This detailed literary and rhetorical analysis of the Homeric Hymn to Apollo treats the poem as a unified work of art in which sophisticated poetic craftsmanship is put to the service of serious ethical thought. By means of parallels from Homer, Hesiod, and other Homeric hymns, as well as from later epideictic poetry and prose, the author seeks to show that the poet of the Hymn follows a coherent ''program'' whose intention is to praise Apollo from his birth on humble Delos to his establishment in a position of glory at Delphi. At the same time, the ''Delian'' and ''Pythian'' portions of the hymn are linked by a complex network of ideas bearing on the ethos of Apollo and the nature of his Delphic oracle. The study takes into account previous scholarship on the Hymn and provides appendices on ''The Question of Unity'' and ''The Cosmological Hierarchy and Apollo's Timai''.
This is the first comprehensive commentary on Callimachus' Hymn to Delos, its immediate predecessor being Cahen's concise work of 1930. The Introduction proposes a new interpretation of the Hymn's purpose and background, and further discusses the date of its composition, its vocabulary, several of its stylistic aspects, and its metre and prosody. The Commentary, which follows Pfeiffer's text (Oxford 1953), presents parallels from relevant Greek poetry (mainly epic and tragic) to illustrate tradition and originality in Callimachus' style, offers some new interpretations and examines old ones, and indicates possible allusions to contemporary events in Egypt and elsewhere. Textual problems are treated where necessary and emendations are also occasionally proposed.
The New Politics of Olympos explores the dynamics of praise, power, and persuasion in Kallimachos' hymns, detailing how they simultaneously substantiate and interrogate the radically new phenomenon of Hellenistic kingship taking shape during Kallimachos' lifetime. Long before the Ptolemies invested vast treasure in establishing Alexandria as the center of Hellenic culture and learning, tyrants such as Peisistratos and Hieron recognized the value of poetry in advancing their political agendas. Plato, too, saw the vast power inherent in poetry, and famously advocated either censoring it (Republic) or harnessing it (Laws) for the good of the political community. As Xenophon notes in his Hieron and Pindar demonstrates in his politically charged epinikian hymns, wielding poetry's power entails a complex negotiation between the poet, the audience, and political leaders. Kallimachos' poetic medium for engaging in this dynamic, the hymn, had for centuries served as an unparalleled vehicle for negotiating with the super-powerful. The New Politics of Olympos offers the first in-depth analysis of Kallimachos' only fully extant poetry book, the Hymns, by examining its contemporary political setting, engagement with a tradition of political thought stretching back to Homer, and portrayal of the poet as an image-maker for the king. In addition to investigating the political dynamics in the individual hymns, this book details how the poet's six hymns, once juxtaposed within a single bookroll, constitute a macro-narrative on the prerogatives of Ptolemaic kingship. Throughout the collection Kallimachos refigures the infamously factious divine family as a paradigm of stability and good governance in concert with the self-fashioning of the Ptolemaic dynasty. At the same time, the poet defines the characteristics and behaviors worthy of praise, effectively shaping contemporary political ethics. Thus, for a Ptolemaic reader, this poetry book may have served as an education in and inducement to good kingship.
Hellenistic poets of the third and second centuries BC were concerned with the need both to mark their continuity with the classical past and to demonstrate their independence from it. In this revised and expanded translation of Muse e modelli: la poesia ellenistica da Alessandro Magno ad Augusto, Greek poetry of the third and second centuries BC and its reception and influence at Rome are explored allowing both sides of this literary practice to be appreciated. Genres as diverse as epic and epigram are considered from a historical perspective, in the full range of their deep-level structures, providing a different perspective on the poetry and its influence at Rome. Some of the most famous poetry of the age such as Callimachus' Aitia and Apollonius' Argonautica is examined. In addition, full attention is paid to the poetry of encomium, in particular the newly published epigrams of Posidippus, and Hellenistic poetics, notably Philodemus.
This book explores Callimachus' allusive practice in his Aetia prologue and Hymns 4, 5, and 6, and in Ovid's Metamorphoses. The study includes an overview of modern approaches to poetic allusion, a close (re-)examination of the lexical allusions in the Aetia's and Metamorphoses' prologues, extensive examinations of allusive techniques within selections of these works, the poets' use of "signposting" and "authorization" techniques, and the relationship between allusion and genre.
This important new verse translation of the extant works and major fragments of Callimachus includes a full Introduction, covering the poet's life and times, the range of his achievements, and the difficulties in the way of appreciation. It does not offer, as other translations do, a mere selection of fragments but presents them as integral parts of the poetry books in which they originally figured, as these can be reconstructed in the light of modern research. Each fragment is introduced in relation to what precedes and follows it, enabling students and general readers, for the first time ever, to assess what Callimachus was like in his most important productions. In addition to this introductory help, the Notes take up individual points of difficulty, all proper names and adjectives are explained in the Glossary, and comparative tables facilitate identification of the translated fragments in the standard editions.
