By Tim Whitmarsh
The "Second Sophistic" frequently refers to a interval on the top of the Roman Empire's strength that witnessed a flourishing of Greek rhetoric and oratory, and because the nineteenth century it has usually been considered as a protection of Hellenic civilization opposed to the domination of Rome. This booklet proposes a truly assorted version. overlaying well known fiction, poetry and Greco-Jewish fabric, it argues for a wealthy, dynamic, and various tradition, which can't be lowered to an easy version of continuity. Shining new gentle on a sequence of playful, inventive texts which are ignored of the conventional debts of Greek literature, Whitmarsh types a extra adventurous, exploratory method of later Greek tradition. past the second one Sophistic deals not just a brand new approach of Greek literature from three hundred BCE onwards, but in addition a problem to the Eurocentric, aristocratic structures put on the Greek history. obtainable and full of life, it is going to entice scholars and students of Greek literature and tradition, Hellenistic Judaism, global literature, and cultural thought.
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Max. , Demetr. , Syr. 308–27; further sources at Lightfoot 2003, 373–74. 58. , DDS 19–27; see Lightfoot 2003, 373–402, with copious reference to Semitic parallels. 59. CA, 5, 1. 60. Parthenius 11, incorporating his own hexameter version, fr. 33 Lightfoot = SH 648. 61. Brown 2002. Sources discussed at Rohde 1914, 101–3; Lightfoot 1999, 433–36. 62. Brown 2002, 59–60. 28 Fiction beyond the Canon of Byblos. It is also possible that Caunus is an originally Phoenician name, given that Caria absorbed Phoenician influence.
Bowie, forthcoming. 51. See Lightfoot 1999, 224–34. 52. , 256–63. 53. , Lavagnini 1921 does. 54. On this material see Whitmarsh and Thomson, forthcoming; Whitmarsh, forthcoming a, discusses Ctesias and the Cyropaedia in terms of cultural bifocality. 26 Fiction beyond the Canon which he makes mention,55 and he may well have spoken the language. Similarly culturally bifocal was Xenophon, whose experiences with the mercenary army of ten thousand who fought to support Cyrus—in his rebellion against Ctesias’s patron Artaxerxes—will have brought him into contact with different traditions.
1–12). The Persian invasion can thus be reinterpreted as a minor blip in the otherwise unbroken tradition of wise, powerful, and autonomous Egyptian kingship. 5). Alexander’s pharaonic credentials, indeed, are more deeply rooted than this. 2), and even receives a dream visitation from the man himself, who announces that Alexander’s feats have outdone his own. These episodes function on two levels: Alexander is appropriated into Egyptian history, as the restorer of Egypt’s self-determination, and the Alexander Romance presents itself as a rejuvenated version of the Sesonchosis tradition.