The view from my window, with the Lakeshore Limited passing by.
Above: Boy playing the flute while riding on a dolphin, detail of red-figure stamnos, 360-340 B.C. from Etruria. Grupo de Alcesti, National Archaeological Museum, Madrid, Spain. Photo by Marie-Lan Nguyen, via Wikimedia.
A dolphin adopts a young whale
On May 17, 2021, scientists at the Far Out Ocean Research Collective in New Zealand reported seeing a female bottlenose dolphin caring for a pilot whale calf as if it were her own offspring. Earlier in the day, the dolphin was seen hanging out with a mixed group that included bottlenose dolphins, false killer whales, and pilot whales. It is not known what happened to the baby whale's own mother. This is not the first time that a bottlenose dolphin has adopted a calf of another marine mammal species. In another recent sighting, in November, 2020, a mother bottlenose dolphin was seen off the coast of Rangiroa Atoll in French Polynesia caring for a baby melon-headed whale as well as her own calf. There are many stories of dolphins developing a relationship with other sea creatures.
Do dolphins ever care for humans? There is evidence that dolphins' caring relationship with other species even extends to humans.
Dolphins' friendship with humans
Stories of dolphins rescuing people and their special relationship with humans are as old as antiquity, and some modern anecdotal evidence seems to point in this direction. There are several reports of swimmers menaced by sharks who found themselves surrounded by a pod of dolphins who drove off the sharks. Another pod of dolphins guided a rescue boat to the location of a group of scuba divers adrift at sea. Many disabled divers claim to have been transported to safety by dolphins, who acted protectively as they would with a helpless member of their own species. The reasons for this behavior are not well understood, but a number of these incidents are discussed on the web site Dolphins-World.
Dolphins in antiquity: Arion, Apollo, Dionysos, and Cretan bathrooms
Dolphins are everywhere in in Cretan and Greek art and in Greek poetry. Dolphins decorate the bathroom of the Palace of Knossos. Dolphins interact with gods and men in a variety of ways. In Homeric Hymn 3 to Apollo, the god, having vanquished the she-dragon at Delphi, founds his temple on the slope of Mount Parnassus. Needing to staff his temple, he hijacks a Cretan ship by leaping on it in the form of a dolphin, forcing it to divert its course. He makes the sailors become his priests.
Herodotus, in Book I of his Histories, tells the story of Arion, lyric singer and poet bound for Corinth after winning a musical competition in Sicily, who was captured by pirates who wanted to steal his rich prize money. Given a choice of being killed or committing suicide by leaping into the sea, he requested permission to sing one last song. After doing so, he jumped overboard, where he was rescued by a dolphin, who carried him to land at Taenarum, at the far southern end of the Greek peninsula. He made his way to Corinth, where the pirates were going around claiming that he was still in Italy. A bronze figure of a man seated on a dolphin, now lost, was erected at a shrine in Taenarum.
Aelian (Claudius Aelianus, ca. 175-ca. 235 A.D.), a Roman teacher of rhetoric at the time of Septimius Severus, includes in his On the Nature of Animals (in Greek) a sadly sentimental tale of a dolphin who falls in love with a beautiful boy (Book 6.15). The two play together, and the dolphin lets the boy ride on his back. One day, exhausted after a vigorous day at the gymnasium, the boy flings himself on the dolphin's back, crashes into the sharp end of the animal's dorsal fin, and bleeds to death. The distraught dolphin carries the boy ashore and beaches itself, dying with his beloved. The two are buried in a common tomb, with a monument depicting a boy riding on a dolphin. In fact, dolphins (and whales) sometimes do die upon the beach, perhaps coming too close to shore and being stranded when the tide changes. Mass strandings occur, other dolphins perhaps trying to save an injured pack member, or simply following their leader. Could such occurrences have supplied the kernel of this sentimental story?
Oppian, a Greco-Roman poet writing in the 2nd century A.D., at the time of Marcus Aurelius, in his Halieutica ("On Fishing"), said that dolphins are beloved by Poseidon (Book 1.385) because they helped him find a wife, and in Book 5.415 he declared that "the hunting of Dolphins is immoral" and that "the gods abhor" the killing of dolphins "equally with human slaughter."
