Welcome back to the task of reading a real 11th century Latin manuscript of Vergil’s Aeneid. In Part 1, we launched straight into the task of deciphering this delightful Carolingian Minuscule manuscript, learning some of the most frequent scribal abbreviations. But there are still many more devices to go. Firstly, though, I realise I hadn’t properly explained what was in our manuscript before, so I drew up a neat chart for what sections of the Aeneid it covers, along with links to plain text versions of everything you can find in the manuscript. And secondly I’ve provided a short chart which summarizes all the devices we learned in Part 1, in case you wanted to quickly check them up. In the third segment, we resume learning scribal abbreviations until we’ve exhausted all of the ones which occur in this manuscript.
Author Archives: Carla Hurt
How would you like to read a genuine medieval manuscript?
In this two-part series we will do just that. I’ve selected a very handsomely written 11th century Carolingian manuscript of Vergil’s Aeneid. The writing is quite clear and it has a decent number of scribal abbreviations, but it is quite manageable for those trying to read Latin on parchment for the first time. At some point I might make similar posts for Ancient Greek and Middle English, so even if you don’t know Latin, I hope I can introduce you to the joys of reading medieval manuscripts.
My neighbour Pat has recently given me her Latin textbook, a 1950s reprint of a beautiful 1930s classic, which may actually have been the forerunner of a revolution in Latin textbooks. First published in 1936, it is titled Septimus, not because it is the seventh book in a series, but for its main character, a young British schoolboy named Septimus. When I first received the book, it was wrapped in the kind of thin brown paper that old parcels used to be covered in. I suspected that the greasy, battered brown paper was hiding something beautiful underneath, and on removing the paper I was not disappointed. As you can see above, the original cover design is perfectly preserved in yellow, green and red.
Have you ever wondered how to write in one of earliest Ancient Greek calligraphic scripts? Wonder no more! I’m happy to present the first video I’ve made for Found in Antiquity, so that you can see first hand how to write the alphabet in Greek Uncial.
What exactly is Greek Uncial?
Greek Uncial hails from the first few centuries of the Common Era. Unlike Ancient Greek cursive, Uncial is surprisingly readable even if you’re mostly used to reading modern Greek letter forms. While most of the surviving examples were written on parchment, Greek Uncial started life on papyrus and was generally used for literary texts like Homer’s Iliad (below).
Today is Saint Patrick’s day. And yet for a long time, all I had associated with this saint was his holiday, drunken green-clad revellers, the Irish, leprechauns, and a story about snakes. He was more of a cartoon figure than a man, a cheesy one-dimensional character not really much more credible than Santa Claus.
But then some months ago I stumbled across his Confession, a fifth century work in Latin. (Here’s a free English translation, and here’s a Latin version.) I didn’t know any of his writings had actually survived. The Patrick of the Confession was a refreshing change from the Patrick of legend. It was a window into a world I had barely glimpsed before – the life of an early British missionary in Ireland.
Collections of inscriptions are very useful but a little intimidating for budding Classicists to get their teeth into. These collections are almost always referred to by their acronym, which appear as a meaningless series of letters to the uninitiated. And since epigraphy is a somewhat arcane topic, it is surprisingly difficult to find the full titles of epigraphical resources online.
It’s not every day that you hear of a legal dispute about whether a certain divinity is or isn’t a god. This may be because our states – at least, Australia, the UK and the US – have no formal obligations towards gods, and will generally refuse to comment on the true divinity of a god in the interests of protecting religious freedom.
The Roman republic had it the other way around. There was no official obligation for the state to tolerate religions, but the state was formally obliged to serve gods. John North, in his article, “Religious Toleration in Republican Rome,” has argued that while the Romans were generally tolerant in practice, the concept of “religious toleration” as a moral obligation was absent from Roman thought:
We certainly do not know at any period of any theoretical principle of allowing plurality of worship or belief. The toleration, if that is what it was, was a function of situation not theory.
Happy news! I’ve just started learning German! I signed up for a super-intensive course (with the Goethe Institute, Melbourne) that runs all day each day from Monday to Friday this week.
There are so many good reasons to learn German if you like Classics. Perhaps you’ve realised everyone is citing German academics. Name any topic on Greece and Rome, and some German mastermind somewhere has written an immensely important monograph work on that very area. Mention this to anyone who isn’t a Classicist and they’ll reply with a slightly confused “huh?” and ask what Germany has to do with the Romans and Greeks anyway. Good question.
How did a Saint from Western Turkey become an elf-Lord driving reindeer around the North Pole? The journey of St. Nicholas through time, space and cultures has transformed this pious bishop of Myra into Santa: a secular, round-bellied, cheerful caricature of modern consumerism. How, exactly, did he get from there to here? And does anything of the original Nick remain in our Mr. Claus?
There’s an art to translation. It involves moving concepts from one language into another while trying to refit the same thought into a different set of grammar rules. In this study I’d like to look at one obvious part of the translation process: word order change. In studying this, I don’t mean to suggest that the inevitable changes in word order are necessarily bad or represent the degree to which information is lost in the act of translation. Quite the opposite. Where it is needed, the word order should change so that the meaning can be properly conveyed. Otherwise, there would be no point in translating anything.
What I want to investigate is how much the word order changes when translating a passage from Ancient Greek (specifically Koine) into various other languages. For instance, how closely can a Latin translation mirror Greek word order? Are Romance languages any closer to Greek word order than Germanic languages? Was medieval English more similar to Koine Greek syntax than contemporary English? And roughly how close is Modern Greek to its ancestor?
In this study, I’ll explore how much word order change occurs in several published translations of the same Koine Greek sample text, analysing eleven translations spread out over six languages: Latin, English, German, French, Mandarin Chinese, and Modern Greek. What I like about studying word order is that it’s a fairly obvious part of the language and you can see it move around. This is not a subtle study about ineffable shifts in semantics. It’s a crude, chunky experiment looking at how blocks of data move positions in different languages to express more or less the same thing according to different syntax rules. Although the sample text is short, at least this exercise can give a taste of how similar and distant the various languages are to Ancient Greek in this particular respect.