Uva-DARE (Digital Academic Repository)

Total Page:16

File Type:pdf, Size:1020Kb

Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) Space in archaic Greek lyric: city, countryside and sea Heirman, J.G.M. Publication date 2012 Link to publication Citation for published version (APA): Heirman, J. G. M. (2012). Space in archaic Greek lyric: city, countryside and sea. Vossiuspers - Amsterdam University Press. http://nl.aup.nl/books/9789056297008-space-in- archaic-greek-lyric.html General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 BIBLIOGRAPHY490 A.W.H. Adkins, Poetic Craft in the Early Greek Elegists, Chicago 1985 ---, Moral Values and Political Behaviour in Ancient Greece: From Homer to the End of the fifth Century, London 1972 F.R. Adrados, Liricos griegos: elegiacos y yambógrafos arcaicos (siglos VII-V a.c.), Barcelona 1981 (first edition 1956) ---, ‘Origen del tema del nave del estado en un papiro de Arquiloco’, Aegyptus 35 (1955), 206-210 K. Allan - K. Burridge, Forbidden Words: Taboo and the Censoring of Language, Cambridge 2006 R.J. Allan, The Middle Voice in Ancient Greek: A Study in Polysemy, Amsterdam 2003 A. Aloni, ‘Elegy: Forms, Functions, and Communication’, in: F. Budelmann (ed.), The Cambridge Companion to Greek Lyric, Cambridge 2009, 168-188 ---, Saffo. Frammenti, Firenze 1997 A. Aloni - A. Ianucci, L’elegia greca e l’epigramma dalle origini al V secolo. Con un'appendice sulla 'nuova' elegia di Archiloco, Firenze 2007 M.J. Anderson, The Fall of Troy in Early Greek Poetry and Art, Oxford 1997 T.M. Andersson, Early Epic Scenery: Homer, Virgil, and the Medieval Legacy, Ithaca 1976 J. Andrew, Narrative, Space and Gender in Russian Fiction: 1846-1903, Amsterdam 2007 B. Assert, Der Raum in der Erzählkunst. Wandlungen der Raumdarstellung in der Dichtung des 20. Jahrhunderts, Düsseldorf 1973 L. Athanassaki, Ἀείδετο πὰν τέμενος. Οι χορικές παραστάσεις και το κοινό τους στην αρχαϊκή και πρώιμη κλασική περίοδο, Iraklion 2009 J.J. van Baak, The Place of Space in Narration: A Semiotic Approach to the Problem of Literary Space, with an Analysis of the Role of Space in I.E. Babel's Konarmija, Amsterdam 1983 490 Classical journals are abbreviated according to l’Année Philolologique (Marouzeau). Journals from other disciplines are written in full. 183 D. Babut, ‘Semonide e Mimnermo’, in: E. Degani (ed.), Poeti greci giambici ed elegiaci: letture critiche, Milano 1977, 76-94 G. Bachelard, La poétique de l’espace, Paris 1989 (first edition 1957) R. Bagg, ‘Love, Ceremony and Daydream in Sappho’s Lyrics’, Arion 3 (1964), 44-82 M. Bakhtin, ‘Forms of Time and of the Chronotope in the Novel’, in: M. Holqvist (ed.), The Dialogic Imagination: Four Essays, Austin 1981, 84-258 (translation of original Russian from 1938) E.J. Bakker, ‘How Oral is Oral Composition?’, in: E.A. Mackay (ed.), Signs of Orality: The Oral Tradition and its Influence in the Greek and Roman World, Leiden 1999, 29-47 M. Bal, Narratology. Introduction to the Theory of Narrative, Toronto 1997 (first edition 1985) A. Barigazzi, ‘Sul nuovo Anacreonte’, Athenaeum 34 (1956), 139-151 E.T.E. Barker - J.P. Christensen, ‘Flight Club: The New Archilochus Fragment and its Resonance with Homeric Epic’, MD 57 (2006), 9- 41 J.M. Barringer, Divine Escorts: Nereids in Archaic and Classical Greek Art, Ann Arbor 1995 J.P. Barron, ‘Ibycus: To Polycrates’, BICS 16 (1969), 119-149 J.A. Barsby, Ovid. Amores. Book One, Oxford 1991 (first edition 