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Monday, August 28, 2017

200 AD-Almagest

The work known as the Almagest (/ˈælməˌdʒɛst/), originally titled "Μαθηματικὴ Σύνταξις" (Mathēmatikē Syntaxis) in Ancient Greek, and also called Syntaxis Mathematica or Almagestum in Latin, is a 2nd-century Greek-language mathematicaland astronomical treatise on the apparent motions of the stars and planetary paths, written by Claudius Ptolemy (c. AD 100 – c. 170). One of the most influential scientific texts of all time, its geocentric model was accepted for more than 1200 years from its origin in Hellenistic Alexandria, in the medieval Byzantine and Islamic worlds, and in Western Europe through the Middle Ages and early Renaissance until Copernicus.
The Almagest is the critical source of information on ancient Greek astronomy. It has also been valuable to students of mathematics because it documents the ancient Greek mathematician Hipparchus's work, which has been lost. Hipparchus wrote about trigonometry, but because his works appear to have been lost, mathematicians use Ptolemy's book as their source for Hipparchus's work and ancient Greek trigonometry in general.[dubious ]
The treatise was later titled Hē Megalē Syntaxis (Ἡ Μεγάλη Σύνταξις, "The Great Treatise"; LatinMagna Syntaxis), and the superlative form of this (Ancient Greekμεγίστηmegiste, "greatest") lies behind the Arabic name al-majisṭī (المجسطي), from which the English name Almagest derives. The Arabic name is important due to the popularity of a Latin re-translation made in the 12th century from an Arabic translation, which would endure until original Greek copies resurfaced in the 15th century.
Ptolemy set up a public inscription at Canopus, Egypt, in 147 or 148. The late N. T. Hamilton found that the version of Ptolemy's models set out in the Canopic Inscription was earlier than the version in the Almagest. Hence it cannot have been completed before about 150, a quarter century after Ptolemy began observing.[1]




Sunday, August 27, 2017

200 AD-Enchiridion of Epictetus

The Enchiridion or Manual of Epictetus (Ancient GreekἘγχειρίδιον ἘπικτήτουEnkheirídion Epiktḗtou) (enchiridion is Greek for "that which is held in the hand") is a short manual of Stoic ethical advice compiled by Arrian, a 2nd-century disciple of the Greek philosopher Epictetus.

Content

Although the content is similar to the Discourses of Epictetus, it is not a summary of the Discourses but rather a compilation of practical precepts. Eschewing metaphysics, Arrian focused his attention on Epictetus's work applying philosophy in daily life. The primary theme is that one should accept what happens:
What upsets people is not things themselves but their judgments about the things. For example, "death is nothing dreadful (or else it would have appeared dreadful to Socrates)..."
— Chapter Five[1]
However, "some things are up to us and some are not up to us"[1] and we must act accordingly, taking responsibility for planning and enacting what we can with virtue without becoming upset or disheartened by obstacles and reverses beyond our control.
For many centuries, the Enchiridion maintained its authority both with Christians and Pagans. Two Christian writers—Nilus and an anonymous contemporary—wrote paraphrases of it in the early 5th century and Simplicius of Cilicia wrote a commentary upon it in the 6th. The work was first published in Latin translation by Poliziano in Rome in 1493; Philippus Beroaldus published another edition in Bologna in 1496. The original Greek was first published in Venice with the Simplicius's commentary in 1528 and an English translation appeared as early as 1567. The book was a common school text in Scotland during the Scottish EnlightenmentAdam Smith had a 1670 edition in his library, acquired as a schoolboy.[2]

