Catullus 68 has for generations been the site of hard-fought and inconclusive philological battles. This, it may be confidently predicted, will continue to be the case. The present contribution, therefore, can pretend to no more elaborate aim than the opening up of certain new fronts. It falls into two parts of unequal length: first some general observations on the contents of the poem — or poems, for the Einheitsfrage cannot be evaded — and the underlying theme thereof; second a detailed (...) examination of the source and significance of perhaps the most remarkable passage in an altogether remarkable piece of work, to wit the barathrum simile. The argument of I has, the reader will observe, a not inconsiderable bearing on that of IIB, though it is in no way dependent on the latter's acceptability. The argument of IIA, to the contrary, has no necessary link with those of I and IIB and may profitably be judged by itself. (shrink)

In this paper, I examine three mutually inconsistent claims that are commonly attributed to Hume: all beliefs are involuntary; some beliefs are subject to normative appraisal; and that ‘Ought implies Can’. I examine the textual support for such ascription, and the options for dealing with the puzzle posed by their inconsistency. In what follows I will put forward some evidence that Hume maintains each of the three positions outlined above. I then examine what I call the ‘prior voluntary action’ solution. (...) I argue that this position in any form fails to account for synchronic rationality. I then raise more specific objections depending on how we disambiguate the position, which can be read as either granting beliefs derivative voluntariness, or as denying their normative significance; the former version is inconsistent with Hume’s treatment of natural abilities, while the latter falls to a regress given Hume’s thesis regarding the inability of actions and passions to be subject to epistemic normativity. I then propose to reject instead for two reasons: first, the weakness of textual support for such an ascription; secondly, Hume’s explicit recognition of the irrelevance of involuntariness to normative evaluation in the moral case. (shrink)

Aeneas' stopover at Actium has struck most readers as an Augustan interlude in the odyssey of Aeneid 3. The scene is conspicuous among the other episodes in the trip for its brevity and for the fact that it does not advance the action toward the Trojan exiles' Italian goal. Instead the accent falls on prefiguring actions of Aeneas' distinguished descendant, Octavian, after he achieved victory over Antony at the same site in 31 B.C. Where the future Augustus dedicated spoils from (...) the battle to Actian Apollo and instituted a festival called the Actian Games, the Trojans celebrate athletic games at Actium and their leader affixes an enemy trophy to the temple of Apollo there. This last act, however, Aeneas' dedicatio, points allusively to the mythical past as well as to the Augustan future. To appreciate the full force of that complex reference, which enriches the thematics of the entire scene, hinges on our recognition of a mythological figure whose identity has been long in doubt. The narrator Aeneas reports that he hung up on Apollo's shrine ‘the bronze shield worn by great Abas’. Who is this Abas, and why is his mention here significant? (shrink)

Aeneas' stopover at Actium has struck most readers as an Augustan interlude in the odyssey of Aeneid 3. The scene is conspicuous among the other episodes in the trip for its brevity and for the fact that it does not advance the action toward the Trojan exiles' Italian goal. Instead the accent falls on prefiguring actions of Aeneas' distinguished descendant, Octavian, after he achieved victory over Antony at the same site in 31 B.C. Where the future Augustus dedicated spoils from (...) the battle to Actian Apollo and instituted a festival called the Actian Games, the Trojans celebrate athletic games at Actium and their leader affixes an enemy trophy to the temple of Apollo there. This last act, however, Aeneas' dedicatio, points allusively to the mythical past as well as to the Augustan future. To appreciate the full force of that complex reference, which enriches the thematics of the entire scene, hinges on our recognition of a mythological figure whose identity has been long in doubt. The narrator Aeneas reports that he hung up on Apollo's shrine ‘the bronze shield worn by great Abas’ . Who is this Abas, and why is his mention here significant? (shrink)

In a well-known article, Hodnett pointed out that Virgil emphasizes the peacefulness and quiet of the sea, its immensity and limitlessness, in contrast to the view articulated by the Roman poets of the Republic, which presents the sea as deceptive and fearsome. Among the many terms used in theAeneidto denote the sea,aequorstands out precisely because it is the term most frequently used by Virgil in place of the wordmare.

The laser, first operated in 1960, produced light with coherence properties that demanded explanation. While some attempted a treatment within the framework of classical coherence theory, others insisted that only quantum electrodynamics could give adequate insight and generality. The result was a sharp and rather bitter controversy, conducted over the physics and mathematics that were being deployed, but also over the criteria for doing good science. Three physicists were at the center of this dispute, Emil Wolf, Max Born’s collaborator on (...) a canonical text on optics as a branch of classical electromagnetism, Roy J. Glauber, a student of Julian Schwinger and a high-energy particle theorist, and Leonard Mandel, both experimentalist and theorist and versed in the physics of photodetection. The story told here is thus one of three distinct research trajectories and of the explosion that occurred when, pushed into the well-financed field of laser studies, these trajectories collided. (shrink)

he true relation between these scenes and historic fact is more mysterious and less simple. The metamorphosis takes place on a higher plane. Historic events and the poet's inner experience are stripped of everything accidental and actual. They are removed from time and transported into the large and distant land of Myth. There, on a higher plane of life, they are developed in symbolic and poetic shapes having a right to an existence of their own. The fact, therefore, that the (...) subjection of the storm is described in a simile for a moment highlighting a very important sphere of the poem is more decisive than a possible allusion to the younger Cato. (shrink)

he true relation between these scenes and historic fact is more mysterious and less simple. The metamorphosis takes place on a higher plane. Historic events and the poet's inner experience are stripped of everything accidental and actual. They are removed from time and transported into the large and distant land of Myth. There, on a higher plane of life, they are developed in symbolic and poetic shapes having a right to an existence of their own. The fact, therefore, that the (...) subjection of the storm is described in a simile for a moment highlighting a very important sphere of the poem is more decisive than a possible allusion to the younger Cato. (shrink)