1973) K. Bartol, Greek Elegy and Iambus. Studies in Ancient Literary Sources, Poznan 1993 N. Bemong - P. Borghart - M. de Dobbeleer - K. Demoen - K. de Temmerman- B. Keunen (eds.), Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives, Ghent 2010 D. Berghahn, Raumdarstellung im englischen Roman der Moderne, Frankfurt 1988 T. Bergk, Poetae lyrici Graeci, Lipsia 1878-1882 K.G.L. Bergson, L’epithète ornementale dans Eschyle, Sophocle et Euripide, Uppsala 1956 P.A. Bernardini, La città di Argo: mito, storia, tradizioni poetiche. Atti del convegno internazionale (Urbino, 13-15 giugno 2002) , Roma 2004 ---, Presenza e funzione della città di Tebe nella cultura greca. Atti del convegno internazionale (Urbino, 7-9 luglio 1997), Pisa 2000 184 H. Bernsdorff, Anacreon of Teos, Testimonia and Fragments, Oxford forthcoming ---, ‘Halbgötter auf der Flucht - zu P. Oxy. 4708 (Archilochus?)’, ZPE 158 (2006), 1-7 M.E. Biddle, ‘The Figure of Lady Jerusalem: Identification, Deification and Personification of Cities in the Ancient Near East’, in: K.L. Younger - W.W. Hallo - B.F. Batto (eds.), The Biblical Canon in Comparative Perspective: Scripture in Context IV, New York 1991, 173-194 B. Biebuyck, ‘Figurativeness figuring as a Condenser between Event and Action. How Tropes Generate Additional Dimensions of Narrativity’, Amsterdam International Electronic Journal of Cultural Narratology 4 (2007) ---, Die poietische Metapher: ein Beitrag zur Theorie der Figürlichkeit, Würzburg 1998 B. Biebuyck- G. Martens, ‘Literary Metaphor between Cognition and Narration’, in: M. Fludernik (ed.), Beyond Cognitive Metaphor Theory: Perspectives on Literary Metaphor, New York 2011, 58-76 ---, ‘Metaphor and Narrative’, in: E. Chrzanowska-Kluczewska - G. Szpila, In Search of (Non)Sense. Literary Semantics and the Related Fields and Disciplines. Proceedings of the IVth IALS Conference Cracow, Cambridge 2009, 115-127 D.E. Birge, Sacred Groves in the Ancient Greek World, Ann Arbor 1982 (dissertation) M. Black, ‘Metaphor’, Proceedings of the Aristotelian Society 55 (1954- 1955), 273-294 F. Blaise, ‘Poetics and Politics: Tradition Re-worked in Solon’s ‘Eunomia’ (Poem 4)’, in: J.H. Blok - A.M.P.H. Lardinois (eds.), Solon of Athens: New historical and philological Approaches, Leiden 2006, 114-133 F. Blass, Bacchylidis Carmina cum fragmentis, Lipsia 1898 D. Boedeker, Descent from Heaven: Images of Dew in Greek Poetry and Religion, Chico 1984 O.F. Bollnow, Mensch und Raum, Stuttgart 1963 A. Bonnafé, Poésie, nature et sacré. Homère, Hésiode et le sentiment grec de la nature, Lyon 1984 185 A. Bonnafé - J.-C. Decourt - B. Helly, L’espace et ses représentations, Lyon 2000 M.G. Bonnano, ‘Come guarire dal complesso epico: l’ Ode a Policrate di Ibico’, in: Cavallini (ed.), Samo: Storia, letteratura, scienza, Pisa 2004, 67-96 ---, L’allusione necessaria: ricerche intertestuali sulla poesia greca e latina, Roma 1990 P. Bonnechere, ‘The Place of the Sacred Grove (Alsos) in the Mantic Rituals of Greece’, in: M. Conan (ed.), Sacred Gardens and Landscapes: Ritual and Agency, Washington 2007 E.K. Borthwick, ‘Φυλάσσω or λαφύσσω? A note on two Emendations’, Eranos 77 (1979), 79-83 F. Bossi, Studi su Archiloco, Bari 1990 A. Bowie, The Poetic Dialect of Sappho and Alcaeus, New York 1981 E.L. Bowie, ‘The Trojan War’s Reception in Early Greek Lyric, Iambic and Elegiac Poetry’, in: L. Foxhall - J. Gehrke - N.Luraghi (eds.), Intentional History: Spinning Time in Ancient Greece, Stuttgart 2010, 57-88 ---, ‘Early Greek Iambic Poetry: The Importance of Narrative’, in: A. Cavarzere - A. Aloni - A. Barchiesi (eds.), Iambic Ideas. Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire, Oxford 2001, 1-27 ---, ‘Early Greek Elegy, Symposium and Public Festival’, JHS 106 (1986), 13-35 C.M. Bowra, ‘Signs of Storm (Archilochus, fr. 56)’, CR 54 (1940), 127-129 ---, Early Greek Elegists, Cambridge 1960 (first edition 1938) ---, Greek Lyric Poetry from Alcman to Simonides, Oxford 1961 (first edition 1936) B.K. Braswell, A Commentary on the Fourth Pythian Ode of Pindar, Berlin 1988 J.M. Bremer, ‘The Meadow of Love and Two Passages in Euripides’ Hippolytus’, Mnemosyne 28 (1975), 268-280 A. Broger, Das Epitheton bei Sappho und Alkaios: eine sprachwissentschaftliche Untersuchung, Innsbruck 1996 186 C.G. Brown, ‘The Parched Furrow and the Loss of Youth: Archilochus fr. 188 West’, QUCC 50 (1995), 29-34 S. Buchholz - M. Jahn, ‘Space in Narrative’, in: D. Herman - M. Jahn - M.L. Ryan (eds.), Routledge Encyclopedia of Narrative Theory, London 2005, 551-555 F. Budelmann, ‘Introducing Greek Lyric’, in: F. Budelmann (ed.), The Cambridge Companion to Greek Lyric, Cambridge 2009, 1-18 ---, ‘Anacreon and the Anacreontea’, in: F. Budelmann (ed.), The Cambridge Companion to Greek Lyric, Cambridge 2009, 227-239491 J.S. Burgess, The Tradition of the Trojan War in Homer and the Epic Cycle, Baltimore 2001 W. Burkert, Greek Religion: Archaic and Classic, Cambridge (Mass.) 2000 (translation of German original from 1977) A.P. Burnett, Pindar, Bristol 2008 ---, The Art of Bacchylides, Cambridge (Mass.) 1985 ---, Three Archaic Poets: Archilochus, Alcaeus, Sappho, London 1983 R.W.B. Burton, Pindar’s Pythian Odes: Essays in Interpretation, Oxford 1962 G. Burzacchini - A. Nicolosi, ‘Recuperi lirici dai papiri: Archiloco (P. Oxy.
Recommended publications
  • Introducing Greek Lyric
    Cambridge University Press 978-0-521-84944-9 - The Cambridge Companion to Greek Lyric Edited by Felix Budelmann Excerpt More information FELIX BUDELMANN Introducing Greek lyric In my eyes he matches the gods, that man who sits there facing you – any man whatever – listening from closeby to the sweetness of your voice as you talk, the sweetness of your laughter: yes, that – I swear it – sets the heart to shaking inside my breast, since once I look at you for a moment, I can’t speak any longer, but my tongue breaks down, and then all at once a subtle fire races inside my skin, my eyes can’t see a thing and a whirring whistle thrums at my hearing, cold sweat covers me and a trembling takes ahold of me all over: I’m greener than the grass is and appear to myself to be little short of dying. But all must be endured, since even a poor [ This is Sappho’s fragment 31 V, in the translation by Jim Powell.1 It has proved to be an engrossing text to many readers, arresting in its physicality yet elusive in its description of what is happening between the speaker, the addressee and the man. A long list of later poets were prompted to write their own versions – Catullus, Philip Sidney, Tennyson, William Carlos Williams, Robert Lowell, Marguerite Yourcenar – to name just a few. Sappho 31 is a text that shows the ability of Greek lyric to fascinate readers throughout the centuries. Yet at the same time as exerting fascination, Greek lyric is sometimes perceived as one of the less easily accessible areas of Greek literature.