Wednesday, August 23, 2017

200 AD-Marcus Aurelius (Meditations)

L'Image et le Pouvoir - Buste cuirassé de Marc Aurèle agé - 3.jpgMarcus Aurelius (/ɔːˈrliəs/LatinMarcus Aurelius Antoninus Augustus;[6][notes 1][9] 26 April 121 – 17 March 180 AD) was Emperor of Rome from 161 to 180. He ruled with Lucius Verus as co-emperor from 161 until Verus' death in 169. Marcus Aurelius was the last of the so-called Five Good Emperors. He was a practitioner of Stoicism, and his untitled writing, commonly known as Meditations, is a significant source of the modern understanding of ancient Stoic philosophy, and is considered by many commentators to be one of the greatest works of philosophy.[10]
During his reign, the Roman Empire defeated a revitalized Parthian Empire in the East: Aurelius' general Avidius Cassius sacked the capital Ctesiphon in 164. In central Europe, Aurelius fought the MarcomanniQuadi, and Sarmatians with success during the Marcomannic Wars, although the threat of the Germanic peoples began to represent a troubling reality for the Empire. A revolt in the East led by Avidius Cassiusfailed to gain momentum and was suppressed immediately. Persecution of Christians increased during his reign.
Aurelius' Meditations, written in Greek while on campaign between 170 and 180, is still revered as a literary monument to a philosophy of service and duty, describing how to find and preserve equanimity, a state of psychological stability and composure, in the midst of conflict by following nature as a source of guidance and inspiration. His death in 180 is widely cited as the end of the Pax Romana and the increasing instability in the west that followed has traditionally been seen as the beginning of the eventual Fall of the Western Roman Empire.


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Meditations (Medieval GreekΤὰ εἰς ἑαυτόν Ta eis heauton, literally "[those which are] to himself") is a series of personal writings by Marcus AureliusRoman Emperor from 161 to 180 AD, recording his private notes to himself and ideas on Stoic philosophy.
Marcus Aurelius wrote the 12 books of the Meditations in Koine Greek[1] as a source for his own guidance and self-improvement.[2] It is possible that large portions of the work were written at Sirmium, where he spent much time planning military campaigns from 170 to 180. Some of it was written while he was positioned at Aquincum on campaign in Pannonia, because internal notes tell us that the first book was written when he was campaigning against the Quadi on the river Granova (modern-day Hron) and the second book was written at Carnuntum.
It is unlikely that Marcus Aurelius ever intended the writings to be published and the work has no official title, so "Meditations" is one of several titles commonly assigned to the collection. These writings take the form of quotations varying in length from one sentence to long paragraphs.


Tuesday, August 22, 2017

200 AD-(Arrian) The Anabasis of Alexander

The Anabasis of Alexander (GreekἈλεξάνδρου ἈνάβασιςAlexándrou AnábasisLatinAnabasis Alexandri) was composed by Arrian of Nicomedia in the second century AD, most probably during the reign of Hadrian.[1] The Anabasis (which survives complete in seven books) is a history of the campaigns of Alexander the Great, specifically his conquest of the Persian Empire between 336 and 323 BC.[2] Both the unusual title "Anabasis" (literally "a journey up-country from the sea") and the work's seven-book structure reflect Arrian's emulation (in structure, style, and content) of the Greek historian Xenophon, whose own Anabasis in seven books concerned the earlier campaign "up-country" of Cyrus the Younger in 401 BC.
The Anabasis is by far the fullest surviving account of Alexander's conquest of the Persian empire. It is primarily a military history, reflecting the content of Arrian's model, Xenophon's Anabasis; the work begins with Alexander's accession to the Macedonian throne in 336 BC, and has nothing to say about Alexander's early life (in contrast, say, to Plutarch's Life of Alexander). Nor does Arrian aim to provide a complete history of the Greek-speaking world during Alexander's reign. Arrian's chief sources in writing the Anabasis were the lost contemporary histories of the campaign by Ptolemy and Aristobulus and, for his later books, Nearchus.[3]One of Arrian's main aims in writing his history seems to have been to correct the standard "Vulgate" narrative of Alexander's reign that was current in his own day, primarily associated with the lost writings of the historian Cleitarchus.[4]


Monday, August 21, 2017

200 AD-Drakht-i Asurig

Drakht-i Asurig

From Wikipedia, the free encyclopedia
Draxt ī Āsūrīg (meaning "The Assyrian Tree" or "The Babylonian Tree") is a Parthian-language poem consisting of about 120 verses and written in Book Pahlavi script. The language shows influences from Middle Persian.[1] It is one of the oldest existing texts in Parthian language.
The poem is framed as a dialogue between a goat and a palm tree. At the end, the goat is proclaimed to be victorious The Iranians may have adopted this genre from the oral traditions of ancient Mesopotamia.[1]
Some scholars consider the goat and the palm tree to be the symbols of Zoroastrinism and the Babylonian religion, or simply the pastoral life and agricultural life, respectively.[1]
The poem is also considered wisdom literature.[1]
A similar but less significant story, "The story of the vine and the ewe" (رز و میش raz o mīš), has been recorded in Persian literature.[1]

