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

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translates boi/dion as “heifer.” 117 <strong>The</strong> poet praises the perceived aliveness <strong>of</strong> the statue,<br />

by not<strong>in</strong>g that “it was never formed <strong>in</strong> a mould”; but his reference to it as one that has<br />

been “turned <strong>in</strong>to bronze ow<strong>in</strong>g to old age,” although it admits its <strong>in</strong>animate status, does<br />

not fit well with its identification as a heifer, that is, a young cow. Although the mean<strong>in</strong>g<br />

<strong>of</strong> this phrase rema<strong>in</strong>s unclear, the epigram is important, for it signals the beg<strong>in</strong>n<strong>in</strong>g <strong>of</strong><br />

the variety <strong>of</strong> terms used for the identification <strong>of</strong> the statue by the poets.<br />

Unlike the previous ones, the fifth epigram, by Antipater <strong>of</strong> Sidon, from the first<br />

century B.C., refers to the statue as da&mal<strong>in</strong>, which translates as “heifer.” <strong>The</strong> poet<br />

<strong>in</strong>structs the viewer, a coward, to treat the heifer as a statue <strong>and</strong> not as a real animal,<br />

while mak<strong>in</strong>g reference to its aliveness. <strong>The</strong> heifer, by def<strong>in</strong>ition a young cow that has<br />

not produced a calf, is described as a mother wait<strong>in</strong>g for her calf to suckle it, thus<br />

suggest<strong>in</strong>g no attention to such a conflict<strong>in</strong>g detail. Taken together, the evidence from<br />

these epigrams <strong>in</strong>dicates that they are different versions <strong>of</strong> a basic theme, <strong>and</strong> do not<br />

depend on direct knowledge <strong>of</strong> the statue. Thus, whether the statue is a cow, a little cow,<br />

or a heifer, is <strong>of</strong> no a concern to the poet; <strong>in</strong>stead, what he focuses on is the praise <strong>of</strong> its<br />

exceptional lifelikeness, which is perceived as aliveness.<br />

Two further epigrams show that <strong>in</strong>consistencies were not conf<strong>in</strong>ed to the identity<br />

<strong>of</strong> the statue, but extended also to its appearance, without, however, affect<strong>in</strong>g the praise<br />

<strong>of</strong> its conventionally assumed aliveness. Thus, <strong>in</strong> an epigram, by Philippus, dated to the<br />

117 Paton, Greek Anthology III 395. Anacreon was a lyric poet <strong>of</strong> the late sixth <strong>and</strong> early fifth centuries<br />

B.C., that is, earlier that Myron’s floruit. His work is known to have <strong>in</strong>spired a corpus <strong>of</strong> frivolous<br />

imitations <strong>in</strong> <strong>and</strong> after the Hellenistic period (between the first century B.C. or A.D. <strong>and</strong> the fifth or sixth<br />

century A.D.): M. L. West, “Anacreontea,” <strong>in</strong> S. Hornblower <strong>and</strong> A. Spawforth, eds., <strong>The</strong> Oxford <strong>Classical</strong><br />

Dictionary (third ed.; Oxford <strong>and</strong> New York, 1996) 80. <strong>The</strong> epigram may be part <strong>of</strong> this corpus.<br />

70

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