Plutarch s. Dialogue on Love. An Intermediate Greek Reader. Greek text with running vocabulary and commentary. Evan Hayes and Stephen Nimis

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3 Plutarch s Dialogue on Love An Intermediate Greek Reader Greek text with running vocabulary and commentary Evan Hayes and Stephen Nimis

4 Plutarch's Dialogue on Love: An Intermediate Greek Reader Greek text with Running Vocabulary and Commentary First Edition 2011 by Evan Hayes and Stephen Nimis All rights reserved. Subject to the exception immediately following, this book may not be reproduced, in whole or in part, in any form (beyond copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. The authors have made a version of this work available (via ) under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. The terms of the license can be accessed at creativecommons.org. Accordingly, you are free to copy, alter and distribute this work under the following conditions: 1. You must attribute the work to the author (but not in a way that suggests that the author endorses your alterations to the work). 2. You may not use this work for commercial purposes. 3. If you alter, transform or build up this work, you may distribute the resulting work only under the same or similar license as this one. The Greek text is based on the edition of G. Bernardakis (available from the Perseus Project), published by Teubner in Unless otherwise noted, all images appearing in this edition are in the public domain. ISBN: Published by Faenum Publishing, ltd. Cover Design: Evan Hayes Cover background by JP (thedeviant426.deviantart.com) Fonts: Gentium (Open Font License) GFS Porson (Open Font License)

5 Table of Contents Acknowledgments v Introduction..ix Sources for Quotations and Abbreviations.. xv Text and Commentary Grammatical topics: Participles..6 Genitive absolutes 8 Subjects, Predicates, and Attributes..9 Indirect statement after verbs of saying: accusative + infinitive.11 Circumstantial Participles..12 The different meanings of αὐτός..15 ὡς + participle: as though..17 Semantic doublets.22 General conditions and temporal clauses..25 Indirect statement after verbs of knowing, perceiving, hearing or showing..44 Indirect statement after verbs of saying: ὅτι, ὡς + indicative...47 List of verbs Glossary

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7 Acknowledgments The idea for this project grew out of work that we, the authors, did with support from Miami University's Undergraduate Summer Scholars Program, for which we thank Martha Weber and the Office of Advanced Research and Scholarship. The Miami University College of Arts and Science s Dean s Scholar Program allowed us to continue work on the project and for this we are grateful to the Office of the Dean, particularly to Phyllis Callahan and Nancy Arthur for their continued interest and words of encouragement. Work on the series, of which this volume is a part, was generously funded by the Joanna Jackson Goldman Memorial Prize through the Honors Program at Miami University. We owe a great deal to Carolyn Haynes, John Forren, and the 2010 Honors & Scholars Program Advisory Committee for their interest and confidence in the project. The technical aspects of the project were made possible through the invaluable advice and support of Bill Hayes, Christopher Kuo, and Daniel Meyers. The equipment and staff of Miami University s Interactive Language Resource Center were a great help along the way. We are also indebted to the Perseus Project, especially Gregory Crane and Bridget Almas, for their technical help and resources. For their suggestions on some difficult passages in Plutarch s text, we would like to thank Peter Rose, Deborah Lyons, and Masa Culumovic. We are also grateful to Maureen Nimis for her help with the design and preparation of the manuscript, and to Stephen Trzaskoma for his comments on an early draft. We owe special thanks to Carolyn DeWitt and Kristie Fernberg, whose administrative support, patience, and good humor were essential for the completion of this manuscript. We also profited greatly from advice and help on the POD process from Geoffrey Steadman. All responsibility for errors, however, rests with the authors themselves. vii

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9 uxori carissimae Maureen Nimis οὔτε φιλίας τὸ καλὸν ἑτέρας ἔνδοξον οὕτω καὶ ζηλωτόν (Am. 770A)

