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Journal articles on the topic 'Epigrams'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Śmiłek, Ewa. "De mu(d/t)ación. Un acercamiento a los “epigramas descompuestos” de Mario Martín Gijón." Monteagudo, no. 27 (March 9, 2022): 365–78. http://dx.doi.org/10.6018/monteagudo.477531.

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Classical literature, regardless of genre, has an influence on even the most recent Spanish poetry. The goal of this article is to show that Greco-Latin heritage is visible also in the works of Mario Martín Gijón (1979), although modified, adapted and (re)created in its own way. The object of this analysis is one of the parts of Latidos y desplantes (2011), the one titled “epigramas descompuestos” (decomposed epigrams). The article attempts to demonstrate that the epigrams that make up this section of the poet's first book are a reinvention of the epigrams of Marcus Valerius Martialis, reflecting the poetics and aesthetics of the Spanish author. La literatura clásica, independientemente del género, influye incluso en la poesía española más reciente. El objetivo del presente artículo es demostrar que en la lírica de Mario Martín Gijón (1979) se percibe la herencia grecolatina. No obstante, esta queda demudada y apropiada, (re)creada de una manera propia. El objeto del análisis lo constituye una de las partes de Latidos y desplantes (2011), la titulada “epigramas descompuestos”. Se intenta probar que los epigramas que componen esta sección del primer libro del poeta son una reinvención del epigrama marcialesco, que refleja la poética y la estética del autor extremeño.

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2

Overduin, Floris. "Drie broers en een schipbreukeling." Lampas 52, no. 4 (December 1, 2019): 453–72. http://dx.doi.org/10.5117/lam2019.4.005.over.

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Summary In this article I will apply an intertextual perspective to a selection of epigrams from the Greek Anthology in order to assess the role of variation within these epigrams. Within the tradition of the literary epigram, the element of variation had always been important, yet some Hellenistic and Imperial epigrammatists, such as Archias and Zosimus, took this dimension of the genre to extremes, in creating strings of epigrams which intentionally vary on their Imperial models and on their Imperial models´ Hellenistic models. This article charts some of these epigrammatic ‘chain reactions’: the poems on the three hunting brothers Damis, Clitor and Pigres, the birthday epigrams of Leonides of Alexandria, the epigrams on the shipwrecked Antheus, and several epigrams on ships that were destroyed prematurely. All serve to assess the way in which intertextual processes develop within the epigrammatic tradition, and to show that such a perspective is essential to their appreciation.

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3

Mattiacci, Silvia, José Amarante, and Renato Ambrosio. "QUANDO A IMAGEM NECESSITA DA PALAVRA: REFLEXÕES SOBRE A POÉTICA DA ÉCFRASE NO EPIGRAMA LATINO | WHEN THE IMAGE NEEDS THE WORD: REFLECTIONS ON THE POETICS OF EKPHRASIS IN THE LATIN EPIGRAM." Estudos Linguísticos e Literários, no. 62 (June 26, 2019): 3. http://dx.doi.org/10.9771/ell.v0i62.32074.

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<p>Este artigo se centra em alguns epigramas de Marcial (7, 84; 9, 76; 10, 32; 1, 109; 9, 43-44) e Ausônio (<em>epigr</em>. 12; <em>Biss</em>. 5; <em>epigr</em>. 11 Green) com o objetivo de refletir sobre a relação complexa entre arte e texto. Os exemplos selecionados destacam as estratégias com as quais o epigrama ecfrástico pretende apresentar-se não como o pálido reflexo do poder de uma imagem, mas como um produto criativo e competitivo que expressa algo que a imagem visual não consegue expressar.</p><p><strong>Abstract:</strong> <em>This article focuses on some epigrams by Martial (7.84; 9.76; 10.32; 1.109; 9.43- 44) and Ausonius (</em>epigr<em>. 12; </em>Biss<em>. 5; </em>epigr<em>. 11 Green) with the aim of reflecting on the complex relationship between art and text. The examples selected highlight the strategies with which ekphrastic epigram intends to present itself not as the pale reflection of the power of an image, but as a creative and competitive product expressing something that visual image cannot express</em>.</p><p>Keywords: <em>Ekphrastic epigram; Martial; Ausonius; Art/text</em>.</p>

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4

Ritter, Bradley. "“Our very prison this earth is”: the world as prison and other images common to More's Epigrams and later works." Moreana 60, no. 2 (December 2023): 178–95. http://dx.doi.org/10.3366/more.2023.0150.

