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A Glimpse into the Religious Studies of Hjalmar Söderberg While the Swedish writer Hjalmar Söderberg (1869–1941) gained a worldwide reputation with his fiction, his later studies in the history of religion, with their discussions of daring reconstructions and interpretations of Biblical events, are more obscure. Of his three monographs on religious history, the paper focuses on his début, The Fire of Yahweh (Jahves eld, 1918). The key thesis about the story of Moses as proposed by Markel, the protagonist, claims that the supernatural events in the Book of Exodus which took place on and at the foot of the mountain, and were witnessed by the Israelite crowd from a distance, were in fact an elaborate and spectacular form of pre-Jewish worship in the area. According to Markel, the fire, smoke and thunder accompanying God’s appearances in the Bible were simply a spectacle for the crowd, and these ‘special effects’ might well have been produced by Moses and his successors through gunpowder. The final part of the paper outlines Söderberg’s immersion in his time and in the spiritual and intellectual shifts of the period, as well as his attitude to religion as demonstrated in some examples of his fiction. Keywords: history of religion, Swedish literature, Moses, Bible interpretation, early 20th century thought

Eden od starorimskih pesnikov, s katerim se skoraj zagotovo srečamo že v srednješolskem izobraževanju, je lirik Gaj Valerij Katúl (1. stol. pr. Kr.). Širšemu bralstvu je znan predvsem po pesmih izbranki s psevdonimom »Lezbija«, verjetno zgodovinski osebi iz visoke rimske družbe.

Pogost motiv v rimski paliati so medgeneracijski konflikti. Medtem ko očetje največkrat poudarjajo konvencionalno moralo in kažejo varčnost, že kar skoporitost, se sinovi v njihovi odsotnosti radi predajajo razvratu: zapravljajo denar, popivajo in se spuščajo v razmerja s heterami, ponavadi ob pomoči kakega nabritega domačega sužnja. Ker vlada v komediji saturnalijski narobe svet, na koncu »zmagajo« sinovi in sužnji, ki so tudi glavni junaki teh komedij. Tu in tam pa Plavt sinovom položi na jezik besede, ki odstopajo od njihovega siceršnjega ravnanja in jih prikažejo v odgovornejši luči. Njegova najrazvpitejša »moralistična« komedija je Trinovčevo (Trinummus), vendar zasledimo moralno navdahnjene vložke in značajske lastnosti tudi v drugi komediji s podobnim izhodiščem, ki deluje veliko bolj razposajeno: v Hišnem strahu (Mostellaria). Ob primerjavi mladih protagonistov v Plavtovih komedijah Hišni strah in Trinovčevo ugotovimo, da je komedija Trinovčevo občutno bolj moralistična od Hišnega strahu, vendar po drugi strani tudi v slednjem ni mogoče videti gole burke kot, denimo, v Oslih (Asinaria) istega avtorja. Če si v Oslih oba protagonista, oče in sin, ki se pehata za isto meretrix, pravzaprav zaslužita zgolj posmeh občinstva, imajo glavni junak Hišnega strahu, njegov prijatelj in ljubica več značajskih lastnosti, ki so jih morale prikupiti tudi kritikom Katonovega kova.

Nad barjem je veter in moker je zrak, uši imam v tuniki, v nosu prehlad. Z neba štropotajo nalivi dežja, vojak sem na zidu, ne vem sploh, zakaj. Po sivem kaménju se plazi megla, dekle imam v Tungriji, jaz pa spim sam.

