In the first argumentative section of Book 1, Lucretius establishes the existence of matter and void , and in the second identifies matter as the atoms and defines their properties . In the third section, following Epicurean tradition, he attempts to refute a representative selection of Presocratic philosophers – Heraclitus , Empedocles and Anaxagoras – whose explanations of basic matter are potential rivals to the atomist theory which he has just outlined. The climax to this section is reached in Lucretius' (...) triumphant personal claim to be an original poet and health-bringing purveyor of truth . His foregoing criticism of the Presocratics as writers and thinkers is deeply coloured by the values he openly professes here. The introductory passages to each philosopher, in particular, are highly revealing of Lucretius' personal inclinations as a poet and exhibit a virtuoso command of several styles and techniques. (shrink)

In the first argumentative section of Book 1, Lucretius establishes the existence of matter and void, and in the second identifies matter as the atoms and defines their properties. In the third section, following Epicurean tradition, he attempts to refute a representative selection of Presocratic philosophers – Heraclitus, Empedocles and Anaxagoras – whose explanations of basic matter are potential rivals to the atomist theory which he has just outlined. The climax to this section is reached in Lucretius' triumphant personal claim (...) to be an original poet and health-bringing purveyor of truth. His foregoing criticism of the Presocratics as writers and thinkers is deeply coloured by the values he openly professes here. The introductory passages to each philosopher, in particular, are highly revealing of Lucretius' personal inclinations as a poet and exhibit a virtuoso command of several styles and techniques. (shrink)

A states the phenomenon that requires to be explained. B explains it. C justifies B. D is the furthest reach of the argument and explains C. E. begins the way back, stating the consequence of D and therefore balancing C. F is the inference from E and corresponds to B, and G brings us back to A. The logic is closely knit. And it is pointed by repeats and correspondences. In A the fire is liquidus; in E profundant, in F (...) profundunt. In B the clouds must contain permulta seeds of fire; in D they must conceive multa from the light of the sun, and the repeat of necessest, necessust hammers home the argument. (shrink)

A states the phenomenon that requires to be explained. B explains it. C justifies B. D is the furthest reach of the argument and explains C. E. begins the way back, stating the consequence of D and therefore balancing C. F is the inference from E and corresponds to B, and G brings us back to A. The logic is closely knit. And it is pointed by repeats and correspondences. In A the fire is liquidus; in E profundant, in F (...) profundunt. In B the clouds must contain permulta seeds of fire; in D they must conceive multa from the light of the sun, and the repeat of necessest, necessust hammers home the argument. (shrink)

Ovidians continue to be puzzled by the 404-line speech put into the mouth of Pythagoras in book 15 of the Metamorphoses. Questions of literary decorum and quality are insistently raised: how does the philosopher's popular science consort with the predominantly mythological matter of the preceding fourteen books? Do Pythagoras' revelations provide some kind of unifying ground, a ‘key’, for the endless variety of the poem? Can one take the Speech as a serious essay in philosophical didactic, or is it all (...) a mighty spoof, as intentionally laughable, perhaps, as the imperial panegyric with which the narrative of book 15 concludes? Or should we beware of imposing modern tastes on Ovid's original audience, and respect the Hellenistic and Roman predilection for scientific poetry? This article seeks to establish further contexts for the evaluation of the Speech of Pythagoras through a study of Ovid's allusive practice within the Greco-Roman tradition of hexameter epos. The figure who provides a foundation for Ovid's construction of his own poetic genealogy turns out to be the Greek philosophical poet Empedocles. The resulting reflections on Ovid's manipulation of generic conventions may be timely in the light of the recent appearance of sophisticated and fresh approaches to the question of whether the Metamorphoses is, or is not, an epic. (shrink)

Ovidians continue to be puzzled by the 404-line speech put into the mouth of Pythagoras in book 15 of theMetamorphoses.Questions of literary decorum and quality are insistently raised: how does the philosopher's popular science consort with the predominantly mythological matter of the preceding fourteen books? Do Pythagoras' revelations provide some kind of unifying ground, a ‘key’, for the endless variety of the poem? Can one take the Speech as a serious essay in philosophical didactic, or is it all a mighty (...) spoof, as intentionally laughable, perhaps, as the imperial panegyric with which the narrative of book 15 concludes? Or should we beware of imposing modern tastes on Ovid's original audience, and respect the Hellenistic and Roman predilection for scientific poetry? This article seeks to establish further contexts for the evaluation of the Speech of Pythagoras through a study of Ovid's allusive practice within the Greco-Roman tradition of hexameterepos.The figure who provides a foundation for Ovid's construction of his own poetic genealogy turns out to be the Greek philosophical poet Empedocles. The resulting reflections on Ovid's manipulation of generic conventions may be timely in the light of the recent appearance of sophisticated and fresh approaches to the question of whether theMetamorphosesis, or is not, an epic. (shrink)

Ovidians continue to be puzzled by the 404-line speech put into the mouth of Pythagoras in book 15 of the Metamorphoses. Questions of literary decorum and quality are insistently raised: how does the philosopher's popular science consort with the predominantly mythological matter of the preceding fourteen books? Do Pythagoras' revelations provide some kind of unifying ground, a ‘key’, for the endless variety of the poem? Can one take the Speech as a serious essay in philosophical didactic, or is it all (...) a mighty spoof, as intentionally laughable, perhaps, as the imperial panegyric with which the narrative of book 15 concludes? Or should we beware of imposing modern tastes on Ovid's original audience, and respect the Hellenistic and Roman predilection for scientific poetry? This article seeks to establish further contexts for the evaluation of the Speech of Pythagoras through a study of Ovid's allusive practice within the Greco-Roman tradition of hexameter epos. The figure who provides a foundation for Ovid's construction of his own poetic genealogy turns out to be the Greek philosophical poet Empedocles. The resulting reflections on Ovid's manipulation of generic conventions may be timely in the light of the recent appearance of sophisticated and fresh approaches to the question of whether the Metamorphoses is, or is not, an epic. (shrink)