Dionysius of Halicarnassus and the Scholia on Thucydides’ Syntax

Jonge, Casper C. de

doi:10.1515/9783110254044.451

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“…24 Indeed, Dionysius' occasional gestures towards his audience make it clear that he is not addressing a group of idiôtai, though we should bear in mind that Dionysius' work may not be uniform in that respect. 25 In the Lysias, for example, his refers to his readers as 'those who know' (πρὸς εἰδότας, 10.1), 26 suggesting that the readers will be familiar with at least some of the basic information about the author. 27 Now, while the opposition between idiôtai and technitai remains a very productive category for his criticism, and is frequently assumed, 28 Dionysius makes an important point throughout his essays that anyone aiming to be a successful practitioner of the art (of speech) must take the opinions of the idiôtai into consideration.…”

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Who Is an Idiot in Ancient Criticism?

Viidebaum

2023

The Class. Q.

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This article discusses the concept of ἰδιώτης, often translated as ‘layman’, in Dionysius of Halicarnassus’ critical essays, where he places particular emphasis on validating the judgement of the ἰδιώτης in aesthetic evaluation. Dionysius’ focus on the impact and reception of art enables him to lay the groundwork for shifting the semantic meaning of ἰδιώτης from being in strict opposition to the artist/critic to a more fluid category, ranging from ‘unskilled’ listener and layman to a relatively experienced ‘amateur’. By conceiving the change from ἰδιώτης to τεχνίτης in criticism as a more gradual process (rather than one of irreconcilable division), Dionysius shows the discipline of rhetoric and literary criticism to be a particularly relevant form of learning that speaks to the sensibilities of Imperial Rome.

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confidence: 99%

Who Is an Idiot in Ancient Criticism?

Viidebaum

2023

The Class. Q.

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Herodotus and Imperial Greek Literature

Kirkland

2022

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This book is the first monograph devoted to the reception of Herodotus among Imperial Greek writers. Using a broad reception model and focused largely on texts outside of historiography proper, the book analyzes the entanglements of criticism and imitation in select works by Dionysius of Halicarnassus, Plutarch, Dio Chrysostom, Lucian, and Pausanias. It offers a new angle on Herodotus’s intellectual afterlife, channeled through evocations both explicit and implicit in literary criticism, the moral essay, public oration, satire, and periegetic literature. The book shifts focus from reputation only—what ancient authors explicitly had to say about Herodotus—toward the kinetic interrelation between Herodotus’s reputation and his active reworking across genre and mode. It demonstrates how Herodotus was strategically construed and often implicitly summoned—as fabulist, classicist, moralizer, and evasive intellectual—and how such Herodotean presences played to the wider purposes of Imperial writers. Herodotus became a touchstone for writers concerned with a nimbus of questions that the Histories first helped to articulate. Imperial Greeks found Herodotus useful in puzzling through questions of authorial persona, mimesis, the relationship between aesthetic and ethical criticism, the self, and the contingent definitions of Hellenism under Rome. Ultimately, the book widens an incomplete reception history and reads bi-focally, examining how attention to the presence of Herodotus in various texts unveils new layers of meaning in those works, while also showing how ancient receptions offer insight into the Histories.

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Kirkland

2022

Herodotus and Imperial Greek Literature

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Dionysius of Halicarnassus and the Scholia on Thucydides’ Syntax

Cited by 14 publications

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Who Is an Idiot in Ancient Criticism?

Who Is an Idiot in Ancient Criticism?

Herodotus and Imperial Greek Literature

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