Academic literature on the topic 'Poetry; Hellenistic period'
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Journal articles on the topic "Poetry; Hellenistic period"
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Kelly, Adrian. "HELLENISTIC ARMING IN THEBATRACHOMYOMACHIA." Classical Quarterly 64, no. 1 (April 16, 2014): 410–13. http://dx.doi.org/10.1017/s0009838813000840.
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Scholarship has long argued that theBatrachomyomachia(BM) is to be dated to the Hellenistic period or later, but the question of its literary affiliations in this context has only recently been addressed. Usually considered an example of παρωιδία, the poem is a unique example of that genre in several respects, including the extent to which it develops its own formularity rather than merely mirroring the Homeric exemplar with minimal change, and the fact that it was passed off as the work of Homer himself instead of being self-consciously distanced from the parodied author. It is therefore fitting that theBMis also unusual for ancient parody in dealing with the scholarly discourse surrounding its primary exemplar. This note offers, as an(other) example of this tendency, theBM's engagement with the Homeric arming scene, and its reception in Hellenistic poetry and scholarship.
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Nelson, Thomas J. "Attalid aesthetics: the Pergamene ‘baroque’ reconsidered." Journal of Hellenic Studies 140 (November 2020): 176–98. http://dx.doi.org/10.1017/s0075426920000087.
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Abstract:In this paper, I explore the literary aesthetics of Attalid Pergamon, one of the Ptolemies’ fiercest cultural rivals in the Hellenistic period. Traditionally, scholars have reconstructed Pergamene poetry from the city’s grand and monumental sculptural programme, hypothesizing an underlying aesthetic dichotomy between the two kingdoms: Alexandrian ‘refinement’ versus the Pergamene ‘baroque’. In this paper, I critically reassess this view by exploring surviving scraps of Pergamene poetry: an inscribed encomiastic epigram celebrating the Olympic victory of a certain Attalus (IvP I.10) and an inscribed dedicatory epigram featuring a speaking Satyr (SGO I.06/02/05). By examining these poems’ sophisticated engagements with the literary past and contemporary scholarship, I challenge the idea of a simple opposition between the two kingdoms. In reality, the art and literature of both political centres display a similar capacity to embrace both the refined and the baroque. In conclusion, I ask how this analysis affects our interpretation of the broader aesthetic landscape of the Hellenistic era and suggest that the literature of both capitals belongs to a larger system of elite poetry which stretched far and wide across the Hellenistic world.
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Lightfoot, J. L. "Catalogue Technique in Dionysius Periegetes." Ramus 37, no. 1-2 (2008): 11–31. http://dx.doi.org/10.1017/s0048671x00004884.
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Dionysios gehört zu den interessantesten Problemen der griechischen Literaturgeschichte.Knaack (1905) 916.34f.Within the general context of increasing interest in Greek literature in the Roman period, interest in Dionysius the Periegete is certainly on the rise. Our knowledge of his extensive textual tradition is still expanding, and further editions are under way; the ideologies that structure his work have been explored in a series of publications by Christian Jacob (1990, 1991); and the welcome increase in the volume of publications over the last five years or so includes a collection of essays which is especially geared to one of my themes in this essay, Dionysius' relations with Hellenistic poetry and poets. Yet there are some basic aspects of his poetics that remain un-, or under-, studied. At the heart of the matter, I suggest, are two major backgrounds that need to be explored further.The first is the reception of Hellenistic poetry in the imperial period. Dionysius is a neo-Hellenistic poet. Indeed, he is so convincing a neo-Hellenistic poet that a critic as astute as Tycho Mommsen placed him in the first century BCE on the basis of a whole array of stylistic and metrical and other sorts of linguistic criteria. Dionysius' true date has been known for a century and a quarter; but we are really none the wiser about what it was that gave rise to this extraordinarily competent and convincing Hellenistic imitation. It is not only that he imitates Apollonius, Callimachus, Nicander, Aratus and others in purple passages of his own, but that so many of his techniques of composition and allusion, and—as this paper will demonstrate—his formal evocation of certain styles of writing, are thoroughly Hellenistic. So the first thing that is needed is an exploration of the various ways in which imperial writers respond to the masters of the high Hellenistic period, and their successors: is Dionysius a representative of a special and distinctive strain in imperial poetics, or is he a particular instance of something more multiform and complex?