    [Show full text]
  • Poetry's Politics in Archaic Greek Epic and Lyric
    Oral Tradition, 28/1 (2013): 143-166 Poetry’s Politics in Archaic Greek Epic and Lyric David F. Elmer In memoriam John Miles Foley1 The Iliad’s Politics of Consensus In a recent book (Elmer 2013) examining the representation of collective decision making in the Iliad, I have advanced two related claims: first, that the Iliad projects consensus as the ideal outcome of collective deliberation; and second, that the privileging of consensus can be meaningfully correlated with the nature of the poem as the product of an oral tradition.2 The Iliad’s politics, I argue, are best understood as a reflection of the dynamics of the tradition out of which the poem as we know it developed. In the course of the present essay, I intend to apply this approach to some of the other texts and traditions that made up the poetic ecology of archaic Greece, in order to illustrate the diversity of this ecology and the contrast between two of its most important “habitats,” or contexts for performance: Panhellenic festivals and the symposium. I will examine representative examples from the lyric and elegiac traditions associated with the poets Alcaeus of Mytilene and Theognis of Megara, respectively, and I will cast a concluding glance over the Odyssey, which sketches an illuminating contrast between festival and symposium. I begin, however, by distilling some of the most important claims from my earlier work in order to establish a framework for my discussion. Scholars have been interested in the politics of the Homeric poems since antiquity. Ancient critics tended to draw from the poems lessons about proper political conduct, in accordance with a general tendency to view Homer as the great primordial educator of the Greeks.
    [Show full text]
  • Mihi Blanditias Dixit: the Puella As Poet in Amores 3.7 in Amores 3.7, Ovid
    Mihi blanditias dixit: the Puella as Poet in Amores 3.7 In Amores 3.7, Ovid describes the lover-poet in a difficult position: he has been unable to achieve an erection while trying sleep with a beautiful puella. The poem describes her repeated attempts to excite him and their mutual frustration at her lack of success, until she finally scolds him and walks away. I argue that Ovid describes the unnamed puella as a failed elegist in this poem, and that her failure is part of a broader pattern of disengagement from elegy in the third book of the Amores. Amores 3.7 has received relatively little scholarly attention, as only four articles focus on this poem. Baeza Angulo compares Amores 3.7 with other ancient literature on impotence (1989), Mauger-Plichon examines the poem alongside parts of the Satyrica and Maximianus 5 (1999), and Holzberg argues that Ovid almost breaches the propriety of elegiac diction in Amores 3.7 (2009). I build on Sharrock’s 1995 article, which presents a metapoetic reading of the poem: that Ovid blurs the line between sex and poetry in Amores 3.7, allowing the reader to interpret the lover-poet’s impotence not just as literal, but also as poetic. I focus on the puella’s role as a poet, rather than on the amator, and therefore also engage with Wyke’s (e.g. 1987) and James’ (2003) discussions of the elegiac mistress as a poetic fiction, as well as Keith’s examination of elegiac language used to describe Corinna in Amores 1.5 (1994).
    [Show full text]
  • Greek Lyric Syllabus
    Greek 115 Greek Lyric Grace Ledbetter Fall 2010: Early Greek Poetry and Philosophy This seminar will focus on the development of early Greek poetry and philosophy (including Archilochus, Callinus, Tyrtaeus, Alcaeus, Alcman, Sappho, Hipponax, Mimnermus, Semonides, Solon, Homeric Hymns to Demeter and Apollo, Xenophanes, Heraclitus, Parmenides, and Pindar) paying particular attention to questions of normativity and subversion, exclusivity and inclusion, monstrosity, aristocracy, praise, integration, anxiety, connection, deceit, language, and bees. Required books 1) Hesiod, Theogony. ed. Richard Hamilton, Bryn Mawr Commentary. 2) D. Campbell, Greek Lyric Poetry. 3) Homeric Hymn to Apollo, eds Peter Smith and Lee Pearcy, Bryn Mawr Commentary. 4) Homeric Hymn to Demeter, ed. Julia Haig Gaisser, Bryn Mawr Commentary. 5) Heraclitus: Peri Phuseus, Henry W. Johnston, jr. Bryn Mawr Commentary. 6 Parmenides, eds David Sider and Henry Johnston, Bryn Mawr Commentary. Required work Weekly reading, presentations and discussion Weekly short translation quizzes, marked but not graded Midterm exam Thursday, 10/28 Final exam will be scheduled by registrar (date will be posted Oct. 1) Final Paper due 12/18/10 (topics and drafts due earlier) 1 Week 1 (9/2) Reading: H. Fraenkel, Early Greek Poetry and Philosophy. Individual presentations on Fraenkel Week 2 (9/9) Hesiod. Reading in Greek: Theogony 1‐616 Rest of Theogony in English Works and Days in English M. L. West, Theogony. Introduction + commentary. Week 3 (9/16) Archilochus, Callinus, Tyrtaeus Reading in Greek: all of Archilochus in Campbell + Archilochus, “cologne epode” (text on blackboard) all of Callinus and Tyrtaeus in Campbell Secondary (required) B. Snell, “The Rise of the Individual in the Early Greek Lyric” in his The Discovery of the Mind, ch.