Z velikim projektom Celjske Mohorjeve družbe smo slovenski bralci leta 2015 dobili zapolnitev še ene bele lise v kulturi: prevod monumentalnega dela Historia ecclesiastica gentis Anglorum (v petih knjigah), ki ga je leta 731 v latinščini dokončal sveti Beda Častitljivi, menih iz Severne Humbrije na Angleškem. Delo se sicer začne z geografijo in zgodovino Britanije v rimskih časih, vendar postavlja v ospredje zgodovino razvoja krščanske Cerkve na Angleškem, zlasti v Severni Humbriji. Kljub poudarku na cerkveni zgodovini pa nam po uvodnih besedah enega od prevajalcev, dr. Bogdana Kolarja, delo ponuja tudi »največ informacij, ki nam pomagajo sestaviti zgodovino zgodnjih anglosaških kraljestev« (str. 47), torej največ splošnozgodovinskih podatkov o obravnavanem obdobju. To seveda ni bilo Bedovo edino delo; nasprotno, kot nam pove drugi prevajalec dr. Miran Sajovic v svojem uvodu, tvorijo večji del Bedovih spisov razlage svetopisemskih besedil, pridružujejo pa se jim Bedi zelo ljubi življenjepisi svetnikov, dve Kroniki človeške zgodovine, v katerih je uvedel štetje let »od Gospodovega učlovečenja«, torej po Kristusovem rojstvu, kot tudi homilije, priročniki (o metriki, retoričnih figurah, izračunavanju časa ...), pesmi (himne, epigrami) in peščica ohranjenih pisem. Najznamenitejša pa je vendarle Cerkvena zgodovina ljudstva Anglov.

The paper illustrates the complexities of translated literature, its status among other literary systems, and the criteria for what is considered a good translation in a given culture. Mainly drawing on practical examples, it highlights perennial problems which engage both translators and readers (the general public as well as literary scholars): problems eliciting responses from all readers, although these often lack sufficient awareness that alternative approaches may be defensible. Common dichotomies which recur both in practical challenges faced by translators and in translation theories include ‘literal’ v. ‘free’ translation, foreignisation v. domestication, language modernisation v. archaisation, and censorship. Rather than introduce in detail the wide range of leading international or Slovenian translation theories and studies, the theoretical references are limited to the most graphic illustrations of the aforementioned dichotomies. The examples are taken both from Slovenian and non-Slovenian translation practices, if the latter are particularly striking and thus suitable for representation. Even this cursory review suggests that translation does not necessarily reflect the characteristics of the original, as the source and target texts may differ in purpose, style, and even in the meanings of words or entire passages.

Že ko odpremo antologijo Vpletel bom belo vijolico, v kateri mag. Jelena Isak Kres predstavlja 124 epigramov štiriintridesetih abecedno razvrščenih avtorjev iz helenističnega obdobja grške književnosti, opazimo, da se uvršča med študioznejše izdaje v Logosovi zbirki Poezije, kar se za gradivo iz časa aleksandrijskih filologov tudi spodobi.

Leta 2012 je pri založbi Institutum studiorum humanitatis (ISH) izšel še zadnji od treh zvezkov, v katerih sta objavljeni po dve Aristofanovi (politični) komediji: zvezek Demagoška komedija z dramama Vitezi (Ἱππεῖς) in Ptiči (Ὄρνιθες). Prevajalka in piska spremnih besedil Maja Sunčič je, kot po navadi, spremnemu znanstvenemu aparatu odmerila vsaj tako pomembno mesto kot prevodu samemu.