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11 Introduction The aim of this book is to make Plutarch's Dialogue on Love (Ἐρώτικος; Amatorius) accessible to intermediate students of Greek. The running vocabulary and commentary are meant to provide everything necessary to read each page. The commentary is primarily grammatical, explaining subordinate clauses, conditions etc., and parsing unusual verb forms. The page by page vocabularies gloss all but the most common words. We have endeavored to make these glossaries as useful as possible without becoming fulsome. A glossary of all words occurring three or more times in the text can be found as an appendix in the back, but it is our hope that most readers will not need to use this appendix often. Brief summaries of a number of grammatical and morphological topics are interspersed through the text as well, and there is a list of verbs used by Plutarch that have unusual forms in an appendix. Brief explanations of allusions and proper names are given, literary citations and allusions are identified briefly (mostly taken from other editions), but this is not primarily a literary commentary. The Dialogue on Love is a great intermediate Greek text. Aside from the inherent interest of the subject matter, the Greek is not too difficult to follow, perhaps the major difficulty being the profusion of unusual vocabulary and Plutarch's penchant for elaborate comparisons and metaphors. The Dialogue on Love of Plutarch has attracted a good deal of attention in recent times. M. Foucault thought it marked a seismic shift in the early centuries of our era in the history of sexuality. 1 In his view, prior to Plutarch the conception of erotic attraction in the philosophical tradition distinguished an earthly, base kind of love from a more celestial one that led the soul to the contemplation of ideal beauty. The former is associated with the love of women, generally considered to be a less worthy object of love; the latter with boy-love. In the Amatorius, Plutarch argues for placing conjugal love on the same plane with boy -love, able to inspire in men just as effectively the love of beauty and the good. The Amatorius stands firmly in the tradition of philosophical discussions of love, like Plato's Phaedrus and Symposium, but the narrative context provides a dramatic setting that reminds us of discussions of love in the Greek novels, where there is likely to be irony. 2 Indeed, the narrator is early on asked to leave out all the commonplaces that are always being used in such discussions, the 1. M. Foucault, The History of Sexuality, Volume 3: The Care of the Self. tr. R. Hurley (New York: Vintage Books, 1986). 2. For this connection see S. Goldhill, Foucault's Virginity xi

12 meadows and shady nooks and the river Ilissus. Like many of Plato's dialogues, including the Symposium, the account is reported by someone who had heard about it. The opening sentences of the Amatorius introduce a certain Flavianus, who asks Autobulos, the son of our author, to tell the story. As is also the case in the Symposium, the ending of the dialogue does not return to this initial setting or to Flavianus. Autobulos refers to Plutarch throughout the dialogue simply as father. According to Autobulos, his father Plutarch visited Thespiae when he 3 was a young man during the festival of Eros. He was present when an incident involving a certain Ismenodora and Bacchon occurred, an incident which provoked the discussion of love, and which subsequently interrupts that discussion. Plutarch was himself newly married at this time and he vigorously defends marriage and conjugal love. In this opinion he sides with Daphnaios, who is opposed primarily by Peisias and Protogenes. As the dialogue progresses, Plutarch eventually comes to dominate the discussion, making a full -scale encomium of Eros in the concluding half. There is a gap in this part of the text of indeterminate length after chapter 20. Ismenodora and Bacchon are the main characters in the background action, although they do not actually appear in person. It seems that Ismenodora, a chaste widow, has fallen in love with the youthful Bacchon and wants to marry him. The figures in the dialogue are debating the wisdom of such a match, when the news arrives that Ismenodora has preemptively kidnapped Bacchon in order to force the issue. Some of the characters depart to investigate, leaving the others to continue the discussion. At the end more news arrives: all parties have agreed to the marriage, which is awaiting the presence of the interlocutors to move forward. This festive end is reminiscent of the Greek novels or new comedy. Indeed, there are other specific references 4 to the conventions of comedy that invite comparison to that genre. The other characters in the dialogue are as follows: Anthemion is the older cousin of Bacchon and his trusted friend. He favors the match between Bacchon and Ismenodora, which puts him at odds with Peisias, 5 3. The festival and cult of Eros in Thespia is noted by Strabo, Geography ; Pausanias, Description of Greece ; and ; Callistratus, Descriptions of Statues See G. Zanetto, "Plutarch's Dialogues as 'Comic Dramas,'" in Rhetorical Theory and Praxis in Plutarch, ed. L. van der Stockt (Leuven: Peters, 2000), For the possible historical identity of the characters in the dialogue, see H. Görgemanns, ed. Dialog über die Liebe: Amatorius (Tubingen: Mohr Siebeck, 2006), xii