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More's Epigrams of 1518, usually associated with More's humanist phase, contain a number of poems designed as meditations on proper attitudes towards the goods of fortune. Special attention is given to how phrasing and argumentation used in the Epigrams reappears within a number of More's later works, including Last Things, Treatise on the Passion, and A Dialogue of Comfort against Tribulation. Both briefer and longer examples are discussed, the latter including More's more elaborate description of the world as prison (Epigram 119) and fame as an insubstantial wind (Epigram 132). Numerous parallels between the arguments of these epigrams and his later works, written for “spirituall profytt” ( The Correspondence of Sir Thomas More, ed. Elizabeth Frances Rogers [Princeton, NJ: Princeton University Press, 1947], 531), are examined, giving us insights into the writings of the humanist More. As much of his earlier English poetry, some of the More's Latin poems were written with an eye towards “the happy continuannce and graciouse encreace of vertue” ( CW 1:51/20–21)

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5

Orłowska, Ewa. "Przekład epigramatów wotywnych Leonidasa z Tarentu z VI ks. „Antologii Palatyńskiej”." Classica Wratislaviensia. Series Altera 1 (February 22, 2024): 65–76. http://dx.doi.org/10.19195/2956-8897.1.4.

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This paper presents a Polish translation of the votive epigrams by Leonidas of Tarentum from Book VI of Anthologia Palatina. Leonidas, a Hellenistic poet typically assigned to the first half of the third century BC, who has approximately 100 epigrams attributed to him. While adhering to the conventional structure of votive epigram and epitaph, his poetry stands out for its innovation. The epigrammatist employs a language that is both lavish and ornamental, utilizing numerous poetic devices to vividly depict ordinary people and artisans. However, his poems extend beyond these subjects, with Leonidas also lauding renowned poets, crafting ecphrases of artworks, and composing reflective epigrams on philosophical themes.

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6

Ruiz Sánchez, Marcos, and María Ruiz Sánchez. "Elementos iconográficos y emblemáticos en los epigramas de Interián de Ayala." IMAGO. Revista de Emblemática y Cultura Visual, no. 10 (February 4, 2019): 217. http://dx.doi.org/10.7203/imago.10.13132.

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ABSTRACT: The Neo-Latin poetry of Interián conveys the interest of the author of the Pictor Christianus in iconography and emblems. This interest is expressed in all of his compositions. But it is in the epigrams in particular where this side of the Mercedarian writer can be best observed. KEYWORDS:Juan Interián de Ayala,Epigrams, Iconography, Emblems. RESUMEN: La poesía neolatina de Interián refleja el interés del autor del Pictor Christianus por la iconografía y los emblemas. Este interés se manifiesta en todas sus composiciones. Pero es sobre todo en los epigramas donde mejor puede observarse esta faceta del escritor mercedario. PALABRAS CLAVES: Juan Interián de Ayala; epigramas; iconografía; emblemas.

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7

Kapsoli Escudero, Wilfredo. "relectura de Semblanzas (sátira y política de Ricardo Palma)." Aula Palma, no. 20 (January 2, 2023): 249–64. http://dx.doi.org/10.31381/ap.v20i20.4456.

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Ricardo Palma es el creador del género literario conocido como tradición, que son narraciones cortas con fines de difundir una historia sonriente del Perú desde el mundo de los incas hasta la sociedad republicana. Aunque no las desarrolló en extenso, nuestro autor también nos ha dejado epigramas1 satíricos dedicados a parlamentarios y autoridades gubernamentales del país en su libro Semblanzas (1867). Precisamente la importancia de esta creación la dio a conocer nuestro maestro Alberto Tauro del Pino con un prólogo a dicha creación literaria (1965) y que nosotros lo respaldamos con una nueva lectura del documento mencionado. Palabras claves: Tradición, Semblanzas, epigrama, sátira, diputado. Abstract Ricardo Palma is the creator of the literary genre known as Las Tradiciones, which are short stories with the purpose of spreading a Smiling History of Peru from the world of the Incas to the republican society. Although he did not develop it extensively, he has also left us satirical epigrams dedicated to parliamentarians and government authorities of the country. In fact, the importance of this creation was made known by our teacher Alberto Tauro del Pino with a prologue to this literary creation, which we support with a new reading of the paper mentioned. Keywords: Tradition, portraits, epigram, satire, deputy.

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8

Bértola, Julián. "Ephraim of Ainos at work: a cycle of epigrams in the margins of Niketas Choniates." Byzantinische Zeitschrift 114, no. 3 (September 1, 2021): 929–1000. http://dx.doi.org/10.1515/bz-2021-0052.

