When Festus said to Paul: ‘Much learning doth make thee mad’, Paul's answer was the instinctive defence of a scholar under attack: ‘I am not mad, most noble Festus, but speak forth the words of truth and soberness’. Whether poets were mad or sober has been a question for critics ever since Gorgias pointed out the incompatibility; it is less frequently debated why scholars unlike poets should need to affirm their sobriety. I should like to concentrate on one aspect of (...) ancient criticism, that of problem-solving, in order, as I hope, to put into a different perspective the whole business of what Alexandrians did with texts. Inevitably perhaps it will be argued that I am neglecting the vast philological and lexical labours of the Alexandrians and failing to appreciate their subtlety in textual criticism. I hope that my criticisms will not be construed in this way; yet I believe that the Alexandrians have been idealized and their critical attitudes over-simplified. By taking a problem from antiquity and setting it in its context, I will be trying to give what I consider to be a more correct perspective to the labours of our ancient predecessors. (shrink)

This article deals with a mosaic from ancient Zeugma on the Euphrates found in 2002 and recently published with interpretive commentary. Its subject is the story of Theonoe and Leukippe preserved only in Hyginus and nowhere in Greek. Despite this, the authors argue that the myth, in its unique form, can for over one thousand years be connected with romance, mime, pantomime, tragedy and derives ultimately from early Cretan rituals of transvestism. Its immediate inspiration however is imperial pantomime along with (...) the transvestism notorious in that genre, as can be argued from the layout of the mosaic and the iconography of Theonoe, our first clear picture of a pantomime. But the main thrust of the article, especially in appendix B, is to demonstrate that the Hyginus story must now be considered to represent the plot of a lost tragedy, which derived many of its elements from late Euripides, but in its over-enthusiasic use of these represents a post-Euripidean artificially complex plot-type, for which hitherto we had limited evidence. (shrink)

The Piraeus were certainly leased out to private individuals in classical antiquity. It has been suggested that this was common and was true even for the Theatre of Dionysus in Athens, and that this model was true for impermanent wooden theatres. This article argues a contrary position: that there is only one certain example of a leased theatre, which may for all we know have been unique. The other alleged parallel, the deme theatre in Acharnae, is argued to be wrongly (...) supplemented and explained. Some other epigraphical examples of theatres are cited for different funding mechanisms, and it is also argued that wooden theatres were neither leased nor necessarily impermanent. We have especially no reason to think that the Theatre of Dionysus was leased in the time of Theophrastus. (shrink)