13 the other trusted friend of Bacchon. He defers to Plutarch in defending conjugal love and he is not as hot-headed as his rival Peisias. Half-way through the dialogue, he is summoned by Ismenodora to help her in the dispute. Peisias is an older admirer of Bacchon and defends boy-love as an educational institution. He argues strongly against sensuous eroticism and vigorously defends the strict subordination of women to men. The news of the kidnapping of Bacchon makes him furious and he worries that this is the beginning of an age in which women will rule. Görgemanns likens him to the comic type of Menander's Dyskolos, an honest man but crudely dedicated to the wrong principle. Daphnaios seems to be an old friend of Plutarch. He takes up the argument on behalf of conjugal love, sparring with Protogenes in the earlier part of the dialogue; but his contribution to the discussion becomes overshadowed by Plutarch's intervention, who is moved to speak when Peisias attacks Daphnaios "immoderately." Later in the dialogue, at Plutarch's request, Daphnaios recites a poem of Sappho. Protogenes is a guest-friend of Plutarch's from Tarsus. He undertakes to defend boy-love, insulting Ismenodora and being criticized in turn for his passion for pretty boys. He considers older women and women who are in love to be dangerous. Although he shares the indignation of Peisias at the kidnapping of Bacchon, he seeks a reconciliation of the differing parties. Zeuxippos of Sparta is another guest-friend of Plutarch and apparently a connoisseur of Euripides, whom he quotes. In the gap after section 20, he must have objected to Plutarch's excessively positive representation of Eros, since Plutarch makes reference to this objection in section 21. If so, his remarks seem to have been friendly amendments rather than serious objections. A Zeuxippos appears in other dialogues of Plutarch, arguing along with Plutarch himself against Epicureanism. Pemptides of Thebes only enters the discussion in section 12, after the departure of Peisias and Protogenes. He raises the question of the divinity of Eros, which Plutarch addresses at length. In section 14 he complains about the practice of identifying gods with our emotions and is again answered by Plutarch at length. Soklarus of Tithora only speaks a few side remarks, at one point insisting that Plutarch explain how Egyptian myths are in accord with the Platonic idea of love. This may be the same Soklarus who appears elsewhere in the Moralia. xiii

