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Tradition and Identity in Lycophron Autor(Es) Tradition and Identity in Lycophron Autor(es): Deserto, Jorge Edições Afrontamento; CITCEM - Centro de Investigação Transdisciplinar «Cultura, Espaço e Memória»; Centro de Estudos Publicado por: Clássicos e Humanísticos; Alexandria University; Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/36173 DOI: DOI:http://dx.doi.org/10.14195/978-989-26-0966-9_12 Accessed : 29-Sep-2021 04:52:33 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt Alexandria endures in our imagination as the first model of cultural interaction – of cosmopolitanism, to use both classical and contemporary terminology – and as the cultural and intellectual capital of the ancient world. The intermingling of races and beliefs, and the exchange of m t a ideas, undoubtedly produced the knowledge that modern h l u scholarship still celebrates. e e l t This book is a testimony that the values embodied by x l i e a c Alexandria and its Library continue to inspire noble g u n minded scholars whose pursuit for knowledge transcends a l c d t boundaries and time. The breadth and scope of the papers y u presented do credit to the spirit of Alexandria – its r o r multiculturalism, and its passion for science and e a f l a scholarship. The book in our hands confirm that the i s multiculturalism of the Ancient World, rippling out from a m Alexandria to extend throughout the Hellenistic period d i and beyond, is as valid now as it was then – perhaps more n alexandrea alexandrea a so today, when globalization has given a new meaning to a ad aegyptVm ad aegyptVm e n the internationalism envisioned by Alexander the Great g alexandrea the legacy of the legacy of t centuries ago. Now, with the “clash of civilizations” y i q dominating our discourse, it is pertinent to remember the multiculturalism multiculturalism p u ad aegyptVm lesson Alexandrea ad Aegyptum taught us: that the in antiquity in antiquity t i V interaction between cultures can only lead to the t y m the legacy of betterment of the human condition and carry us to heights unimagined. multiculturalism Ismail Serageldin ROGÉRIO SOUSA ROGÉRIO SOUSA Librarian of Alexandria MARIA DO CÉU FIALHO MARIA DO CÉU FIALHO in antiquity MONA HAGGAG MONA HAGGAG NUNO SIMÕES RODRIGUES NUNO SIMÕES RODRIGUES The excellent contributions gathered in this book M R M N O U O A ROGÉRIO SOUSA dedicated to the city of books, Alexandria, are G N R N É O I A undoubtedly traced along the lines of Amr and John’s A R MARIA DO CÉU FIALHO S H I D I O dialogue. Intolerance, which is borne almost always out of A M O G MONA HAGGAG S Õ ignorance, threatens continuously the peaceful meeting O C G E É U A S NUNO SIMÕES RODRIGUES and coexistence of peoples and cultures nowadays. U S G R A F O Alexandria, its people and books remind us that the search I D A L R for dialogue, the reflection on the forms of unity in H I G O diversity are at the same time our greatest heritage and the U E most dramatically pressing agenda. S Gabriele Cornelli University of Brasilia ISBN 978-972-36-1336-0 CITCEM 9 7 8 9 7 2 3 6 1 3 3 6 0 y y TRADITION AND IDENTITY IN LYCOPHRON JORGE DESERTO University of Oporto. Centro de Estudos Clássicos e Humanísticos (University of Coimbra). Abstract: Lycophron’s Alexandra has been called an «obscure poem». Through the difficulties of an enigmatic text that raises questions about its author and date, this paper deals with two fundamental issues: first, if it is possible to call Alexandra a drama and set a parallel between this work and 5 th -century Athenian tragedy. Second, how Lycophron deals with the long and well established identity of his characters, and in particular with the identity of Cassandra, whose words we hear throughout the poem. A long mythologi - cal tradition together with an enigmatic and elusive text – they both constitute a strange and challenging paradox. A brief analysis of Lycophron’s «odyssey» (ll. 648-819) shows how the poet manages to achieve equilibrium while dealing with these two themes: tradi - tion and identity. It is undoubtedly a challenge to write about a work that requires the use of an instruc - tion book. Under normal circumstances, we find reasonable for this to happen with a domestic appliance: urban mythology is full of stories in which the act of programming a VCR dangerously resembles a descent in hell. But it will be reason to look with suspicion, and even fear, at a literary work that only can be clearly understood if we take into account the commentaries left by the scholiasts. Now this is what systematically happens with Lycophron’s Alexandra . The Suda will call it «the obscure poem» ( ), and this is a label τὸ σκοτεινὸν ποίημα that has stuck to it. When we start reading any work about this poem, we often find, more 161 alexandrea ad aegyptvm: the legacy of multiculturalism in antiquity or less vividly expressed, the disenchantment of its author, as if he had engaged in a task far beyond the forces of a mortal. In 1901, in the early 20th century, Gildersleeve said: «Few scholars now-a-days read Lykophron and almost all who do read him claim a reward of merit by writing something about him» 1. A century later, Elizabeth Kosmetatou 2 opens her essay with the following words: «Lycophron’s Alexandra remains the most obscure and enigmatic literary work of the Hellenistic period and indeed, it could be argued, of the entire Antiquity». Together with encouraging words like these, a bibliographical flow not quite copious, though constant. There is only one exception, also quite disturbing. In these early years of the 21st century, a group of French scholars has dedicated itself to the study of Lycophron, so that, between 2005 and 2008, were published in France four different translations of the Alexandra (including the one belonging to the Budé collection), along with several studies, some of them collective works 3. I cannot find an explanation for such abundance. It does not represent, for sure, a sudden need for the French reader, anxious to know four different ways to decline the Alexandra into the language of Molière. In fact, however bizarre it may seem, this exception simply confirms the rule. We may begin with a brief description of the poem. This is a relatively long text, con - sisting of 1474 iambic trimetre. Not far, in extension, from a Sophocles’ tragedy 4. It consists of the long account of a messenger, who presents to his king the words of the young prophetess Alexandra (i.e., Cassandra). In her speech she reveals in detail the fate of Troy, in the future conquered by the Greeks, but also the troubled return of the conqueror army, victim of divine wrath, due to the way Ajax attacked Priam’s daughter, near the altar of Athena. The story then extends beyond the moment when Alexander manages to reunite Europe and Asia. According to Stephanie West 5, we can find in the huge temporal scope of this action a topic that works as a common denominator: the rivalry between east and west. At least the formal structure is simple and clear: the first thirty lines present the messenger’s introductory speech; after, up to line 1460, we ear the literal words of the princess – thus these 1430 lines correspond to the core of the poem itself; in the last fourteen lines, we go back to the words of the servant. Two questions claim our attention when we look at the Alexandra – and both, in some way, relate to the theme of this paper, tradition and identity. On one hand, we have to dis - cuss how this work fits into the dramatic tradition, if it actually does; on the other, the Apud WEST, 1984: 127-8. KOSMETATOU, 2000: 32. 1 Translations: LAMBIN, 2005; HUMMEL, 2006; CHAUVIN, CUSSET, 2008; HURST, 2008. As an example of collective work s2ee CUSSET, PRIOUX, 2009. 3 It is almost the same verse number of Sophocles’ Pholoctetes (1471). It exceeds in extent Ajax , Antigone and Trachiniae , but is shorter than Electra and both Oedipus . It can therefore be said, using Sophocles as a perfectly legitimate reference, that A4 lexandra has the average length of an Athenian tragedy. WEST, 2000: 154. 5 162 TRADITION AND IDENTITY IN LYCOPHRON problem of the authorship, an endless debate that, by some undeniable similarities, never ceases to remind us of the well-known Homeric Question.
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