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the folktale and fable IN GREECE

1. EL CUENTO POPULAR EN GRECIA
2. DEFINICIÓN DE LA FÁBULA COMO GÉNERO LITERARIO
3. EVOLUCIÓN DE LA FÁBULA EN GRECIA: LA COLECCIÓN DE ESOPO: BABRIO
4. SUERTE DE LA FÁBULA In later tradition


1. TELL THE PEOPLE IN GREECE

The fable is a brief narrative style, typical of oral cultural traditions.
In that sense the story can be read in conjunction with the popular story, narrative and genre also own the same traditions.
In fact, as we shall see little later, the same terms are used in Greek sources to refer to myths or folk tales logos / mythos.
therefore understand that it may be functional starting this exhibition remembering how little we know about folk tale (Märchen ) in Greece (or Roma), to then focus on the specific topic of the story. According
indicate Mensching (1969) and (with shades) Käppel (1999), the story of Greece and Rome is virtually unknown to us because

• codes have not been preserved Greek stories (such as of myths and fables).
• also does not appear that there has been.
• The only story with a tale from antiquity is retained as fable of Psyche and Apuleius Cupid: The story character can see p. eg. at the beginning: in quadam erat rex et regina ciuitate. three number filias hi ... habuere: no resemblance to the introductory formulas of the stories in other traditions.

Whilst it is clear that Apuleius wanted to give this story looks like a traditional story, do not know if the story is his own invention or whether it really has become (and refining) a folktale.

So, what evidence we have to assume that in Greece there was a growing popular story? There is evidence of two types:

1. Testimony on stories in Greece.
2. The motives of the story found in works of other genres.

1. As regards the testimonies , it must be said first that they are difficult to interpret.

• happens that the sources do not differentiate between story / fable / legend / myth.
• therefore identical formulas used to refer all these genres and do not have total security when we're talking about stories, the formulas to which I refer are, in Greek mythos (graôn) / mytheúo / logos
• And in Latin: fable / Fabella (anilis).

2. In almost all genres of Greece appear occasionally reasons the story. There are examples in

• Herodotus and logographers
• Old Comedy
• coral Lyric Tragedy
• But above all, in the epic, and especially in the Odyssey.

In fact, the plot of the whole poem can be analyzed as a typical plot of the story, said Hölscher (1988), is the story of the hero (Odysseus) who must overcome various tests until finally reaching the hand of the princess (Penelope). See more at the entrance 04. The Odyssey as an epic novel .
In another textual level, in the Odyssey are attested p. eg. the following reasons the folktale:

• the reason for the monster that devours human flesh, which the protagonist kills (or blinded) at IX 350 ff. (Cf. the story of Little Red Riding Hood, the wolf and the hunter);
• the reason the container is opened against what had been commanded (in X 44 et seq.): Subject uses within the archaic Greek, in the history of Pandora
• the reason for the transformation of men into animals (X 325 ff.).

In all these cases is documented folk motifs in other traditions (cf. Aarne-Thompson 1964, 2 nd ed.).

But despite the above, it should be emphasized that everything we know about the story in Greece, only we know by analogy with other traditions.
Therefore, the Greek folk tale can only be known in an indirect way and it is not possible to determine the specific characteristics of that story.

2. DEFINITION OF GENDER AS A LITERARY FABLE

In the absence of folktales, the only short story genre as we know Greece is fable.
Certainly, the story can be viewed as a special kind of story, the "animal story" according to the type of Aarne-Thompson (1964, 2nd ed.).
However, the fact that these scholars differentiate between folktale

"animal tales"
"humorous stories"
and " stories in the proper sense " (emphasis mine),

and is telling us that seems more functional distinction between fable and story. Moreover
be taken in mind that, while not as common, can also be figures of fable, animals endowed with speech,

• men (eg., "the farmer's children")
• plants (also able to speak: see eg. "spruce and the bush", there are also a fable of its kind in Callimachus, fr. 194 Pfeiffer)
• and even the gods, which sometimes lead protests animals (Callimachus, fr. 192 Pfeiffer).

Indeed, in this fable of Callimachus discussed an event that explains the fact that animals of the fables follow guidelines of human behavior, contrary to our experience:

• at an early stage the animals were equipped with word as the men;
• annoying for various reasons, the animals sent embassies to Zeus;
• until, finally, Zeus, upset turn by the impertinence of the animals, the reduced punishment to the condition we know them.

The Greek fable , as the Latin or Eastern, is characterized by brevity its length and the In submitting three main features and unchanging, as already noted in antiquity Elio Theon ( progymnasmata 72, 27 et seq.)