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Abstract This article offers the first critical edition of a cycle of epigrams found in the margins of six manuscripts of Niketas Choniates’ History. This paper also proposes the attribution of the poems to Ephraim of Ainos, an author mainly known for his verse chronicle, which has Niketas Choniates as a source. Our poems occur in a group of manuscripts which we already knew Ephraim had used for his chronicle. Many formal parallels between the epigrams and the chronicle point to the same author and a book epigram connects one important manuscript with the city of Ainos. This paper reassesses the manuscript tradition of the epigrams with special emphasis on the marginalia of Niketas Choniates. The critical text of the poems is accompanied by two apparatuses and an English translation. The edition is preceded by some methodological considerations and followed by two appendices and three indices.

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9

Begass, Christoph. "Kaiserkritik in Konstantinopel. Ein Spottepigramm auf Kaiser Anastasius bei Johannes Lydus und in der Anthologia Palatina." Millennium 14, no. 1 (February 23, 2017): 103–50. http://dx.doi.org/10.1515/mill-2017-0004.

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Abstract In De magistratibus John Lydus refers to an epigram of eight lines insulting emperor Anastasius (491-518) as a money-collecting Charybdis. A similar version of this poem can be found in the Greek Anthology where it is divided into two epigrams of four lines each (AP XI 270 -71). In a first step, a critical edition of the epigram is established. On this basis it becomes clear that the earlier version referred to by Lydus comes close to the original poem. A detailed commentary reveals it as work of an able and witty poet who was familiar with both classical epic poetry and the formulas used in late antique laudatory epigrams. Looking at the historical background of the epigram, the paper highlights the history and varieties of Kaiserkritik in Late Antiquity and Byzantium, while another chapter takes a closer look at the far-reaching reforms undertaken by Anastasius which were heavily criticized by contemporaries. Taking into account the function of the epigram in Lydus’ work, it seems certain that John Lydus himself composed the poem to support his general criticism of the administrative reforms of both Anastasius and Justinian.

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10

Jones, Kenneth R. "ALCAEUS OF MESSENE, PHILIP V AND THE COLOSSUS OF RHODES: A RE-EXAMINATION OF ANTH. PAL. 6.171." Classical Quarterly 64, no. 1 (April 16, 2014): 136–51. http://dx.doi.org/10.1017/s0009838813000591.

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Among the poems of the Greek Anthology is one (Anth. Pal. 6.171) which purports to be the dedicatory inscription of the Colossus of Rhodes built to celebrate the Rhodians' successful resistance to the siege of their island by Demetrius Poliorcetes in the years 305–304 b.c. It has long been assumed by scholars that this epigram represents the authentic dedicatory inscription carved on the base of the Colossus, which was completed in the 280s and stood for some sixty years before being destroyed by an earthquake that rocked the island of Rhodes in the 220s. There are, however, strong reasons to doubt the epigram's authenticity, some of which come from considerations of the poem itself and others which come from a comparison with a closely related epigram (Anth. Pal. 9.518) composed by Alcaeus of Messene to celebrate Philip V's military successes during his Aegean campaign of 203–200. Verbal and thematic parallels between the two epigrams make a connection certain. It is the aim of the present study to re-examine the Rhodian epigram and its relation to Anth. Pal. 9.518 in order to propose a new date for the former in the context of Rhodes' defeat of Philip V and the advent of Rome in the affairs of the states ringing the Aegean.

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11

Pieczonka, Joanna. "Epigramy 4, 4 i 6, 93 jako przykład autoinspiracji Marcjalisa." Classica Wratislaviensia. Series Altera 1 (February 22, 2024): 47–61. http://dx.doi.org/10.19195/2956-8897.1.3.

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The article presents Martial’s epigrams nos. 4.4 and 6.93, which form a mini-cycle. They share a common topic, the same motifs and an analogical form of a priamel. In both poems the bad scent of the protagonist (Bassa and Thais) is compared to other unpleasant smells. Among these comparisons there are certain recurring odours: sulphur, fish, goat, leather, dyed material and bad breath. The epigram 4.4 is built as a synthetic priamel, 6.93 is an analytical one. The comparison of this pair of epigrams with another mini-cycle 3.65 and 11.8 lead the author the conclusion that Martial imitates his earlier poems in the ones written later. This phenomenon may be called a peculiar imitatio et aemulatio.