    [Show full text]
  • ELEGY 397 ( ); K. Strecker, “Leoninische Hexameter Und
    ELEGY 397 (); K. Strecker, “Leoninische Hexameter und speare, Two Gentlemen of Verona) can be recommended Pentameter in . Jahrhundert,” Neues Archiv für ältere to a would-be seducer. T is composite understanding deutsche Geschichtskunde (); C. M. Bowra, Early of the genre, however, is never fully worked out and Greek Elegists, d ed. (); P. F r i e d l ä n d e r , Epigram- gradually fades. mata: Greek Inscriptions in Verse from the Beginnings to T e most important cl. models for the later devel. of the Persian Wars ( ); M. Platnauer, Latin Elegiac Verse elegy are *pastoral: the lament for Daphnis (who died (); L. P. Wilkinson, Golden Latin Artistry ( ); of love) by T eocritus, the elegy for Adonis attributed T. G. Rosenmeyer, “Elegiac and Elegos,” California to Bion, the elegy on Bion attributed to Moschus, and Studies in Classical Antiquity (); D. Ross, Style another lament for Daphnis in the fi fth *eclogue of and Tradition in Catullus ( ); M. L. West, Studies in Virgil. All are stylized and mythic, with hints of ritual; Greek Elegy and Iambus ( ); A.W.H. Adkins, Poetic the fi rst three are punctuated by incantatory *refrains. Craft in the Early Greek Elegists ( ); R. M. Marina T e elegies on Daphnis are staged performances within Sáez, La métrica de los epigramas de Marcial (). an otherwise casual setting. Nonhuman elements of the T.V.F. BROGAN; A. T. COLE pastoral world are enlisted in the mourning: nymphs, satyrs, the landscape itself. In Virgil, the song of grief is E L E G I A C S T A N Z A , elegiac quatrain, heroic qua- paired with one celebrating the dead man’s apotheosis; train.
    [Show full text]
  • Fortasse Requires: Sapphic and Terentian Intertextuality in Catullus 85
    fortasse requires: Sapphic and Terentian Intertextuality in Catullus 85 Catullus’ elegiac poems provide a foundation for Roman elegy, a literary genre that thrives for the brief period between Catullus and Ovid (c. 60-10 BCE), a time that saw the upheaval of the Republic and the establishment of an Empire. The identification of influence and intertextuality between Catullus and older Greek poets, such as Sappho and Callimachus, has been vital to our understanding of this intentionally subversive and egocentric genre. The narrative Ego, a first person narrative, is one of the most notorious markers of Latin elegy. Paul Allen Miller (2002) argues that Catullus establishes this ‘uniquely interiorized voice’ in Latin literature. To put this view in a broader perspective, we must also consider Ellen Greene’s (1999) claim that the Catullan Ego is merely a masculinized version of the Sapphic Ego. To add another layer in the development of this poetic voice, Alison Sharrock (2013) observes that Terence pioneered Sapphic sentiment and style in Latin long before the Roman elegists. The influence of New Comedy on Catullus has been particularly well observed. New Comedy provides a Latin precedent for elegiac characters such as the domina, the servus amoris, the exclusus amator, and the diues amator as well as topoi such as paraclausithyron and erotic military metaphors. David Konstan (1986) pinpoints Terence’s Eunuchus as particularly influential to Latin elegiac themes and characters. He identifies intertextuality between Terence’s Eunuchus and Catullus 109. He argues that in this poem Catullus emulates Phaedria’s desire for honesty from his promiscuous lover.