Sunday, August 20, 2017

200 AD-Visperad

Image result for VisperadVisperad[pronunciation?] or Visprad is either a particular Zoroastrian religious ceremony or the name given to a passage collection within the greater Avesta compendium of texts.
The Visperad ceremony "consists of the rituals of the Yasna, virtually unchanged, but with a liturgy extended by twenty-three[a] supplementary sections."[1] These supplementary sections (kardag) are then – from a philological perspective – the passages that make up the Visperad collection. The standard abbreviation for Visperad chapter-verse pointers is Vr., though Vsp. may also appear in older sources.
The name Visperad is a contraction of Avestan vispe ratavo,[b] with an ambiguous meaning. Subject to how ratu is translated,[c] vispe ratavo may be translated as "(prayer to) all patrons"[2] or "all masters"[1] or the older and today less common "all chiefs."[3] or "all lords."

The Visperad ceremony – in medieval Zoroastrian texts referred to as the Jesht-i Visperad,[4] that is, "Worship through praise (Yasht) of all the patrons," – developed[d] as an "extended service" for celebrating the gahambars,[4] the high Zoroastrian festivals that celebrate six season(al) events. As seasonal ("year cycle") festivals, the gahambars are dedicated to the Amesha Spentas, the divinites that are in tradition identified with specific aspects of creation, and through whom Ahura Mazda realized ("with his thought") creation. These "bounteous immortals" (amesha spentas) are the "all patrons" – the vispe ratavo – who apportion the bounty of creation. However, the Visperad ceremony itself is dedicated to Ahura Mazda, the ratūm berezem "high Master."[4]
The Visperad collection has no unity of its own, and is never recited separately from the Yasna. During a recital of the Visperad ceremony, the Visperad sections are not recited en bloc but are instead interleaved into the Yasna recital.[5] The Visperad itself exalts several texts of the Yasna collection, including the Ahuna Vairya and the Airyaman ishya, the Gathas, and the Yasna Haptanghaiti (Visperad 13-16, 18-21, 23-24[6]) Unlike in a regular Yasna recital, the Yasna Haptanghaiti is recited a second time between the 4th and 5th Gatha (the first time between the 1st and 2nd as in a standard Yasna). This second recitation is performed by the assistant priest (the raspi), and is often slower and more melodious.[5] In contrast to barsom bundle of a regular Yasna, which has 21 rods (tae), the one used in a Visperad service has 35 rods.
The Visperad is only performed in the Havan Gah – between sunrise and noon – on the six gahambar days.[4]
Amongst Iranian Zoroastrians, for whom the seasonal festivals have a greater significance than for their Indian co-religionists[citation needed], the Visperad ceremony has undergone significant modifications in the 20th century.[7] The ritual – which is technically an "inner" one requiring ritual purity – is instead celebrated as an "outer" ritual where ritual purity is not a requirement. Often there is only one priest instead of the two that are actually required, and the priests sit at a table with only a lamp or candle representing the fire, so avoiding accusations of "fire worship."[e][8]


Wednesday, August 16, 2017

200 AD-Yādegār-e Zarirān

The Yādegār-e Zarirān [jɒːdeˈɡɒːɾe zæɾiːɾˈɒːn] (Persianیادگار زریران‎‎) or Ayādgār ī Zarērān (English: "Memorial of Zarēr"), is a short Middle Persian (Pahlavi) text of ancient Iranian epic poetry. The story is preserved in a unique manuscript written in AD 1322. The Avesta mentions the struggle of Vištāspa and Zairivairi (whose name became later known as “Zarēr”) against the “wicked Arəǰat.aspa” (Yašt 5.108, 112, 117, cf. Yašt 19.87) and establish the antiquity of this story of “Wištāsp’s battle”.[1] According to the Iranologist Mary Boyce:[1] the Ayādgār ī Zarērān retains the conventions of heroic epic, with rich hyperbole, fixed epithets, and an abundance of similes and formal repetitions. It thus attests, in both subject-matter and treatment, the long cultivation of Iranian minstrel poetry. 