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12

Chapman, Honora Howell. "Reading the Judeans and the Judean War in Martial's Liber spectaculorum." Journal for the Study of the Pseudepigrapha 22, no. 2 (November 13, 2012): 91–113. http://dx.doi.org/10.1177/0951820712467895.

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Martial's Liber spectaculorum celebrates spectacles at the Flavian amphitheatre, which was most likely built with money gained from the Judean War. This article contextualizes epigrams from Martial's Liber spectaculorum with evidence from the histories of Josephus and other sources, finding possible references to the Judeans in specific epigrams with anthropomorphized animals. It also takes into consideration an epigram from the Florilegium Gallicum, which has been published at the end of the Liber since the sixteenth century. In the Liber spectaculorum, Martial engages in a strategy of virtually silencing the Judean people—‘ de Solymis … perustis’, as the poet says in Ep. 7.55—whose pillaged property built the Colosseum. This may, in part, be a result of the blending of epigrams from the reigns of both Titus and Domitian into a revised Liber featuring a single ‘Caesar’ who represents both emperors. Since Domitian never fought in the Judean War, Martial avoids—or has removed during revision—overt comments about victory in the Judean War. It is up to the reader, therefore, to find the Judeans quietly and ignominiously metamorphosed into animals to be punished in his text's arena, and finally, as losers who pay the price for rebellion.

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13

Belloc, Hilaire. "Epigrams." Chesterton Review 34, no. 1 (2008): 43–46. http://dx.doi.org/10.5840/chesterton2008341/282.

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14

Martial and D. R. Shackleton Bailey. "Epigrams." Grand Street, no. 46 (1993): 119. http://dx.doi.org/10.2307/25007678.

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15

Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (May 2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.

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Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to have discovered tragedy; Aeschylus to have elevated it. The twin epigrams devoted to Sophocles and Sositheus present Sophocles as refining the satyrs and Sositheus as making them, once again, primitive. Finally, Machon is singled out for his comedies as ‘worthy remnants of ancient art (τέχνης … ἀρχαίης)’. Dioscorides’ miniature history of Greek drama, which is interesting both for its debts to the ancient tradition surrounding classical playwrights and for the light it sheds on contemporary drama, clearly smacks of archaizing sympathies. They drive Dioscorides’ selection of authors and his treatment of contemporary dramatists: both Sositheus and Machon are praised for consciously looking back to the masters of the past. My focus is on Sositheus and his ‘new’ satyr-play. After discussing the relationship that Dioscorides establishes between Sophocles’ and Sositheus’ satyrs, and reviewing scholarly interpretations of Sositheus’ innovations, I will argue that Dioscorides speaks the language of New Music. His epigram celebrates Sositheus as rejecting New Music and its trends, and as composing satyr plays that were musically old fashioned and therefore reactionary.

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16

Garthwaite, John. "Theatre Sports and Martial's Literary Programme inEpigrams, Book One." Antichthon 35 (November 2001): 70–83. http://dx.doi.org/10.1017/s006647740000126x.

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In spite of their amorphous appearance Martial's books of epigrams are carefully crafted, especially at the beginning of the volumes where the poet typically sets the scene and outlines ideas to be expanded in the body of the collection. Any analysis of the opening of Book 1, however, is complicated by the likelihood that the surviving text is a revised version (subsequently published as part of a codex edition of two or more books), the original having been released on its own in traditional roll form. So, among others, 1.1 and 1.2 are generally considered to be later additions, written for the compendium, leaving 1.3 as the first epigram and intended introduction of the original book. Regardless of the date of the first two epigrams, 1.3 does seem in both tone and content to perform a prefatory role, as Citroni especially has argued.

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17

Kerwin, William. "Motions and Spaces: What Collides in Ben Jonson's Epigrams." Ben Jonson Journal 25, no. 2 (November 2018): 173–93. http://dx.doi.org/10.3366/bjj.2018.0223.

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“Motions and Spaces: What Collides in Ben Jonson's Epigrams,” reads Jonson's epigrams in terms of the distinct ways they manage fluid social forms. Drawing on the new formalist theory of Caroline Levine, the essay defines Jonson's epigrams as short poems that transform collisions, turning the rhythms and motions of social forms into whole and still literary forms. Jonson's epigrams are – despite his demurrals – narratives, telling stories of how figures of shame or praise were instituted out of conflict. Movements of social forms are transformed into poetic and whole forms. The critical heritage on the epigrams can be mapped in terms of an emphasis upon movement or stillness, and the essay proceeds through a range of poems in order to see how movement produces stillness; process and structure, or motion and space, become co-constitutive of the poems. Reading several satiric epigrams and several epigrams of praise, the essay attempts to shift understanding of the epigrams from thinking about people and social relations as they are toward thinking about people and social relations as they become. Jonson's translation of Horace's The Art of Poetry stakes out poetry's purpose: “Things sacred from profane to separate; / The public from the private,” and this essay explores how that process works in Jonson's epigrams.

