Lucians von Samosata sämtliche werke: Band 5

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Publisher
A. Doll
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Published on
Dec 31, 1813
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Pages
388
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Language
German
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Die Abderiten - Eine sehr wahrscheinliche Geschichte von Herrn Hofrath Wieland ist ein satirischer Roman von Christoph Martin Wieland. Schon von Zeitgenossen Wielands wurde die Meinung geäußert, er beschreibe Verhältnisse seiner Heimatstadt Biberach an der Riß. Möglicherweise hatte Wieland einige Charaktere der Reichsstadt vor seinem geistigen Auge, er stellt in dieser Schrift aber auch menschliche Verhaltensweisen dar, die zu allen Zeiten an allen Orten unter Menschen zu finden sind. Formal ist der Roman angelehnt an die von antiken Komödiendichtern und Satirikern kolportierten Geschichten aus Abdera, das im klassischen Hellas als Schilda verrufen war. Christoph Martin Wieland (1733-1813) war ein deutscher Dichter, Übersetzer und Herausgeber zur Zeit der Aufklärung. Aus dem Buch: "Das Altertum der Stadt Abdera in Thracien, verliert sich in der fabelhaften Heldenzeit. Auch kann es uns sehr gleichgültig sein, ob sie ihren Namen von Abdera, einer Schwester des berüchtigten Diomedes, Königs der bistonischen Thracier, – der ein so großer Liebhaber von Pferden war und deren so viel hielt, daß er und sein Land endlich von seinen Pferden aufgefressen wurde, – oder von Abderus, einem Stallmeister dieses Königs, oder von einem andern Abderus, der ein Liebling des Herkules gewesen sein soll, empfangen habe. Abdera war, einige Jahrhundert nach ihrer ersten Gründung, vor Alter wieder zusammengefallen: als Timesius von Klazomene, um die Zeit der ein und dreißigsten Olympiade, unternahm, sie wieder aufzubauen. Die wilden Thracier, welche keine Städte in ihrer Nachbarschaft aufkommen lassen wollten, ließen ihm nicht Zeit, die Früchte seiner Arbeit zu genießen..."
Christoph Martin Wieland's comic novel History of the Abderites (1774-81) is, in its author's own words, a "work that was written to entertain all intelligent people and to admonish and chastise all fools." It is thus a part of that tradition in European literature that includes Sebastian Brant's The Ship of Fools (1494) and the Praise of Folly (1509) by Erasmus. The target of Wieland's wit and humor is the provinciality, lack of taste, pedantry, backwardness, bigotry, narrow-mindedness, ignorance, and sodden contentment with things as they are, which he found in people all around him. But instead of attacking the follies of his German contemporaries directly, he sets his novel in the small Thracian city-state of Abdera in the fifth century B.C. This novel is one of the sprightliest literary achievements of the Enlightenment in Germany, and reveals that Wieland was a kindred spirit of Henry Fielding and Laurence Sterne.
Each of the five divisions, or "Books," of History of the Abderites conveys a different aspect of life in Abdera, and the author allows his readers to draw whatever parallels they may perceive between what goes on in this ancient backwoods community and life in contemporary Germany.
The novel opens with the return of Democritus after many years from an extended tour abroad. He is the main character in the first part of the book, and combines the traits of his historical counterpart with those of an eighteenth-century empirical scientist, along with the moral attributes of the ideal gentleman. The Abderites think Democritus a very odd sort of fellow and cannot at all comprehend what they consider his outlandish notions about a great variety of subjects. Soon it is quite clear that Democritus is everything that they are not. Moreover, his having come home with a black mistress seems to support their conviction that there is something wrong in his head, for they fail entirely to understand how anyone who is not white could be considered beautiful.
In the Fourth Book, the most renowned and hilarious part of the novel, acute civil strife over a trial concerning the shadow of an ass threatens the very existence of the little republic.
The last book tells of the decline and fall of Abdera. But in the "Key" to his novel, Wieland asserts that the Abderites, an "indestrucible, immortal tribe," never died out. They fled from their old home to live dispersed among all other peoples of the world. This is the reason, Wieland says, that although he had thought he was writing about fools in ancient Thrace, some people came to believe that he was describing his contemporaries. Of this he is clearly minded not to disabuse them.
Lucian of Samosata is celebrated for lively and original satires, which demonstrate his cynical wit and critical interpretation of Greek literature.  Well-regarded for his Attic purity and the elegance of his Greek, Lucian is now recognised as one of the first true modern innovators of literature. Delphi’s Ancient Classics series provides eReaders with the wisdom of the Classical world, with both English translations and the original Greek texts.  For the first time in digital publishing, this comprehensive eBook presents Lucian’s complete extant works, with beautiful illustrations, rare translations, informative introductions and the usual Delphi bonus material. (Version 1)


* Beautifully illustrated with images relating to Lucian's life and works

* Features the complete extant works of Lucian, in both English translation and the original Greek

* Concise introductions to the famous satires

* Includes translations by H. W. Fowler and F. G. Fowler (Oxford University Press) and by A. M. Harmon (Loeb Classical Library)