As far as can be inferred from the scantily preserved Greek New Comedy (the chief model for Plautine comedy), Plautus introduced into his works far more elements of music and song, creating a genre which might well remind a contemporary spectator of musical comedy. In addition to (a) the iambic senarii of spoken verse, his plays include: (b) ‘recitatives’: sequences of long lines in trochaic, iambic and anapaestic metres, performed to a musical accompaniment but not sung; the commonest metre in Plautus, commoner even than the iambic senarius, is the trochaic septenarius; (c) true songs ( cantica ) in the most varied metres, including some which were rare in Greek poetry, such as cretics and bacchiacs. A song may show the preponderance of a single metrical form but more often contains a medley of metres; in fact, the metrical scheme may vary literally from line to line. A survey of the Slovenian practice in the extant book-format Plautine translations – in Amphitruo,Mostellaria and Aulularia as translated by Kajetan Gantar, in Miles gloriosus as translated by Alojz Rebula, and in the new version of Menaechmi by Jera Ivanc – reveals the approach explicitly proposed by Gantar and Ivanc in their studies on the texts translated: ever since Anton Sovre, the Slovenian translators of Greek and Roman drama have preferred to use (often hypercatalectic) blank verse, which is close to the spoken idiom and therefore most commonly used in Slovenian translations of drama. Occasionally, however, the original diversity of Plautine metrics is hinted at through passages in other rhythms. In my own translation of Plautus’ comedy Pseudolus , rendered in Slovenian as Kljukec , I decided to follow the established strategy to the extent of using blank verse as a counterpart to the unrhymed iambic senarius of spoken verse. In the recitatives and songs, on the other hand, I decided to experiment and introduce metrical variation on a larger scale – both because the translation was to appear in a bilingual edition and because Plautus’ “innumerable rhythms” are one of the hallmarks of his style. On the other hand, conscious pursuit of the musical comedy effect led me to digress from the original by consistently endeavouring to furnish the songs and recitatives with rhymes or at least assonances. The article presents my translation guidelines: how and why I faithfully reproduced some types of Plautine verse (e.g. iambics, trochaics, cretics) while consistently replacing certain other types with more natural-sounding Slovenian variants (e.g. bacchiacs with dactyls), how I tackled the passages where the metre originally changes from line to line, etc. I conclude with an extensive appendix, which provides a line-by-line survey of the metrics employed in the original and in my translation.

The paper examines the aspects in which Ovid’s long didactic poem on the Roman calendar, Fasti , draws on the Greek traditions of aetiological calendar poetry and astronomy, in contrast to other, more original features. The latter include the large scale of the project, which sets to verse most days from January to June in chronological order, and the author’s evident ambition to compose a text which would function as a new type of national epic. Rather than emulate Virgil’s Aeneid in treating heroic (military) themes, traditionally associated with hexameter poetry, it would focus on the institutions which had come to the fore during Augustus’ peace and helped to shape the Roman sense of national identity. The result would be a national poem blurring genre boundaries: an elegiac epic. It is generally agreed that Ovid’s two most important Greek sources were the Aetia by Callimachus (for the aetiology of customs and festivals) and the Phaenomena by Aratus (for astronomy), but there are significant differences between the poets’ approaches. The comparison between Ovid and Callimachus raises a particularly interesting issue – that of the first-person narrator, who is present in the Fasti as well as in the Aetia . Of the two, Ovid’s narrator turns out to be more naive, less confident, and frequently bewildered by the possibilities of different explanations, which were in fact a typical feature of antiquarian Roman handbooks. The Greek model of a long poem on the causes of things – festivals, customs, constellations – is thus filled with Roman content, which is, moreover, accessed by a Roman (rather than Greek) approach. However, this Roman content is again interwoven with many Greek reminiscences – either at the level of tiny details or of whole plots and stories, as in the case of catasterisms. The Hellenic and the Roman elements thus merge into a single compact whole.

Transplanted into the vernacular languages and later periods, Classical art forms sometimes assume very different characteristics from the original ones, largely under the influence of the cultures into which they have been adopted. This applies to the genre of elegy, which is addressed in the present paper. In Greco-Roman times, the ‘elegy’ was any longer elegiac form (that is, a poem composed in the elegiac couplet), which could deal, especially in Ancient Greece, with a number of themes expressing personal feelings or opinions: exhortations to war or virtue, reflections on serious or light topics, epitaphs or laments, and often love. In English poetry, the term ‘elegy’ first appeared in the 16th century, which also witnessed the beginnings of a separate sub-genre – the funeral elegy. From an initial generalised meaning, which reflected the broad thematic scope of the Classical genre, ‘elegy’ gradually narrowed down to a poem expressing lament or displaying a grave, pensive tone. An important influence on the funeral elegy was Classical pastoral poetry, or rather the laments for dead persons which were sometimes embedded in eclogues. As a result, a number of devices used by the founder of pastoral poetry, Theocritus, in the 3rd century BC recur as conventions in the major English elegies from the 16th to the 20th centuries, although recent English elegy often defies tradition. Another important divergence from the Classical genre is the arbitrariness of form: ever since its beginnings, the English elegy has displayed a variety of verse patterns, and nowadays even a novel may be labelled an ‘elegy’. Thus the decisive criterion of the genre has shifted from form to content and especially to mood.

