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The Judgment of Animals in Classical Greece: Animal Sculpture and ...

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the mean<strong>in</strong>g <strong>of</strong> zw|~on <strong>in</strong> the fifth century. As stated above, zw|&oisi st<strong>and</strong> for pa<strong>in</strong>ted <strong>and</strong><br />

perhaps drawn images <strong>of</strong> some k<strong>in</strong>d rather than animals. A digression to the various<br />

translations, however, provides the opportunity to emphasize how modern def<strong>in</strong>itions,<br />

when applied to zw|&oisi, may complicate rather than assist <strong>in</strong> decipher<strong>in</strong>g its ancient<br />

mean<strong>in</strong>g. <strong>The</strong> situation starts to become thorny, for example, when seen that some <strong>of</strong> the<br />

modern terms that have been applied to zw|&oisi do not hold a s<strong>in</strong>gle mean<strong>in</strong>g but rather<br />

numerous nuanced ones. <strong>The</strong> primary mean<strong>in</strong>g <strong>of</strong> “picture,” for example, is that <strong>of</strong> “an<br />

image or likeness <strong>of</strong> an object, person or scene produced on a flat surface, especially by<br />

pa<strong>in</strong>t<strong>in</strong>g, draw<strong>in</strong>g, or photography.” 361 This mean<strong>in</strong>g seems appropriate for zw|&oisi<br />

consider<strong>in</strong>g that the latter is def<strong>in</strong>ed <strong>in</strong> the ancient text as graptoi=j (“pa<strong>in</strong>ted” or<br />

“drawn”). But the modern term “picture” carries also the mean<strong>in</strong>gs <strong>of</strong> “perfect likeness,”<br />

“anyth<strong>in</strong>g closely resembl<strong>in</strong>g or strik<strong>in</strong>gly typify<strong>in</strong>g someth<strong>in</strong>g else,” <strong>and</strong> also “anyth<strong>in</strong>g<br />

regarded as hav<strong>in</strong>g the compositional beauty <strong>of</strong> a pa<strong>in</strong>t<strong>in</strong>g or a draw<strong>in</strong>g.” 362 Faced with<br />

these nuances <strong>of</strong> mean<strong>in</strong>g it is difficult to determ<strong>in</strong>e which, if any, <strong>of</strong> them the translator<br />

<strong>of</strong> zw|&oisi had <strong>in</strong> m<strong>in</strong>d when decid<strong>in</strong>g on “pictures.”<br />

A similar situation is also detected <strong>in</strong> the correspondence <strong>of</strong> zw|&oisi to “figures.”<br />

For a modern audience, <strong>and</strong> <strong>in</strong> the context <strong>of</strong> the visual arts, the term “figure” refers to<br />

the representation <strong>of</strong> a bodily form, especially the human one. 363 Current discussions <strong>of</strong><br />

visual art, however, <strong>in</strong>dicate that “figure” is also used for the description <strong>of</strong> the bodily<br />

361<br />

D. B. Guralnik, ed., Webster’s New World Dictionary <strong>of</strong> the American Language (New York, 1970;<br />

second ed., 1980) 1077, s.v. picture.<br />

362<br />

Guralnik, Webster’s New World Dictionary 1077, s.v. picture.<br />

363<br />

R. Mayer, ed., <strong>The</strong> Harper Coll<strong>in</strong>s Dictionary <strong>of</strong> Art Terms <strong>and</strong> Techniques (New York, 1969; second<br />

ed., 1991) 151, s.v. figure; K. Reynolds <strong>and</strong> R. Seddon, eds., Illustrated Dictionary <strong>of</strong> Art Terms. A<br />

H<strong>and</strong>book for the Artist <strong>and</strong> Art Lover (New York, 1984) 68, s.v. figure; also P. B. Gove, ed., Webster’s<br />

Third New International Dictionary <strong>of</strong> the English Language Unabridged (Spr<strong>in</strong>gfield, Mass., 1961; repr.<br />

1986) 848, s.v. figure.<br />

227

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