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Najman, Hindy, and Tobias Reinhardt. "Exemplarity and Its Discontents: Hellenistic Jewish Wisdom Texts and Greco-Roman Didactic Poetry." Journal for the Study of Judaism 50, no. 4-5 (November 6, 2019): 460–96. http://dx.doi.org/10.1163/15700631-15051303.
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AbstractThis article sets up a dialogue between two bodies of ancient texts, i.e. Jewish wisdom literature and Greco-Roman didactic of the Hellenistic period, with an awareness of the scholarly and interpretive communities that have studied, taught and transformed these bodies of texts from antiquity until the present. The article does not claim direct influence or cross-pollination across intellectual, religious or social communities in the Hellenistic period. Instead, the article suggests four discrete frameworks for thinking about comparative antiquity: creation, the law, the sage and literary form. The comparative model proposed here intends to create the conditions for noticing parallels and kindred concepts. However, the article resists the temptation to repeat earlier scholarly arguments for dependency or priority of influence. Instead, the essay demonstrates remarkable alignments, suggestively similar developments, and synergies. Perhaps, the ideal first reader for this article is none other than Philo of Alexandria.
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O’Connell, Peter A. "Homer and his Legacy in Gregory of Nazianzus’ ‘On his own Affairs’." Journal of Hellenic Studies 139 (September 20, 2019): 147–71. http://dx.doi.org/10.1017/s0075426919000673.
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AbstractThis paper investigates how Gregory of Nazianzus imitates and responds to the Greek literary tradition in the autobiographical poem ‘On his own affairs’ (2.1.1). Through six case studies, it contributes to the ongoing re-evaluation of Gregory’s literary merit. With learning, wit, subtle humour and faith, Gregory adapts and reinvents earlier poetry to express Christian themes. Imitation is at the heart of his poetic technique, but his imitations are never straight-forward. They include imitating both Homer and other poets’ imitations of Homer, learned word-play and combining references to non-Christian literature and the Septuagint. Gregory’s references add nuance to ‘On his own affairs’ and give pleasure to readers trained to judge poetry by comparing it to earlier poetry, especially the Homeric epics. They also demonstrate the breadth of his scholarship, which extends to Homeric variants, Platonic epigrams and the entirety of the New Testament and Septuagint. Above all, Gregory insists that he is a rightful participant in a living poetic tradition. He writes Greek poetry for the fourth century AD, just as Oppian did in the second century and Apollonius and Callimachus did in the Hellenistic period.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Cinalli, Angela. "The Past Sets the Context for the Present." Greek and Roman Musical Studies 8, no. 2 (August 14, 2020): 230–53. http://dx.doi.org/10.1163/22129758-bja10012.
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Abstract This contribution examines musical and poetic tradition, in so far as it influenced the culture and society of the Hellenistic period. Epigraphy attests to the recollection of traditional heritage as one driving force for public-at-large performances. Extra-agonistic and agonistic performances pursued by the so-called poeti vaganti, travelling all over the cultural centres of Greece chasing fame and rewards, attest to different ways to preserve the legacy of musical and poetic tradition, by lingering on it or re-modulating its facies. Re-performing ancient times, through selections of dramas and lyric poetry, and demonstrating the musical structures and poetic ways of former days, had the purpose of strengthening social identity and reinvigorating communal knowledge. Inscriptions allow us to envisage the nuances and potentialities of these thoughtful revivals, highlighting the ways this concept could shift with time, context, and place.
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Henderson, W. J. "Die klassiflkasie van die antieke Griekse liriekvorms." Literator 15, no. 1 (May 2, 1994): 145–58. http://dx.doi.org/10.4102/lit.v15i1.656.
