Yale Classical Studies - Yale Classical Studies. Volume Eleven. Pp. 316; 1 plate. New Haven: Yale University Press (London: Oxford University Press), 1950. Cloth, 25s. net.

Abstract

25J. net. HERE is a wealth of varied fare. C. M. Dawson's 'The Iambi of Callimachus', much the longest contribution, is almost a full edition. Firstly, for each poem the text, with Si^yr/ais prefixed, is faced by a metrical translation; below these, respectively, lie a selective apparatus criticus and explanatory footnotes; and a few appended pages discuss the poem's tone, Call.'s procedure (sometimes with Roman imitations or likenesses), other treatments of the theme, etc. The texts, assembled before Pfeiffer's vol. i appeared, are based on Vogliano's editing for the Sirjyrjoeis, except at viii; Norsa-Vitelli's for PSI 1216; LobePs for the Oxyrhynchus pieces, but Pf.'s article of 1934 for No. 661. At viii Siijy. 28-30, since evrevOev precedes im^avres and 'returning home' is odd for Kan^x^'']<' av > Wifstrand's and Vogliano's changes (Lobel's, says Pf. i. 505) are preferable. In CalL's own text (I use Dawson's line-numerations) iii. 37's ingenious pointing seems new. iv. 84, 92, xii. 41, and the app. crit. at i. 76, 88 have small misprints. Restore its final letter-space to iv. 91, « m to xiii. 12. In translating Dawson freely supplements some very lacunose passages, while indentures make suggestions on others at, for example, i. 21-23, vi. passim, xii. 3 ff. Elsewhere his versions, often charming, convey well the tone of their originals. His general fidelity to the Greek fails at md-qaOes mood, i. 91; against 'this' and 'them', i. 65, iii. 6, see Pf.'s notes. Perhaps through endeavouring to match line with line, he neglects Kapros, yafiftpov, avrfj, ii. 8, iii. 29, iv. 45; xii. 36-39 drops (xv6oia[i; 'upset' and 'shoulder' are loose, v. 28-29, xiii. 56. The footnotes are numerous and helpful (iii. io's interpretation is new to myself), and readers will find stimulating the discussions of individual Iambi. Proceeding, Dawson treats of the whole collection's extent (thirteen poems only), title, and putative length, its likenesses to contemporary writings and adaptations of their themes. He shows it as being, in his sub-title's words, 'a Hellenistic poet's experimental laboratory' (p. 138 applies Isocrates bis too widely), and argues persuasively for counting Call, himself the deviser of its intricately patterned arrangement of dialects, metres, and themes, neatly tabulated on p. 143. Fragmenta Incertae Sedis follow, and we get a useful bibliography.

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“…A scriptwriter must be able to empathise with the emotional state of the audience and the actors (Smiley and Bert, 2005). Carers demonstrated this in their directions through use of language and behaviour that was sensitive to the emotional state and emotional needs of the person with dementia.…”

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On the Contribution of Nigerian Female Dramatists to Indigenous Theatre Development

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