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Mimiambic Poet Durham E-Theses The Bookish Turn: Assessing the Impact of the Book-Roll on Authorial Self- Representation in Early Hellenistic Poetry CHESTERTON, BARNABY How to cite: CHESTERTON, BARNABY (2016) The Bookish Turn: Assessing the Impact of the Book-Roll on Authorial Self- Representation in Early Hellenistic Poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11933/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Bookish Turn: Assessing the Impact of the Book-Roll on Authorial Self- Representation in Early Hellenistic Poetry Barnaby Chesterton Thesis submitted to the Department of Classics and Ancient History, Durham University, for the degree of Doctor of Philosophy 19th August, 2016 Table of Contents Abstract ...................................................................................................................................... 4 Acknowledgements .................................................................................................................... 5 Abbreviations ............................................................................................................................. 6 Introduction ................................................................................................................................ 8 Outline of chapters ........................................................................................................... 11 The bookish age and the bookish author .......................................................................... 16 The authorial persona: between fiction, reality and the reader ....................................... 21 Part I. The Miniature, the Intricate and the Fragmented: Epigrammatic Authorial Personae in Early Hellenistic Poetry ..................................................................................................................... 28 Chapter 1. Developments in Authorial Self-Representation from Inscribed to Book-Epigram ............ 29 Introduction ...................................................................................................................... 29 1.1 Speaking objects, silent authors: assessing the absence of authorial personae in pre-Hellenistic inscribed epigram ..................................................................... 31 1.2 Personae of author and reader in the sepulchral epigrams ascribed to Erinna ... 38 Chapter 2. The Roles of Predecessors in Acts of Self-Representation .................................................. 55 Introduction ...................................................................................................................... 55 2.1 The intertextual representation of predecessors in the Seal of Posidippus ........... 61 2.2 Materiality, memory and predecessor in Callimachus’ Tomb of Simonides ......... 78 Chapter 3. Composite Self-Representation in Epigrammatic Collections ........................................... 103 Introduction .................................................................................................................... 103 3.1 Silencing the echoes of Sappho: Nossis’ assertion of poetic individuality ......... 105 3.2 The author as editor: the authorial personae of Asclepiades’ collection ........... 115 Part II. Mockery and Merriment, Laughter and Pain: Herodas’ Invention of the Mimiambic Poet .. 136 Chapter 4. Authorial Persona and Poetic Programme in Mimiamb 8 .................................................. 137 Introduction .................................................................................................................... 137 4.1 Persona, predecessor and guarantor in Mimiamb 8 ........................................... 141 4.2 The employment of programmatic narrative topoi in Mimiamb 8 ...................... 153 1 Chapter 5. Performance, Audience and the Representations of Reception in Mimiambs 4 and 8 ....... 170 Introduction .................................................................................................................... 170 5.1 Ἐν χοροῖς Διωνύσου: evocations of performance in Mimiamb 8 ........................ 175 5.2 Models for readers (good and bad): representations of audience reception in Mimiambs 4 and 8 ............................................................................................... 184 Chapter 6. Generic and Tonal Hybridity in Mimiambs 1, 6 and 7 ....................................................... 196 Introduction .................................................................................................................... 196 6.1 Genre, gender and the objectification of poetry in Mimiambs 6 and 7 ............... 198 6.2 A knock at the door: generic disunity in Mimiamb 1 .......................................... 212 Conclusion ............................................................................................................................. 219 Bibliography .......................................................................................................................... 222 2 The copyright of this thesis rests with the author. No quotation from it should be published without the author’s prior written consent and information derived from it should be acknowledged. 3 Abstract My thesis takes its start from the oft-used description of Hellenistic poetry as ‘bookish’, but looks beyond the connotations of this label as denoting a milieu which was self-consciously intellectual, and instead considers the more fundamental ramifications of the designation: that Hellenistic poetry was bookish in its form, as much as in outlook. To consider the implications of this, I focus upon a period, and a significant poetic topos, wherein the effects of the book- roll can be most keenly discerned, assessing the impact of the medium upon authorial self- representations - particularly in the construction of authorial personae - undertaken in early Hellenistic poetry (c.323-246 BC). In Part I of the thesis, I assess the evolution of authorial self-representation in epigram, charting developments from the inscribed form of the genre through to the book-epigram collections of the Hellenistic period: I argue that the author acquired a newfound prominence in this medial transition, asserting their presence as a voice within the text as opposed to a figure situated strictly in antecedence to it. I demonstrate this through analyses of Posidippus, Callimachus, Nossis, Asclepiades, and the epigrams ascribed to Erinna, and suggest that we repeatedly observe authors undertaking composite processes of self-representation, as a direct result of the composite context of the book-roll. In Part II of the thesis, I examine the Mimiambs of Herodas. Through the analysis of Mimiamb 8 (in which Herodas constructs an authorial persona, and defines his poetic programme) in conjunction with an appraisal of the metapoetic dimension of the other Mimiambs, I assess the manner in which Herodas undertakes a complex, intertextual process of self-representation. Arguing that the author reflects upon the generic and medial innovations of his poetic practice across his corpus, I demonstrate that this process of reflection complements Herodas’ overt authorial self-representation in Mimiamb 8. In summary, I argue that the impact of the book-roll on authorial self-representation was wide- ranging, but that the most significant consequence of the medium was the evolution of authorial self-representation as a composite, roll-spanning activity. 4 Acknowledgements I am happy to acknowledge the support of the Arts and Humanities Research Council, whose generous provision of an AHRC doctoral studentship made the writing of this thesis possible. Additional financial support from the British School at Athens, Durham University Department of Classics and Ancient History, Humboldt-Universität zu Berlin, Rijiksuniversiteit Groningen and University College London enabled a number of invaluable research trips, for which I am grateful. My thanks also go to the staff of the Department of Classics and Ancient History at Durham: the department has been more than a workplace to me for these past years, and I will always remember my time there. I would particularly like to thank my second supervisor, Barbara Graziosi, for her thoughtful feedback on chapter drafts, and for inviting me to join the stimulating meetings of the Living Poets project, an undertaking in which I am happy to have played even a small part. Furthermore, I offer my gratitude to my examiners, Richard Hunter and Jennifer Ingleheart, for their insightful comments and questions, and their suggestions for the future development of this thesis. I have been fortunate that my doctoral work has been anything but solitary: the friendship of Alison, Andrea, Chiara, Daniele, Donald, Erika, Eris, Francesca, Giulia,
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