* Excellent formatting of the texts

* Includes many rare translations of Pseudo-Lucian works, available in no other collection

* Lucian’s ‘Epigrams’, translated by W. R. Paton in the Loeb Classical Library ‘Greek Anthology’ editions

* Features two bonus biographies – discover Lucian's ancient world

* Scholarly ordering of texts into chronological order and literary genres


Please visit www.delphiclassics.com to explore our range of Ancient Classics titles or buy the entire series as a Super Set


CONTENTS:


The Translations

PHALARIS 1 — Φάλαρις Α

PHALARIS 2 — Φάλαρις Β

HIPPIAS — Ἱππίας ἢ Βαλανεῖον

DIONYSUS — Διόνυσος

HERACLES — Ἡρακλῆς

AMBER; OR, THE SWANS — Περὶ τοῦ Ἡλέκτρου ἢ Κύκνων

THE FLY — Μυίας Ἐγκώμιον

NIGRINUS — Νιγρίνου Φιλοσοφία

DEMONAX — Δημώνακτος Βίος

CONCERNING A HALL — Περὶ τοῦ Οἴκου

MY NATIVE LAND — Πατρίδος Ἐγκώμιον

OCTOGENERIANS — Μακρόβιοι

A TRUE STORY — Ἀληθῶν Διηγημάτων

SLANDER — Περὶ τοῦ μὴ ῥᾳδίως πιστεύειν Διαβολῇ

THE CONSONANTS AT LAW — Δίκη Συμφώνων

THE CAROUSAL SYMPOSIUM OR THE LAPITHS — Συμπόσιον ἢ Λαπίθαι

SOLOECISTA — Ψευδοσοφιστής ἢ Σολοικιστής

THE DOWNWARD JOURNEY OR THE TYRANT — Κατάπλους ἢ Τύραννος

ZEUS CATECHIZED (ZEUS CROSS-EXAMINED) — Ζεὺς ἐλεγχόμενος

ZEUS RANTS — Ζεὺς Τραγῳδός

THE COCK — Ὄνειρος ἢ Ἀλεκτρυών

PROMETHEUS — Προμηθεύς

ICAROMENIPPUS OR THE SKY-MAN — Ἰκαρομένιππος ἢ Ὑπερνέφελος

TIMON OR THE MISANTHROPE — Τίμων

CHARON OR THE INSPECTORS — Χάρων ἢ Ἐπισκοποῦντες

SALE OF CREEDS — Βίων Πρᾶσις

THE FISHERMAN — Ἀναβιοῦντες ἢ Ἁλιεύς

THE DOUBLE INDICTMENT — Δὶς κατηγορούμενος

ON SACRIFICES — Περὶ Θυσιῶν

REMARKS ADDRESSED TO AN ILLITERATE BOOK-FANCIER — Πρὸς τὸν ἀπαίδευτον καὶ πολλὰ βιβλία ὠνούμενον