Sometimes men become dolphins. The pirates themselves become dolphins in the poem from which we take our Quotation of the Month, Homeric Hymn 7 to Dionysos.
The Homeric Hymn VII to Dionysos
In the Hymn to Dionysos, the god of wine and ecstasy appears as a handsome young man with wavy dark hair, wearing a purple robe, standing on a cliff overlooking the beach. Pirates seize him and drag him onto their ship, where they try to shackle him, hoping to steal not only his wealth but that of his obviously wealthy family. But the bonds fall from him, and he simply sits there smiling. Only the helmsman thinks this is a bad idea, and that the young man is probably some god, who should be released, lest he cause a storm and shipwreck. But the captain refuses, and gives the order to set up the mast and hoist the sail. At first the phenomena are benign. Wine flows across the deck, and vines bearing clusters of grapes grow up the mast and over the sail. Fruit-bearing vines and flowers cover the ship. At last the sailors request the helmsman put into port. But it is too late, and things get serious. A menacing bear and lion appear, and the lion attacks the captain. The sailors, in a state of shock, leap overboard, and are turned into dolphins. But Dionysos spares the prudent helmsman, and holds him back from jumping overboard. The Hymn ends with a common ending of a Homeric Hymn, a short invocation of the god (not included in the selection below).
Dionysos causes grape vines to grow on the ship's mast, and the pirates, who jumped overboard, are changed to dolphins. Cup by Exekias, ca. 540 B.C., Munich Staatlich Antikensammlung. Photo by R. Schoder, S.J., used in my Traditional Themes and the Homeric Hymns 1984, Chapter 9 "Epiphany of a God."
Quotation of the Month, from the Homeric Hymn to Dionysos
For our Classical Quotation of the Month, we bring you, in Greek and English, the final revelation of Dionysos to the pirates, with its scary manifestations. The text is from the Oxford Classical Text of 1912, corrected edition 1961.
Wooden panel representing a sea spirit cradling a dolphin in her arms, accompanied by two sister spirits while other dolphins cavort around. Wood carving by Christine Cooper Angier, my mother, 1930's.
The Chicago River, from the Michigan Avenue Bridge, January, 2008. (Photo by C.A. Sowa.)
CHICAGO COLLOQUIA ON DIGITAL HUMANITIES AND COMPUTER SCIENCE
Since their inception in the fall of 2006, I have been attending the Chicago Colloquia on Digital Humanities and Computer Science (DHCS), held at a rotating group of universities around Chicago. These Colloquia now draw participants from all over the world, who present projects covering many fields, including such interests as visual arts, archaeological reconstruction, musical composition, literary criticism, social trends, popular culture, history, and many fields yet to be discovered. Of the projects I have submitted under the name of Minerva Systems, a couple have been presented as poster exhibits. Others I have informally circulated among the participants. But whether one is presenting a paper or simply taking part in discussions, the Colloquia offer an opportunity to exchange a wealth of ideas. Workshops and smaller discussion groups, too, are well worth while.
For information about the Colloquia, visit the DHCS Web site at "http://chicagocolloquium.org". Information about all previous Colloquia (2006, 2007, 2008, 2009, 2010, 2011) can also be accessed from there.
The Reliance Building, at State and Washington Streets in Chicago, January, 2008. (Photo by C.A. Sowa.) The Reliance Building, like the MINERVA System, was built on principles of modularity and extensibility.
Read about it!
My thanks to all those who have reviewed and used my self-study CD course on using computers and quantitative methods in the study of literature, The Loom of Minerva: An Introduction to Computer Projects for the Literary Scholar, and my thanks to those who continue to give me comments.
You can read Chapter 1, "A Guide to the Labyrinth: The Problem and Its Solution" on this Web site. (Note: this chapter now describes a greater variety of ways to structure a project, e.g., top-down, bottom-up, etc. It will continue to be revised.) You can also see images from two demonstrations of the MINERVA System, from 2006 (emphasizing individual applications programs), given at the First Chicago Colloquium on Digital Humanities at the University of Chicago and 2007 (emphasizing new project planning programs) given at the Second Chicago Colloquium on Digital Humanities at the Northwestern University.
