Hellenistic poetry

Cet article propose de voir à quoi correspond, dans l’Antiquité, la catégorie d’ « épopée didactique » (ou « poésie didactique »), couramment utilisée par les savants modernes pour rendre compte d’œuvres comme les Travaux et les jours, le De rerum natura ou encore les Géorgiques, en opposition avec la catégorie d’« épopée narrative » (ou parfois simplement d’« épopée »), qui comprendrait les poèmes d’Homère, l’Énéide, etc. Une enquête anthropologique et pragmatique montre que la catégorie de « poésie didactique » n’existait pas chez les Anciens. Dans un deuxième temps, on essaie de voir à quel moment on commence à parler de « poésie didactique ».

https://www.oxfordscholarship.com/view/10.1093/oso/9780198836827.001.0001/oso-9780198836827-chapter-3

hapter 3 explores the transmission of Greek epigrams outside poetic books, that is, in compilations of texts designed to satisfy an individual’s needs and not for widespread distribution. Therefore the chapter analyses in particular the papyri with selections of and excerpts from literary texts assembled for a use on specific occasions and following personal tastes, collections used in school contexts, as well as ostraca and templates for stonemasons. The chapter detects in such Hellenistic ‘paraliterary’ contexts resonances of contemporary literary production and argues that already in the third century BCE school anthologies trained young readers in the sequential reading of epigrams and served as a means of disseminating Ptolemaic ideology.

Keywords:  collections, inscriptions, ostraca, papyri, paraliterary, school anthologies, sequential reading, templates, transmission

In his Carnival of the Animals (1886), Camille Saint-Saëns imitates the sounds of the animal kingdom in all their variety. Over the course of fourteen movements, he imitates both the sublime and the lowly, ranging from the romantic and lyrical 'Swan' (XIII: Le Cygne) to the disruptive and discordant 'Characters with long ears' (VIII: Personnages à longues oreilles). Alongside numerous allusions to earlier works (most notoriously the slowed-down Galop infernal 'can-can' of the Tortoise: IV. Tortues), the Carnival draws on the myriad sounds of the natural world as a rich source of inspiration: the noise of each creature conveys different associations, sensations and even emotions. Besides the childish delights of the suite, however, Saint-Saëns appears to have included within it a polemical statement of his own aesthetics: scholars have long believed that the periphrastic title 'Personnages à longues oreilles' was designed to equate the composers' contemporary music critics with the bluster and heehaw of donkeys. The work thus not only celebrates the sounds of nature, but simultaneously uses them to mark out Saint-Saëns' own artistic space.

For students of Hellenistic Poetry, this is strikingly reminiscent of Callimachus' Aetia prologue, in which the poet not only echoes numerous literary predecessors, but also expresses his aesthetics through the metaphors and sounds of the animal kingdom: in just over 40 lines, the poet likens the grumbling of his critics (the 'Telchines') to cranes and donkeys, while aligning himself with the elegant acoustics of the nightingale, cicada and perhaps also the swan. The opposition is even reflected in the very sound of his poetry: as has long been noted, the prologue's sole spondeiazon occurs in its description of the donkey (ὀγκήσαιτο, Aet.fr.1.31), conveying the heavy and lumbering thud of the beast's bray. Like Saint-Saëns, Callimachus thus mobilises the sounds of the animal kingdom to his own ends, aurally defining and delineating his poetic style.