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18

Guasti, Duccio. "A Strange Epigram and the Date of Hegesander." Trends in Classics 11, no. 2 (February 25, 2020): 307–16. http://dx.doi.org/10.1515/tc-2019-0017.

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AbstractThis paper is on an epigram reported by Hegesander of Delphi (LGGA F 11), which was constituted exclusively of neologistic compounds. Its peculiarity, in attacking the hypocrisy of Cynics, is the complete disregard of any morphological rules as in no other known Greek text. I analyze this poem from the point of view of language, context, and content. I consider also other epigrams on the same theme. I will discuss the stereotype of the pseudo-Cynic charlatan, common in texts from the imperial period, on the base of which I suggest changing the date of the epigram (and consequently of Hegesander) to the early imperial era.

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19

Egan, Rory B. "Two complementary epigrams of Meleager (A.P. vii 195 and 196)." Journal of Hellenic Studies 108 (November 1988): 24–32. http://dx.doi.org/10.2307/632628.

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Among the sepulchral epigrams comprising Book 7 of the Palatine Anthology, these two by Meleager occur in a sequence (189–216) having to do with animals, mainly birds or insects, that appears to derive from Meleager's Garland. The prose translation above will reveal that the interpretation to be proposed differs considerably from previous readings of either poem, specifically in that it runs counter to the following common beliefs or assumptions. 1. That the poems, while having many features in common, are to be read as two discrete works with no integral connection between them. 2. That the two epigrams, being non-sepulchral, are included in this part of the Anthology, perhaps erroneously and only by reason of their affinities with those insect poems that are sepulchral. 3. That the narrator of each epigram is a human being; the poet himself or some persona such as a ‘love-sick swain’. 4. That the addressee of each epigram is a pet, probably kept in a cage as such insects sometimes were, and so the vegetable mentioned in v. 7 of 195 is to be presented, along with the dew drops, by the human master. 5. That the phrase στóμασι σχιʒομένας in the final verse of 195 is difficult or impossible. (All attempts towards an explanation or emendation of the text are premised on points 2 and 3 above.) 6. That the word άντῳδόν in v. 5 of 196 indicates a response to a musical performance by Pan.

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20

Laoghaire, Donncha Dall Ó. "Some Epigrams." Public Voices 9, no. 1 (January 5, 2017): 1. http://dx.doi.org/10.22140/pv.181.

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21

MORE, THOMAS, and Susan McLean. "Selected Epigrams." Arion: A Journal of the Humanities and the Classics 19, no. 1 (2011): 109–12. http://dx.doi.org/10.1353/arn.2011.0040.

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22

Goodman, Jeffrey. "New Epigrams." Chicago Review 35, no. 1 (1985): 57. http://dx.doi.org/10.2307/25305318.

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23

Martial and Translated by Martin Bennett. "Selected Epigrams." Arion: A Journal of Humanities and the Classics 20, no. 2 (2012): 59. http://dx.doi.org/10.2307/arion.20.2.0059.

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24

Debrohun, Jeri Blair. "THEOCRITUS’ EPIGRAMS." Classical Review 53, no. 1 (April 2003): 30–32. http://dx.doi.org/10.1093/cr/53.1.30.

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25

Green, Roger. "AUSONIUS’ EPIGRAMS." Classical Review 53, no. 2 (October 2003): 384–85. http://dx.doi.org/10.1093/cr/53.2.384.

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Whitby, Mary. "DIOSCORIDES’ EPIGRAMS." Classical Review 54, no. 1 (April 2004): 46. http://dx.doi.org/10.1093/cr/54.1.46.

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27

Owen, John. "Four Epigrams." Arion: A Journal of the Humanities and the Classics 31, no. 1 (March 2023): 90–91. http://dx.doi.org/10.1353/arn.2023.a905660.

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28

Livingstone, Niall, and Gideon Nisbet. "I The Inscriptional Beginnings of Literary Epigram." New Surveys in the Classics 38 (2008): 22–47. http://dx.doi.org/10.1017/s0017383509990192.

