Peter Parsons

It takes a true patriot to love Roman Britain: all those water-filled ditches, and nothing at the bottom but a few centuries of provincial tat. Boots and bricks survive, but little that is articulate – just a few formal inscriptions on stone, a few lead tablets inscribed with curses and buried for the attention of the powers below. Everyday communications, on wood or papyrus, have rotted away. Or so it might have been thought, until in 1973-5 the Vindolanda tablets turned up, preserved anaerobically in an ancient floor of impacted bracken and human wastes. That find allows us to dip into a military waste-paper basket of 100 AD. The originals can be seen at the British Museum. Bowman and Thomas provide the first and the final publication. Their book does more than decipher the faded and broken scrawl (difficult enough in itself): it provides, with enviable erudition, the whole necessary context, linguistic, historical and palaeographic. The texts owe most of their interest to their ordinariness; the edition is an achievement of eye and mind of which any scholar could be proud.

Time and philology turn dirt into dust. Housman had to veil Latin obscenity in Latin obscurity; Paul Brandt chose to publish under the speaking pseudonym of ‘Hans Licht’; Hopfner’s monumental Sexualleben was left a torso by a pupil less pious than pudibund. But nowadays, whatever a Latinist always wanted to know, he has no further need to ask: it is in print, sanitary and systematic. By 1984 the snigger will be an endangered species. J.N. Adams’s Vocabulary is a milestone in the brave new frankness. It is also a sterling scholarly achievement by a distinguished philologist: shrewd, learned, concise and rigorous. It contributes something to the study of poetry. (Catullus mourned his sparrow: avian or anatomical? Catullus’s Lesbia ‘peeled’ her lovers: how, exactly?) It contributes something to literary history: that cheerful faker, the Augustan History of the Roman emperors, is shown to have a penchant for the archaically risqué. Above all, it makes possible the serious study of categories: slangy against folksy, vulgar against obscene, social taboo against literary taste, nonce-formation against archetypal image.

In 1834, T.B. Macaulay left Holland House to unaccustomed silences, and set sail for Madras, where he was to save £30,000 and draft the penal code. Indian leisure inspired him to reread Greek. Thucydides, Euripides, Demosthenes, all got good marks. Fiction came off less well. Macaulay was a great reader of novels (to his father’s and Clapham’s distress); the Governor-General’s court wept over his copy of Clarissa. He was also a great connoisseur of trash: he adorned his copy of Santo Sebastiano, or the Young Protector with a league-table of fainting-fits (first prize to the heroine: ‘Julia de Clifford, 11’). But the Greek romances were too much for him. He pronounced with characteristic decision. At the end of Heliodorus’s Ethiopian Story, he noted. ‘The best of the Greek Romances, which is not saying much for it’; on Xenophon’s Ephesian Story, ‘A most stupid, worthless performance, below the lowest trash of an English circulating library’; on the Leucippe and Clitopho of Achilles Tatius, simply ‘Detestable trash’.

‘Elle s’appelle Antigone et il va falloir qu’elle joue son rôle jusqu’au bout.’ Anouilh’s chorus states, what most readers would assume: there is only one part Antigone can play, and that is the part which Sophocles gave her. The sons of Oedipus quarrel; Polynices, exiled in Argos, returns to attack Eteocles, who rules in their native Thebes; in the battle, the brothers kill one another; Creon, the next king, orders that Eteocles be buried as a hero, Polynices left unburied as a traitor; Antigone, the sister of the dead men, defies the order and symbolically buries Polynices; Creon condemns her to an underground prison; there she hangs herself, and Creon’s son Haemon, in love with her, kills himself at her side. Before Sophocles’s play (produced about 440 BC) Antigone was a shadowy figure; after it, no treatment escapes the influence.

Waste-paper is rubbish; ancient waste-paper is scholarship. Most of Greek and Latin literature disappeared without trace in the Dark Ages; what survived in manuscript was printed and so perpetuated at the Renaissance; since then the texts remain constant, while the commentaries multiply. But there is one source that produces new material rather than novel opinions; and that is the salvage of the Egyptian Greeks. The dry sand of Egypt preserves a mass of litter, the books and papers of Greek-speaking settlers and their Roman masters; these fragments, deciphered and published by papyrologists, make their special contribution to the immortalité mouvante of the classics. Each year turns up surprises on papyrus: Archilochus and his Lolita, the prosy Jocasta of Stesichorus, Menander’s love-lorn mercenary, the rococo exercise in rustic chic which Callimachus created from the story of Heracles and the Nemean Lion. This year’s surprise is more surprising than most: a snippet from the most glamorous missing link in Latin literature.