The animal acoustics of the prologue have, of course, been well studied by earlier scholars, and I will not simply echo their work in this paper. Instead, my main aims are twofold: first, I will explore the reverberations of the prologue's symphonic bestiary throughout Hellenistic poetry, examining how other authors rewrite or pre-empt Callimachus' aesthetics. We will explore, amongst others, Aratus' bullfrog and crow (Phaen.948-53), Theocritus' selection of singing critters (Id.7.138-140) and Callimachus' own expansion of the trope in his Aesopic second Iambus; the programmatic significance of animal sounds resonates throughout Hellenistic poetry. Secondly, I intend to expand my perspective and explore how these poetic metaphors intersect with other cultural uses of animal sounds in antiquity. In ancient thought, animals were often regarded as a key 'other' in the definition of mankind, and were often employed metaphorically to define different 'subgroups' of humanity, including foreigners and women. We might think of Semonides' yelping dog woman (fr.7.15 λέληκεν, 7.20 αὐονήν) or the Trojans of the Iliad, equated with bleating lambs (Il.4.433-8) and clangorous cranes (Il.3.1-7 κλαγγῇ, κλαγγή, κλαγγῇ). When Callimachus and his peers adopted the sounds of the animal kingdom for their programmatic poetics, therefore, these metaphors and images came with considerable cultural baggage: the 'Telchines' of the Aetia prologue are not just ignorant and unpoetic, but also alien, foreign and even unmanly. Callimachus' demarcation of his own aural poetic space is thus not simply an innocent case of poetic posturing, but engages directly in the continuing construction and articulation of Greek identity.

Este livro reúne artigos voltados ao estudo de aspectos da literatura helenística e de sua influência na produção literária posterior, abrangendo variados assuntos, tais como épica, historiografia, mimo, teatro, biografia e filosofia. A publicação dessa coleção de textos desempenha um importante papel na divulgação da produção crítica oriunda da "Quarta Semana de Estudos sobre o Período Helenístico", organizada pelo grupo de pesquisa "Hellenistica" e ocorrida na Universidade de São Paulo entre os dias 17 e 18 de setembro de 2015, por meio de financiamento da Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) e do Departamento de Letras Clássicas e Vernáculas (DLCV - FFLCH - USP).

""En Filipo II y el Arte de la Guerra tendremos la oportunidad de conocer en profundidad a uno de los más grandes reyes de la antigua Macedonia. Gracias a su habilidad como estratega, diplomático, político y soldado, heredó un reino pobre, débil y acosado por innumerables enemigos y lo transformó en el más poderoso de toda Grecia.

A lo largo de sus páginas podremos conocer la historia del reino Macedonio, desde sus orígenes míticos hasta la formación de un imperio, de la mano del que, a la postre, se convertiría en el padre del mítico Alejandro Magno y en el forjador de un nuevo ejército que cambiaria el devenir de la guerra en la Antigüedad. Filipo II fue el creador de la falange macedonia, formación que se demostraría como inigualable en el campo de batalla y que reportaría incontables victorias sobre poderosos enemigos, como los ilirios, los tesalios, los tracios, los beocios o los atenienses. Pero no sólo eso, logró integrar en el campo de batalla a la infantería y a la caballería para emplearlos en nuevas formaciones tácticas: armó a sus soldados con las míticas sarissas y apreció como pocos las posibilidades militares que la maquinaria de guerra podía proporcionarle, siendo el mecenas de numerosos avances en este campo. Soñó con conquistar el Imperio persa, cuando ya había logrado lo que nadie antes fue capaz: el control de Grecia.

Sólo la muerte le arrebató esa hazaña, pero sentó las bases de lo que más tarde conseguiría su propio hijo. Su figura levantó tanto odios como pasiones; se le conocía como mujeriego y bebedor, pero también por su habilidad para la oratoria, por sus astucia, determinación y valor. Siempre luchó en primera línea junto a sus soldados y nunca permitió que éstos le llamaran rey, sino solo "General".

It is a well-known and striking fact that Hellenistic Poetry is
full of powerful and powerfully present women, ranging from
Ptolemaic and other queens, to female (semi-divinities) and
epic heroines. But the Hellenistic era is likewise remarkable
for being relatively rich in female authors, specifically in the
domain of epigrammatic poetry. This volume sets out to broach
not only the question who the powerful women of Hellenistic
poetry were, and what their power consisted of, but also, quite
emphatically, in what ways they differ from or resemble previous
literary representations of women in, for example, Homeric
epic, archaic lyric and Athenian tragedy, and why.