• narrative form;
• an argument expressed in a fictitious contained a moral lesson;
• and makes explicit the moral lesson.

arguably also in the synthetic formulation of Theon, the fable is "a fictional story that plays the truth."
Indeed, contrary to what we tend to think, the moral need not appear at the end: it can also appear preceding the story (see eg. The fable of Phaedrus IV Simonides 23), in this case is called of promýthion, against the most common epimýthion .

The three items listed above (narrative / fictional plot / moral) are already in the first Greek fable preserved: the Ainu the hawk and the nightingale that tells Hesiod in Works and Days ( vv. 202-212).

(I stress, of course, that the first Greek author conveys a story is Hesiod: in Homer no fables, possibly because of the inherent trend of this kind - remember Homer marginalized for the same reason also the two most popular divinities, Demeter and Dionysus).

Now'll tell a tale of kings, that they too are wise. / Thus said the hawk to the nightingale of colorful neck / while carrying far above the clouds, captured with the claws; / him so piteously, pierced by the curved claws / she lamented. At this the other addressed him with arrogance these words: / "Unhappy, why scream? Now you're at the mercy of a lot stronger than you. / You'll go wherever I take you, however you are singing. / And if I'll make you my lunch, or let you go. / Fool anyone who wants to compete with those who are stronger: / of victory is deprived and, together with such shame, suffers calamities. " / So said the swiftly flying hawk, broad winged bird.

The fable of the hawk and the nightingale seems to fit poorly to its context in Jobs ... : it plays at least West (in his commentary on the passage), although other (Van Dijk) are of a different opinion.

It should be noted that compounding Hesiod Works and Days following a dispute with his brother Perses.

When presenting the case before the judges, they failed in an unfair manner against the interests of Hesiod, who took and walk to compose a poem about justice among humans.

Actually the fable told in these verses seems to give them a powerful reason that in his opinion, they use their positions to violate the law.

might even say that the story should not habérsela Hesiod directed to the kings: on the contrary, they may habérsela proposed to him. The problem stems
possibly adaptation unfortunate in this context, a preexisting story.
is quite possible that at this point, as in his other works, Hesiod dependent on the influx of East . The inflow due to play a role in the development of the fable in Greece:

• know, p. eg., that the India played an important role animal fables.
• We also know that this type of fables existed in Mesopotamia.
• We expect that the Ionians of Asia Minor have made pathway of these fables, facilitating the transit of the Middle East to Greece.
• P. eg., Aesop's fable of "the fly and the elephant" is correlated to an Akkadian tale with the same characters / / Sumerian fable of "the dog and the fig tree" is a history of Aesop's fable "the fox and the grapes. "

What matters here is assumed to note that Hesiod's fable of the three elements unchanged given that he wished (the way narrative, fiction and the moral argument ), even though it may give the impression that the outcome is detrimental to its interests. Import
also indicate that, in the text of Hesiod, the story has an element of social criticism and protest of the powerless against the powerful. That
element of social criticism, which must belong to the genre from its origins, also appears in most fables of archaic and classical period (eg. in Archilochus).

• social complaints in these appeals is the concept of justice, which is to put each one in its place;
• but avoids direct complaint through the artifice of the dummy argument, so often starred by animals.

3. FABLE DEVELOPMENTS IN GREECE: THE COLLECTION OF AESOP: Babri

Greek fables of those times have come down to us embedded major literary works, as already mentioned by Hesiod and Archilochus as they write, Herodotus and Aristophanes; look

• Archilochus, fr. 174-181 (revenge of the fox against perjured eagle) and 185-187 West (the fox and the monkey);
• Herodotus I 141, 1-2 (flutist and fish);
• Aristophanes, Wasps 1399-1405 (Aesop and the dog).

retain In later times collections of fables in which they appear as autonomous texts, we might even say, as models of short stories.
Of these the most famous collections Aesop Library, which takes its name from the legendary Aesop.

assume that the historical Aesop must have been born in Thrace at the beginning of S. VI a. C. and lived in Samos. The S.
VI should be dated the Novel Aesop, which is only preserved in subsequent elaborations that precede it in some manuscripts to the collection of fables.
This novel Aesop must have and our first collection of fables, linked to the fanciful story of life character. Herodotus (II 134) and knew a version of the novel Aesop.

This text precedent in the East, as the Novel of Ahiqar, appears to have been known in Athens in S. V a. C.

• Such works are, in general, texts in which such varied stories are enshrined in the narrative of the life of a character famous for his wisdom.
• this kind of writing, typical of popular literature, also belong in the Greek tradition, some Lives of Homer, Certamen or Homer and Hesiod.

