By Benjamin Acosta-Hughes
Arion's Lyre examines how Hellenistic poetic tradition tailored, reinterpreted, and reworked Archaic Greek lyric via a posh means of textual, cultural, and inventive reception. taking a look at the ways that the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was once preserved, edited, and browse by means of Hellenistic students and poets, the ebook indicates that Archaic poets frequently glance very varied within the new social, cultural, and political atmosphere of Hellenistic Alexandria. for instance, the Alexandrian Sappho evolves from the singer of Archaic Lesbos yet has exact institutions and contexts, from Ptolemaic politics and Macedonian queens to the hot phenomenon of the poetry publication and an Alexandrian scholarship purpose on maintenance 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 usually an exam of the way one poetic tradition reads another--and how glossy readings of old poetry are filtered and formed via prior readings.
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Extra info for Arion's Lyre: Archaic Lyric into Hellenistic Poetry
3: αν]τιον εἰcίδωc[. 27 M. West 1970: 313; De Martino and Vox 1996: 1069–71; Hutchinson 2001: 168, 176. 20 • Chapter 1 2. At line 9, Privitera (1969: 38; followed by Pretagostini 1984: 106) reads ἀλλὰ κὰμ μὲν γλῶσσα γ’ ἔαγε, λέπτον δ’, thereby avoiding the problem of hiatus with the insertion of γ’. Privitera here follows Plutarch (De prof. virt. 81D) in reading κὰμ (ϭ κατὰ) at the beginning of this line (so tmesis for κατάγνυμι); he further notes (ibid. 28 The γ’ avoids the problem of the hiatus that otherwise results in γλῶσσα ἔαγε, but the function of the conjectured γε is uncertain, and the resulting tripled gamma sound is very emphatic.
19 Labarre 1996: 53–68; Brun 1991. The relationships between the individual city-states of Lesbos and the Egyptian king may well have varied; see Brun (1991: 109–111) on Mytilene. An inscription from Eresus (IG Suppl. XII, no. 122 ϭ Labarre no. 70) attests a Ptolemaeum. 16 • Chapter 1 banks (line 11, of Acheron? Cf. fr. 12–13) and an all-night festival (line 13). 110–11: ἁ Βερενικεία θυγάτηρ Ἑλένᾳ εἰκυῖα | Ἀρσινόα (“the Berenicean daughter, like Helen, Arsinoe”). Helen is an important figure for the Ptolemies.
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. 6, λ]επτοφών[. 10 Pseudo-Demetrius, On Style 132, τὰ μὲν οὖν εἴδη τῶν τοcάδε καὶ τοὶάδε. εἰcὶν δὲ αἱ μὲν ἐν τοῖc πράγμαcι χάριτεc, οἷον νυμφαῖοι κῆποι, ὑμέναιοι, ἔρωτες, ὅλη ἡ Cαπφοῦc ποίηcιc. (“Grace of style has, therefore, a certain number of forms and characteristics.
Arion's Lyre: Archaic Lyric into Hellenistic Poetry by Benjamin Acosta-Hughes