Teócrito, em seu Idílio XIII, intitulado Hilas, apresenta uma imagem de Héracles um tanto diferente daquela presente nos textos conservados da tradição épica arcaica e mesmo da helenística. Tal narrativa, como é típico na poesia alexandrina, é profundamente marcada por uma sofisticada técnica de apropriação e recriação alusivas que tem em Homero uma de suas fontes principais. Desse modo, embora o Idílio XIII apresente numerosos pontos de contato com obras representativas dos diversos gêneros do patrimônio literário grego anterior e contemporâneo ao poeta, é principalmente por meio das referências a Homero que Teócrito constrói o sentido de seu texto. Pretendo, então, neste texto analisar algumas das principais alusões a Homero empregadas pelo poeta helenístico, de modo a apontar como elas contribuem para ressaltar o tema da transformação de Héracles, o rijo (talaergós) herói de coração brônzeo (khalkeokárdios), em uma mísera (skhétlia) vítima do amor.

The necropolis near the village of Dragišić has long attracted attention of the scholars because of the large number of metal object and pottery within the tombs assemblage, from the Liburnian Iron Age material culture, the indigenous community in the north Dalmatia, to the Hellenistic ware. The necropolis in Dragišić is the largest, so far, unearthed necropolis of the indigenous community in the middle East Adriatic, with the 51 excavated tombs with multiple burials. However, the tombs are not so far been entirely analyzed, and in this paper we present the analysis of the Hellenistic ware. Because of the width subject of the paper, we focused on the identification of all types of Hellenistic ware, from the mid-4th to mid-1st c. BC, within tombs assemblages. Due to the large amount of vessels and their fragmentation, where possible, we also present the shapes of vessels that appear most frequently in the tombs of the indigenous necropolis in Dragišić

Courtney J. P. Friesen explores shifting boundaries of ancient religions by way of the reception of a popular tragedy, Euripides’ Bacchae . As a play staging political crises provoked by the arrival of the “foreign” god Dionysus and his ecstatic cult, audiences and readers found resonances with their own cultural moments. This dramatic deity became emblematic of exuberant and liberating spirituality and, at the same time, a symbol of imperial conquest. Thus, readings of the Bacchae frequently foreground conflicts between religious autonomy and political authority, and between ethnic diversity and social cohesion. This cross-disciplinary study traces appropriations and evocations of this drama ranging from the fifth century BCE through Byzantium not only among “pagans” but also Jews and Christians. Writers variously articulated their religious visions over against Dionysus, often while paradoxically adopting the god’s language and symbols. Consequently, imitation and emulation are at times indistinguishable from polemics and subversion.

Ο τόμος αυτός επιχειρεί να προσφέρει ένα έγκυρο βοήθημα για τη μελέτη της αρχαίας ελληνικής γραμματείας κατά τους ελληνιστικούς και αυτοκρατορικούς χρόνους, δηλαδή την περίοδο από τον θάνατο του Μεγάλου Αλεξάνδρου, το 323 π.Χ., έως το τέλος της ρωμαϊκής αυτοκρατορίας που σηματοδοτείται από το διάταγμα του Διοκλητιανού για την τετραρχία (το 293 μ.Χ.) και τη μεταφορά της πρωτεύουσας στην Κωνσταντινούπολη από τον Μεγάλο Κωνσταντίνο (το 330 μ.Χ).
Παρότι και οι δύο αυτές περίοδοι παρουσιάζουν, ως προς τη γραμματειακή παραγωγή τους, αρκετά κοινά χαρακτηριστικά (με βασικότερο την εξάπλωση και την κυριαρχία της ελληνικής παιδείας), εμφανίζουν όμως και σημαντικές διαφορές έτσι ώστε να επιβάλλεται, από μεθοδολογική άποψη, η εξέτασή τους σε δύο διαφορετικές ενότητες.
Στην ενότητα που αφιερώνεται στην ελληνιστική περίοδο εξετάζονται οι σημαντικότεροι εκπρόσωποι της λογοτεχνίας της περιόδου: Καλλίμαχος, Θεόκριτος, Απόλλωνιος ο Ρόδιος, επιγραμματοποιοί, Πολύβιος, όπως επίσης και εκπρόσωποι της επιστημονικής γραμματείας: Θεόφραστος, Ευκλείδης, Αρίσταρχος, και μαθηματικά επιγράμματα. Τα κεφάλαια 1.1. και 1.2.1.-1.2.6. συνέγραψε ο Βασίλειος Βερτουδάκης, ενώ το 1.2.7. η Αθηνά Μπάζου.
Στην ενότητα που αφιερώνεται στην αυτοκρατορική εποχή εξετάζονται οι σημαντικότεροι εκπρόσωποι της λογοτεχνίας της περιόδου: Λουκιανός, Διογένης Λαέρτιος, Δίων από την Προύσα (Χρυσόστομος), Πλούταρχος, Φλάβιος Φιλόστρατος, Αίλιος Αριστείδης, όπως επίσης και εκπρόσωποι της επιστημονικής γραμματείας: Στράβων, Πτολεμαίος, Γαληνός. Τα κεφάλαια 2.1.1., 2.1.3.-2.1.6. και 2.2.1.-2.2.5. συνέγραψε ο Μενέλαος Χριστόπουλος, ενώ τα 2.1.2. και 2.2.6.-2.2.7. η Αθηνά Μπάζου. Τα κεφάλαια 1.3. και 2.3. περιλαμβάνουν Παράρτημα τα αποσπάσματα από τα αρχαία κείμενα που χρησιμοποιήθηκαν.