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Early Greek lyric poetry was composed for and performed on specific occasions. Instead o f a general term such as our 'lyric particular forms of 'lyric’ were composed for particular occasions and for particular ways of performance. In this article such distinctions as are encountered among the poets themselves, as well as the theoretical classifications of the 'lyric' forms in the Classical period (5th to late 4th century) as exemplified by Plato and Aristotle, and in the Hellenistic or Alexandrian period (late 4th to 1st century B.C.) - as reflected, inter alia, in the Chrestomatheia of Proclus (410-485 C.E.) are examined.
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Hutchinson, G. O. "APPIAN THE ARTIST: RHYTHMIC PROSE AND ITS LITERARY IMPLICATIONS." Classical Quarterly 65, no. 2 (October 27, 2015): 788–806. http://dx.doi.org/10.1017/s0009838815000452.
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If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system of rhythm started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first century a.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuries a.d. for over fifty years (more on accentual prose from the fourth). The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence.
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Lowe, Dunstan. "WOMEN SCORNED: A NEW STICHOMETRIC ALLUSION IN THE AENEID." Classical Quarterly 63, no. 1 (April 24, 2013): 442–45. http://dx.doi.org/10.1017/s0009838812000742.
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Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below.
Dissertations / Theses on the topic "Poetry; Hellenistic period"
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Selzer, Christoph M. "Introduction and commentary on Nonnus' Dionysiaca Book 47.1-495." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302618.
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Daniel-Muller, Bénédicte. "Passion et Esthétique : le pathétique amoureux dans la poésie hellénistique." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040177.
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Il est reconnu que la poésie hellénistique a donné à l’expression du sentiment amoureux une importance inédite, mais la rupture que constitue ce fait littéraire par rapport aux œuvres du passé n’a cependant pas toujours été suffisamment mise en avant. Cette étude propose donc d’examiner les spécificités de cette représentation de l’amour et de montrer qu’elle ressortit principalement au registre pathétique. Ainsi, dans une perspective diachronique, elle s’attache tout d’abord à rappeler les particularités de la représentation de l’amour dans la poésie des époques archaïque et classique, et à montrer notamment le rôle secondaire qu’y tient cette thématique. Puis, après avoir analysé les caractéristiques, complexes mais toujours éminemment négatives, que les poètes hellénistiques attribuent à l’amour, essentiellement réduit pour eux à l’ἔρως, elle examine les modalités précises de son expression pathétique, une innovation importante grâce à laquelle la thématique amoureuse a pu accéder en littérature au rang d’un véritable sentiment. Cette étude permet enfin de montrer que la représentation pathétique du sentiment amoureux est l’une des clefs pour comprendre plusieurs caractéristiques et enjeux fondamentaux de la poésie hellénistique, à propos de laquelle il convient de parler d’une véritable poétique de l’amour. En effet, le pathétique amoureux peut s’y lire comme un paradigme méta-poétique qui ne reflète pas seulement les nouvelles valeurs esthétiques de l’époque hellénistique mais également les conditions, inédites, de création et de réception des œuvres littéraires, en particulier dans leurs rapports, aussi étroits qu’ambigus, aux cours royales et à la traditionHellenistic poetry attributed an importance to love never encountered in poetry before. This literary break with the past has only ever received scant attention. This study sets out to examine the specifics of how love was represented and to show how it essentially emerges from the pathetic register. From a diachronic perspective, the study aims to focus on the particular characteristics of the representation of love in the poetry of the classical and archaic periods, and above all demonstrate the secondary role the theme was accorded. After an analysis of the complex, but always eminently negative, characteristics, attributed to love by Hellenistic poets, which, to them, is essentially reduced to ἔρως, the study examines the precise modalities of its expression through pathos, an important innovation through which the theme of love became recognised as a genuine feeling in literature. This study ultimately enables us to show that the pathetic representation of love is one of the keys to understanding several characteristics and fundamental issues of Hellenistic poetry, through a genuine poetics of love. Romantic pathos can indeed be interpreted here as a meta-poetic paradigm which does not only reflect the new aesthetic values of the Hellenistic age but also the new conditions of creation and reception of literary works, in particular in their close and ambiguous relationships with royal courts and tradition
Books on the topic "Poetry; Hellenistic period"
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Maarten, Bremer Jan, ed. Greek hymns: Selected cult songs from the Archaic to the Hellenistic period. Tübingen: Mohr Siebeck, 2001.
