By John Edwin Sandys
Sir John Edwin Sandys (1844-1922) was once a number one Cambridge classicist and a Fellow of St. John's university. His most famed paintings is that this three-volume background of Classical Scholarship, released among 1903 and 1908, which continues to be the single large-scale paintings at the topic to span the total interval from the 6th century BCE to the tip of the 19th century. The historical past of classical reports was once a well-liked subject in the course of the 19th century, relatively in Germany, yet Sandys sticks out for the formidable scope of his paintings, even if a lot of it was once in response to previous scholarship. His chronological account is subdivided via style and quarter, with a few chapters dedicated to quite influential members. quantity 2 covers the interval from the Renaissance to the eighteenth century.
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Extra resources for A history of classical scholarship / Vol. 2, From the revival of learning to the end of the eighteenth century (in Italy, France, England, and the Netherlands)
7. ) are made to thud. The singer cries out to the ala drum; the grand sweet tigi drum is played for him. The house is built; its nobility is good! The literary compositions can even be self-referential. At the end of Inana and Su-kale-tuda (Group F) even as the goddess condemns Su-kale-tuda to death she says: Your name, however, shall not be forgotten. Your name shall exist in songs and make the songs sweet. A young singer shall perform them most pleasingly in the king’s palace. A shepherd shall sing them sweetly as he tumbles his butter-churn.
On the other hand, many literary works, from collections of proverbs (Group I) to The home of the ﬁsh (Group G), give the impression (perhaps falsely) of being culled from some sort of ‘folk tradition’. But in that case the survival of Sumerian literature must have been dependent on the continued understanding of Sumerian as a spoken language, and that is extremely diﬃcult to track through the written record. For centuries after the ﬁrst appearance of writing in southern Iraq in the late fourth millennium it served an exclusively administrative function.
Lu-digira’s message to his mother (Group F) requires us to understand the norms of letter-writing in order for us to ﬁnd it funny. The home of the ﬁsh (Group G) wants us to believe it is a ﬁshing song; but in fact it is much more closely related to a standard school vocabulary of Sumerian ﬁsh and bird names. 1). In fact the implications of the name may be even more complex, as it could be understood as a parody of a high priestess’s name too. See P. Michalowsi, ‘A man called Enmebaragesi’, in W.
A history of classical scholarship / Vol. 2, From the revival of learning to the end of the eighteenth century (in Italy, France, England, and the Netherlands) by John Edwin Sandys