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Greek Lyric Poetry and Its Influence

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Greek Lyric Poetry and Its Influence Greek Lyric Poetry and Its Influence Greek Lyric Poetry and Its Influence: Texts, Iconography, Music and Cinema Edited by Alejandro Cantarero de Salazar, Alicia Esteban Santos and Leonardo de Arrizabalaga y Prado Greek Lyric Poetry and Its Influence: Texts, Iconography, Music and Cinema Edited by Alejandro Cantarero de Salazar, Alicia Esteban Santos and Leonardo de Arrizabalaga y Prado This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Alejandro Cantarero de Salazar, Alicia Esteban Santos, Leonardo de Arrizabalaga y Prado and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5986-6 ISBN (13): 978-1-5275-5986-8 Cover image Alcaeus and Sappho. Attic red-figure calathus, ca. 470 BC, Staatliche Antikensammlungen (Inv. 2416), design and drawing by Ignacio Pérez-Chao Peña ©. Ἔρος δ’ ἐτίναξέ μοι φρένας, ὠς ἄνεμος κὰτ ὄρος δρύσιν ἐμπέτων (Sappho, 47 V.). ἄγε δηὖτε μηκέτ᾿ οὕτω πατάγῳ τε κἀλαλητῷ Σκυθικὴν πόσιν παρ᾿ οἴνῳ μελετῶμεν, ἀλλὰ καλοῖς ὑποπίνοντες ἐν ὕμνοις (Anacreon, 33 G.). TABLE OF CONTENTS PREFACE Alejandro CANTARERO DE SALAZAR, Alicia ESTEBAN SANTOS and Leonardo DE ARRIZABALAGA Y PRADO --------------------------------------------- XI PRÓLOGO Alejandro CANTARERO DE SALAZAR, Alicia ESTEBAN SANTOS y Leonardo DE ARRIZABALAGA Y PRADO ----------------------------------------------- XV INTERNATIONAL ADVISORY BOARD ----------------------------------------------- XIX BRIEF BIOGRAPHIES -------------------------------------------------------------------- XXI TABLE OF IMAGES Alicia ESTEBAN SANTOS ------------------------------------------------------------------- XXVII I. INTRODUCTION INTRODUCTION: ARCHAIC GREEK LYRIC POETRY Fernando GARCÍA ROMERO ---------------------------------------------------------------- 5 II. TEXTS OF GREEK LYRIC POETRY 1. PHILOLOGICAL STUDIES OF GREEK LYRIC THE MAIN THEMES IN GREEK LYRIC: ANACREON’S POETRY AS A REPRESENTATIVE EXAMPLE Alicia ESTEBAN SANTOS -------------------------------------------------------------------- 31 LA PRIMERA ‘DEFINICIÓN’ DEL AMOR Y EL PRIMER TEXTO ‘FEMINISTA’: COMENTARIOS A SAFO, FRAGMENTOS 130 Y 105a V(= 137 Y 116 D), CON ALGUNAS CONSIDERACIONES SOBRE LA PERVIVENCIA DE LA FÓRMULA Ἔρως λυσιμελής EN LA LITERATURA Y ESCULTURA GRIEGAS Felipe G. HERNÁNDEZ MUÑOZ ------------------------------------------------------------ 47 ANACREONTE, CANTOR DE EROS: ANÁLISIS LITERARIO Alicia ESTEBAN SANTOS -------------------------------------------------------------------- 65 VIII TABLE OF CONTENTS WHEN DOVES CRY: SMALL ANIMALS, EMPATHY, AND UNDERSTANDING IN LYCOPHRON’S ALEXANDRA Nathaniel HESS------------------------------------------------------------------------------- 99 2. INFLUENCE OF GREEK LYRIC POETRY ON POSTERITY LOS LÍRICOS GRIEGOS EN HORACIO Y A TRAVÉS DE HORACIO Vicente CRISTÓBAL LÓPEZ ----------------------------------------------------------------- 117 LAS PALABRAS AZULES, ODISEO ELYTIS Y SAFO, SU “PRIMA LEJANA” Penélope STAVRIANOPULU ----------------------------------------------------------------- 137 THE INFLUENCE OF GREEK ARCHAIC POETRY IN THE WORKS OF LUIS ANTONIO DE VILLENA Francisco MARTÍNEZ REAL----------------------------------------------------------------- 153 III. GREEK LYRIC POETRY IN HISTORY, ICONOGRAPHY, MUSIC AND CINEMA 1. GREEK LYRIC AND HISTORY LA POLÍTICA EN LA POESÍA LÍRICA ARCAICA. FACTORES DETERMINANTES Y PARADOJA ÉPICA Mª Isabel CONDE MORENO -------------------------------------------------------------- 175 MITO Y REALIDAD DE SAFO DE LESBOS Pilar GONZÁLEZ SERRANO --------------------------------------------------------------- 199 2. GREEK LYRIC AND ICONOGRAPHY ICONOGRAPHY OF THEMES IN GREEK LYRIC: THE EXAMPLE OF ANACREON’S POETRY Alicia ESTEBAN SANTOS ----------------------------------------------------------------- 213 GREEK LYRIC POETRY AND ITS INFLUENCE IX THE IMAGE OF THE ATHLETE IN GREEK LYRIC AND ICONOGRAPHY Fernando GARCÍA ROMERO --------------------------------------------------------------- 261 3. GREEK LYRIC AND MUSIC LYRIC MUSICAL PRACTICE IN THE EPIC CONTEXT OF ARCHAIC GREECE Luis CALERO --------------------------------------------------------------------------------- 293 ANACREONTIS CARMINA: SETTING ANACREON’S VERSE TO MUSIC st IN THE 21 CENTURY Leonardo DE ARRIZABALAGA Y PRADO -------------------------------------------------- 311 4. GREEK LYRIC AND CINEMA UNA VISIÓN BREVE Y PERSONAL DE LA LÍRICA Y OTROS TEMAS GRIEGOS EN EL CINE Alicia ESTEBAN SANTOS -------------------------------------------------------------------- 331 SAPPHO’S REPRESENTATION