α β γ δ ε ζ η θ ι κ λ μ ν ξ ο π ρ ς σ τ υ φ χ ψ ω Α Β Γ Δ Ε Ζ Η Θ Ι Κ Λ Μ Ν Ξ Ο Π Ρ C Σ Τ Υ Φ Χ Ψ Ω ἀ ἁ ά ὰ ᾶ ἄ ἅ ἂ ἃ ἆ ἇ ᾳ ᾷ Ἀ Ἁ Ἄ Ἅ Ἂ Ἃ Ἆ Ἇ ἐ ἑ έ ὲ ἔ ἕ ἒ ἓ Ἐ Ἑ Ἔ Ἕ ἠ ἡ ή ὴ ῆ ἤ ἥ ἢ ἣ ἦ ἧ ῃ ῇ ᾗ Ἠ Ἡ Ἤ Ἥ Ἦ Ἧ ἰ ἱ ί ὶ ἴ ἵ ἲ ἳ ἶ ἷ ῖ Ἰ Ἱ Ἴ Ἵ Ἶ Ἷ ὀ ὁ ό ὸ ὄ ὅ ὂ ὃ Ὀ Ὁ Ὄ Ὅ Ὂ Ὃ ῥ ὐ ὑ ύ ὺ ὔ ὕ ὒ ὓ ὖ ὗ ῦ Ὑ Ὓ Ὕ Ὗ Ῠ Ῡ Ὺ Ύ ὠ ὡ ώ ὼ ὤ ὥ ὢ ὣ ὦ ὧ ῳ ῶ ῷ ᾧ ᾤ Ὠ Ὡ Ὤ Ὥ Ὢ Ὣ Ὦ Ὧ Schließen Bewegen ?
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Namhafte Tiere in der Antike #4: Ein extrem gelehriger Hund (366 Aufrufe)
Γραικύλος schrieb am 09.09.2020 um 00:11 Uhr (Zitieren)
Plutarch (ca. 45-125 u.Z.): De sollertia animalium (Moralia 973E – 974A)

Still, I believe that I should not pass over one example at least of a dog’s learning, of which I myself was a spectator at Rome. The dog appeared in a pantomime with a dramatic plot and many characters and conformed in its acting at all points with the acts and reactions required by the text.

In particular, they experimented on it with a drug [φάρμακον] that was really soporific [ὑπνωτικόν], but supposed in the story to be deadly. The dog took the bread that was supposedly drugged, swallowed it, and a little later appeared to shiver and stagger and nod until it finally sprawled out and lay there like a corpse, letting itself be dragged and hauled about, as the plot of the play prescribed.

But when it recognized from the words and action that the time had come, at first it began to stir slightly, as though recovering from a profound sleep, and lifted its head and looked about. Then to the amazement of the spectators it got up and proceeded to the right person and fawned on him with joy and pleasure so that everyone, and even Caesar himself (for the aged Vespasian was present in the Theatre of Marcellus), was much moved [καὶ Καίσαρα (παρῆν γὰρ ὁ γέρων Οὐεσπασιανὸς ἐν τῷ Μαρκέλλου θεάτρῳ) συμπαθεῖς γενέσθαι].

(Plutarch: Moralia, Vol. XII. Edited by Harold Cherniss and William C. Helmbold. Cambridge (Mass.)/London 1957, pp. 404 sq.)

Bemerkenswert, wie er die Gemüter der Zuschauer bewegt.
 
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