    [Show full text]
  • Elegy and Politics in a Time of Revolution Review | the Roman Poetry of Love | Elegy and Politics in a Time of Revolution
    Review: The Roman Poetry of Love: Elegy and Politics in a Time of Revolution Review | The Roman Poetry of Love | Elegy and Politics in a Time of Revolution KYLE CONRAU-LEWIS distinction between poems of different meters. Spentzou argues that Catullus is politically Efrossini Spentzou, The Roman Poetry of Love: Elegy and discontent: the start of his career in Bithynia Politics in a Time of Revolution. Classical world. London; New York: Bloomsbury Academic, 2013. xiv, 107 p. $26.99. brought no profit (Poem 28) and successful Roman ISBN 9781780932040. politicians were milking provinces for profit (Poem 29). This resulted in Catullus’ highly aggressive frossini Spentzou’s monograph The Roman attacks on high-profile public figures like Caesar and Poetry of Love provides a useful overview of Mamurra (Poem 57), maligning Roman masculinity E elegiac poetry from the Late Republic to the and politics. In Poem 57 Caesar and Mamurra are Augustan period. It is a work primarily intended for cinaedi and pathici and in Poem 29 Mamurra is said students, as Spentzou explains, ‘I address primarily, to dominate Romulus who is the cinaedus. Catullus but not exclusively, those for whom love elegy is a presents the political winners of Roman politics as new discovery, and in doing so, I explore why, I ‘perverted and fully exposed to sexual violation’ (9). think, we should read poetry two millennia old and Consequently in reaction to this corrupt political why it continues to speak, powerfully, to a world not world, Catullus retreats to explore a feminised self so different as people might imagine’ (xiv).
    [Show full text]
  • Callimachus's Acontius As an Elegiac Metanarrative in The
    Callimachus’s Acontius as an Elegiac Metanarrative in the Eclogues The love story of Acontius and Cydippe, which Calimachus adapted from the Coan historian Xenomedes to feature prominently in Aetia 3 (fr. 67–75), seems to have held special interest for the Latin poets of the 1st century BC. Vergil seems to adapt the narrative in Eclogues 2, 8, and especially 10 (Du Quesnay 1979, 48; Kenney 1983), and Propertius closely follows it in poem 1.18 (Cairns 1969). From the evidence of Eclogue 10 and Propertius’s Monobiblos, Ross and others have argued that Gallus used the stories of Acontius and Milanion as exempla for his own situation as an elegiac lover (Ross 1975, 89–91; Rosen & Farrell 1986), and Llewelyn Morgan has argued more recently that Gallus may have invested these stories with metapoetic innuendo (Morgan 1995). By Ovid’s day, Acontius and Cydippe were so well-known that their correspondence could be included among the Heroides, in terms, no less, that cast Acontius as the archetypal “elegiac hero”, i.e. as a prototypical elegiac poet (Barchiesi 1993, 360–363). This paper argues that Acontius functions as an archetypal elegiac figure in Vergil’s Eclogues just as he later does in Ovid’s Heroides, and that Vergil casts Callimachus’s love story as the metanarrative of Latin love elegy. In Eclogue 10 Vergil casts Gallus as the arch-bucolic singer Daphnis, familiar from Theocritus, and gives him a soliloquy in which he dramatizes the choice between pastoral and elegiac lifestyles (see Conte 1986, 100–129), ultimately expressing his preference for elegiac by vowing to imitate Acontius: certum est in silvis.
    [Show full text]
  • The Poems of Catullus As They Went to the Printer for the first Time, in Venice 400 Years Ago
    1.Catullus, Poems 1/12/05 2:52 PM Page 1 INTRODUCTION LIFE AND BACKGROUND We know very little for certain about Catullus himself, and most of that has to be extrapolated from his own work, always a risky procedure, and nowadays with the full weight of critical opinion against it (though this is always mutable, and there are signs of change in the air). On the other hand, we know a great deal about the last century of the Roman Republic, in which his short but intense life was spent, and about many of the public figures, both literary and political, whom he counted among his friends and enemies. Like Byron, whom in ways he resembled, he moved in fashionable circles, was radical without being constructively political, and wrote poetry that gives the overwhelming impression of being generated by the public aªairs, literary fashions, and aristocratic private scandals of the day. How far all these were fictionalized in his poetry we shall never know, but that they were pure invention is unlikely in the extreme: what need to make up stories when there was so much splendid material to hand? Obviously we can’t take what Catullus writes about Caesar or Mamurra at face value, any more than we can By- ron’s portraits of George III and Southey in “The Vision of Judgement,” or Dry- den’s of James II and the Duke of Buckingham in “Absalom and Achitophel.” Yet it would be hard to deny that in every case the poetic version contained more than a grain of truth.