In S. V the Greeks associated the fable in genere the Thracian logopoiós Aesop.
Aesop's original work, more or less coincident with that included in its Novel must constitute the original nucleus of the posterior corpus of fables, Aesop.
The difference is that, at a time later, be forfeited to the artifice of the character's life as a structural element of all kinds of stories. Aesop
The collection has reached us was prepared, in origin, the Hellenistic period (around 300 to . C.) by Demetrius Falero (according to Diogenes Laertius V 80-81). Demetrius
Falero is the peripatetic writer, author of the Sayings of the Seven Sages ; texts gave the name of logoi Aisópeioi .

• Obviously, this name suggests that Demetrius did not consider all texts as the work of Aesop.
• Very possibly (if the order is similar to that shown in Rylands papyrus century AD, our oldest collection of fables), within this collection of fables should be grouped together based on the identity of the protagonists.
• And some critic (Luzzato) suggests groups like fables of plant / animal / animal and men / heroes and gods ", etc ...
• Demetrio The library should pursue a practical purpose and be something like a "book text ", a repertoire of tales similar to the repertoire of proverbs or statements that could have practical applications in the field of rhetoric.
• Remember, of course, that the old theory of the fable is that of a rhetorician, Elio Theon.

However, the logoi Aisópeioi not known to us directly by the collection of Demetrius: We are known primarily by the Collectio Augustana , that

• located in the SS Perry. I / II d. C.
• Adrados (1979, 78-79) attributes it to a later date: Late Antiquity.
• Luzzato (1983) places the collection in the SS. IX / X, he considers this as part of a Byzantine encyclopedic project: its interpretation of the consideration that Aes. T 1 contains the original preface of the compiler.

We have

also other collection, as

• The Collectio Vindobonensis , which includes colorful stories and presents a language little care, it contains fables in verse.
• The Collectio Accursiana was the most publicized until the discovery of the Augustana. was edited by Acursio in 1479 / 1480. This collection merges the tradition of the Vindobonensis and the Augustana.

Aesop in the collection, we can read, thanks to Demetrius Falero and collection, back, of course, to find the story of the hawk and the nightingale ( Aes. 4a), s nly now is retrofitted and moralized in another sense:

A nightingale was perched on a lofty oak sang as their custom. But a hawk who saw him as walking short of food, swooped upon him and caught him. The nightingale, seeing that he was dying, begged him to let go, saying he was not enough to fill the belly of the falcon and it should, if needed food, attack larger birds. The hawk replied saying: "But I would be stupid if I threw away the piece that I have in my grasp prey to go after those who have not yet been presented." The fable shows that, similarly, are the most foolish of men who left to escape what they have in hand by the hope of greater goods.

Under this text would like to draw attention to three issues:

1. The story itself is called as logos: in the case of Hesiod's version of the term employee had been the Ainu (term used only in archaic: it emphasizes the aspect of the fable parenthetical).
2. The term logos, however, highlights the narrative element, sometimes within the corpus Aesop, the term logos Is replaced by mythos, turn underlining the fictional aspect of the argument.
3. version In Aesop's fable lacks the dimension of social criticism present in Works and Days.
   

Aesop's collection, although the most famous heritage has left us in the ancient world, is not the only one that has come down to us complete.

In Greek literature we retain, above all, the Babri fables in verse (second century AD "?), Its Mythíamboi, 144 metric compositions grouped into two books.
In the manuscripts, these Mythíamboi appear in alphabetical order (by alphabetical order of the first word of every story). Babri
had to live and work in the court of a ruler of the Greek world. From internal evidence it has been assumed (Perry is the theory of) their native language was Latin and then Hellenized.
dedicated his collection Branco his student. This dedication serves to remind the school application that was taking at the time the study of fables.

But at the time the Babri fable transcends the practical application, since in it the story is intended as a piece of art and personal reading.

In fact, the Babri fable fable is a type of more elaborate than the ESOP, and so he now proclaims in the preface to the collection.
In that land is that it aims to recreate for fables Branco Aesop: "every one of them I am going to make flourish in my memory, recreating" (trad. López Facal).
This aspect of virtuosity of the Mythíamboi appreciated until the appearance Metric: Babri escazontes iambs writes, Hiponacte meter.


4. LUCK OF THE FABLE in later tradition.

Although what we talk is from Greece and its literature, it seems that our discussion would take if we did not at least a brief reference to the collections of fables of Rome.
Note that the same text easily jump of traditions others, because of the fables can be said that Northrop Frye said the way the genre of folk tale related tales have

"a nomadic existence peoples, languages \u200b\u200band cultures."

