the Zulu it was one of the most powerful methods of divining because it was the spirits, who had already crossed to the other side and so were believed to have access to supernatural knowledge, that were thought to be able to answer the questions posed by the diviner. Most importantly I conclude that there is an indication that the souls of these two peoples were close to each other. The beliefs and the manner in which they go about establishing, using and confirming them are much the same for the ancient Greeks and the Zulu, despite the fact that they are separated by time, space and socio-economic context. In all, the only real difference is that the Greeks came to later explore science as another knowledge system. For the Zulu, one system was enough.
The many faces of Cleopatra : from propaganda to myth.
(2003) Hardman, Naomi Susan.; Lambert, Michael.
Few women of antiquity have gripped the public imagination as Cleopatra has. For centuries, she has inspired playwrights, poets, artists and film-makers, with the result that she and Antony are arguably history's most famous lovers. However, I have not yet encountered a study which discusses, in one work, the multiple constructions of Cleopatra across the range of genres in which she has been represented. Certainly, many books and articles are devoted to revealing how Cleopatra has been constructed in one or other specific genre, but it seems as though no attempts have been made to portray, in juxtaposition to one another, the many faces of Cleopatra. This dissertation seeks to do just that. Although I could not possibly include a discussion ofevery genre in which Cleopatra has been constructed, I have chosen six areas for study: ancient Greek biography (using Plutarch's Life ofAntony); the poetry of the Augustan poets: Vergil (the Aeneid), Horace (Ode 1.37) and Propertius (Elegies 3.11); Shakespearean tragedy (Antony and Cleopatra); art (numismatics and ancient sculpture); film (Joseph Mankiewicz's Cleopatra), and, briefly, Africanist historiography. I have chosen these areas because each offers such diverse constructions of Cleopatra that one begins to appreciate how historiography, propaganda and representation have contributed to the shaping ofthe Cleopatra myth, coloured by the ideology ofthe age in which she has been interpreted afresh. Current Africanist appropriations ofCleopatra suggest that historiography is never neutral: race and gender often intersect to create 'historical' identities.
Varieties of narrative in antiquity.
(2004) Hilton, John Laurence.
No abstract available.
A brief comparative study of the Tetrabiblos of Claudius Ptolemy and the Vedic Surya Siddhanta.
(2005) Ramluckan, Trishana.; Hilton, John Laurence.
The Ancient Indians and Greeks had similar beliefs in the concepts of magic, superstition, and astrology. First I will look briefly at the beliefs of the ancient Greeks and the main astrological text- the Tetrabiblos of Claudius Ptolemy. Ptolemy moves away from the scientific account that he provides us in his Almagest, to defining astrology as an art acquired from the observation of the movements of the heavenly bodies. The main argument however is based on the fact that Ptolemy uses an almost apologetic tone in his defence of the Tetrabiblos. Whereas the ancient Indians appeared to be strong believers in astrology, the ancient Greeks always sought to justify it in terms of science. To analyse this concept in depth I will provide a comparative study of both these belief systems. But whereas the Greeks distinguished astrology from astronomy, in the Vedic tradition astrology consisted of observable science as well as mythological and magical elements. Some consideration must therefore be given to astronomical aspects of this tradition in drawing a comparison between the two. Astrology was prevalent in ancient India a long time prior to the writing of the Surya Siddhanta or any other astronomical text. The Surya Siddhanta is often held to be the main text on Indian astronomy as it tries to address the reasons why certain religious practices were performed at those specific times. However, much information can also be obtained from the verses of the Rig Veda, a religious text that formed the basis of Indian astrology. This mini-dissertation will first discuss the Surya Siddhanta and its relationship to the more 'mythological' Rig Veda. In order to reach a conclusion I will look specifically at the issue of the belief in individual human difference and fate and destiny in these two cultures.

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