
By Jason Konig
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Extra resources for Greek Literature in the Roman Empire
Example text
Assessing paideia Lucian’s interest in contemporary intellectual and cultural life goes far beyond philosophy, but one of the things which unifies it is the fact that it is saturated with an awareness of the importance of paideia (‘learning’, ‘education’) as a badge of high status. He mocks those who take the contemporary obsession with erudition to extremes, or who use it in too pretentious a fashion. Many orators were keen ‘atticisers’, in other words they performed in the dialect of fifth-century Athens, using vocabulary quite alien to the day-to-day spoken Greek of the Roman Empire.
The attendants of the other guest, seeing (horôntes) you so astonished, mock at your inexperience of proceedings, taking as proof of your never having dined with anyone else before the fact that your napkin is new. (On Salaried Posts 14-15) What follows is an uncomfortable description of the physical discomfort of the experience, and the vicious carping of his fellow-guests, envious Satire 35 of the fact that the intellectual has been given a more prestigious seat at dinner than them. Roman drinking-party traditions tended to be more blatantly hierarchical, in contrast with the Greek sympotic stress on equality: on one level what we are seeing here is a clash between Greek expectations and Roman reality.
35-6). The difference between the Odysseus of the Odyssey and Lucian’s narrator in the True Stories is that the self-aggrandisement of the latter is more blatant and more transparent. These effects of unreliable narration are one 40 Greek Literature in the Roman Empire of the key features of Lucian’s work, and one of their consequences is to challenge us as readers. If we trust Lucian’s narrating voices too much, if we go along with his first-person judgements on the absurdity of human society, if we lose sight of the fact that the narrating voice is itself an object of satire too, we end up at risk of falling into absurdity ourselves.