This is the passage of the fables of the East to Greece, and so in the passage of the fables of Greece to Rome.
However, in this second case (apparently not the first), the role it should play written transmission, school culture, which is written culture.

will point at least, in Rome, he wrote:

• 's library Phaedrus (first third century AD), in verse, as the fables of Babri;
• the repertoire of Aviano (S. V aC)
• and composed under the pseudonym of Romulus (SS. IV / V AD).

seems that the success of the fable in the tradition derives from the place which was assigned to the Hellenistic education system.

• This system was later copied in Late Antiquity Greek and medieval Byzantine .
• In the case of the fables in Latin, something similar happened in the Middle Ages West.

Note that the tales could easily be considered a very suitable reading for children in their learning phase.
Furthermore we know from the manuals of rhetoric, that the composition of fables was established rhetorical exercise for older students (at the stage of progymnasmata or "preparatory exercises" entry looks 44. The circumstances of Greece during the Empire: its cultural reflection ).
These conditions explain the subsequent proliferation of collections of fables, as well as consideration of Aesop as a school book collections to the Renaissance and even later date.
Then, the charges preferred stricter than classic, the work of "Aesop" disgraced. Today
value and explore these fables for what they can reveal about popular traditions.

Joseph B. Torres Guerra

SOME REFERENCES:

* About the folktale:
Aarne, A. and THOMPSON, S., The Types of the Folktale, Helsinki , 1964 (2 nd ed.).
HÖLSCHER, U., Die Odyssee. Ein Epos zwischen Märchen und Roman, Munich, 1988.
Kappel, L., "Märchen. I. Begriff und Gattung. III. Griechenland, DNP 7 (1999), cols. 643-645.
Mensching, E., "Märchen (Griech.-ROM.)" KP 3 (1969), cols. 866-868.
THOMPSON, S., Motif-Index of Folk-Literature, Copenhagen, 1955-1958 (2nd ed.).
* About the fable in general:
ADRADOS, FR, History of Graeco-Latin fable, Madrid, 1979-86.
ADRADOS, FR, "The fable as a literary genre," in AA.VV., studies of form and content of Greek literary genres, Cáceres, 1982, pp. 33-46.
ADRADOS, FR, "Collections of fables in Greek Literature Hellenistic and Roman period", in JA Lopez Ferez (ed.), History of Greek Literature, Madrid 1988, pp. 1153-59.
Carne, P., Fable Scholarship: An Annotated Bibliography, New York-London, 1985.
Crusius, O., "Aus der Geschichte der Fabel" in Kleukens CH (ed.), Das Buch der Fabeln, Leipzig, 1913, I-LXI.
Dijk, G.-J. GO, Ahinoam logoi mythoi. Fables in Archaic, Classical and Hellenistic Greek Literature, Leiden, 1997.
Dijk, G.-J. GO, "Supplement to the inventory of the fable grecolatina. Times archaic, classical and Hellenistic " Emerita 66 (1998), pp. 15-22.
HASUBEK, P. (Ed.), Die Fabel . Theorie, Geschichte und Rezeption einer Gattung, Berlin, 1982.
Holzberg, N., Die antike Fabel . Eine Einführung, Darmstadt , 2001 (2 nd ed.).
KARADAGLI, T., Fabel und Ainos, Königstein, 1981.
Luzzato, MJ, "Fabel. II. Griechische Literatur " DNP 4 (1998), cols. 356-360.
NOJGAARD, M., La fable antique, Copenhagen, 1964-67.
PERRY, BE, "The origin of the epimythion " ASCT 71 (1940), pp. 391-419.
PERRY, BE, "Fable," Studium Generale 12 (1959), 17-37. * On Aesop
Babri:
Baden LA PEÑA, P., and LOPEZ Facal, J. (trads.) Fabulas de Esopo. Vida de Esopo. Fabulas de Babrio, Madrid, 1978.
García Gual, C., "Esopo y sus como género literario Fabulas griegas", en helénicas Figuras y géneros literarios, Madrid, 1991, pp. 158-170.
Grubmüller, K., Meister Esopus . Studies on the history and function of the fable in the Middle Ages, Múnich, 1977.
JEDRKIEWICZ, S., Sapere e paradosso nell'antichità: Esopo e la favola, Roma, 1989.
Luzzato, MJ, "La de la datazione Collectio Augustana Tues Esopo" Yearbook of Austrian Byzantinisk 33 (1983), pp. 137-177.
Luzzato, MJ, "Aisopos" DNP 1 (1996), cols. 360-365.
Luzzato, MJ, "Babri" DNP 2 (1997), cols. 383-384.
PERRY, BE, "Demetrius of Phalerum and the Aesopic Fables" ASCT 93 (1962), pp. 287-346.