Leta 2014 je KUD Logos izdal Izbrane pesmi svetnika Gregorja iz Nazianza v dvojezični izdaji, v prevodu in z obsežnim spremnim aparatom dr. Vida Snoja. Kar takoj omenimo, da Gregor kljub svetniškemu statusu in prestižnemu vzdevku »Bogoslovec« (Θεόλογος) v slovenskih prevodih doslej tako rekoč ni obstajal. Čeprav gre za enega od treh Kapadočanov iz 4. stoletja (druga dva sta bila Bazilij Veliki in Bazilijev mlajši brat Gregor iz Nise), ki veljajo za najzaslužnejše pri oblikovanju dogme o Sveti Trojici na krščanskem Vzhodu, najdemo na COBISS-u med slovenskimi zadetki poleg nedavnega Snojevega prevoda in spletne objave le še odlomek iz 37. govora, ki ga je leta 2000 objavil dr. David Movrin v Družini.

Po zaslugi prevajalskih in analitičnih prizadevanj Maje Sunčič je v slovenskem prostoru končno postal deležen nekoliko večje pozornosti orjaški segment Plutarhovega opusa, ki je bil doslej skoraj povsem zanemarjen. To je zbirka 78 poljudnih in strokovnih razprav z raznovrstno tematiko od filozofije do naravoslovja, ohranjenih pod skupnim latinskim naslovom Moralia oz. grško Ethika, Etični spisi (med njimi je tudi nekaj nepristnih).

The order of clause constituents in Slovene is largely guided by functional sentence perspective, while its English counterpart is grammar-based and much less flexible. Therefore the English translation of a Slovene clause often displays a different order of constituents. In poetry, however, the position assigned to an entity, action, or concept within a line of verse contributes to the overall meaning, text pattern, and poetic effect. Accordingly, efforts are made to preserve the same order of participants in translation, which often results in the assignment of a new syntactic role to the participant and the restructuring of the entire clause. This paper discusses the most frequent types of restructuring employed in the English translations of select poems by the contemporary Slovene poet Dane Zajc.

When systemic differences between languages preclude the possibility of a truly “faithful” translation, the translator may choose to preserve either the form of the original, that is its syntactic structure, or its function, which includes not only the meaning but also stylistic effects such as the degree of markedness. Faithfulness to the original form may result in a different degree of markedness in translation, or even in a reinterpretation of the structure, with a concomitant change in meaning. On the other hand, the preservation of the original function by introducing structural devices congenial to the target language may obscure the original cohesive devices, including figures. Since the balance between form and function is particularly delicate in poetry, this paper examines the choices between them in two English translations of “Belo”, a free verse poem by the contemporary Slovenian poet Dane Zajc. The central issue discussed is the ordering of constituents, which is dominated by different principles in the two languages. Since both form and function play a vital role in poetry, such an analysis cannot yield a formula for each type of translation problem; nevertheless, it can locate the points of divergence in the source and target languages, as well as use the translators’ choices to draw conclusions about the nuances of acceptability in the target language.

Members of the Jesuit Order came to Ljubljana in 1597, founding a »gymnasium« and later expanding it with a semi-university. In contrast to certain other orders, they fostered the classics, as is evidenced by their teaching, scholarly research, and literary composition. The scholarly work of the Jesuits active in present-day Slovenia was mostly concentrated on ancient philosophy, as is shown in the second section of this paper. Their teaching, on the other hand, included both classroom lessons and more creative activities, such as the writing and staging of school plays. The Jesuit school system with its six gymnasium classes is described in the first section of the paper, and the school curriculum (based almost exclusively on the teaching of Latin literature) and methods in the third. The fourth section presents the documents relating to the final gymnasium examinations in ancient literature which took place in Ljubljana, with a survey of the contents of the questions. The fifth section outlines the characteristics of Jesuit school drama. The plays performed in Ljubljana are lost, but, judging by the preserved titles and synopses, ancient themes appear to have been relatively rare. Nevertheless, the paper succeeds in isolating seventeen works (discussed in the sixth section) which must have either utilised plots from ancient literature or drawn inspiration from ancient stock characters and rhetoric.