14 Select Bibliography on Plutarch's Amatorius: Recent editions and translations H. Görgemanns, ed. and tr. Dialog über die Liebe: Amatorius. Tubingen: Mohr Siebeck, S. Gotteland and E. Oudot, tr. Dialogue sur l'amour. Paris: Editions Flammarion, W. C. Helmhold. ed. and tr. Plutarch's The Dialogue on Love. Plutarch's Moralia vol. IX. Cambridge: Harvard University Press, D. Russell, tr. "Eroticus," in Plutarch Selected Essays and Dialogues (Oxford, Oxford University Press, 1993), Critical Discussions Beneker, J. "Plutarch on the Role of Eros in a Marriage," in The Unity of Plutarch's Work, ed. A. G. Nikolaidis (Berlin: Walter de Gruyter, 2008), Brenk, F. E. "All for Love: the Rhetoric of Exaggeration in Plutarch's Erotikos," in Rhetorical Theory and Praxis in Plutarch, ed. L. van der Stockt (Leuven: Peters, 2000), Brenk, F. E. "Plutarch's Erotikos: The Drag Down Pulled Up." Illinois Classical Studies 13.2 (1988), "The Boioitia of Plutarch's Erotikos: Beyond the Shadow of Athens, in A. C. Cristopoulou (ed.), Annual of the Society of Boeotian Studies (Athens, 1995), Crawford, M. "Amatorius: Plutarch's Platonic Departure from the Peri Gamou Literature," in A. P. Jimenez et al. (eds.) Plutarco, Platon y Aristoteles. Actas del V Congresso Internacional de la I.P.S. (Madrid, 1999), Foucault, M. The History of Sexuality, Volume 3: The Care of the Self. tr. R. Hurley. New York: Vintage Books, Goldhill, S. Foucault's Virginity: Ancient Erotic Fiction and the History of Sexuality. Cambridge: Cambridge University Press, Rist, J. M. "Plutarch's Amatorius: A Commentary on Plato's Theories of Love?" The Classical Quarterly, New Series, Vol. 51, No. 2 (2001), pp Teodorsson, S.-T. "Plutarch's use of Synonyms: A Typical Feature of His Style." Rhetorical Theory and Praxis in Plutarch, ed. L. van der Stockt (Leuven: Peters, 2000), Trapp, M. B. "Plato's Phaedrus in Second Century Greek Literature," in D. A. Russell (ed.) Antonine Literature (Oxford: Clarendon, 1990), Zanetto, G. "Plutarch's Dialogues as 'Comic Dramas,'" in Rhetorical Theory and Praxis in Plutarch, ed. L. van der Stockt (Leuven: Peters, 2000), xiv

15 How to use this book: The presentation assumes the reader has a basic acquaintance with Greek grammar. Generally, particles have not been included in the page-bypage glossaries, along with other common nouns and adjectives. If necessary, all of these words can be found in the glossary at the end. Verbs, being a special problem in Greek, have been treated more fully. A simple and more generic dictionary entry is given in the glossary on each page, with a more specific meaning provided in the commentary below if necessary. We have also included a list of verbs with unusual forms and their principal parts as an appendix, which should be useful in identifying the dictionary form of verbs. A good strategy for attacking a text like this is to read a section of the Greek to get as much out of it as possible, then to look at the glossary below for unrecognized vocabulary items, and lastly to consult the commentary. The fuller glossary at the end of the book can be a last resort. In translating expressions we have sought to provide an English version that reproduces the grammatical relationships as much as possible, producing in many cases awkward expressions (sometimes called translationese ). Good idiomatic translations are available for this text, but the translations in the commentary are meant to provide explanations of how the Greek works. The Greek text is based on the Teubner edition of G. Bernardakis, published in 1892 and now in the public domain. Bernardakis' edition was digitized by the Perseus Project and made available under a Creative Commons agreement. We have corrected a small number of errors and also made a few minor changes to the text to make it more readable. In particular, we have included in brackets [ ] a number of supplements to lacunae in the manuscript tradition. This is not a scholarly edition; for that the reader is referred to the editions listed above in the bibliography. xv

16 An Important Disclaimer: This volume is a self-published "Print on Demand" (POD) book, and it has not been vetted or edited in the usual way by publishing professionals. There are sure to be some factual and typographical errors in the text, for which we apologize in advance. The volume is also available only from through online distributors, since each book is printed only when ordered online. However, this publishing channel and format also account for the low price of the book; and it is a simple matter to make changes to the pdf file when they come to our attention. For this reason, any corrections or suggestions for improvement are welcome and will be addressed as quickly as possible in future versions of the text. Evan Hayes Stephen Nimis Evan Hayes is a recent graduate in Classics and Philosophy at Miami University and the 2011 Joanna Jackson Goldman Scholar. Stephen Nimis is a Professor of Classics at Miami University. xvi

