By Maria V Mavroudi
This quantity discusses the so-called Oneirocriticon of Achmet, an important Byzantine paintings on dream interpretation which used to be written in Greek within the tenth century and has tremendously motivated next dreambooks in Byzantine Greek, Medieval Latin, and sleek ecu languages. through evaluating the Oneirocriticon with the 2nd-century A.D. dreambook of Artemidoros (translated into Arabic within the ninth century) and 5 medieval Arabic dreambooks, this learn demonstrates that the Oneirocriticon is a Christian Greek adaption of Islamic Arabic fabric and that the similarities among it and Artemidoros are as a result of impression of Artemidoros at the Arabic resources of the Byzantine paintings. The Oneirocriticon's textual culture, its language, the identities of its writer and buyer, and its place between different Byzantine translations from Arabic into Greek also are investigated.
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Additional info for A Byzantine Book on Dream Interpretation: The Oneirocriticon of Achmet and Its Arabic Sources
Well fashioned gumbalds, gracious gifts to the tongue, Then shoulders of mighty boars, with the meat in slices, Barnacle-geese and bitterns in pastried dishes, And beside them broad young hawks-there were never better 190 And breasts of swine, all brilliant to men's eyes. Next in flowed many fine pottages, more than enough, With azure waves all over, and still in flame: On each ornamental tower the flames leapt high, And all who looked might well enough be delighted! Then came cranes and curlews cunningly roasted, And rabbits in excellent sauces, beautifully dyed, Pheasants with fair decorations, aflame in the silver, With yellow glazed custards and other good sweets enough, With honey wine and Crete wine, skillfully run, 200 With spouts of clean silver, curious to see; Alsatian wine and Spanish, and others as well, Rhenish wine and Rochelle, no wines ever richer, Rare vintages of Crete and of noble Venice, In vessels of finest gold; quaff all who please!
The darker strain of medieval thought, hellfire terror, is represented here by The Debate of Body and Soul. And the lighter side of life in the Middle Ages comes alive in The Owl and the Nightingale. Since I have modernized these poems in verse, it should go without saying that I have occasionally sacrificed literalness to preserve aesthetic qualities. For instance, in Summer Sunday, a tightly alliterated poem, I translate the phrase I warp on my wedes as "I caught up my clothes," not "I put on my clothes," which would be accurate but prosaic.
Then Sir Lucius sends out lordly letters At once to the Orient, with austere knights, 570 To Ambigain and Orcage and to Alexandria, To India and Armenia, by the Euphrates; To Asia and Africa and to all Europe, To Irritain and Elamet and the outer isles, To Araby and Egypt, to earls and others, All who held any land in those eastern marches Damascus and Damietta, to dukes and lords. For fear of his displeasure they prepared at once: From Crete and Cappadocia the honorable kings Came at his commandment, and quickly assembled; 580 Tartary and Turkey, when the tidings came, Turned at once through Thebes, powerful tyrants, And the flower of the mighty people of the Amazon lands: All who failed in the field would be forfeit forever.