Koledar, ki ga uporabljamo danes, izvira z nekaj popravki iz starega Rima, natančneje od Julija Cezarja. Najstarejši rimski koledar pa se je od julijanskega zelo razlikoval. Sestavljali so ga lunarni meseci, ki so malce krajši od solarnih, tako daje imelo leto 355 dni; razliko med 12 lunarnimi meseci in solarnim letom so skušali Rimljani premostiti z občasnim vstavljanjem dodatnega meseca, a to ni bila najboljša rešitev. Bile pa so še druge razlike.

The article compares five poems by the Slovenian poet Dane Zajc and two translations of these poems into English. Focusing on the structures which arestylistically marked in Slovenian but neutralised in translation, the article categorises the translation solutions into groups according to how closely they correspond to the original and each other in syntactic form and in organisation of information (the functional sentence perspective), examining the instances from each group in detail and determining their relative frequency. It concludes by isolating the three types of marked Slovenian structures which tend to be neutralised in translation: marked word order, structural ambiguity, and non-basic constructions, including rhetorical devices. V pričujočem članku primerjam pet pesmi slovenskega pesnika Daneta Zajca in po dva angleška prevoda teh besedil. Osrednjo pozornost namenjam strukturam, ki so v slovenščini slogovno zaznamovane, v prevodih pa nevtralne, torej poenostavljene. Prevajalske rešitve kategoriziram v več skupin glede na to, koliko se ujemajo z izvirnikom in druga z drugo v skladenjski strukturi in v razporeditvi informacij (tj. členitvi po aktualnosti). Primere iz vsake skupine nadrobno obravnavam in ugotavljam njihovo pogostnost v primerjavi z drugimi skupinami. Analizo sklenem z opažanjem, da prihaja do poenostavitve v prevodu pri treh vrstah zaznamovanih slovenskih struktur; to so zaznamovan besedni red, dvoumnost v zgradbi in slogovno pogojene strukture z retoričnimi sredstvi vred.

Po več kot pol stoletja smo dočakali slovenski prevod enega temeljnih literarnovednih del 20. stoletja, Europaische Literatur und lateinisches Mittelalter (1948). Njegov avtor Ernst Robert Curtius (1886-1956) je bil v prvi vrsti romanist, vendar sta mu širina intelektualnih zanimanj in erudicija omogočali, daje v svoje interpretacije zajemal poleg romanskih tudi angloameriške in nemške sodobnike ter srednjeveške in antične pisce.

Po Aharnjanih, Ptičih in Lizistrati v prevodu Frana Bradača ter Zborovalkah v prevodu Marijana Tavčarja je prevajanje Aristofana v slovenščino skoraj za pol stoletja obstalo, v tretjem tisočletju pa se je spet zganilo: leta 2003 so v zbirki Kondor pri Mladinski knjigi izšle Praznovalke tezmoforij in Žabe v različici Andreje Inkret (v prevodu iste prevajalke bodo v bližnji prihodnosti izšle tudi Ose pri Celjski Mohorjevi družbi), leta 2006 pa pri Modrijanu še Oblačice Jelene Isak Kres.

V okviru dvatisočletnice »dograditve rimske Emone«, kot se diplomatsko izražajo mediji in ustanove (na kaj natanko se nanaša slovita omemba letnice 14/15 po Kr., najdena v Ljubljani na fragmentu rimske napisne plošče, je namreč nemogoče reči), že vse leto 2014 potekajo prireditve in razstave v spomin rimskih časov. Med izvirnejše gotovo sodi predstava Vonjave Emone, ki jo je uprizorilo gledališče Senzorium po konceptu in v režiji svoje direktorice in umetniške voditeljice Barbare Pie Jenič.