17 Sources for Quotations The following list is meant to be used in conjunction with the commentary. These are the abbreviations used throughout the text to refer to collections of fragments. CAF T. Kock, Comicorum Atticorum fragmenta (Leipzig, ). Lobel-Page E. Lobel and D. Page, Poetarum Lesbiorum fragmenta (Oxford, 1955). PMG D. Page, Poetae Melici Graeci (Oxford, 1962). SH H. Lloyd-Jones and P. J. Parsons, Supplementum Hellenisticum (Berlin, 1983). SVF H. von Amim, Stoicorum Veterum fragmenta (Leipzig, ). TGF A. Nauck, Tragicorum Graecorum fragmenta (Leipzig, 1889). Abbreviations abs. absolute acc. accusative act. active adj. adjective adv. adverb ao. aorist art. articular comp. comparative cond. condition dat. dative dep. deponent dir. obj. direct object f. feminine fut. future gen. genitive or general imper. imperative impf. imperfect indef. indefinite ind. st. indirect statement ind. com. indirect command indic. indicative ind. obj. indirect object inf. infinitive m. masculine mid. middle n. neuter nom. nominative obj. object opt. optative part. participle pas. passive perf. perfect pl. plural plpf. pluperfect pot. potential pred. predicate prep. preposition pr. present prim. primary pron. pronoun reflex. reflexive rel. relative resp. respect sec. secondary seq. sequence s. singular subj. subject or subjunctive superl. superlative temp. temporal voc. vocative xvii

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19 Πλουταρχοῦ Ερωτικός Plutarch s Dialogue on Love

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21 Dialogue on Love ΕΡΩΤΙΚΟΣ Flavianus asks Autoboulos, the son of Plutarch, to relate a conversation that took place many years earlier in Helicon, at the Thespian festival of Eros. Autoboulos heard it from his father. [1.] ΦΛΑΟΥΙΑΝΟΣ. ἐν Ἑλικῶνι φῆς, ὦ Αὐτόβουλε, τοὺς περὶ Ἔρωτος λόγους γενέσθαι, οὓς εἴτε γραψάμενος εἴτε καταμνημονεύσας τῷ πολλάκις ἐπανερέσθαι τὸν πατέρα, νυνὶ μέλλεις ἡμῖν δεηθεῖσιν ἀπαγγέλλειν. ΑΥΤΟΒΟΥΛΟΣ. ἐν Ἑλικῶνι παρὰ ταῖς Μούσαις, ὦ Φλαουιανέ, τὰ Ἐρωτικὰ Θεσπιέων ἀγόντων ἄγουσι γὰρ ἀγῶνα πενταετηρικόν, ὥσπερ καὶ ταῖς Μούσαις, καὶ τῷ Ἔρωτι φιλοτίμως πάνυ καὶ λαμπρῶς. ἄγω: to lead, carry on, conduct, do ἀγών, -ῶνος, ὁ: a gathering, contest ἀπαγγέλλω: to report, relate, explain Ἀύτόβουλος, ὁ: Autobulos γίνομαι: to become, occur, happen γράφω: to write δέομαι: to need, require, ask εἴτε εἴτε: either or Ἑλικών, -ῶνος, ὁ: Helicon ἐπανέρομαι: to question repeatedly, ask over and over Ἔρως, -ωτος, ὁ: Eros, Love ἐρωτικός, -ή, -όν: amatory, of or relating to love Θεσπιέος, ὁ: a Thespian, inhabitant of Thespiae καταμνημονεύω: call to mind, recall, remember λαμπρῶς: splendidly, brilliantly λόγος, ὁ: word, speech, (pl.) conversation μέλλω: to intend to, be about to, be going to (+ inf.) Μοῦσα, -ης, ἡ: a Muse νυνί: now, at this moment πάνυ: exceedingly, very πατήρ, ὁ: father πενταετηρικός, -ή, -όν: falling every five years, quinquennial πολλάκις: many times, often φημί: to say φιλοτίμως: zealously, generously Φλαουίανος, ὁ: Flavianos τοὺς... λόγους γενέσθαι: ind. st. after φής, you say that the conversation happened γραψάμενος: ao. part. of γράφω, having written it down καταμνημονεύσας: ao. part. of καταμνημονεύω, having memorized τῷ πολλάκις ἐπανερέσθαι: pr. mid. articular inf. of ἐπι-ἀνα-ἔρομαι, by many times asking your father δεηθεῖσιν: ao. pas. part. dat. pl. of δέομαι modifying ἡμῖν, to us asking τὰ Ἐρωτικὰ: the festival of Eros Θεσπιέων ἀγόντων: gen. abs., while the Thespians were celebrating ἀγῶνα: internal acc. with ἄγουσι, they conduct the contest 3