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The development of the epyllion genre through the Hellenistic and Roman periods. Lewiston, N.Y: Edwin Mellen Press, 2001.
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Images of eternal beauty in funerary verse inscriptions of the Hellenistic and Greco-Roman periods. Boston: Brill, 2013.
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Canevaro, Lilah Grace. Hellenistic Hesiod. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.22.
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This chapter uses Callimachus’s Aetia, Aratus’s Phaenomena, and Nicander’s Theriaca to explore the intense engagement with Hesiodic poetry in the Hellenistic period. Informed by statistics for explicit references to Hesiod at this time, it asks: Why is this the only period of antiquity in which the Theogony and the Works and Days are considered equally important? Questions of genre and didaxis, of inspiration and knowledge, are set against a backdrop of learned library culture, in order to determine what it really meant in the Hellenistic age to be a scholar-poet. This chapter draws on a recent wave of interest in the ancient reception of Hesiod and considers not only how Hesiodic poetry was used, but also how the potential for that use is embedded in the archaic poems themselves.
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Bremer, Jan Maarten, and William D. Furley. Greek Hymns: Selected Cult Songs from the Archaic to the Hellenistic Period : Greek Texts and Commentary (Studies in Antiquity & Christianity). Paul Mohr Verlag, 2002.
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Boyd, Barbara Weiden. Poetic Daughters. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680046.003.0007.
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Chapter 6 considers the evidence for a tradition of personification that identifies the Iliad and Odyssey as Homer’s daughters. This personification, likely a product of the Hellenistic age, is known from the visual record, as exemplified by the Archelaus relief. It is also expressed in several Hellenistic epigrams that use the conceit that poetry can help to perpetuate its creator’s fame much as children sustain the reputation of their parents. But the basic elements of the idea predate the Hellenistic period: In Plato’s Symposium, Diotima clearly implies a correspondence between Homer’s poems and children: they constitute the offspring that guarantee Homer’s immortal fame. In Tristia 3.7, Ovid addresses a young woman, Perilla, in terms that suggest a father-daughter relationship and uses this poem to encourage the survival of his poetic immortality. Ovid’s Perilla can best be understood not as a historical figure but as a poetic construct—a scripta puella.
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Platt, Verity. Silent Bones and Singing Stones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826477.003.0002.
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This chapter investigates the relationship between materiality and textuality in the Hellenistic period, by focusing on real and imagined tombs of poets. At a time not only of feverish activity when literary texts were being collected, copied, catalogued, canonized, and archived, but also when contemporary poetry was carefully situating itself in relation to an emerging library culture, and, what is more, when texts were being reframed and circulated in the context of anthologies, the tomb as inscribed marker of the poet’s literal corpus offered a rich analogy to the physical objects that sustained his or her surviving corpus of work.
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Hadjimichael, Theodora A. The Emergence of the Lyric Canon. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.001.0001.
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This book explores the process of canonization of Greek lyric, as well as the textual transmission, and preservation of the lyric poems from the archaic period through to their emergence from the Library at Alexandria as edited texts. It takes into account a broad range of primary material, and focuses on specific genres, authors, philosophical schools, and scholarly activities that played a critical role in the survival and canonization of lyric poetry: comedy, Plato, Aristotle’s Peripatos, and the Hellenistic scholars. It explores therefore the way in which fifth- and fourth-century sources received and interpreted lyric material, and the role they played both in the scholarly work of the Alexandrians and in the creation of what we conventionally call the Hellenistic Lyric Canon by considering the changing contexts within which lyric songs and texts operated. With the exception of Bacchylides, whose reception and Hellenistic reputation is analysed separately, it becomes clear that the canonization of the lyric poets follows a pattern of transmission and reception. The overall analysis demonstrates that the process of canonization was already at work in the fifth- and fourth-centuries BC and that the Lyric Canon remained stable and unchanged up to the Hellenistic era, when it was inherited by the Hellenistic scholars.
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Loney, Alexander C., and Stephen Scully, eds. The Oxford Handbook of Hesiod. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.001.0001.