V tem prispevku poskusamo prikazati nekaj poglavitnih slogovnih znacil nosti kronike jezuitskega kolegija v Ljubljani, s prevajanjem katere se prof. Marija Kiauta ukvarja že nekaj let. Gre za delo z izvirnim naslovom Historia a nnua Collegii Labacensis (okrajsano kot HACL), ki ima v rokopisu 521 strani in sega od leta 1596 - 1691. Pri pricujoci analizi gre pravzaprav za tri razdelke, ki vsi temeljijo na obdelavi primerov. Ti so vedno navedeni tako v latinscini (gre za prepis rokopisa, katerega levji delež je oskrbel mag. France Baraga, strani 138-163 pa p. Angel Kralj) kot v slovenskem prevodu prof. Kiautove, ki pa se ni povsem dokoncen. Vsi so tudi opremljeni z letnico in s stevilko strani, kjer se najdejo v rokopisu.

Prevajanje 34 grskih in 35 latinskih epigramov, ki so predstavljeni na naslednjih straneh, je bil projekt, s katerim smo se sedanji in nekdanji studentje klasicne filologije pomalem ukvarjali kar dve leti. Zametki segajo se v leto 1997-98, ko je bila ustanovljena Studentska sekcija DAHS-a in so nasi studentje na Gimnaziji Poljane organizirali literarni vecer (z obvezno rimsko zakusko), kjer sta Jera Ivanc in Gregor Pobežin brala prevode grske in rimske vinske poezije. Ta dogodek, ki je s svojo kulturno in umetnisko ravnijo najbrž presenetil marsikaterega obiskovalca, nas je spodbudil, da smo zaceli razmisljati o se kaksnem takem podvigu - korak naprej pa bi lahko napravili s tem, da bi tudi prevode izdelali kar sami. Ta zamisel se je zdela posrecena iz vec vzrokov, med drugim tudi zato, ker bi bil tak projekt dobra sola metricnega prevajanja, saj množina se neprevedenih antic nih del kar vpije po prevajalcih, kak tovrsten prevajalski seminar pa na Oddelku za klasicno filologijo se ni organiziran.

Če so bile komedije velikega rimskega komediografa Tita Makcija Plavta (ok. 250–184 pr. Kr.) doslej deležne zelo sporadičnega prevajanja v slovenščino (od leta 1954 do 1995 jih je bilo prevedenih zgolj šest, od teh dve za gledališko uprizoritev, torej ne za književno objavo), je bilo leto 2009 nekoliko plodovitejše: poleg prevoda Oslov (Asinaria) za MGL – Mestno gledališče ljubljansko – izpod tipkovnice Marka Marinčiča smo dobili še nov prevod Dvojčkov (Menaechmi).

Nada Grošelj presents Uroš Mozetič as a poet.

Zgodba je naslednja: Atenski mladenič Kalidor je zaljubljen v kurtizano Fojnikijo, ki pripada zvodniku Balionu, glavnemu negativcu v igri. V uvodnem prizoru Kalidor pokaže družinskemu sužnju Kljukcu (Pseudolus) pismo, v katerem ga Fojnikija prosi za pomoč, ker jo je kupil neki makedonski vojak za dvajset min; petnajst min je plačal vnaprej, preostalih pet pa naj bi prav tega dne prinesel njegov sel, ki bo dokazal svojo istovetnost z dogovorjenim znamenjem – pismom s pečatnim odtisom vojakovega portreta. Kljukec obljubi Kalidoru, da bo preprečil prodajo njegove ljubice. Ko prispe vojakov sel Grabež (Harpax), Kljukec od njega z zvijačo pridobi vojakovo pismo in prepoznavno znamenje, nato pa pošlje k Balionu drugega pretkanega sužnja, Pavijana (Simia), da se izdaja za vojakovega slugo in odpelje Fojnikijo na varno. Ta osrednji dogodek v drami – prevara Baliona – je prikazan v gornjem odlomku.– Prevod celotne komedije bo še v letu 2010 izšel pri Celjski Mohorjevi družbi.