    [Show full text]
  • Aus: Zeitschrift Für Papyrologie Und Epigraphik 119 (1997) 21–36 © Dr
    ALEX HARDIE PHILITAS AND THE PLANE TREE aus: Zeitschrift für Papyrologie und Epigraphik 119 (1997) 21–36 © Dr. Rudolf Habelt GmbH, Bonn 21 PHILITAS AND THE PLANE TREE* I. A Coan Mouseion Hellenistic Cos boasted a vigorous intellectual life. It was the seat of a distinguished school of medicine.1 It produced a historian and a few scholars.2 It also produced poets and musicians, and sent them abroad to compete in festivals.3 The Coans extended competitive hospitality through their own festivals, the Dionysia and the panhellenic Asclepieia Megala.4 And as might be expected, the festivals entailed businesslike contact with the Hellenistic texn›tai, the guilds of Artists of Dionysus.5 Cos also attracted poets for extended sojourns. In the third century, Theocritus and Herodas spent time on the island, and left permanent memorials in their poetry;6 and later, at the end of the second century, Meleager settled in Cos.7 Why did they come, and what professional milieu might they have found when they arrived? Cos’ Ptolemaic connections, in particular the birth there of Ptolemy Philadelphus in 309/308, will have been a focal point for foreign interest.8 In the literary sphere, the international reputation of Philitas of Cos as poet, scholar and teacher will no doubt have attracted personal adherents from other cities. Philitas tutored Philadelphus himself.9 The Homeric scholar Zenodotus was his pupil; and it may well have been on Cos that Philitas instructed the poet Hermesianax of Colophon, recorded as his ‘friend and pupil’ in a scholium on Nicander (Ther. 3).
    [Show full text]
  • Pindar, Sappho, and Alexandrian Editions Enrico Emanuele Prodi
    Text as Paratext: Pindar, Sappho, and Alexandrian Editions Enrico Emanuele Prodi HAT LITTLE SURVIVES of the archaic Greek lyricists has come down to us as bare text, shorn of music, Wdance, location, ambience, occasion, ceremony.1 Our texts ultimately go back to Alexandria and the late third century B.C., when the scholars of the Museum compiled what were to become the canonical editions of those poets; and what those editions preserved and enabled to circulate anew throughout the Greek-speaking world were written words alone. But that from sung spectacle to written text, from body and voice to papyrus and ink, was not the only change of state to which lyric poetry was subjected between the archaic and the Hellenistic age. Another, equally momentous transforma- tion took place: individual compositions which were originally independent of, and unrelated to, one another became joined together in a fixed sequence as constituents of a larger unit, the book.2 Lyric was not the only kind of poetry that was affected by this 1 Fragments of Pindar are cited from Snell-Maehler, fragments of Sappho and Alcaeus from Voigt. All translations are my own. 2 G. O. Hutchinson, “Doing Things with Books,” Talking Books: Readings in Hellenistic and Roman Books of Poetry (Oxford 2008) 1–2, cf. 4–15. On ancient poetry books see also J. van Sickle, “The Book-Roll and Some Conventions of the Poetic Book,” Arethusa 13 (1980) 5–42. The interrelation between Pindaric song and the materiality of the book is now the subject of T. Phillips, Pindar’s Library: Performance Poetry and Material Texts (Oxford 2016), a volume I was regrettably unable to consult until rather late in the composition of the present article.
    [Show full text]
  • Thesis:AUP/Voorbij 08-12-2011 14:00 Pagina 1
    UvA-DARE (Digital Academic Repository) Space in archaic Greek lyric: city, countryside and sea Heirman, J.G.M. Publication date 2012 Document Version Final published version Link to publication Citation for published version (APA): Heirman, J. G. M. (2012). Space in archaic Greek lyric: city, countryside and sea. Vossiuspers - Amsterdam University Press. http://nl.aup.nl/books/9789056297008-space-in- archaic-greek-lyric.html General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 AUP-Heirman Thesis:AUP/Voorbij 08-12-2011 14:00 Pagina 1 UvA Dissertation CountrysideandSea Space inArchaicGreekLyric: City, Space in Faculty of Humanities Archaic Greek Lyric: City, Countryside From the end of the twentieth century onwards space has become a ‘hot topic’ in literary studies.
    [Show full text]