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References
S. E. Taylor, L. C. Klein, B. P. Lewis, et al., “Biobehavioral responses to stress in females: Tend-and-befriend, not fight-or-flight,” Psychological Review 107 (2000) 411–429 (not mentioned in the volume under review).
[Cf. the review by Karen Jo Torjesen in this journal, IJCT 6 (1999/2000) 621–623.—W.H.]
Leo Strauss, Xenophon’s Socrates (Ithaca, NY, 1972), Xenophon’s Socratic Discourse: An Interpretation of the “Oeconomicus” (Ithaca, NY, 1970), On Tyranny: An Interpretation of Xenophon’s “Hiero” (Ithaca, NY, 1968).
It is here again that the influence of Leo Strauss’s work is vividly apparent. See Persecution and the Art of Writing (Glencoe, Il., 1952).
On Chinese commentaries, see The Columbia History of Chinese Literature, ed. by Victor H. Mair (New York: Columbia University Press, 2001) pp. 909–15.
For astrolapsus as equivalent of astrolabium in medieval Latin usage (and the mostly false etymological explanations of both words) see Paul Kunitzsch, Glossar der arabischen Fachaus-drücke in der mittelalterlichen europäischen Astrolabliteratur (Göttingen: Vandenhoeck & Ruprecht, 1982), 16.
References
The critic as artist, with some remarks upon the importance of doing nothing, in: Oscar Wilde, Selected Works with 12 unpublished letters, ed. Richard Aldington (London & Toronto: William Heinemann, 1946) p. 77.
Selected Essays of William Hazlitt 1778–1830, ed. Geoffrey Keynes (London: Nonesuch Press, 1930), pp. 607–08.
Friedrich von Schlegel, “Description of Paintings in Paris and the Netherlands in the years 1802–1804,” in: The Aesthetic and Miscellaneous Works of Friedrich von Schlegel, trans. E. J. Millington (London: George Bell and Sons, 1889), p. 3 (= Friedrich Schlegel, “Gemäldebeschreibungen aus Paris und den Niederlanden in den Jahren 1802–1804”, in F. S., Ansichten und Ideen von der christlichen Kunst, hrsg. u. eingel. von Hans Eichner, Kritische Friedrich-Schlegel-Ausgabe IV [Paderborn-München-Wien: Verlag Ferdinand Schöningh, 1959], p. 10: “In dem runden Saale, und dem worin die Zeichnungen zu sehen waren, hat das Altertum weichen (W: für den Augenblick weichen) müssen, um den Versuchen moderner Franzosen (W: moderner Maler) Raum zu geben. Die Kunstwerke sind weggenommen, um das an die Stelle zu setzen, was wir bei uns eine Ausstellung nennen”.)
So the poems ‘Of the Jews’ and ‘He Had Come to Read’ have never been selected before. I draw the relevant information from the anthology, Κ. Π. Καβάφης, ςπίσσημος, κρυμμένος και ατέλής, ed. M. Souliotis (Athens: Ermis 1995), pp. 168–173.
This is, for example, the case with the anthology compiled by D. Daskalopoulos and M. Stasinopoulou in Ο βίος, και το έργο του Κ. Π. Καβάφη (Athens: Metaichmio, 2001), pp. 195–281. As the authors explain, the poems are presented in a chronological order showing Cavafy’s evolution. Consequently, classifications such as ‘published’, ‘unpublished’, ‘rejected’, and ‘hidden’ are abolished, and at times different versions of the same poem are anthologized.
D. N. Maronitis, ’Κ. Π. Καβάφης: ένας ποιητής αναγνώστας’, in: Κύκλος Καβάφη (Athens: Scholi Moraiti, 1983).
S. Goldhill, ‘Framing, polyphony and desire: Theocritus and Hellenistic poetics’, in: Goldhill, The Poet’s Voice. Essays on Greek Literature and Poetics (Cambridge: Cambridge University Press, 1991) pp. 223–283.
See for example the first complete edition of Cavafy’s poems ed. by Rika Sengopoulou with drawings by Takis Kalmouchos (Alexandrini Techni, 1935); also C. P. Cavafy, Poihvmata (1896–1933), drawings by Nikos Hatzikyriakos-Gikas (Ikaros, 1966); C. P. Cavafy, Poihvmata, presented by Angelos Vlachos, drawings by Christos Karas (Okeanida, 1990); last but not least a brief anthology of Cavafy’s tomb poems, K. P. Kabavfh, Tavfoi, tr. in Italian by Guido Ceronetti, five drawings by Fabrizio Clerici and an essay by G. P. Savidis (Roma: Edizioni dell’Elefante, 1986). What this has in common with the volume I am presenting here is the fact that it is bilingual and that the poems are illustrated by a work of art.
See now Liana Giannakopoulou, Ancient Greek Sculpture in Modern Greek Poetry, 1860–1960 (unpublished doctoral thesis, King’s College London, 2000).
The calyx-krater is signed by Euxitheos as potter and by Euphronios as painter. About 520–510 B.C., New York, MMA 1972.11.10; see D. von Bothmer, “Der Euphronioskrater in New York,” Archäologische Anzeiger (1976), pp 485–512 and, for a brief overview, the Museum’s website: <http://www.metmuseum.org/toah/hd/vase/hod_1972.11.10.htm>.
The poem was probably inspired by the Victorian picture by Levi Henry Leopold published in Aττικόν Mουσείον on 15 March 1892, a journal to which Cavafy had contributed. See Lena Savidi, Λεύκωμα Καβάφη (Athens: Ermis, 1983), p. 200.
For a detailed discussion, see Liana Giannakopoulou, ‘Moulded by Eros with skill and experience: sculpture of the male body in the poetry of Cavafy’ Dialogos 7 (2000), pp. 78–98.
See, for example Simon Goldhill, ‘The naïve and knowing eye: ecphrasis and the culture of viewing in the Hellenistic world’, in: Art and Text in Ancient Greek Culture, ed. S. Goldhill and R. Osborne, ser. Cambridge studies in new art history and criticism (Cambridge: Cambridge University Press, 1994).
Euphrosyne Doxiadis, The Mysterious Fayum Portraits. Faces from Ancient Egypt (London: Thames and Hudson, 1995), p. 34, n. 1.
[Cf. the review article by Marcelle Robinson, “The Search for Troy Revisited. Towards the Increasing Recognition of Frank Calvert”, in this journal, IJCT 7 (2000/01), pp. 400–408.—W.H.]
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Keuls, E.C., Walter, U., Saxonhouse, A.W. et al. Book reviews. Int class trad 10, 465–504 (2004). https://doi.org/10.1007/s12138-004-0007-7
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DOI: https://doi.org/10.1007/s12138-004-0007-7