By Benjamin Acosta-Hughes, Luigi Lehnus, Susan Stephens
Few figures from Greco-Roman antiquity have passed through as a lot reassessment in fresh many years as Callimachus of Cyrene, who was once energetic on the Alexandrian courtroom of the Ptolemies through the early 3rd century BC. as soon as perceived as a ultimate instance of ivory tower detachment and abstruse studying, Callimachus has now end up understood as an artificer of the pictures of a robust and colourful courtroom and as a poet moment basically to Homer in his later reception.For the fashionable viewers, the fragmentation of his texts and the diffusion of resource fabrics has usually impeded knowing his poetic success. Brills better half to Callimachus has been designed to help in negotiating this scholarly terrain, specially the method of modifying and amassing his fragments, to light up his highbrow and social contexts, and to point the present instructions that his scholarship is taking.
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Additional info for Brill's Companion to Callimachus
Fr. 14. But it is not certain that fr. 4. Fragment 60 (= fr. ; probably the last line of the book). 5 5 Οὕνεκεν οἰκτείρειν οἶδε μόνη πολίων (“since it is the only town that knows how to pity”). 44 giulio massimilla Book 1 or Book 2 Here the inclusion in Book 1 or Book 2 is certain only for fragments 98 and 99. However, since the contents of most elegies of Book 3 and of nearly all the elegies of Book 4 are known to us, it is likely that many fragments from the Aetia that cannot be attributed with certainty to any particular book belong in fact to Book 1 or Book 2.
I am certain that my conjectures will be confirmed by this rule if passages as yet unedited come to light in the future, or any that escaped my notice although already uncovered from obscurity. Alphons Hecker believed that the Suda was drawing directly from a surviving exemplar of Callimachus’ Hecale; it was R. Reitzenstein who subsequently pointed out that the Byzantine lexicon derived its wealth of information not from the poem but from a commentary on the Hecale written (probably in the fourth century ad) by the grammarian Salustios, very possibly the same man who was responsible for the commentary on Sophocles (cf.
Scodel (on fable) and E. Lelli (on popular sayings) examine Callimachus’ deployment of folkloric and vulgate features of language and culture within more elevated poetic settings. Callimachus is a master at speaking in a variety of poetic voices, as the chapters in our next section illustrate, “Personae”. T. Cozzoli foregrounds Callimachus’ manipulation of the imagery and imagination of childhood. M. Fantuzzi illustrates how Callimachus constructs his self-consciously authoritative persona, particularly in the hymns; C.
Brill's Companion to Callimachus by Benjamin Acosta-Hughes, Luigi Lehnus, Susan Stephens