By Nigel G. Wilson
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Extra info for Aristophanea
35, 74–6 with comm. ; 9. 92–3; 10. 5. See L. Friedländer, Roman Life and Manners under the Early Empire, iv (London, 1913), 6–10; R. Garland, The Eye of the Beholder: Deformity and Disability in the Graeco-Roman World (London, 1995), 49–50, 54–5; F. Millar, The Emperor in the Roman World 2 (London, 1992), 140; L. Casson, Travel in the Ancient World (London, 1974), 244–6. g. the statues of human mirabilia in Pompey’s theatre complex (7. 34 and comm. ) and the show of marvels, including a sea-monster’s skeleton, put on in 58 by the aedile M.
11 P. Pomponius Secundus (suﬀect consul 44), under whom he had served in Germany. ⁴⁰ It would also have been through Pomponius that Pliny got his information about the conﬁnements of his patron’s mother, which are detailed in 7. 39–40. He was a poet and playwright whose reﬁned literary talent was rated by Tacitus above his winning of a triumph in Germany in 50 (Ann. 12. 28). Pliny, who was to write his biography (Pliny, Ep. 3. 5. 3), had seen ancient documents, dating back 250 years, in the handwriting of the Gracchi at his house.
517–21. For the implications of Aristotle, Met. 982b11–983a25 in the context of Pliny’s mirabilia, see V. ’, Science antique, science médiévale (Actes du colloque international Mont-Saint-Michel, 4–7 Septembre, 1998 (Hildesheim and New York, 2000), 267. 16th-cent. wonder literature: K. Park and L. Daston, ‘Unnatural Conceptions; the Study of Monsters in Sixteenth- and Seventeenth-Century France and England’, P&P 92 (1981), 39. 20 wonder stories to titillate the palates of those hungry for superﬁcial entertainment, Pliny’s mirabilia are subordinate to an altogether more serious purpose.
Aristophanea by Nigel G. Wilson