A history of classical scholarship / Vol. 2, From the by John Edwin Sandys

By John Edwin Sandys

Sir John Edwin Sandys (1844-1922) used to be a number one Cambridge classicist and a Fellow of St. John's university. His most famed paintings is that this three-volume background of Classical Scholarship, released among 1903 and 1908, which is still the single large-scale paintings at the topic to span the complete interval from the 6th century BCE to the tip of the 19th century. The background of classical reports used to be a favored subject throughout the 19th century, rather in Germany, yet Sandys stands proud for the formidable scope of his paintings, although a lot of it used to be according to past scholarship. His chronological account is subdivided by way of style and area, with a few chapters dedicated to really influential contributors. quantity 2 covers the interval from the Renaissance to the eighteenth century.

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Epilogues (x) follow the usual pattern, with emphasis on the characteristics and intentions of the parties involved. There are many such cases; 'antitheticals' were a popular exercise. cannot speak for herself. The advocate's speech begins (i) with a katastasis, in which he praises the woman's chastity and enlarges on the value of domestic loyalty for the community at large and the 'democracy'. Then (ii) comes the 'demurrer': she has killed an adulterer, surely she should not even be tried, for she has only done what the laws allow.

E. an informal preliminary talk (Lat. sermo); see below, p. 77. 8 This suggests 'imitation' of the somewhat crude style of the early sophists, heavily antithetical and with considerable poetic colour. 9 Simonides and the art of memory: Cic. 35lff. Simonides was known as the inventor of mnemonics in Hellenistic and later times. The story was that he remembered where everyone had sat at Scopas* banquet, and so was able to help identify the bodies when the roof fell in (Blum [1969] 4lff). 12 Aristides 13 performs in the council chamber at Cyzicus, and subsequently gives the same speech at a festival (panegyris).

Dionysius' other important point concerns order and proportion. It is clearly important to distinguish a diairesis into 'headings' (kephalaia) from the plan of an actual speech. Sopatros does not do this and gives the impression that the pupil will get full marks if he follows the diairesis in the order given. Dionysius will have none of this. 90 Setting out the kephalaia in such a way is no better than writing out the letters in the order of the alphabet instead of using them to make words. What is vital is to see what is needed in a particular case, to arrange the strong argument so as to conceal the weak, and to anticipate opponents' arguments in a sophisticated and persuasive manner.

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