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As was seen in the Introduction, the generic identity of epigram is governed by two senses of the Greek preposition epi: an epigram may be physically inscribed ‘on’ an object, or ‘on the subject of’ an object (or something else: a person, an event). This chapter is concerned with epigrams physically inscribed on a stone or other object. In spite of the fact that inscribed epigram comes first chronologically (beginning as early as the eighth century BCE), includes some of the most famous lines in Greek literature (such as those above), and numbers famous names such as Simonides among its exponents, it can sometimes be treated as the poor relation of literary epigram, which had its heyday in the Hellenistic period (see Chapter 2). There is a perception that epigram comes into its own once it has ‘escaped’, as it were, from its stone or other physical medium, and is thus at liberty to use its words to create a virtual object in the reader's mind (or not, as the poet chooses).

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29

Livrea, Enrico. "From Pittacus to Byzantium: the history of a Callimachean epigram." Classical Quarterly 45, no. 2 (December 1995): 474–80. http://dx.doi.org/10.1017/s0009838800043524.

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Callimachus,ep. 1 Pfeiffer (= LIV Gow-Page =AP7.89) relates an anecdote about Pittacus: when consulted by a stranger from Atarneus who was wondering whether to marry a woman of his own social class or one of a higher status, he suggests the question is answered by the cries of the children playing with tops, τν κατ ｃαντν ἔλα. The chequered history of the transmission and interpretation of the poem is beset by a number of unfavourable or patronizing judgements which, I hope to show, have their origin in a series of misunderstandings. The poem seems to lack the sharp point characteristic of epigrams, and indeed Gow-Page go so far as to pronounce that it ‘has no claim to be called an epigram at all’. We now have a number of valuable parallels for the unusual length of the piece, but grave doubts continue to be expressed about the Callimachean authorship of the poem. While Diogenes Laertius (henceforth referred to as ‘D.L.’), who quotes the poem in his life of Pittacus (1.79ff.), explicitly attributes it to καλλμαχοఁ ν τοῖఁ ’Epsilon;πιγρμμαఁιν, in P and PI there is no ascription at all: there our epigram has been mistakenly consigned to the ’ɛπιτμβια simply becauseAP7.81 (= Antipater XXXIV Gow-Page), on the Seven Sages, is followed by some fifty epigrams on them and other philosophers, all (save three) derived from D.L. In the Palatine ms. there survive traces of the questions raised by this poem, though—surprisingly—both Pfeiffer and Gow-Page fail to report them.

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30

Matthews, William. "From Martial's Epigrams." Antioch Review 50, no. 4 (1992): 714. http://dx.doi.org/10.2307/4612606.

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31

عجاج, السید. "Six Dedicatory Epigrams." Bulletin of the Center Papyrological Studies 24, no. 1 (January 1, 2007): 83–99. http://dx.doi.org/10.21608/bcps.2007.26721.

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Oliver, Raymond. "Epigrams on Mortality." Chicago Review 35, no. 1 (1985): 22. http://dx.doi.org/10.2307/25305307.

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Mayer, Bernadette. "Ice Cube Epigrams." Grand Street, no. 44 (1993): 190. http://dx.doi.org/10.2307/25007627.

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Martialis (Martial), Marcus Valerius, and Tyler Goldman. "From The Epigrams." Colorado Review 45, no. 3 (2018): 169–70. http://dx.doi.org/10.1353/col.2018.0109.

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Giangrande, Giuseppe. "Six Hellenistic Epigrams." Sacris Erudiri 31 (January 1989): 149–54. http://dx.doi.org/10.1484/j.se.2.303729.

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Vergados, Athanassios. "Nicarchus AP 11.328 and Homeric Interpretation." Mnemosyne 63, no. 3 (2010): 406–23. http://dx.doi.org/10.1163/156852510x456165.

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AbstractIn this paper I argue that Nicarchus AP 11.328 is not merely a parody of the tripartite division of the cosmos recounted at Iliad 15.189-93. This epigram also exploits ancient lexicographical research (i.e. the precise meaning of the adjective ερεις) as well as scholarly discussions on Homeric interpretation (i.e. the allegorical reading of Il. 15.189-93 as a reference to the four elements; the meaning of πντα at Il. 15.189; and the issue of Olympus’ relation to earth and sky). The result is a scoptic epigram that cleverly parodies both Homer and certain interpretive strategies of ancient ‘Homeric Professors’. Finally, this study inscribes AP 11.328 in the wider category of epigrams against grammarians, and shows that Nicarchus uses a parodic technique similar to that recently pointed out in some neglected specimens of Homeric parody, such as the Batrachomyomachia or Crates SH 351.