The MINERVA System
The MINERVA System for Study of Literary Texts is a set of tools, some automated, some not automated, for planning and carrying out a project in literary study. Methods of Systems Analysis, borrowed from the scientific and commercial world, are adapted to the study of literature. This methodology emphasizes the use of diagramming techniques and modular design, offering a way to construct a project as a set of units or modules that can be worked on separately and moved around without disturbing the whole. A project is defined as an enterprise that has a goal and an organized way of achieving that goal.
The Loom of Minerva combines the methods of Systems Analysis with the insights of traditional belles-lettres literary criticism. All analysis takes as its point of departure the value of the piece of literature itself to the critic and the reader, as well as the historic, social, or aesthetic qualities attached to it. These alone confer significance on any work of scholarship. Examples grow directly from study of various works of literature, from Vergil to Coleridge to Baudelaire to Victor Hugo to Edna St. Vincent Millay and Gertrude Stein, and works of criticism from Sainte-Beuve to Swinburne to Gertrude Stein (criticizing her own work).
Emphasis is placed on analyzing the language of criticism itself, analyzing exactly what we mean by such terms as "beautiful," "ugly," "pompous," "like a spring garden," etc. By defining our terms with an exactness that can be quantified, we learn to give precision to our thoughts, whether using a computer or not.
What is in The Loom of Minerva
The CD contains both a set of narrative chapters and a set of programs, called the MINERVA System for Study of Literary Texts. The narrative chapters explain and amplify the programs, and the programs illustrate the chapters. The programs are provided in both executable form and source code, to satisfy both non-programmer scholars and programmers who want to play with the code.
MINERVA stands for Model INteractive Engine for Recognizing Verbal Artifice.
Advantages of the MINERVA System
The MINERVA programs do not require the use of data that is in a proprietary format. They use plain ASCII text, such as that downloaded from the Internet. The OwlData programs can be used to put downloaded or scanned text in the correct format for the MINERVA programs. The mathematics and statistics used are fairly elementary, such as can be understood as an introduction to basic concepts of what the computer and quantified methods can do. The programs are open-source, as they are intended to be extensible.
For more information:
If you are interested in finding out more about the Loom of Minerva or the MINERVA System, contact me at email@example.com.
Reconstruction of one of Babbage's engines at the Computer History Museum, Mountain View, California. Click on the picture to watch it in action. (Photo by J.F. Sowa).
Charles Babbage's Difference Engine and Analytical Engine
Charles Babbage, prolific Victorian inventor, is most famous for two of his inventions, the Difference Engine (1812) and the Analytical Engine (1833), which are perhaps the truest forerunners of the modern computer. The Difference Engine, a mechanical device of rotating gears, was designed to automatically generate mathemetical tables. It was called the Difference Engine because it was based on the principle of computing the differences between successive values of an expression, then the difference between the differences. Versions of the Difference Engine were eventually built and used, but Babbage himself dropped work on it to pursue his real dream, the Analytical Engine. The Analytical Engine was, or would have been, the first "real" computer, capable of performing any kind of mathematical operation, and able to be "programmed," that is, to perform a sequence of operations without human intervention, and to choose, when necessary, between alternative paths of action. It was to be powered by steam, and programs were to be entered into the machine by means of punched cards, an idea borrowed from the then-new Jacquard power looms. Babbage, sad to say, was never able to complete the Analytical Engine.
Ada, Lady Lovelace, "the world's first programmer"
Babbage's collaborator on his Engines was one of history's most remarkable women, Ada, Lady Lovelace, daughter of the poet Lord Byron. These lines from Childe Harold's Pilgrimage are thought to be addressed to her:
A gifted mathematician in her own right, Ada worked with Babbage until her untimely death in 1852 at the age of 36. In 1842, the Italian engineer Luigi F. Menabrea published a description, in French, of Babbage's Analytical Engine. Lady Lovelace translated Menabrea's article into English, expanding it with commentary so extensive that her "Notes upon the Memoir" are virtually an original work. She provides detailed directions for using the machine to calculate answers to mathematical problems, leading modern writers to call her "the world's first programmer." Her words relate computing to other artistic endeavors:
We may say most aptly that [Babbage's] Analytical Engine weaves algebraical patterns just as the Jacquard-loom weaves flowers and leaves.