THE DREAM OR LUCIAN’S CAREER — Περὶ τοῦ Ἐνυπνίου ἤτοι Βίος Λουκιανοῦ

THE PARASITE: PARASITIC AN ART — Περὶ τοῦ Παρασίτου ὅτι Τέχνη ἡ Παρασιτική

THE LOVER OF LIES — Φιλοψευδής ἢ Ἀπιστῶν

THE JUDGEMENT OF THE GODDESSES — Θεῶν Κρίσις

ON SALARIED POSTS IN GREAT HOUSES — Περὶ τῶν ἐν Μισθῷ συνόντων

ANACHARSIS — Ἀνάχαρσις ἢ Περὶ Γυμνασίων

MENIPPUS — Μένιππος ἢ Νεκυομαντεία

LUCIUS; OR, THE ASS — Λούκιος ἢ Ὄνος

ON FUNERALS (ON MOURNING) — Περὶ Πένθους

A PROFESSOR OF PUBLIC SPEAKING — Ῥητόρων Διδάσκαλος

ALEXANDER THE FALSE PROPHET — Ἀλέξανδρος ἢ Ψευδόμαντις

ESSAYS IN PORTRAITURE — Εἰκόνες

ESSAYS IN PORTRAITURE DEFENDED — Ὑπὲρ τῶν Εἰκόνων

THE SYRIAN GODDESS — Περὶ τῆς Συρίης Θεοῦ

OF PANTOMIME — Περὶ Ὀρχήσεως

LEXIPHANES — Λεξιφάνης

THE EUNUCH — Εὐνοῦχος

ASTROLOGY — Περὶ τῆς Ἀστρολογίας

AMORES — Ἔρωτες

THE MISTAKEN CRITIC — Ψευδολογιστής

THE PARLIAMENT OF THE GODS — Θεῶν Ἐκκλησία

THE TYRANNICIDE — Τυραννοκτόνος

DISOWNED — Ἀποκηρυττόμενος

THE PASSING OF PEREGRINUS — Περὶ τῆς Περεγρίνου Τελευτῆς

THE RUNAWAYS — Δραπέται

TOXARIS — Τόξαρις ἢ Φιλία

DEMOSTHENES — Δημοσθένους Ἐγκώμιον

HOW TO WRITE HISTORY — Πῶς δεῖ Ἱστορίαν συγγράφειν

THE DIPSADS — Περὶ τῶν Διψάδων

SATURNALIA — Τὰ πρὸς Κρόνον

HERODOTUS OR AETION — Ἡρόδοτος ἢ Ἀετίων

ZEUXIS OR ANTIOCHUS — Ζεύξις ἢ Ἀντίοχος

A SLIP OF THE TONGUE IN GREETING — Ὑπὲρ τοῦ ἐν τῇ Προσαγορεύσει Πταίσματος

APOLOGY FOR THE “SALARIED POSTS IN GREAT HOUSES” — Ἀπολογία

HARMONIDES — Ἁρμονίδης

A CONVERSATION WITH HESIOD — Διάλογος πρὸς Ἡσίοδον

THE SCYTHIAN OR THE CONSUL — Σκύθης ἢ Πρόξενος

PODAGRA; OR, GOUT — Ποδάγρα

HERMOTIMUS — Ἑρμότιμος ἢ Περὶ Αἱρέσεων

A LITERARY PROMETHEUS — Πρὸς τὸν εἰπόντα Προμηθεὺς εἶ ἐν λόγοις

HALCYON — Ἀλκυὼν ἢ Περὶ Μεταμορφώσεων

THE SHIP; OR, THE WISHES — Πλοἶον ἢ Εὐχαί

OCYPUS; OR, SWIFT-OF-FOOT — Ὠκύπους

CYNICUS (THE CYNIC) — Κυνικός

DIALOGUES OF THE DEAD — Νεκρικοὶ Διάλογοι

DIALOGUES OF THE SEA-GODS — Ἐνάλιοι Διάλογοι

DIALOGUES OF THE GODS — Θεῶν Διάλογοι

DIALOGUES OF THE COURTESANS — Ἑταιρικοὶ Διάλογοι

The Spurious Works

LETTERS — Ἐπιστολαί

PHILOPATRIS; OR, THE PATRIOT — Φιλόπατρις ἢ Διδασκόμενος

CHARIDEMUS — Χαρίδημος ἢ Περὶ Κάλλους

NERO — Νέρων

EPIGRAMS — Ἐπιγράμματα


The Greek Texts

LIST OF GREEK TEXTS


The Biographies

INTRODUCTION TO LUCIAN by H. W. Fowler and F. G. Fowler

INTRODUCTION TO LUCIAN by A. M. Harmon


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It is a commonplace of criticism that Lucian was the first of the moderns, but in truth he is near to our time because of all the ancients he is nearest to his own. With Petronius he shared the discovery that there is material for literature in the debased and various life of every day—that to the seeing eye the individual is more wonderful in colour and complexity than the severely simple abstraction of the poets. He replaced the tradition, respected of his fathers, by an observation more vivid and less pedantic than the note-book of the naturalist. He set the world in the dry light of truth, and since the vanity of mankind is a constant factor throughout the ages, there is scarce a page of Lucian's writing that wears the faded air of antiquity. His personages are as familiar to-day as they were in the second century, because, with his pitiless determination to unravel the tangled skein of human folly, he never blinded his vision to their true qualities. And the multiplicity of his interest is as fresh as his penetration. Nothing came amiss to his eager curiosity. For the first time in the history of literature (with the doubtful exception of Cicero) we encounter a writer whose ceaseless activity includes the world. While others had declared themselves poets, historians, philosophers, Lucian comes forth as a man of letters. Had he lived to-day, he would have edited a newspaper, written leading articles, and kept his name ever before the public in the magazines. For he possessed the qualities, if he avoided the defects, of the journalist. His phrase had not been worn by constant use to imbecility; his sentences were not marred by the association of commonness; his style was still his own and fit for the expression of a personal view. But he noted such types and incidents as make an immediate, if perennial, appeal, and to study him is to be convinced that literature and journalism are not necessarily divorced.

The profession was new, and with the joy of the innovator Lucian was never tired of inventing new genres. Romance, criticism, satire—he mastered them all. In Toxaris and The Ass he proves with what delicacy and restraint he could handle the story. His ill-omened apprenticeship to a sculptor gave him that taste and feeling for art which he turned to so admirable an account. He was, in fact, the first of the art-critics, and he pursued the craft with an easy unconsciousness of the heritage he bequeathed to the world. True, he is silent concerning the technical practice of the Greeks; true, he leaves us in profound ignorance of the art of Zeuxis, whose secrets he might have revealed, had he been less a man of letters. But he found in painting and sculpture an opportunity for elegance of phrase, and we would forgive a thousand shortcomings for such inspirations of beauty as the smile of Sosandra: to τὸ μειδίαμα σεμνὸν καὶ λεληθὸς. In literary criticism he was on surer ground, and here also he leaves the past behind. His knowledge of Greek poetry was profound; Homer he had by heart; and on every page he proves his sympathies by covert allusion or precise quotation. His treatise concerning the Writing of History[1] preserves its force irresistible after seventeen centuries, nor has the wisdom of the ages impeached or modified this lucid argument. 


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