Download Arion's Lyre: Archaic Lyric into Hellenistic Poetry by Benjamin Acosta-Hughes PDF

By Benjamin Acosta-Hughes

Arion's Lyre examines how Hellenistic poetic tradition tailored, reinterpreted, and remodeled Archaic Greek lyric via a posh means of textual, cultural, and artistic reception. taking a look at the ways that the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was once preserved, edited, and browse by way of Hellenistic students and poets, the e-book exhibits that Archaic poets frequently glance very diverse within the new social, cultural, and political surroundings of Hellenistic Alexandria. for instance, the Alexandrian Sappho evolves from the singer of Archaic Lesbos yet has special institutions and contexts, from Ptolemaic politics and Macedonian queens to the hot phenomenon of the poetry publication and an Alexandrian scholarship purpose on renovation and codification. A learn of Hellenistic poetic tradition and an interpretation of a few of the Archaic poets it so lovingly preserved, Arion's Lyre is additionally an exam of ways one poetic tradition reads another--and how sleek readings of old poetry are filtered and formed through prior readings.

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Nr. Oxy. XV 1787 frr. 1 and 2, discussed in the following chapter. 3 On the number of books the Alexandrian edition comprised, see the appendix to chapter 2. Oxy. 1231 (conclusion of Book 1): μελῶν α´ ΧΗΗΗΔΔ. See further Cusset 1999: 331. 2 Preserving Her Aeolic Song • 13 Organization by meter, whether for consistency or for variation, is an aesthetic strategy that finds notable favor in both Alexandria and Rome. Callimachus’s Iambi and Catullus’s Carmina are obvious examples. Unlike the case with Alcaeus, for Sappho we lack absolute evidence of an early Alexandrian edition, although its existence is very probable.

4 ϭ Sappho fr. 194) appears to paraphrase a wedding song of Sappho’s that includes the phrase καὶ ποιεῖν ‹ᾠδὴν› τὸν θάλαμον (“and to compose the epithalamium”). Here the metaphorical use of θάλαμος is worth noting. This passage in Himerius, a discussion of erotic poetry, suggests a long tradition of Sappho’s association with epithalamia (τὰ δὲ Ἀφροδίτηc ὄργια παρῆκαν [sc. οἱ ποιηταὶ] τῇ Λεcβίᾳ Cαπφοῖ 72 Gow 1952: II 349; Ferrari 2007: 123. 55 GP is fascinating: ἄλλων τ’ ἔρνεα πολλὰ νεόγραφα (“many new written buds of others”).

39 By equating the young men to a god (Selene), the same comparison has the additional effect of reconfiguring the opening line of Sappho’s poem—Delphis appears to Simaitha like a god (Selene): that is, ἴσος θέοισιν. 41 The singer is the observer, not only of the scene initially before her but also of her own physiological experience. 42 Theocritus has reconfigured these same structures in Simaitha’s monody. Here there is an addressee, Selene, whose role is heightened especially by the apostrophes at lines 79 and 142, which mark the opening and closing of the erotic 37 See Stehle 1996: 219–20; Williamson 1996: 257–59.

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