A Babbage Engine in London and California
In 1985, the Science Museum in London set out to build a working Difference Engine No. 2, based on Babbage's original designs. It was completed in 2002, and is on public display at the Science Museum. An identical Engine, completed in 2008, is presently on loan to the Computer History Museum, Mountain View, California, where it is on display until May, 2009. Read more about this recreated machine at the Computer History Museum Web site.
Click here or on the picture below to watch the Babbage engine in action, in a video taken by John F. Sowa.
Reconstruction of one of Babbage's engines, detail view. Click on the picture to watch it in action. (Photo by J.F. Sowa).
Read about the 1845 Eureka Machine for Composing Hexameter Latin Verse
Another Victorian machine which could be called an early special-purpose
computer was the Eureka machine designed by John Clark in 1845 for automatically
composing Latin hexameter poetry. It still survives, in a museum in Somerset,
England. Click here to read about it.
Book: Traditional Themes and the Homeric Hymns
The book, out of print for a while, is again available by "on-demand" production. Contact the publisher for information.
New selections are available on this Web site for free reading. You can read Chapters 1 ("Introduction") and 10 ("Conclusion: the Place of the Hymns in the Ancient Greek Oral Tradition"), Appendix I ("Outlines of Themes Identified in the Hymns"). You can also see diagrams of the themes as they appear in the Hymns.
Article: "Thought Clusters in Early Greek Oral Poetry"
An article, by Cora Angier Sowa and John Sowa, describes in detail
the quantitative and mathematical methods used on the computer to
identify thematic elements in Hesiod and the Homeric Hymns.
Material from this study was later integrated into into the more
comprehensive Traditional Themes and the Homeric Hymns. Click on
"Thought Clusters in Early Greek Oral Poetry".
A version of the CLUMP cluster analysis program used to identify thematic
repetitions is now also being integrated into the MINERVA suite of programs
in the self-study CD The Loom of Minerva.
In orally composed poetry like Homer's Iliad and Odyssey, and Hesiod's Theogony and Works and Days, there was no written text (the alphabet being barely known at the time, around 750 B.C.). The bard, like a jazz musician, recomposed his story each time (to a melody now lost to us), using stock phrases or "formulas" and repeated scenes. Since the story was enjoyed not by reading but by hearing it, there were no punctuation marks or chapter headings to tell listeners where they were in the narrative or its episodes. The skilled singer used, instead, repeated words and phrases to serve as "oral punctuation" to articulate the story and provide emphasis for important themes and concepts.
Reissued here is my article Verbal Patterns in Hesiod's Theogony, which explores the use of verbal repetition in Hesiod's tale of the origins of the gods.
We think of computers as being very modern, although calculating machines and computer-like devices have been around for a long time. In particular, we think of using such a machine to do such non-scientific tasks as composing poetry as a modern concept. But in 1845, John Clark built the Eureka Machine for Composing Hexameter Latin Verse. It still exists in a museum in England. Read about the Eureka Machine and read the original description of it from the Illustrated London News of July, 1845.
There is more about early computers and their mechanical ancestors in the self-study CD The Loom of Minerva: An Introduction to Computer Projects for the Literary Scholar, described above.
"Minerva" has long been a popular name for ships. There are cruise ships named "Minerva," including Greek vessels whose owners chose that name as a synonym for their own city patroness Athena. Warships named "Minerva" have graced the navies of Europe from the time of Nelson and Napoleon to the present, whether British "Minerva" or French "Minerve."
It is an interesting choice, considering that Athena, with her gift of the olive, defeated Poseidon, lord of the sea, with his gift of the horse, in the contest to be patron deity of Athens. (See the depiction of Athena and Poseidon below.)