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JEWISH LITERATURE IN GREEK LANGUAGE AND LITERATURE OF THE CULTURAL ANCIENT GREEK CHRISTIAN LITERATURE

1. APPROACH
2. AND THE Septuagint Greek version of the biblical
3. PROPAGANDA LITERATURE
4. Philo of Alexandria. Josephus
5. INTERCULTURAL CONTACT WITH OTHER PEOPLE

1. APPROACH

From Alexander, the Greek culture into contact with other cultures, some natives of some of these are served in the Greek language to compose literary texts special characteristics. At the beginning of S. XXI, at the moment of encounter between cultures, it seems bound to consider these other examples of Greek literature.

first example of the phenomenon is of Hebrew literature in Greek, which arose in the Hellenistic period. It should be noted that the Jews came into contact with the Greeks, and coexisted with them in two areas distinct

• It happened, first, that Palestine was a land-bridge between the realms of Ptolemies and Seleucids, who alternated in control of the country, putting on him, sometimes, strong pressure.

So it was with the Seleucid Antiochus IV (175 - 164 BC), who tried to ban the cult of Yahweh in the Temple of Jerusalem and replaced by that of Zeus.
These events appear narrated in the Books of Maccabees, on which more later.

• On the other hand, from long ago, the Jews had come into direct contact with the Greeks to form in the diaspora, an important colony in Alexandria.

Thus out of Palestine began to cohabit with the Greek cultural world is not without tensions, given the existence of the Jews of a tendency to maintain orthodoxy, orthodoxy came into collision with their new cultural environment.
Most of the Jews of Alexandria had forgotten the Hebrew. Thus arose in the first instance the need for a Greek translation of the Bible, which actually had a lot of adaptation.

2. AND THE Septuagint Greek version of the biblical

The Greek translation of the Bible was the Septuagint , whose origin text reports, presumably from S. II a. C. The Letter of Aristeas.

What the letter says is that Phalareus Demetrio, director of the Library (a position he never had), according to Ptolemy II Philadelphus, who brought him to Jerusalem to 72 scholars (six from each of the twelve tribes) that in 72 days, prepared the translation.

Aristeas names are fictitious and Philokrates and (apparently) the contents of the letter, appears to be a forgery S. II d. C. trying to justify the text revealed the Septuagint .

• Beyond the pious legend, what seems certain is that the Pentateuch and must be translated into Greek in the S. III a. C.
• then had to be made Greek translations of different parts of the Bible, I finally ended up meeting in the Septuagint . Over the next century must have completed the translation of the work.

It is emphasized that the work of the Jews of Alexandria involved modifications to the traditional canon, which did not feel necessarily bound.
therefore included in the Greek Bible works, for example,

• the Appeal of Manasseh (Originally written in Greek)
• or book of Jesus Sirach (Ecclesiasticus ), apparently translated into Greek by the grandson of the author himself, shortly after the 132 a. C.

also important to note that books written by Jews in the Hellenistic period and included in the Bible present genres influence of the Greeks.

are noteworthy p. eg. fictional elements that appear in the books Judith (remember the story of Judith and Holofernes) or Tobit . So tangential

can comment that arose between the Hellenized Jews also forms dramatic, biblical theme, as in the case of the tragedy composed by Ezequiel on the exodus of the Israelites, Exagogé (SS. III or II BC), transmitted by Eusebius of Caesarea ( Præparatio Evangelica IX 28).

3. PROPAGANDA LITERATURE

To properly assess the Jewish literature written in Greek should also remember that it was often a literature of propaganda.

• For example, this is the case of some collections of poetry collected maximum sentence to be disclosed as Jewish works of Greek authors (Orfeo or Phocylides).
• This should show that, in fact, tradition Greek bases was based on Hebrew.

Other writings of Jewish propaganda are called Sibylline Oracles, a collection of 14 books that can be dated to the Late Antiquity although its origins lie in the Hellenistic period and the first centuries of the Empire.
In essence, this poetry, which mimics the previous oracular tradition, what it does is use the figure of the Sibyl, of Eastern origin, to transmit content hostile to Rome and thus make propaganda for the Jews (or Christians).