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This volume brings together twenty-nine junior and senior scholars to discuss aspects of Hesiod’s poetry and its milieu and to explore questions of reception over two and half millennia, from shortly after the poems’ conception to Twitter hashtags. Rather than an exhaustive survey of Hesiodic themes, the Handbook is conceived as a guide through terrain, some familiar, other less charted, examining both Hesiodic craft and later engagements with Hesiod’s stories of the gods and moralizing proscriptions of just human behavior. The volume is divided into four sections: “Hesiod in Context,” “Hesiod’s Art,” “Hesiod in the Greco-Roman Period,” and “Hesiod from Byzantium to Modern Times.” Topics of the chapters range from the “Hesiodic question” to the archaeology and economic history of archaic Boiotia, to Hesiod and Indo-European poetics, and from discussions of style to Hesiod’s vision of the supernatural in the Theogony, to questions of performer and audience interactions in the Works and Days. Looking at both poems together, other chapters explore tensions between diachronic and synchronic temporalities and varying portrayals of female figures. Reception studies range from Solon to comic books, with chapters in between on Hesiod and the pre-Socratics, Orphism, archaic art, Pindar, tragedy, comedy, Plato, Hellenistic poetry, Hellenistic philosophy, Virgil and the Georgic tradition, Ovid, Second Sophistic and early Christian authors in the Greco-Roman period, Byzantine and Renaissance writers and editions, Christian humanism and Milton, Enlightenment, Romanticism, and Nietzsche, Freud and structuralism, and contemporary art and literature in postclassical times.
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Ready, Jonathan L. Orality, Textuality, and the Homeric Epics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198835066.001.0001.
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This book queries from three different angles what it means to speak of Homeric poetry together with the word “text.” Scholarship from outside the discipline of classical studies on the relationship between orality and textuality motivates and undergirds the project. Part I uses work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, Part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe. Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, Part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri. Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE. By looking at oral texts, dictated texts, and wild texts, this book traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts. Researchers in a number of disciplines will benefit from this comparative and interdisciplinary study.
Book chapters on the topic "Poetry; Hellenistic period"
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Wilson, Kathryn. "READING AND PERFORMING DIDACTIC POETRY IN THE HELLENISTIC PERIOD." In Drama and Performance in Hellenistic Poetry, 317–32. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26zmw.16.
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Cinalli, Angela. "THE PERFORMATIVE LIFE OF THE HELLENISTIC PERIOD THROUGH INSCRIPTIONS." In Drama and Performance in Hellenistic Poetry, 39–74. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26zmw.6.
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"Tense Forms and Time Frames in Qumran Hebrew Prose and Poetry." In The Reconfiguration of Hebrew in the Hellenistic Period, 16–29. BRILL, 2018. http://dx.doi.org/10.1163/9789004366770_003.
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Meisner, Dwayne A. "Conclusion." In Orphic Traditions and the Birth of the Gods, 279–84. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663520.003.0007.
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The conclusion suggests that there are three types of Orphic activities: telestic Orphism, associated with early Orphic literature and its use in ritual; literary Orphism, associated with the proliferation of Orphic literature in the Hellenistic Period and beyond; and interpretive Orphism, associated especially with the apologists and Neoplatonists who viewed Orphic poetry as central to an understanding of Greek myth. The main four points of the book are reiterated: that Orphic poetry was influenced by Near Eastern myth, was a fluid and diverse tradition, was engaged in the discourse between myth and philosophy, and was concerned with Phanes and Zeus no less than Dionysus.
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Schnapp, Alain. "The Poetics of Ruins in Ancient Greece and Rome." In The Archaeology of Greece and Rome. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474417099.003.0016.
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The term ruins (ereipia) in Greek derives from the verb ereipo, meaning to cut down, to cause to fall, as already documented by Homer. If the word appears in Herodotus, it is rarely found in the corpus of Greek tragedies and in Thucydides: ruins do not constitute a prominent theme before the Hellenistic period. It is not until Latin poetry that poetic nostalgia becomes a key element in sensitivity to the past. For Sophocles, Euripides and Aeschylus, Troy is the setting of a massive and sudden destruction, a vast area of rubble devastated by pillage and fire; it is not yet a ruin. Things are different in the case of Latin poetry, which constructs a topos of the deserted and abandoned city from the image of the city’s destruction. In order for the feeling of ruins to be expressed as a melancholy in the face of vestiges, which are nothing more than traces of a former flourishing life or of a splendid monument reduced to some blocks of stone, it is necessary for time to take its toll and for the poet to get to grips with the feeling of loss which ensues (Papini 2011).
