Unknown, Exhibit of the Whole World and its Peoples 32
created: This entry is taken from Exhibit of the Whole World and its Peoples 32 written b
edition published: 2023-06-30-05:00
language: la; la
availability: Except for materials quoted from other sources, this entry is copyright 2023 by the contributors (Joseph L. Rife, et al.) and the Caesarea City and Port Exploration Project. It is licensed under the Attribution 4.0 International (CC BY 4.0) license. Some texts quoted in this entry may be in the public domain in the United States. No copyright is asserted for these quotations. Some texts quoted in this entry may have copyright restrictions and are reused under Section 107 of the Copyright Act of (http://creativecommons.org/licenses/by/4.0)

https://caesarea-maritima.org/testimonia/227

Caesarea

, and

Caesaream

are directly attested at Unknown, Exhibit of the Whole World and its Peoples 32. This passage was written ca. 500-600 C.E. possibly in . Exhibit of the Whole World and its Peoples was composed by a learned resident of the eastern Roman Empire during the reign of Constantius II, probably during the late 350s in Syria-Phoenicia. It is a condensed geographical survey with annotations on culture and trade, divided into three books on the unknown east and the lands and islands within the Imperial borders. The work survives in two Latin versions of the 6th century, one (A) longer and presumably closer to the original, and the other apparently an abbreviation (B). This passage explains the sources of "entertainment" (delectabile) in different cities across greater Syria, including chariot racing and pantomimes at Caesarea Maritima.

A) Quoniam autem oportet et singula earum describere, quid ad singulas civitates delectabile esse potest, et hoc dicere necessarium est. Habes ergo Antiochiam quidem in omnibus delectabilibus abundantem, maxime autem circensibus. Omnia autem quare? Quoniam ibi imperator sedet, necesse est omnia propter eum. Ecce similiter Laodicia circenses et Tyrus et Berytus et Caesarea; sed Laodicia mittit aliis civitatibus agitatores optimos, Tyrus et Berytus mimarios, Caesarea pantomimos, Heliopolis choraulas, maxime quod a Libano Musae illis inspirent divinitatem dicendi. Aliquando autem et Gaza habet bonos auditores; dicitur autem habere eam et pammacharios, Ascalon athletas luctatores, Castabala calopectas. B) Iam nunc dicendum est quid etiam in se singulae civitates de quibus loquimur habeant delectabile. Habes ergo Antiochiam in ludis circensibus eminentem, similiter et Laodiciam et Tyrum et Berytum et Caesaream. Et Laodicia mittit aliis civitatibus agitatores optimos, Tyrus et Berytus mimarios, Caesarea pantomimos, Heliopolis choraulas, Gaza pammacarios, Ascalon athletas luctatores, Castabala pyctas.

[Ed. Rougé 1966]

A) Since we should also describe their peculiarities, it is necessary also to say what there is for entertainment in individual cities. So you have Antioch, indeed rich in all kinds of amenities but especially race courses. But why all this? Because the emperor resides there, all this is necessary on his account. Note besides that Laodicea, Tyre, Beirut, and Caesarea have race courses. And yet Laodicea sends the best charioteers to other cities, Tyre and Beirut mimes, Caesarea pantomimes, Heliopolis flute-accompanists, most of all because the Muses of Lebanon inspire in them divine vocal skill. Furthermore, Gaza has good lecturers; it is said that it also has atheletes in the pancration, Ascalon has athletes in wrestling, Castabala has acrobats. B) Now we must say what the individual cities we are discussing have for entertainment. So you have Antioch, which stands for the games at its race courses, as well Laodicea, Tyre, Beirut, and Caesarea. And Laodicea sends the best charioteers to other cities, Tyre and Beirut mimes, Caesarea pantomimes, Heliopolis flute-accompanists, Gaza atheletes in the pancration, Ascalon athletes in wrestling, Castabala players. [Trans. J. L. Rife with reference to Rougé 1966][^1]

[^1: Latin choraula (A, B) transliterating Greek χοραύλης refers to a player on a reed pipe who accompanies dancers. Unless the word has an otherwise unattested meaning of “choral singer” (cf. Rougé 1966, p. 255 n. 10 “chanteurs,” “choristes”), the author seems to mean that playing the flute was a kind of vocal expression. Latin calopecta (A) transliterating Greek καλοπαίκτης refers to an acrobat. Latin pycta (B) transliterating Greek παίκτης refers generically to a performer or “player.”]

Works Cited

[...] 32

[Antioch on the Orontes

Ascalon

Beirut

Castabala

Gaza

Heliopolis

Laodicea

Lebanon

Tyre]

[Nicolaus of Damascus]

[Entertainment

Geography

Government and Law

Roman History

Society and Culture

Urban Topography]