By Benjamin Acosta-Hughes
Arion's Lyre examines how Hellenistic poetic tradition tailored, reinterpreted, and reworked Archaic Greek lyric via a posh technique of textual, cultural, and artistic reception. taking a look at the ways that the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides used to be preserved, edited, and browse by means of Hellenistic students and poets, the publication exhibits that Archaic poets frequently glance very various 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 certain institutions and contexts, from Ptolemaic politics and Macedonian queens to the hot phenomenon of the poetry e-book and an Alexandrian scholarship reason on maintenance and codification. A research of Hellenistic poetic tradition and an interpretation of a few of the Archaic poets it so lovingly preserved, Arion's Lyre can be an exam of ways one poetic tradition reads another--and how smooth readings of old poetry are filtered and formed by means of past readings.
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Additional resources for Arion's Lyre: Archaic Lyric into Hellenistic Poetry
I will touch on this rapport at the conclusion of this section. Here I will explore in greater detail the poetic relationship with Sappho fragment 31 (φαίνεταί μοι κῆνοc) that occurs in this same poem of Theocritus. This correspondence is particularly emphatic, unsurprisingly, during Simaitha’s narrative of her own experience of ἐρωτικὴ νόσος (“love disease”: lines 82–92 and 106–10), a narrative that seems to be her own reading of Sappho’s φαίνεταί μοι κῆνοc developed in two stages. The divided two-part narrative reception proceeds further at two levels, that of the poem’s narrator and that of the poet.
The text of the new Simonides is that of Boedeker and Sider (2001). For the major Hellenistic poets, unless otherwise noted, the text of Callimachus is that of R. F. Gow’s (1962), and that of Apollonius F. Vian’s Budé edition (1996), though I have not always chosen to follow his orthography. The text of any Hellenistic epigram, unless otherwise noted, is that of Gow and Page (1965). For the en-face layout of text(s) and translations on pages 19, 21–24, and 32–34, space restrictions necessitated representing some lines of Greek text in a manner other than that customarily required by their colometry.
Sappho fr. 2, ποίκιλοc μάcληc; fr. 10–11, μ]ιτράναν . . ποικίλαν; fr. 1, ποικίλαν; fr. 9, ποίκιλ’ ἀθύρματα; fr. 6, ποικιλαcκ . . ) [. 7 Sappho fr. 11, λίγηα . 2, κακχέει λιγύραν ἀοίδαν; fr. 7, λιγύραν [ἀοί]δαν; fr. Köln Inv. Nr. Oxy. 1787 line 2, τὰ]ν φιλάοιδον λιγύραν χελύναν; fr. 8, ἀ λιγύφω[νοc. 8 Sappho fr. 10, χαρίεντ’; fr. 108, ὦ χαρίεccα κόρα; fr. 2, χάριεν μὲν ἄλcοc; fr. 3, cοὶ χάριεν μὲν εἶδοc; fr. d 13, ]καὶ χαριε . [. 9 Sappho fr. 17, λέπταν ποι φρένα; fr. 9–10, λέπτον | δ’ αὔτικα χρῶι πῦρ ὐπαδεδρόμακεν; fr.