22 Plutarch Thespiae and the Worship of Eros Thespiae, where Plutarch s dialogue takes place, was a small town N in Boeotia known for the worship of Eros. The Thespian cult statue of the god, created by the great Athenian sculptor Praxiteles (4th C BC), was famous throughout the Classical world. Descriptions of the worship of Eros at Thespiae and the cult statue itself survive in the works of several ancient authors: Strabo, Geography (trans. Jones) : In earlier times Thespeia [in Boiotia] was well known because of the Eros of Praxiteles, which was sculptured by him and dedicated by Glykera the courtesan (she had received it as a gift from the artist) to the Thespeians, since she was a native of the place. Now in earlier times travellers would go up to Thespeia, a city otherwise not worth seeing, to see the Eros. Pausanias, Description of Greece (trans. Jones) : Of the gods the Thespians have from the beginning honoured Eros most, and they have a very ancient image of him, an unwrought stone. Who established among the Thespians the custom of worshipping Eros more that any other god I do not know... Later on Lysippos made a bronze Eros for the Thespians, and previously Praxiteles one of Pentelic marble. Pausanias, Description of Greece : Men too live around the grove [of the Mousai on Mt Helikon, Boiotia], and here the Thespians celebrate a festival, and also games called the Mouseia (Of the Muses). They celebrate other games in honour of Eros, offering prizes not only for music but also for athletic events. 4

23 Dialogue on Love Callistratus, Descriptions 3 (trans. Fairbanks) : [A description of Praxiteles statue of Eros :] On the statue of Eros. My discourse desires to interpret another sacred work of art; for it is not right for me to refuse to call the productions of art sacred. The Eros, the workmanship of Praxiteles, was Eros himself, a boy in the bloom of youth with wings and bow. Bronze gave expression to him, and as though giving expression to Eros as a great and dominating god, it was itself subdued by Eros; for it could not endure to be only bronze, but it became Eros just as he was. You might have seen the bronze losing its hardness and becoming marvelously delicate in the direction of plumpness and, to put the matter briefly, the material proving equal to fulfilling all the obligations that were laid upon it. It was supple but without effeminacy; and while it had the proper colour of bronze, it looked bright and fresh; and though it was quite devoid of actual motion, it was ready to display motion; for though it was fixed solidly on a pedestal, it deceived one into thinking that it possessed the power to fly. It was filled with joy even to laughter, the glance from the eyes was ardent and gentle, and one could see the bronze coming under the sway of passion and willingly receiving the representation of laughter. It stood with right hand bent toward the head and lifting the bow with its left; and the even balance of the body s posture was modified by an inclination toward the left, for the projecting left hip was raised so as to break the stiffness of the bronze and produce an easy pose. The head was shaded by locks that were bright and curly and shining with the brightness of youth. And what wonderful bronze it was! For as one looked a ruddy colour shone out from the ends of the curls, and when one felt the hair it yielded as though soft to the touch. As I gazed on this work of art, the belief came over me that Daidalos had indeed wrought a dancing group in motion and had bestowed sensation upon gold, while Praxiteles had all but put intelligence into his image of Eros and had so contrived that it should cleave the air with its wings. The Eros Farnese. Roman marble. (Museo Archeologico Nazionale, Naples, Italy. inv. 6353) Pompeian marble possibly modeled on the colossal cult statue of Eros at Thespiae by Praxiteles. (cf. Venus of Arles p. 73) 5