IN CINEMA: PORTRAITS AND SAPPHIC AFFILIATIONS. A SHORT HISTORY OF FORMS FRAMING SAPPHO IN CINEMA MélindaTOËN--------------------------------------------------------------------------------- 339 PREFACE This book deals with poetry that the ancient Greeks composed more than twenty-five centuries ago, and which in some cases was sung to the sound of the lyre (hence its name) or other musical instruments. The character of this poetry is multiple, with various subgenres, characters and contents: it is intimate, but it is also public and civic in other cases, because it reflects the great changes —social, political and economic— that the Greek world was experiencing around the 7th century BC. It represents the emergence of individualism. In that respect it differs from the epic poetry that precedes it, in which the author does not seek to show himself, but to narrate external events: the great exploits of the past. But in lyric the poet expresses his feelings and opinions, and sings of present and everyday facts typical of human life, from the most festive to the most transcendent. In short, this poetry is the living portrait of the ancient Greeks, who wrote some of the first pages of Western literature. This project began in 2015, when two of the editors, Alicia Esteban Santos and Alejandro Cantarero de Salazar, organized an international colloquium at the Complutense University of Madrid (UCM) on ancient Greek lyric, from a multidisciplinary perspective. Although eminently philological, it also accommodated the heritage that this poetry had in Roman culture, and even in modernity, until it reached cinema in the 21st century. On this occasion, although it was the philological and literary perspective that guided our meeting, we did not want to leave out other avenues of analysis of lyrical poetry, such as iconographic, historical, social or musical, that can be extracted from these texts. In fact, we were so interested in the musical character of ancient Greek poetry that the closing ceremony of the symposium included performance, in Ancient Greek, of some poems by Anacreon, with a score by one of the editors of this volume, Leonardo de Arrizabalaga y Prado, and with the voice of Luis Calero, (specialist in Ancient Greek music and –as such– an author in this book), and piano performances by Álvaro Martín del Burgo and Catalina García-Posada Rodríguez. This meeting was very stimulating and encouraged us to continue the study of Greek lyric, and even to undertake the difficult task of composing a volume that offered updated and multiple views of studies on Ancient Greek lyric and its survival. This book is therefore the fruit of several years of work, and the sum of very diverse collaborations among colleagues from different areas of knowledge and diverse universities. The result is not a book of acta, but a new book, written mostly in English, but also in Spanish, with works different in many cases from XII PREFACE those that were presented in the initial colloquium. To achieve this, we have selected, and at some points commissioned, chapters ad hoc, trying to present a unified study of Greek lyric from a current perspective. We have also been interested in the influence that Greek lyrical poetry has exerted on literature, the arts and culture from antiquity till now. In this sense, it has been essential to have the generous and voluntary participation of many authors (specialists in the various subjects), mostly professors and researchers from the Department of Classical Philology of the Complutense University of Madrid, but also from the Sorbonne and Cambridge University. In addition, we have obtained the help of a committee of international experts, whose names can be found at the end of this prologue, who have been responsible for performing the double blind peer review to which all the work gathered here has been submitted, with a view always to improving the quality of the whole book. However, the limitations of developing a volume like this are obvious. The panoramic approach we have adopted involves renouncing certain poets or subjects, selecting the most relevant, or sometimes what most interested the authors who participated. This fact implies that not all Greek poets are given in-depth study, but we have focused on some of the most relevant and significant, always seeking to present a variety of study perspectives: philological, literary, iconographic, historical, social, musical and even cinematographic. Particularly productive has been literary analysis of the poets pioneering the projection of the self, as well as comparison of their texts with Greek
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