tunc ego sensi naturalitus quosdam affectus translation

Since this detail about Roman military organisation is incidental to the plot and is one that a non-specialist reader would likely pass over if not reminded by some such cue, one would be hard-pressed to find any possible source for the note in Shiken other than that already present in the Bohn translation. , The Works of Apuleius, comprising the Metamorphoses, or Golden Ass, the God of Socrates, the Florida, and his Defence, or a Discourse on Magic: A New Translation ( London 1853 Google Scholar) (‘Bohn’) Head, G., The Metamorphoses of Apuleius A Romance of the Second Century ( London 1851 Google Scholar) Taylor, T., The Metamorphosis, or Golden Ass, of Apuleius ( London 1822 Google Scholar PubMed)-the anonymous 1853 Bohn version is the only one to point out the distinction between legionaries and auxiliaries in a marginal note in connection with 9.39 (Bohn 191), a distinction which Shiken also makes in a parenthetical note in his translation. Of the three 19th century English translations of Apul. Jahrhundert ( Heidelberg 2005 Google Scholar) Gaisser, J.H., The Fortunes of Apuleius and the Golden Ass: A Study in Transmission and Reception ( Princeton 2008 Google Scholar).ġ1. and Schmeling, G., A History of Roman Literature: From Livius Andronicus to Boethius, with Special Regard to its Influence on World Literature II ( Leiden 1997), 1460–67 Google Scholar Plank, B., Johann Sieders Übersetzung des ‘Goldenen Esels’ und die frühe deutschsprachige ‘Metamorphosen’-Rezeption: Ein Beitrag zur Wirkingsgeschichte von Apuleius’ Roman ( Tübingen 2004 CrossRef Google Scholar) Küenzlen, F., Verwandlungen eines Esels: Apuleius’ Metamorphoses im friihen 16. Whitmarsh (ed.), The Cambridge Companion to the Greek and Roman Novel ( Cambridge 2008), 201–17 CrossRef Google Scholar, at 201–06. (tr.), Apuleius: The Golden Ass ( Indianapolis 2007), xv–xxii Google Scholar Laird, A., ‘ Approaching Style and Rhetoric’, in T. Schmeling (ed.), The Novel in the Ancient World: Revised Edition ( Boston 2003), 1–9, at 1–5 Google Scholar Relihan, J.C. Doody, M.A., The True Story of the Novel ( New Brunswick 1997), 1–32 Google Scholar Schmeling, G., ‘ Preface’, in G. The history of the reception of the novel therefore may show more intriguing twists and contradictions than that of such established and uncontroversially ‘great’ genres as epic or tragedy.Ĥ. Although a late and ignoble genre within antiquity, despite its often considerable linguistic and literary artistry, it came to enjoy relatively wide cultural recognition and circulation in the early modern period, before being outshone by the modern Western novel and sinking back into relative obscurity again both in the public and in academia-and its literary character is still very much controversial, to the extent that it is debated whether the ancient genre may justifiably be called ‘novel’. The ancient novel, as Whitmarsh observes, is a genre uniquely suited for reception studies, especially of the more usual kind that is concerned with the modern period. With the rising interest in the study of classical receptions, including those taking place outside the West, the time may be ripe for a serious look at this early Meiji translation by Morita Shiken-its content, source, intellectual climate surrounding its production, and its own subsequent reception in Japan. Although this was the first translation of Greco-Roman literature to appear in modern Japanese, it has, at least in print, never been examined by a classicist before.

Faxo eum sero, immo statim, immo vero iam nunc ut et praecedentis dicacitatis et instantis curiositatis paeniteat.This paper will consider the 1887 Japanese translation of Apuleius' Golden Ass from the angle of classical reception. At ego scilicet Ulixi astu deserta vice Calypsonis aeternam solitudinem flebo.’ Et porrecta dextera meque Panthiae suae demonstrato, ‘ At hic bonus’ inquit ‘ Consiliator Aristomenes, qui fugae huius auctor fuit, et nunc moirti proximus iam humi prostratus grabatulo succubans iacet, et haec omnia conspicit, impune se laturum meas contumelias putat. Infit illa cum gladio ‘ Hic est, soror Panthia, carus Endymion, hic Catamitus meus, qui diebus ac noctibus illusit aetatulam meam: hic, qui meis amoribus subterhabitis non solum me diffamat probris, verum etiam fugam instruit.

Ac dum infimum deiectus, obliquo aspectu, quid rei sit grabatuli sollertia munitus opperior, video mulieres duas altioris aetatis lucernam lucidam gerebat una, spongiam et nudum gladium altera hoc habitu Socratem bene quietum circumstetere. Tunc ego sensi naturalitus quosdam affectus in contrarium provenire: nam ut lacrimae saepicule de gaudio prodeunt, ita et in illo nimio pavore risum nequivi continere, de Aristomene testudo factus.

Tunc ego sensi naturalitus quosdam affectus translation