Propaganda of another kind is manifested in the Books of Maccabees, included in the canon of the Old Testament. Of the four books the first two must have been written somewhere between S. II and I a. C.
The first of these is considered translated from Hebrew, while the second is supposed to be an epitome of a work in five books of Jason of Cyrene: the original of this work and that of Book II and had to be Greek.
Between the two books are different but coincide in their field, they tell an important chapter in the history of Israel:

• The priestly state of Israel fell in 200 BC C. under the control of the Seleucids.
They respected the principle
• their cultural uniqueness, but the situation changed with the arrival Antiochus IV, as indicated at the beginning of this post.
• By replacing the worship of Yahweh for the worship of Zeus is trying to give another twist to the process of Hellenization of the country.
• As we know, the Seleucids were met with heavy resistance.
• finally triumphed in the clash advocates of Jewish tradition, under the leadership of the Maccabees in 164, Judah Maccabee could rededicate the Temple.
• After a few decades, Israel finally broke free of the Seleucids. They have different origin

Books III and IV of the Maccabees, who have far less historical interest, while remaining important evidence of how developed the coexistence between Jewish and Hellenistic cultures:

III
• The book tells of how fabulous events like Ptolemy IV attack against the Temple and the Jewish persecution that took place this Pharaoh.
• Book IV, later, must have been written shortly before the fall of Jerusalem. It is a kind of paraphrase in early Stoics (the reason has to dominate over the affects) based on examples from the history of Israel.

4. Philo of Alexandria. Josephus

We treat the two most important authors of Jewish literature in Greek, Philo of Alexandria and Josephus.

As a precursor of the intellectual and philosopher Philo Aris can be considered, of which only fragments remain. The S.
II a. C. had to make an allegorical exposition of the Old Testament with the intention to demonstrate that Jewish wisdom was the source of Greek philosophy.
However, the authenticity of the fragments is discussed. Your writing could be maybe a fake Christians.

Philo of Alexandria (c. 15 BC - to 45 AD), from an upper class family, represented the best possibility of union between Hellenism and Judaism.
certainly do not know if he knew Hebrew. His Greek lacks the colorful Semitism and sought attic.
It has been said that the work of Philo attempts to address the dangers it could pose to the Jewish Hellenistic culture, for the risk of losing their identity had contact with her.
In this sense, the work of Philo has a propaganda sense, but, paradoxically, what he wants to do above all is propaganda of Judaism among Jews themselves.

• For example, what you want to display in the Embassy Gayo (on the embassy with which Philo was presented at 39 before Caligula, the emperor so that mediate certain disputes occurred between Greeks and Jews) is that there is a divine justice that punishes the persecutors of their race.
• This is also the idea of \u200b\u200b Against Flaccus, speaking Avilio Flaccus, prefect of Egypt, favorable to the Jews first, then chase him to the throne after Caligula (anti-Semitic persecution of 38). Divine justice, signifies Philo, punish bad behavior with Jews making banished and finally died.

On the other hand, are important statements of Philo on the books of Moses (The Pentateuch), in which applied the methods of allegorical interpretation of Homer and attempt to discover and the philosophical content of the Torah.
The same symbiosis between two worlds (Hellenism, Judaism) appears to present in his Life of Moses, work presented this character as a legislator and philosopher who founded the Greek philosophy through his pupil Pythagoras.
From the standpoint of gender, Life of Moses is in line with the lives of Greek philosophers.
From the philosophical point of view is a direct relationship with the Platonism of Philo of his time (Platonism medium) but on the other hand, was also familiar with the other philosophical schools. This is evidenced his treatise on Providence, which are clearly present Stoic doctrines.
A relationship with stoicism can also follow his taste for allegorical interpretations, as they (in regard to the myth) were exploited by Stoicism.
His interpretations of the Jewish concept of God also moved within the previous philosophical tradition. Were taken by Christian theologians, and thus earned him a sui generis among the Fathers of the Church.

Josephus (37/38 - after del100) came from a Jewish priestly family, was a very controversial:

• visited Rome in 64 and there came into contact with Poppea, Nero's wife,
• left side from their homeland in the war against Rome that began in the year 66 (he was one of the few defenders of the fortress of Yotapa that, at 67, not killed or committed suicide after the siege);
• went to work with Roma ( eg., in 70 encouraged the Jews who resisted in Jerusalem to surrender), which paid him well his new allegiance: the Flavian emperors, Roman citizenship was granted;
• for obvious reasons was showered abundant criticisms to those that tried to justify himself.

Josephus is an important historiographical source through two works in Greek: War of the Jews and Jewish Antiquities. Towards

73 and had addressed the issue of the war in Judea in a work written in Aramaic, made in order to make propaganda in the East for Rome.
After the work was translated into Greek ( War of the Jews), that combined propaganda in favor of the Flavian with a tragic concept of the story, which finds its climax in the fall of Jerusalem.
It should be noted that, in fact, a Josephus helped translate the play: in fact, could never hide that, when writing in Greek, was not writing in their mother tongue.

wrote then Jewish Antiquities (20 books), a work which is usually regarded as his crowning achievement.
can be put in relation to Roman Antiquities of Dionysius of Halicarnassus, earlier in time (see the entry 46. Writings on rhetoric ):

• if it strives to present the history of Rome to the Greeks
• Josephus tries to show with Roman and Greek history and traditions of the Jews, beginning with the Creation and reaching up to 66 d. C.