12. februarja 2009 je minilo trideset let, odkar je v Ljubljani umrl dolgoletni profesor Filozofske fakultete Univerze v Ljubljani in v letih 1950-51 njen dekan, akademik dr. Milan Grošelj (1902-1979). Ker posvečamo to številko Kerie njegovemu spominu, bomo v nadaljevanju najprej na kratko povzeli njegovo življenje in delo, nato pa predstavili vsebino prispevkov, ki sestavljajo prvo tematsko številko Kerie na njeni dvanajstletni življenjski poti.

24. oktobra 2009 sta Oddelek za klasično filologijo in Društvo za antične in humanistične študije obeležila 30-letnico smrti akademika in dolgoletnega profesorja Filozofske fakultete dr. Milana Grošlja (1902–1979) z odkritjem spominske plošče na njegovi rojstni hiši v Kamniku, zdaj Hotelu Malograjski dvor.

Od leta 2004 dalje v slovenski prevodni književnosti spremljamo postopno zapolnjevanje bele lise, ki jo je do nedavnega predstavljal Plutarhov opus Moralia oz. grško Ethika, Etični spisi – zbirka 78 poljudnih in strokovnih razprav z najrazličnejšo tematiko od filozofije do naravoslovja (med njimi je tudi nekaj nepristnih).

Meseci med 26. januarjem in 20. julijem 2008 so v beneškem Palazzu Grassi rezervirani za velik mednarodni projekt, ki je še posebno zanimiv za klasične filologe ter preučevalce antike in srednjega veka: za razstavo z naslovom Rim in barbari: rojstvo novega sveta.

Jesuit teachers, whose members came to Ljubljana in the late 16th century, placed great emphasis on the production and staging of the school drama. Despite the domination of religious themes, the range of its subject matter was wide and varied. The article discusses two plays which derived their subject matter from English literature, namely from Bede's Ecclesiastical History of the English People and Holinshed's Historie of Britain. The texts themselves are lost, but in the case of the Holinshed-inspired work (a versionof the King Lear story), a detailed synopsis has been preserved. The article examines the synopsis and the extant manuscript reports about the plays, the original English sources, and the treatment of the two works in contemporary scholarly treatises. Jezuitski učitelji, ki so prišli v Ljubljano konec 16. stoletja, so pripisovali velik pomen ustvarjanju in uprizarjanju šolskih dram. V teh se kljub prevladi religiozne motivike kaže pester nabor snovi. Pričujoči članek obravnava dve drami, ki sta črpali iz angleške književnosti, namreč iz Bedove Cerkvene zgodovine angleškega ljudstva in Holinshedove Zgodovine Britanije. Besedili sta sicer izgubljeni, toda za dramo, ki se je navdihovala pri Holinshedu in prinaša različico zgodbe o kralju Learu, se je ohranila vsaj podrobna sinopsa. V članku preučujem to sinopso, kakor tudi ohranjene rokopisne zapise o omenjenih delih, njune angleške vire in način, kako ju je obravnavala sodobna slovenska znanost.

Pred sto leti se je 19. septembra rodil moj oče, akademik Milan Grošelj, dolgoletni profesor in predstojnik na Oddelku za klasično filologijo. Taka obletnica si nedvomno zasluži omembo v reviji, posvečeni slovenskim klasičnim študijam, ki jih je v svojem - žal razmeroma kratkem – življenju temeljno sooblikoval. Čeprav imam osebnih spominov nanj zelo malo, saj je umrl, ko sem imela tri leta in pol, me je vendarle spremljal na vsej življenjski poti: v spominih, ki mi jih je stalno pripovedovala moja mati in njegova bivša študentka, klasična filologinja Andreja Grošelj; v načinu, kako me je po zgledu njegovih seminarjev sama poučevala latinščino; v znanstvenem profilu mojih profesorjev na fakulteti, njegovih nekdanjih študentov; v izdajah latinskih beril, v znanstvenih prispevkih in nenazadnje v spominih mnogih ljudi, ki so ga poznali in je nanje naredil tak vtis, da so o njem radi pripovedovali še desetine let kasneje.