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Boeten, Julie, and Mark Janse. "A cognitive analysis of metrical irregularities in the ‘Ὥσπερ ξένοι’ book epigrams." Byzantine and Modern Greek Studies 42, no. 1 (March 13, 2018): 79–91. http://dx.doi.org/10.1017/byz.2017.18.

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This article considers the variation in the metres of the ‘ὥσπερ ξένοι’ epigrams, collected in the Database of Byzantine Book Epigrams (DBBE). In its canonical form, these epigrams follow a dodecasyllabic metrical pattern. The seemingly unmetrical decasyllabic and decatetrasyllabic variants are explained from a cognitive-linguistic perspective as the pairing of different cola – 5+5 and 7+7 instead of the usual 7+5 or 5+7. From this perspective, cola can be equated with the cognitive ‘idea’ or ‘intonation units’ (IUs) used in ordinary speech.

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Vozar, Thomas. "Neo-Latin Epigrams on Milton by Peder Winstrup, Bishop of Lund, and the Rothenburg Jurist Georg Christoph Walther." Humanistica Lovaniensia 71, no. 1 (November 25, 2022): 115–24. http://dx.doi.org/10.30986/2022.115.

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This article brings attention to some previously unknown Neo-Latin epigrams on John Milton from the 1650s by Peder Winstrup, the Lutheran bishop of Lund, and the Rothenburg jurist Georg Christoph Walther. Translations of the epigrams and brief commentaries are supplied. Responding principally to Milton’s Pro Populo Anglicano Defensio (1651), which won its author fame throughout Europe, these epigrams offer new evidence for the early reception of Milton’s Latin prose and further testimony to the impact of the Defensio on the Latin culture of mid-seventeenth-century Europe.

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Ellis, Erik Z. D. "Iterative amplificatio: a new way to read the “Lame Beggars Sequence” in More’s Epigrammata." Moreana 59, no. 2 (December 2022): 220–32. http://dx.doi.org/10.3366/more.2022.0127.

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Thomas More’s 281 epigrams form a diverse and seemingly haphazard collection of occasional and programmatic pieces written in a variety of meters on diverse topics. Since most of More’s papers disappeared in the years immediately following his death, it is difficult and perhaps impossible to reconstruct on the basis of external evidence the rationale behind the selection and distribution of his epigrams. Despite this challenge, internal evidence provides some clues. Nearly half of the epigrams are translations of Greek originals. Some of these Greek originals serve as the basis for sequences of epigrams, one of which is the “Lame Beggars Sequence.” Through a process of iterative amplificatio, More progressively cultivates eloquence as he extends the meaning of his original to encompass moral and political themes. In turn, he develops the theme into original compositions before producing a final translation that encompasses both the literal and moral senses of the original Greek.

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Philbrick, Rachel. "THE LITERARY POLEMICS OF ANTH. PAL. 11.275." Classical Quarterly 70, no. 1 (May 2020): 261–67. http://dx.doi.org/10.1017/s0009838820000452.

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Καλλίμαχος τὸ κάθαρμα, τὸ παίγνιον, ὁ ξύλινος νοῦς,αἴτιος ὁ γράψας Αἴτια Καλλίμαχος.Callimachus [means] trash, trifle, wooden mind:the cause is the Callimachus who wrote Causes.This abusive epigram, probably composed in the first century c.e. by a certain Apollonius ‘Grammaticus’, has become famous on account of its false attribution to Apollonius of Rhodes and of its consequent identification as ‘evidence’ for the literary feud between Apollonius and Callimachus. Its literary features have attracted less interest. Cameron, for one, dismissed it, finding ‘no coherent literary thrust to the polemic’. I argue here that this epigram in fact shows close engagement with the poetics of Callimachus and his language of literary self-definition. As we find in other anti-Callimachean epigrams, the author of Anth. Pal. 11.275 crafts his insults by appropriating and transforming several Callimachean terms of literary-aesthetic value, which he then directs back against their creator.

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Roman, Luke. "The Representation of Literary Materiality in Martial's Epigrams." Journal of Roman Studies 91 (November 2001): 113–45. http://dx.doi.org/10.2307/3184773.