Introducción, traducción y notas a los Himnos y Epigramas del poeta Calímaco de Cirene, autor alejandrino que compuso su obra en el s. iii a. C. Por su renovación de ambos géneros tuvo gran influencia en la literatura posterior, tanto griega como latina

The fact that Ezekiel used the Septuagint of Exodus as a source for his play the Exagoge has long been recognised. In this paper I argue that he also expected at least some of his audience to have a knowledge of the text of the Septuagint. Indeed, Ezekiel uses his play not only to retell the Exodus story, but to comment on textual and exegetical issues in the LXX. These range from small issues of detail - the number of people who went down into Egypt or the location of Midian - to more thematic questions of the source-basis of his work and the morality of the Biblical account itself. This interplay between two texts, and the writing of poetry that also serves as philological commentary, is reminiscent of the methods and interests of the Hellenistic poets, who shaped Ezekiel's poetic approach to his work. Despite this Hellenistic influence, in the meta-textual scene at the Burning Bush, Ezekiel claims textuality as a Jewish mode of theological epistemology, against a Hellenistic preference for the language of sight.

Im Zentrum des Buches steht die textnahe Interpretation dreier Gedichte aus verschiedenen Schaffensphasen Eduard Mörikes: Sehnsucht, Bildniß der Geliebten und Erinna an Sappho. Dabei spielen die bislang übersehene Adaptationen antik-heidnischer und biblischer Texte eine besondere Rolle. Aber auch hinsichtlich der Einbettung in Mörikes Biographie und des Verhältnises zu seiner Tätigkeit als Lehrer und als Übersetzer antiker Poesie werden neue Resultate vorgetragen.

The most original and shocking interpretation of Lucretius in the last 40 years.

Thomas Nail argues convincingly and systematically that Lucretius was not an atomist, but a thinker of kinetic flux. In doing so, he completely overthrows the interpretive foundations of modern scientific materialism, whose philosophical origins lie in the atomic reading of Lucretius' immensely influential book De Rerum Natura.

This means that Lucretius was not the revolutionary harbinger of modern science as Greenblatt and others have argued; he was its greatest victim. Nail re-reads De Rerum Natura to offer us a new Lucretius--a Lucretius for today.

The article analyses one of the hexametric poems copied on a second century AD papyrus, possibly from Hermupolis, P.Lit.Goodspeed 2: a Hellenistic hymn to Aphrodite celebrated as a patroness of the sea and of wedded love. This portrayal of the goddess perfectly fits with Ptolemaic royal propaganda in III BC. The address to a "Ptolemai[c] Arsinoe" (II 5) reveals that here the goddess is worshipped as a divine image of a queen Arsinoe, most probably Arsinoe II Philadelphos, who had strong links with key-figures of the Ptolemaic navy. The hymn is compared with contemporary Alexandrian poetry, like the epigrams of the Milan papyrus P.Mil.Vogl. VIII 309. Some hypotheses are also presented about the context for the composition and the performance of the hymn (a Cypriot cult of Arsinoe Philadelphos?).