Of course, the title of the work of Josephus is modeled on the work of Dionysius.

Another writing, Against Apion, intended as a defense of Judaism against anti-Semitism of his time (the work was written between 93 / 94 and 96): Apion, grammarian, a pupil and adopted son of Didymus, trying to deny the antiquity and authenticity of the Jewish traditions. Against Apion is therefore in line with Jewish propaganda literature of which we spoke earlier.

Josephus also wrote (c. 100) a Life of Josephus, a letter of some importance for any history of autobiography in antiquity.
With this work, Josephus was trying to fend off the accusations against him of Tiberias Just another work about the war in Judea: the reason for such accusations had been, obviously, the dubious role played by our hero in the war in their homeland against the Empire.
The Life of Josephus , written towards the end of the life of the author, justifies military intervention of Rome in Judea and thus represents the final solution for those who believed, as Josephus himself, it was possible understanding between Roman culture and Judaism.


5. INTERCULTURAL CONTACT WITH OTHER PEOPLE

After speaking of Jewish literature in Greek seems appropriate to also review the cases of other works written in Greek by individuals outside Greece.

We refer first to the case of Egypt, civilization that the Greeks had always felt fascinated.
intercultural relationship process also operated in reverse (the Egyptians take the initiative to raise awareness of their world to the Greeks) from the time when Egypt was established in the reign of the Ptolemies.
This is the case of the priest Manetho of Sebenito, the author most important Egyptian Greek, who wrote a History Egyptian (FGrH 609) during the reign of Ptolemy II (285-246).
The purpose of the work, reaching to the time of Alexander, was to introduce the Greek public the history of the land of the Nile The text was highly successful and was repeatedly used.

In an analogous manner also acted Babylonian Berosus, priest of the god Bel, a witness to the expedition of Alexander. Berosus
authored a Babiloníacas (FGrH 680), who must have similar characteristics to those of Egyptian History of Manetho of Sebenito. Even

imperial era (around 100 AD) we are with another author similar to those already mentioned: Philo of Byblos, who in turn wrote a Phoenician History.

But the intercultural relationship of historical importance was maintained by the Greeks to the Roman world.
Unlike what happened in the case of P. eg. Jews, the Romans lacked until literary tradition. The literary tradition of Rome was developed under the influence of Greece, and so in the S. III a. C., a Greek from Tarentum, Livio Andronico, captive to the Romans, translated the Odyssey into Latin for school purposes; he was a teacher of Greek at Rome.
The relationship between culture and other varied over time. In this sense, the fundamental caesura is the time when the Romans take control of the Mediterranean.

Initially it was the Romans who strove to write about themselves to make themselves known to the Greeks.

• This was the case of Quintus Fabius Pictor in late S. III a. C. Certainly, Fabio Pictor is generally regarded as the first Roman historian, but the truth is that their language was Greek expression, and not for nothing contained in the edition of the Fragmente der griechischen Historik (809).
• was a native of Rome and belonged to the senatorial class.
• composed in Greek a Annales (FGrH 809 T 5), text in a fragmented way that we know through the testimony of authors such as Polybius and Dionysius of Halicarnassus. They used to
• Fabio painting as source on the early history of Rome.

also wrote Roman history in Greek these other members of the senatorial class of Rome Aulus Postumius

• Albino, FGrH 812: native of Rome, of patrician family, lived in the S. II a. C. We know he was consul in 151 a. C. and he composed a poem and a piece of history, the history of his country. By Polybius know was also written in Greek.
• Lucius Licinius Lucullus (Rome, 117-56 BC) was an important historical figure (see the life written by Plutarch, Lucullus ). He also wrote Roman history in Greek, where the war on Marsyas, in which he had fought under the command of Sulla. The fragments are FGrH 185.

For pictorial Fabio usually understood that he composed his work in Greek by the desire to make known the history of Rome at the age of Greece and that, therefore, the work has a propagandistic intention.
A propagandistic intent, as indicated written work about it from the perspective of postcolonial studies, there is also in the literatures of other colonized peoples (although in the case of Rome, there were only cultural colonization).
For the other two authors, Postumius Albino and Lucullus, we can assume it has played a role above all the desire to maintain continuity with the kind of story opened in Rome by Fabius Pictor, composed in Greek history.
Therefore, if the reason to preserve the Greek would first of all wish to maintain what it felt like a convention of genre.

