Porphyry's rhetoric

This paper provides an introductory survey of the evidence for Porphyry’s writings on rhetoric and a discussion of their context and influence, together with a detailed commentary on the testimonia and fragments. In paying tribute to Porphyry as polymath, Eunapius expresses uncertainty whether his most significant contribution was to rhetoric, literary studies, arithmetic, geometry, music or the various branches of philosophy (Lives of the Sophists 4.2.2-3 = 9.11-19 Giangrande). The aporia is a rhetorical figure (it is no coincidence that philosophy holds the final, climactic place), but we should not discount the initial claim that Porphyry was a major contributor to rhetoric, although that is not a perspective on Porphyry that will occur readily to modern scholars. Smith’s survey of recent work registers no interest at all in Porphyry as a rhetorician, and his Teubner edition of the fragments omits the majority of the rhetorical fragments, and all of the most substantial ones. The present paper aims to provide an introduction to this aspect of Porphyry’s work (§1-§4), together with a catalogue of the available evidence and a commentary on it (§5). This will, I hope, assist towards a better understanding of the history of rhetoric in the third century, and its place in the intellectual culture of the time

Pseudo-Dionysius 'Art of Rhetoric' 8-11: Figured speech, declamation, and criticism

This paper considers the date and authorship of chapters 8-11 of the "Art of Rhetoric", falsely attributed to Dionysius of Halicarnassus. Analysis of the two chapters on "figured speech" suggests that chapter 9 is an unfinished attempt by the author of chapter 8 to rework the material into a more radical (but, in fact, conceptually flawed) refutation of those who rejected the concept. Distinctive common features indicate the chapters 10-11, on declamation and criticism are by the same author. The texts probably date to the early second century A.D.; the author was perhaps the Aelius Serapion attested in the "Suda"

The universality of poetry in Aristotle’s Poetics

This paper considers three questions arising out of Aristotle's statement that poetry is concerned with the universal. First, what does it mean? Secondly, what constraints does it impose on the construction of (in particular) tragic plots? This question is considered with special reference to the possible role of chance in tragedy. Thirdly, why is poetry concerned with the universal— that is, why is poetry such that these constraints are appropriate? In chapter 9 of the Poetics Aristotle states that poetry is concerned with the universal. In this paper I shall consider three questions arising out of this statement. First, what does it mean? Secondly, what constraints does it impose on the construction of (in particular) tragic plots? I shall consider this question with special reference to the possible role of chance in tragedy. Thirdly, why is poetry concerned with the universal—that is, why is poetry such that these constraints are appropriate

Money on the Table: State Initiatives to Improve Financial Aid Participation

Describes media, technology, and outreach campaigns to improve financial aid participation at community colleges in California, Connecticut, North Carolina, and Texas. Highlights efforts to increase low-income and minority student enrollment

Aristotle on natural slavery

Aristotle's claim that natural slaves do not possess autonomous rationality (Pol. 1.5, 1254b20-23) cannot plausibly be interpreted in an unrestricted sense, since this would conflict with what Aristotle knew about non-Greek societies. Aristotle's argument requires only a lack of autonomous practical rationality. An impairment of the capacity for integrated practical deliberation, resulting from an environmentally induced excess or deficiency in thumos (Pol. 7.7, 1327b18-31), would be sufficient to make natural slaves incapable of eudaimonia without being obtrusively implausible relative to what Aristotle is likely to have believed about non-Greeks. Since Aristotle seems to have believed that the existence of people who can be enslaved without injustice is a hypothetical necessity, if those capable of eudaimonia are to achieve it, the existence of natural slaves has implications for our understanding of Aristotle's natural teleology

Aristotelian Comedy

This paper examines the evidence for Aristotle's theory of comedy in the Poetics and other works. Since he defines comedy in terms of its 'inferior' characters, he cannot have objected in principle to ethical impropriety, obscenity and personal abuse in comedy; comedy cannot be judged by the ethical standards appropriate in everyday life. His account of the historical development of comedy is discussed, together with the application of the concept of poetic universality to comedy. It is argued that Aristotelian theory is consistent with Aristophanic practice. My aim in this paper is to reconsider a number of aspects of Aristotle’s thinking on comedy in the light of the acknowledged Aristotelian corpus. I shall have nothing to say about the Tractatus Coislinianus, an obscure and contentious little document which must (despite Janko’s energetic attempt to restore its credit) remain an inappropriate starting-point for discussion. There is still, I believe, something to be learnt from the extant works

Justice in Thucydides’ Athenian speeches

Speakers in Thucydides sometimes dismiss considerations of justice as irrelevant to decision-making in questions of international relations. It is argued that this line of argument is a distinctive characteristic of Thucydides’ Athenian speakers; and evidence from Athenian political oratory in the fourth and (so far as it is recoverable) late fifth centuries suggest that it is unlikely to have been characteristic in reality of Athenian speakers in the late fifth century. This conclusion poses a problem concerning Thucydides’ practice in his speeches to which there is no evident solution

Political Comedy in Aristophanes

This paper argues that Aristophanic comedy, although it takes contemporary political life as its point of departure, is not political in the sense of aiming to influence politics outside the theatre. Brief discussions of Clouds, Knights, Lysistrata and Acharnians are used to cast initial doubt on interpretations that attribute serious intent to Aristophanes. It is then argued that Aristophanes’ treatment of the poet’s role as adviser, abuse of the audience and of individuals, the themes of rich and poor and the power of the dêmos, support this conclusion. In general, the assumptions of Aristophanes’ comedy are too closely attuned to those of the majority of his audience to warrant inferences about Aristophanes’ own political attitudes. This conclusion throws light on the democracy’s exercise of control over the theatre. An appendix argues that the main unifying element in Aristophanic comedy is not theme, but plot, and that Aristophanes took more care over coherence of plot-structure than is sometimes recognised