24 Plutarch ΦΛΑΟΥΙΑΝΟΣ. οἶσθ οὖν ὃ σοῦ μέλλομεν δεῖσθαι πάντες οἱ πρὸς τὴν ἀκρόασιν ἥκοντες; ἀκρόασις, -εως, ἡ: a hearing, listening, audience δέομαι: to need, lack, ask ἥκω: to have come, be present μέλλω: to intend to, be about to, be going to do (+ inf.) οἶδα: to know δεῖσθαι: pr. mid. inf. of δέομαι after μέλλομεν, what we intend to ask πάντες οἱ... ἥκοντες: all (of us) coming Participles Participles, being numerous in the Amatorius, fall into three broad classes of use, with many other distinctions: 1. Attributive participles modify a noun or pronoun like other adjectives. They can occur with an article in the attributive position or with no article: μέλλομεν δεῖσθαι πάντες οἱ ἥκοντες, we all who have come are about to ask εὗρε Δαφναῖον τὸν Ἀρχιδάμου καὶ Λυσάνδρας ἐρῶντα καὶ μάλιστα τῶν μνωμένων αὐτὴν εὐημεροῦντα, he found Daphnaeus, the son of Archidamus and a lover (i.e. one who loves) of Lysandra, and of those wooing her the one being especially successful. 2. Circumstantial participles are added to a noun or pronoun to set forth some circumstance under which an action takes place. Although agreeing with a noun or pronoun, these participles actually qualify the verb in a sentence. Circumstantial participles can occur in the genitive absolute construction (see p. 8). ὁ γὰρ πατήρ τὴν μητέρα νεωστὶ κεκομισμένος... ἀφίκετο: for my father, having just rescued my mother, arrived For more examples, see p Supplementary participles complete the idea of certain verbs. Often it is the participle itself that expresses the main action: σὺ τυγχάνεις ἐρῶν ταύτης: you happen to love her διατελεῖ περὶ τὸν αὑτοῦ θεὸν χορεύων καὶ συμπεριπολῶν: he continues dancing and escorting his own god The participial form of indirect discourse (see p. 44) is a special class of supplementary participles. Δαφναῖον δ ὁρῶ ταὐτὸν πάσχοντα: I see that Daphnaeus is suffering the same thing. 6

25 Dialogue on Love ΑΥΤΟΒΟΥΛΟΣ. οὔκ ἀλλ εἴσομαι λεγόντων. Flavianus urges Autoboulos to omit all the clichés usually deployed in such discourses. ΦΛΑΟΥΙΑΝΟΣ. ἄφελε τοῦ λόγου τὸ νῦν ἔχον ἐποποιῶν τε λειμῶνας καὶ σκιὰς καὶ ἅμα κιττοῦ τε καὶ σμιλάκων διαδρομὰς καὶ ὅσ ἄλλα τοιούτων τόπων ἐπιλαβόμενοι γλίχονται τὸν Πλάτωνος Ἰλισσὸν καὶ τὸν ἄγνον ἐκεῖνον καὶ τὴν ἠρέμα προσάντη πόαν πεφυκυῖαν προθυμότερον ἢ κάλλιον ἐπιγράφεσθαι. ἄγνος, ἡ: the agnus, a willow-like tree ἅμα: at the same time, together ἀφαιρέω: to take away, exclude, set aside γλίχομαι: to cling to, strive after, long for διαδρομή, ἡ: a running about through, spreading ἐπιγράφω: to mark a surface, write upon, inscribe ἐπιλαμβάνω: to lay hold of, seize, attack ἐποποιός, ὁ: an epic poet ἠρέμα: softly, gently Ἰλισσός, ὁ: the Ilissus (a river in Athens) καλός, -ή, - όν: beautiful κιττός, ὁ: ivy λέγω: to speak λειμών, -ῶνος, ὁ: a grassy place, meadow λόγος, ὁ: word, speech, (pl.) conversation οἶδα: to know Πλάτων, -ωνος, ὁ: Plato πόα, ἡ: grass, herb πρόθυμος, -ον: willing, eager, zealous προσάντης, -ες: rising up, sloping σκιά, -ῆς, ἡ: a shadow, shady place σμῖλαξ, -ακος, ἡ: smilax, greenbrier τόπος, ὁ: a place, commonplace φύω: to grow εἴσομαι: fut. of οἶδα, I will know λεγόντων (sc. ὑμῶν): gen. abs., if you tell ἄφελε: ao. imper. of ἀπο-αἱρέομαι, put away from + gen. τὸ νῦν ἔχον: for the time being, the addition of the circumstantial participle of ἔχω to the phrase τὸ νῦν ( the present moment ) adds the meaning of continuing ἐποποιῶν: gen. pl., of the poets ὅσα ἄλλα τοιούτων: whatever other such commonplaces ἐπιλαβόμενοι: ao. part., by having seized on τὸν Πλάτωνος Ἰλισσὸν: the Ilissus river outside of Athens where Plato s Phaedrus takes place (cf. Phaedrus ) πεφυκυῖαν: perf. part. acc. f. of φύω modifying πόαν, the sloping grass having grown προθυμότερον: more eagerly than ἢ: than after a comparative adj. ἐπιγράφεσθαι: pr. mid. inf. after γλίχονται, they strive to inscribe in their work the Ilissus, etc. 7