Overview

The story celebrates an event of early history in the Zoroastrian faith. It tells the tale of the old religious wars of Zoroaster's time, and recounts the heroic deeds of a champion named Zarēr. This hero is also mentioned in Shahnameh of Ferdowsi.
King Wishtasp, who accepted the “pure religion of the Mazda-worshippers” (dēn ī abēzag ī māzdesnān), is sent a messenger by king Arjasp, the king of the Hyons. Jamasp, minister of Wishtasp, predicts that Zarir, brother of Wishtasp, and many of the kins of Wishtasp will be martyred in the future battle. When the battle occurs, Zarir fights heroically, but is slain by a foul Hyon by the name of Widrafš i Jadu "Wīdrafš the sorcerer". But the son of Zarir, Bastwar, despite being forbidden to battle by his uncle Wištāsp, goes to the battle field and finds his father's body.
After finding the body, he utters a moving lament:
Bastwar afterwards joins the battle and slays many Hyōns in revenge. He also obtains revenge for his father's death and shoots an arrow through Wīdrafš’ heart. Then, the cousin of Bastwar, the hero Spandyād (In the Shahnameh Esfandyar), the son of Wištāsp, ends the battle by capturing Arǰāsp, mutilating him, and sending him abject away on a donkey whose tail was cut.
He then states:

Saturday, August 12, 2017

200 AD-Aśvaghoṣa (Buddhacarita)

Dharma Wheel.svgAśvaghoṣa (c. 80 – c. 150 CE) was an Indian philosopher-poet, born in Saketa in northern India to a Brahmin family.[1] He is believed to have been the first Sanskrit dramatist, and is considered the greatest Indian poet prior to Kālidāsa. He was the most famous in a group of Buddhist court writers, whose epics rivalled the contemporary Ramayana.[2] Whereas much of Buddhist literature prior to the time of Aśvaghoṣa had been composed in Buddhist Hybrid Sanskrit, Aśvaghoṣa wrote in Classical Sanskrit.[3]


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Buddhacharita ("Acts of the Buddha"; BuddhacaritamDevanagari बुद्धचरितम्) is an epic poem in the Sanskritmahakavya style on the life of Gautama Buddha by Aśvaghoṣa, composed in the early second century CE.[1] Of the poem's 28 cantos, the first 14 are extant in Sanskrit complete (cantos 15 to 28 are in incomplete form).
In 420 AD, Dharmakṣema[2] made a Chinese translation, and in the 7th or 8th century, a Tibetan version was made which "appears to be much closer to the original Sanskrit than the Chinese".[3][4]


Tuesday, August 8, 2017

100 AD-Seneca the Younger (Phaedra )

Duble herma of Socrates and Seneca Antikensammlung Berlin 07.jpgSeneca the Younger (c. 4 BC – AD 65), fully Lucius Annaeus Seneca and also known simply as Seneca (/ˈsɛnɪkə/), was a Roman Stoic philosopherstatesmandramatist, and—in one work—humorist of the Silver Age of Latin literature. As a tragedian, he is best-known for his Medea and Thyestes.
He was a tutor and later advisor to emperor Nero. He was forced to take his own life for alleged complicity in the Pisonian conspiracy to assassinate Nero. However, some sources state that he may have been innocent.[1][2] His father was Seneca the Elder, his elder brother was Lucius Junius Gallio Annaeanus, and his nephew was the poet Lucan.





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Phaedra, is a fabula crepidata (Roman tragedy with Greek subject) of c. 1280 lines of verse by philosopher and dramatist Lucius Annaeus Seneca, which tells the story of Phaedra, wife of King Theseus of Athens, and her consuming lust for her stepson, Hippolytus. Based on Greek Mythology and the tragedy Hippolytus by Greek playwright Euripides, Seneca's Phaedra is one of several artistic explorations of this tragic story. Seneca portrays the title character as knowing and direct in the pursuit of her stepson, while in other iterations of the myth she is more of a passive victim of fate. This Phaedra takes on the scheming nature and the cynicism often assigned to the Nurse character.
Seneca wrote Phaedra during the Roman Empire before 54 C.E., and the play has influenced drama over the centuries since then, particularly the works of Shakespeare and dramas of 16th and 17th century France. Other notable dramatic versions of the Phaedra story that were influenced by Seneca's version include Phèdre by Jean Racine and Phaedra's Love by Sarah Kane. Seneca's play continues to be performed today.
Major themes of Phaedra include the laws of nature as interpreted according to Stoic philosophy; animal imagery and hunting; and the damaging effects of the sexual transgressions of mothers and stepmothers.