With regard to the question how enjambment should be rendered in the recitation of poetry, three conflicting approaches may be identified: continuing into the next line without marking the line-ending at all; making a break in the intonation and rhythm at the line-ending; and finally, acknowledging the line-ending by merely introducing a short pause without any intonation changes. Each of this renditions has different consequences for the listener's perception of the text. This paper reviews the three approaches and their implications, concluding that the most imprtant criterion for the preference of one approach over another is the type of verse (free vs. metrical) in a given text. V zvezi z vprašanjem, kako uresničiti verzni prestop pri izgovarjanju poezije,je mogoče opredeliti tri različna stališča. Po prvem naj bi govorec zanemaril medverzno mejo in nadaljeval, kot teče misel; po drugem naj bi zaznamoval prehod iz enega verza v drugega tako s premorom kot z intonacijskimdvigom, po tretjem pa naj bi mejo sicer označil s kratkim premorom, vendar brez intonacijskih sprememb. Vsak od omenjenih načinov govorne uresničitve ima drugačne posledice za poslušalčevo dojemanje besedila. Pričujoči članek preuči vse tri pristope in njihov vliv na učinkovanje besedila; sklene se z ugotovitvijo, da bi bilo pri odločanju za taali oni pristop potrebno upoštevati kot glavni kriterij, ali gre v danem primeru za svobodni ali metrični verz.

V soboto, 15. maja 2010, se je skupinica članov Društva za antične in humanistične študije in gostov z minibusom podala na Most na Soči na kulturnozgodovinsko pot Čez Most po modrost, ki obiskovalcem predstavlja večtisočletno kulturnozgodovinsko in še posebej arheološko dediščino tega kraja.

V izboru grskih, zlasti pa latinskih epigramov, ki so izsli v prevodu studentov klasicne filologije v drugem letniku Kerie (Keria II.1 (2000): 127 - 58), je prisoten tudi - sicer razmeroma majhen - delež takih, ki v izvirni obliki vsebujejo besedne igre ali posebno idiomatiko. Taki prevodi pa seveda zahtevajo od prevajalca nekaj svobode in iznajdljivosti, toliko bolj, ker so bili epigrami v prvi vrsti namenjeni recitiranju in je bilo potrebno najti resitev, ki bi jo poslusalstvo lahko takoj razumelo, razne tipografske pripo mocke, kot so kurziva ali narekovaji, pa je zamenjala modulacija glasu. V ta p rispevek sem vkljucila stiri primere pravih besednih iger, ki gradijo na dvojnem pomenu besede, dva primera, kjer je bilo treba v slovenscini uvesti drugo podobo, in enega, kjer je bil pravi ucinek možen le, ce se je ohranil latinski citat.

On its most obvious level, Ode 1.4 by Quintus Horatius Flaccus consists of two jarringly discrepant and seemingly unrelated parts, beginning with an idyllic depiction of spring and switching to a morbid obsession with the shortness of life, which results in the "carpe diem" philosophy. On closer inspection, however, the first part encompasses not only spring but a whole cycle of seasons, gliding from very early spring (or late winter) to an almost summerlike period. In the second part, this passage of time is used as a parallel for the cycle of life, with the spring and summer as symbolic of youth and winter as emblematic of death. The combination of the two parts thus stems from a well-considered purpose rather than random association. However, the full impact of the work is only understood when it is read as a whole, composed of many parts influencing each other, since a Horatian poem is subtly held together by a careful choice of words and their positions, which form links, .reflections and contrasts. In particular this ode shows a technique of oblique and highly economical mode of expression, so that the intent of many nuances easily escapes notice.