26 Plutarch ΑΥΤΟΒΟΥΛΟΣ. τί δὲ δεῖται τοιούτων, ὦ ἄριστε Φλαουιανέ, προοιμίων ἡ διήγησις; εὐθὺς ἡ πρόφασις, ἐξ ἧς ὡρμήθησαν οἱ λόγοι, χορὸν αἰτεῖ τῷ πάθει καὶ σκηνῆς δεῖται, τὰ τ ἄλλα δράματος οὐδὲν ἐλλείπει μόνον εὐχώμεθα τῇ μητρὶ τῶν Μουσῶν ἵλεων παρεῖναι καὶ συνανασῴζειν τὸν μῦθον. αἰτέω: to ask, beg, want for ἄριστος, -η, -ον: best δέομαι: to need, lack, ask δέομαι: to need, lack, require διήγησις, -εως, ἡ: narrative, statement δρᾶμα, -ατος, τό: an act, drama ἐλλείπω: to leave behind, leave out εὐθὺς: straight, directly εὔχομαι: to pray, make a vow ἵλεως, -ων: gracious, kind λόγος, ὁ: word, speech, (pl.) conversation μήτηρ, -ερος, ἡ: mother μῦθος, ὁ: speech, story, tale Μοῦσα, -ης, ἡ: a Muse ὁρμάω: to set in motion, urge, set out πάθος, -εος, τό: something suffered, an emotion, passion πάρειμι: to be present, attend προοίμιον, τό: an opening, introduction, preliminary πρόφασις, -εως, ἡ: a motivation, cause, pretext σκηνή, -ῆς, ἡ: a scene, stage συνανασῴζω: help recover, remind χορός, ὁ: the (dramatic) chorus τί δεῖται: why does my discourse have need of + gen. ὡρμήθησαν: ao. pas. of ὁρμέω, the discussion set out from which χορὸν: seeks a chorus for the action (as in a drama) εὐχώμεθα: pr. subj. jussive, let us pray ἵλεων: acc. s. f. agreeing with the implied subj. of παρεῖναι, let us ask her gracious(ly) to be present παρεῖναι: pr. inf. of παρα-εἰμι Genitive absolutes Genitive absolutes combine a participle with a noun or pronoun that is not the subject or object of the main clause in order to set forth some circumstance under which an action takes place. Like other circumstantial participles, they can indicate time, manner, means, cause, purpose, concession, condition or attendant circumstance. Sometimes the noun or pronoun is suppressed and must be supplied by the context: ἐν Ἑλικῶνι... τὰ Ἐρωτικὰ Θεσπιέων ἀγόντων, on Helicon when the Thespians were celebrating the festival of Eros ἀλλ εἴσομαι (sc. ὑμῶν) λεγόντων, but I will know if you tell me τοῦ πράγματος φανέντος, ἥ γε μήτηρ ὑφεωρᾶτο, once the matter became known, the mother began suspecting 8

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