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Around the world, covers have become advertisements for their books. The dignity that characterizes something self-contained, lasting, hermetic — something that absorbs the reader and closes the lid over him, as it were, the way the cover of the book closes on the text — has been set aside as inappropriate to the times. The book sidles up to the reader; it no longer presents itself as existing in itself, but rather as existing for something other, and for this very reason the reader feels cheated of what is best in it. Theodor AdornoIn his last book, at the end of a successful, literary career, Martial asks in regard to his own genre of epigram: ‘quid minus esse potest?’ (‘What can be humbler?’, 12.95). Such self-disparagement is not necessarily surprising, since there is no reason to imagine that Martial's success as an epigrammatist would alter his genre's place in the traditional hierarchy of literary seriousness. Martial's denigration of his own oeuvre, however, goes beyond consciousness of epigram's status as a low genre. The epigrammatist not only registers his genre's formal rank, he develops fully articulated fictional scenarios depicting the nature of his writing and its role in society. According to the most salient and pervasive fiction characterizing Martial's work, epigram is an ephemeral form of literature embedded in specific, social contexts, and dedicated to immediate uses.

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Kay, Miriam. "La metempsicosi del viandante: percorsi lessicali e topica sepolcrale, dagli epigrammi greci alla lirica italiana." Caietele Echinox 44 (June 1, 2023): 97–112. http://dx.doi.org/10.24193/cechinox.2023.44.06.

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In ancient times, the theme of the wanderer was prominent among the topoi of sepulchral poetry. The literary shift from ancient epigraphs to sepulchral epigrams contained in Alexandrian syllogies caused a progressive change in the use of such themes, which eventually morphed into sepulchral motifs which are recognizable in lyric poetry even centuries later. Through an anthological selection of Italian poems, the aim is to investigate the presence of the wanderer in Italian lyric poetry, as well as the transformations which progressively redefined this figure’s memorial function and its ambiguous location between the world of the living and of the dead.

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Hebert Jr., L. Joseph. "Not “Dressed Like a Philosopher”: Tactful Statesmanship in Utopia and the Epigrams." Moreana 58, no. 1 (June 2021): 31–52. http://dx.doi.org/10.3366/more.2021.0091.

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This paper argues that the mode of statesmanship recommended in Utopia provides the framework for the Epigrams. While Utopia demonstrates the need for artful indirection by exposing the vices of a man too proud to adopt it, the Epigrams exhibit More's preparation for and practice of a tactfully philosophic statesmanship.

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Schneider, Werner. "Phidiae Putavi Martial und der Hercules Epitrapezios des Novius Vindex." Mnemosyne 54, no. 6 (2001): 697–720. http://dx.doi.org/10.1163/15685250152952158.

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AbstractMartial introduces the sitting figure of a Hercules Epitrapezios in two epigrams of his ninth book (9. 43, 44). The first of them highlights the artistic qualities of the small statuette supposed to be of Lysippan origin. Its glory is further enhanced by the illustrious series of highborn predecessors whose table the little figurine had previously adorned. The verses of this first epigram are flamboyant in style with a strong epic colouring whereas the second epigram treats the same subject in a very different manner. The final point of this more modest piece with its allusion to Phidias remains unclear. A number of contentious explanations have been proposed, of which most fail to convince in as much as textual criticism of the passage has been unduly neglected by philologists and archaeologists. As a result of our proposal the name of the highly celebrated sculptor Phidias gives rise to a pun which makes reference to the small scale of the objet d'art.

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Holzberg, Niklas, and Craig A. Williams. "Martial: "Epigrams". Book Two." Classical World 98, no. 4 (2005): 469. http://dx.doi.org/10.2307/4353000.

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Anderson, Graham, and John Madden. "Macedonius Consul: The Epigrams." Classics Ireland 5 (1998): 135. http://dx.doi.org/10.2307/25528326.

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Biggs, Frederick M. "Three Epigrams by Bede." Notes and Queries 62, no. 4 (December 2015): 493–97. http://dx.doi.org/10.1093/notesj/gjv180.

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Driver, Sam, Alexander Pushkin, and Cynthia Whittaker. "Epigrams and Satirical Verse." Slavic and East European Journal 30, no. 2 (1986): 280. http://dx.doi.org/10.2307/307604.

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Keeley, Edmund. "TWO EPIGRAMS, LOVER'S TEARS." Yale Review 96, no. 2 (April 2008): 60. http://dx.doi.org/10.1111/j.1467-9736.2008.00392.x.

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Fowler, Barbara Hughes. "The Epigrams of Philodemos." American Journal of Philology 120, no. 2 (1999): 311–13. http://dx.doi.org/10.1353/ajp.1999.0022.

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