Stesichorus

This volume looks at literature of the Hellenistic period.

This study outlines the history and anatomy of the European apology tradition from the sixth century BCE to 1500 for the first time. The study examines the vernacular and Latin tales, lyrics, epics, and prose compositions of Arabic, English, French, German, Greek, Icelandic, Italian, Spanish, and Welsh authors. Three different strands of the apology tradition can be proposed. The first and most pervasive strand features apologies to pagan deities and-later-to God. The second most important strand contains literary apologies made to an earthly audience, usually of women. A third strand occurs more rarely and contains apologies for varying literary offenses that are directed to a more general audience. The medieval theory of language privileges an imitation of the Christian master narrative and a hierarchical medieval view of authorship. These notions express a medieval philosophical concern about language and its role, and therefore the role of the author, in cosmic history. Despite the fact that women apologize for different purposes and reasons, their examples illustrate, on yet another level, the antifeminist subtext inherent in the entire apology tradition. Overall, the apology tradition characterized by interauctoriality, intertextuality, and intratextuality, enables self-critical authors to refer not only backward but also-primarily-forward, making the medieval apology a progressive strategy that engenders new literature. This study would be relevant to all medievalists, especially those interested in literature and the history of ideas.

In this book, Marian Demos demonstrates the significance of three famous lyric quotations within their respective contexts in the dialogues of Plato. Demos reminds us that familiarity with the lyric poets was part of the educational background of Plato and his audience; therefore, she argues, Socrates is portrayed in the Platonic dialogues not only as a philosopher but also as someone with poetic sensibilities. Demos first investigates the Simonides poem in the Protagoras, showing that Plato has Socrates provide a fundamentally sound interpretation of the meaning of Simonides' words. She then argues that a purposeful misquotation of Pindar placed in the mouth of Callicles by Plato is not altogether implausible in light of the quotation's context in the Gorgias. Finally, Demos discusses Socrates' quotation of Stesichorus' palinode in the Phaedrus. Demos' analysis of the important role played by lyric quotation in Platonic dialogues will be of great interest to students and scholars of Plato and ancient lyric poetry.

Oxford Scholarly Classics is a new series that makes available again great academic works from the archives of Oxford University Press. Reissued in uniform series design, the reissues will enable libraries, scholars, and students to gain fresh access to some of the finest scholarship of the last century.

The Hellenistic period was an era of literary canons, of privileged texts and collections. One of the most stable of these consisted of the nine (rarely ten) lyric poets: whether the selection was based on poetic quality, popularity, or the availability of texts in the Library of Alexandria, the Lyric Canon offers a valuable and revealing window on the reception and survival of lyric in antiquity. This volume explores the complexities inherent in the process by which lyric poetry was canonized, and discusses questions connected with the textual transmission and preservation of lyric poems from the archaic period through to the Hellenistic era. It firstly contextualizes lyric poetry geographically, and then focuses on a broad range of sources that played a critical role in the survival of lyric poetry - in particular, comedy, Plato, Aristotle's Peripatetic school, and the Hellenistic scholars - to discuss the reception of the nine canonical lyric poets and their work. By exploring the ways in which fifth- and fourth-century sources interpreted lyric material, and the role they played both in the scholarly work of the Alexandrians and in the creation of what we conventionally call the Hellenistic Lyric Canon, it elucidates what can be defined as the prevailing pattern in the transmission of lyric poetry, as well as the place of Bacchylides as a puzzling exception to this norm. The overall discussion conclusively demonstrates that the canonizing process of the lyric poets was already at work from the fifth century BC and that it is reflected both in the evaluation of lyric by fourth-century thinkers and in the activities of the Hellenistic scholars in the Library of Alexandria.

Bakhtin, are suitable tools for an examination of the Petrarchan lyric and its recantation, while at the same time, the nature and value of these critical concepts are interrogated.

Paths of Song: The Lyric Dimension of Greek Tragedy analyzes the multiple and varied evocations of choral lyric in fifth-century Greek tragedy using a variety of methodological approaches that illustrate the myriad forms through which lyric is present and can be presented in tragedy. This collection focuses on different types of interaction of Greek tragedy with lyric poetry in fifth-century Athens: generic, mythological, cultural, musical, and performative. The collected essays demonstrate the dynamic and nuanced relationship between lyric poetry and tragedy within the larger frame of Athenian song- and performance-culture, and reveal a vibrant and symbiotic co-existence between tragedy and lyric. Paths of Song illustrates the effects that this dynamic engagement with lyric possibly had on tragic performances, including performances of satyr drama, as well as on processes of survival and reputation, selection and refiguration, tradition and innovation. The volume is of particular interest to scholars in the field of classics, cultural studies, and the performing arts, as well as to readers interested in poetic transmission and in cultural evolution in antiquity.

Stesichorus' lyric poetry vividly recreates the most dramatic episodes of Greek myth: the labours of Heracles, the sack of Troy, the vengeance of Orestes, and more besides. It can be appreciated today as never before, thanks to the recent discovery of ancient manuscripts buried for some two millennia in the sands of Egypt. This fresh edition of Stesichorus' poems presents the first full-scale analysis of all his surviving works. The detailed introduction and commentary investigate a wide range of key issues, such as Stesichorus' imagery and style, his narrative technique, and his mythological innovations. The controversial question of how Stesichorus' poems were originally performed receives careful scrutiny; particular attention is paid to the fascinating story of the transmission, disappearance, and recovery of his work. A translation integrated with the commentary renders this book accessible to all readers with an interest in early Greek poetry and its legacy.