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"Love is never far removed from fear, and there is another intriguing and gruesome link between Melikertes-Palaimon and Achilles, in a mythic thread that survives exclusively in Hellenistic poetry.8 According to this version, the body of Melikertes never came ashore at the Isthmus:." In Greek Literature in the Roman Period and in Late Antiquity, 402–3. Routledge, 2014. http://dx.doi.org/10.4324/9780203616895-56.
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Romero, Joseph M. "‘From atop a lofty wall…’." In Greek Epigram from the Hellenistic to the Early Byzantine Era, 288–304. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836827.003.0017.
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Chapter 17 examines how poets engage with philosophers and philosophy in epigram, at times modelling and championing the views of the philosopher, at others distancing themselves sharply from their subjects. The theme is sufficiently pronounced as to constitute a thematic subgenre from Callimachus to the end of classical antiquity. Careful study is paid to individual poems representative of different periods and to the techniques most commonly employed, ‘praise’ and ‘blame’. The chapter further argues that in several epigrams poets employ the recusatio to disavow philosophy both as a genre and as a discursive medium and champion instead epigram and poetry writ large as humbler and superior discursive modes.
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Meister, Felix J. "Introduction: Approaching Divinity." In Greek Praise Poetry and the Rhetoric of Divinity, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0001.
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This chapter starts with a general description of concepts of divinity in archaic and classical Greek literature based on a distinction between quantitative and qualitative aspects of divine life. It argues that humans may approximate to these aspects only separately, and sets out approximation to the qualitative aspects as the object of this monograph. To illustrate this kind of approximation, the Introduction then pursues comparable notions in Hellenistic and Imperial literature, particularly notions of divine bliss in philosophy, of divine joy and beauty in erotic contexts, and of divine power in martial contexts. Finally, it argues that similar notions are conceivable also in archaic and classical literature, in contrast to prevalent accounts of the religious thought during these periods.
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Ready, Jonathan L. "The Scribe as Performer and the Ptolemaic Wild Papyri of the Homeric Epics." In Orality, Textuality, and the Homeric Epics, 185–234. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198835066.003.0005.
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This chapter offers a new way to think about the scribal activity that produced the texts one sees in the Ptolemaic wild papyri of the Homeric epics. After reviewing previous research in Homeric studies on these texts, the chapter introduces the model of the scribe as performer put to work by students of several literatures, such as Anglo-Saxon and Israelite texts. Per this model, the scribe performs in the act of copying. The chapter then demonstrates the model’s relevance to the study of the wild Homeric papyri and considers at what point in time people capable of generating the texts one finds in the papyri would most likely have been around—much rests on the extent of the oral performance of Homeric poetry in the Classical and Hellenistic periods—and who these capable people might have been.
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Beta, Simone. "The Riddles of the Fourteenth Book of the Palatine Anthology." In Greek Epigram from the Hellenistic to the Early Byzantine Era, 119–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836827.003.0008.
Full textAbstract:
Chapter 8 deals with the riddling epigrams of Book 14 of the Greek Anthology and discusses the common methods employed by the poets to disguise the solution of the aenigmata. It traces the origins of some riddles, together with their specific techniques, back to comedy and contextualizes the epigrams within the Greek and Latin ‘riddling tradition’. The comparative study of the most relevant sources (the Greek Anthology, Athenaeus’ Deipnosophists, and some manuscripts whose content still needs to be explored) leads to the conclusion that the Byzantine poets who composed riddling epigrams (Cristopher of Mytilene, John Mauropous, John Geometres, Michael Psellus, Basil Megalomytes, and Eustathius Macrembolites) could have been inspired by lost anthologies of riddles composed at different periods.