The name "Minerva" for a British warship belongs in the splendid tradition of naming vessels after names from Classical history and mythology. Along with names like "Invincible," "Audacious," "Irresistible," "Insolent," "Victory," and "Dreadnought," we find "Gorgon," "Phoenix," "Achilles," "Apollo," "Dryad," "Endymion," "Hector," "Helicon," "Medusa," "Meleager," and, famously, "Arethusa." The most famous ship named for the Sicilian nymph Arethusa was known for her victory over the French "Belle Poulle" in 1778. Training ships for over a century inherited the name, one after the other.
A frigate "Minerva" participated in the Battle of Cape St. Vincent against the navy of Napoleon on February 14, 1797. The marine painter Thomas Buttersworth (the elder) painted a portrait of "Minerva" in 1810, and the "Minerva" Pub in Hull, England (built in 1831) uses the frigate's symbol, the owl, on its sign. Of course, some ships have been named "Athena" and "Poseidon," too; there was a movie about such a ship called The Poseidon Adventure.
There is a further connection between ships and this Minerva Systems site. In the self-study CD The Loom of Minerva (described above), an analysis of Coleridge's The Rime of the Ancient Mariner is used as a case study to demonstrate methods of Systems Analysis and computer techniques.
A feminist note on the gender of ships: Because of the living qualities of ships, I like to refer to a ship as "she" rather than "it." While some may compare a vessel to a woman because of the supposedly capricious nature of both (although there seems nothing wrong with an occasional playful moment), I think that this view overlooks other qualities. Ships, like women, are beautiful, swift, intelligent, and powerful. I am glad to acclaim them as my sisters!
Signed vase painting by the Athenian potter/painter Amasis (6th cent.
B.C.), depicting Athena and Poseidon. The two figures are labeled
ATHENAIA and POSEIDON. The inscription down the middle reads
AMASIS MEPOIESEN ("Amasis made me"). Amasis may well have been
African. (Illustration from a lithograph by Kaeppelin et Cie., ca. 1840.
The actual vase is in the Cabinet des Médailles, Bibliothèque
Nationale de France, Paris.)
Essays and reviews on building and architecture
Among the selections on this site is the previously published "Holy Places", a study of myths of landmarks. In addition, there is an epilogue to that essay, on "The World Trade Center as a Mythic Place". This piece continues the author's interest in relating ancient ideas to things that we care about in the modern world.
Cora Angier Sowa has combined humanities and technology for many years. She has a BA in Latin and an MA in Classics from the University of California, Los Angeles, and a PhD in Classical Philology from Harvard University. She spent a year studying archaeology at the American School of Classical Studies at Athens. She taught Greek and Roman literature and history at Mt. Holyoke, Vassar, and Brooklyn Colleges. For a number of years, she was a programmer/analyst at Chemical (now Chase) Bank in New York. She has taught classes in computers and humanities at the College of Staten Island and at St. John's University in Queens, New York. She served twice on the Committee on Computer Activities of the American Philological Association, once as chairperson of the committee. She was the recipient of a Fulbright Scholarship (for study in Greece) and of a grant from the American Council of Learned Societies (for work on computers and ancient Greek literature).
In addition to the book Traditional Themes and the Homeric Hymns (described above), Dr. Sowa has published articles and reviews on Classics and on the mythology of architecture and motion pictures. A harp player, she is also on the board of trustees of the International Percy Grainger Society , an organization dedicated to preserving the home and archives in White Plains, New York of Percy Grainger -- composer, piano virtuoso, collector of folk songs, and inventor of an early mechanical music synthesizer. Dr. Sowa is Webmaster for the Grainger web site.
A lifelong railfan, Dr. Sowa is a member of the New York Chapter of the National Railway Historical Society and is on its Board of Directors. She is National Representative for the New York Chapter and is on the Advisory Council of the national organization. She is also a member of the New York Railroad Enthusiasts.
Dr. Sowa lives in Croton-on-Hudson NY, and in New York City, with her husband, Dr. John F. Sowa, an expert in Artificial Intelligence and computer design, and several cats.
All selections on this site, unless otherwise identified, are copyright by Cora Angier Sowa.
Send e-mail to Cora Angier Sowa.
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