When the Romans took control of the Mediterranean, the situation changed.
Then the Greeks began to write about Rome in order to understand the reasons for its success.
The first important representative of this attitude was Polybius, to which we referred in connection with Fabio pictorial (and input). Similarly
is important Dionysius of Halicarnassus, who also handled the Annales Pictor and he must also serve as a model for Jewish Antiquities of Josephus , another work that testifies to the new reality of the encounter between cultures.
These two authors (Polybius and Dionysius of Halicarnassus) are the first in a long series of Greek writers who were interested by the Roman theme. P.
eg., among historians of imperial times in this series include Appian, Cassius Dio, Herodian and Zosimus, in fact, the work of Arrian on Alexander is an exception in the Imperial era Greek historiography (see 52. Greek historians of the Imperial age, Pausanias ).

Joseph B. Torres Guerra

SOME REFERENCES:

* About Greek Hebrew literature (general):
COLPE, C. and HANHART, R., "Judentum" in HH Schmitt and E. Vogt (eds.), Kleines Lexikon des Hellenismus , Wiesbaden, 1993 (2 nd ed.), Pp. 288-320.
JACOBSON, H., The Exagoge of Ezekiel, Cambridge, 1983.
VOGT, E., Tragiker Ezechiel, Gütersloh, 1983.
WALTER, N., Jüdisch-hellenistische Pseudepigraphische Dichtung, Gütersloh, 1983.
* On Philo of Alexandria:
BRAVO GARCÍA, A., "The design Philonian of 'EIRENE' and 'Polemos': ideas on the anthropological thought of the philosopher of Alexandria," CD 193 (1979), pp. 193-238. YOUR
, y R. Niebuhr, K.-W. (Eds.), Philo and the New Testament. Mutual perceptions , Tübingen, 2004.
Hadas-Lebel, M., Philon d 'Alexandrie. Un penseur en diaspora , París, 2003.
HORST, P. VAN DER (ed.), Philo's Flaccus . The first pogrom , Leiden, 2003.
RADICE, R. y Runia, DT, Philo of Alexandria . An Annotated Bibliography 1937-1986 , Leiden, 1988.
Runia, DT, Philo in Early Christian Literature. A Survey , Assen, 1993.
Sandmel, S., Philo of Alexandria . An Introduction , Oxford, 1979.
Toralla TOVAR, S. (Trans.), Filón of Alejandría. Sobre los sueños. Sobre Jose , Madrid, 1997. * Sobre
Flavio Josefo:
DAUDE, C., "The autobiography of Flavius \u200b\u200bJosephus: temporality and intentionality personal history", in G. Lachenaud y D. Longrée (eds.), Greeks and Romans dealing with history. Representations, narratives and ideology , Rennes, 2003, II, pp. 591-608.
FELDMAN, LH, "Flavius \u200b\u200bJosephus Revisited: The Man, His Writings and His Significance," in ANRW II 21, 2 (1984), pp. 763-862.
GARCÍA IGLESIAS, L. y RODRÍGUEZ DE SEPÚLVEDA, M. (trad.), Flavio Josefo. Autobiografía. Contra Apión , Madrid, 1994.
KRIEGER, K.-S., Geschichtschreibung als Apologetik bei Flavius Josephus , Tubinga, 1994.
LAMOUR, D., “L'organisation du recit dans l'Autobiographie de Flavius Josephe”, BAGB 1996.2 (1996), pp. 141-150.
LAMOUR, D., “L'autobiographie de Flavius Josephe ou le roman d'une vie”, RBPh 77.1 (1999), pp. 105-130.
NIETO IBÁÑEZ, J.M. (trad.), Josephus. The Jewish War , Madrid, 1997 (2 volumes).
Vidal-Naquet, P., Introduction à Flavius \u200b\u200bJosephus, Paris, 1977.
Vidal-Naquet, P., tests historiography: Greek historiography under the Roman Empire: Arrian and Josephus , Madrid, 1990.
VILLALBA AND Barneda, P., The Historical Method of Flavius \u200b\u200bJosephus , Leiden, 1986.
* About intercultural contact with other peoples:
HOSE, M., "Post-Colonial Theory and Greek Literature in Rome", GRBs 40, 1999, pp. 303-326.
PANTS, M., "The importance of the Greek literature of Rome. Some considerations from the perspective of the post colonial literary theory ", en P. Neukam (ed.), Ancient Literature - Human Language, World , Munich, 2000, pp. 38-58.
Suerbaum, W., "Q. Fabius Pictor ", en W. Suerbaum (ed.), Handbook of Latin literature in antiquity. I. The archaic literature , Munich, 2002, pp. 359-370.
TORRES, JB, "Vtraque language. Autores romanos con obra en griego ", en E. Calderón Dorda et alii (eds.), LOGOS KOIN. Tribute to Professor José García López , Murcia, 2006, pp. 1007-1015.