Abstract
This study attempts to demonstrate that ancient Greek authors and vase painters (mostly of the late sixth and early fifth centuries) were well attuned to the many bodily gestures and positions exhibited by dogs in real life and utilized this knowledge in producing their works. Once this is clear, it becomes evident that the Greek public at large was equally aware of such canine bodily gestures and positions. This extends the seminal work on gestures of Boegehold and Lateiner to the animal world and seeks also to serve as a call for further study of similar animals throughout ancient Greek times.
Highlights
This study attempts to demonstrate that ancient Greek authors and vase painters were well attuned to the many bodily gestures and positions exhibited by dogs in real life and utilized this knowledge in producing their works
When an archaeologist had a magnificent Doric temple to excavate, the preservation and study of faunal remains often took second place. Should one reconstruct this frieze or count the bones from mice who may have nibbled on offerings there?3 and rather ironically, the ubiquity of animals such as dogs and horses in Greek art can render them too familiar, rather like the sponges, strigils, and aulos cases that hang on the walls of gymnasiums on Greek vases
A passage commonly cited for the sympathetic portrait it paints of dogs is useful for demonstrating the interest the Greeks had in canine gesture and body language
Summary
There is ample evidence in the Greek language itself, which, when paired with evidence from ancient Greek authors, makes it clear that the Greeks paid quite close attention to their dogs. Other sounds include ἀράζω (arazō) and κνυζάομαι (knuzaomai), which denote whining or whimpering Such a variety of words for canine vocalizations indicates at the very denote whining or whimpering. A passage commonly cited for the sympathetic portrait it paints of dogs is useful for demonstrating the interest the Greeks had in canine gesture and body language. As Odysseus approaches, Argos, who was lying down (κείμενος, keimenos), holds up head and pricks up his ears (291) Once he recognizes his master, he wags his tail and drops his his head and pricks up his ears (291). The scene shows that the author was well versed in canine body language and that he expected his audience to be well versed, for they would recognize the physical postures of Argos.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
