This paper explores the role the Panhellenic centers played in facilitating the circulation of wisdom in ancient Greece. It argues that there are substantial thematic overlaps among practitioners of wisdom , who are typically understood as belonging to different categories . By focusing on the presence of σοφοί at the Panhellenic centers in general, and Delphi in particular, we can acquire a more accurate picture of the particular expertise they possessed, and of the range of meanings the Greeks attributed to (...) the word σοφία. This approach seeks to challenge the conventional categories of modern scholarship and to offer a broader and more inclusive interpretive framework in its stead. One such thematic overlap is the way in which many σοφοί are described as exerting an almost uncanny, yet highly conventional ability to attract listeners and enchant them with their verbal performances. There is plenty of material to support the view that σοφοό, through tapping into the repository of σοφία that Delphi constituted and by aligning themselves with its authority, were seen as themselves being a conduit for a similar type of charismatic speech. (shrink)

The elegiac lines inPQasrlbriminv. 78–3–11/1 (L/2), first edited and ascribed to Gallusby R. D. Anderson, P. J. Parsons and R. G. M. Nisbetin 1979, raise a number of major problems of interpretation yet to be resolved. As is now well known, the papyrus fragment contains nine fairly well-preserved lines: first a pentameter, followed by two quatrains each composed of two elegiac couplets; the two quatrains are carefully marked off from each other and from the lines which preceded and followed them (...) by a pair of signs which have defied interpretation; another such sign can be seen to have marked a similar separation between groups of lines in the next column of the papyrus. One might think that the sets of lines thus marked off were quite separate epigrams, or perhaps excerpts from longer poems, for they are concerned with separate, indeed discrepant, topics – the naughtiness of Lycoris, the morale-boosting effects of Caesar's forthcoming successes, the love-poet's fearless stance before his critics – and they do not seem prima facie to follow logically after one another. However, various unmistakable verbal and thematic connections between them have rightly been pointed out by Nisbet. So what is this sequence of related verses and why is it set out in this way? (shrink)