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A persistent ancient tradition has it that a man named Lycambes promised his daughter Neoboule in marriage to the poet Archilochus of Paros, that he subsequently refused Archilochus, and that the poet attacked Lycambes and his daughters with such ferocity that they all committed suicide. When we reflect that the iambographer Hipponax drove his enemies Bupalus and Athenis and Old Comedy a man named Poliager to suicide, that the ancestress of iambos, Iambe, killed herself, and that all these suicides, like (...) |
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We generally think of the poetry of Anacreon as coming from an entirely different world from that of the iambists, but among the extant fragments there is some indication to the contrary. With fr. 44 Gentili = 432 PMG iamb. 5 West, an epodic passage, we find Anacreon closest in form to the iambists. Here is the text with the full context from the Etymologicum Magnum : τò δ κνύςα ώς λÉγι ‘Hgr;ρωδιανòς ν τ καθολικ, εί μν πί τοű υτοű, (...) |
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This paper is chiefly concerned with the circumstances in which early Greek elegy was performed. Section II argues that for our extant shorter poems only performance at symposia is securely attested. Section III examines the related questions of the meaning ofelegosand the performance of elegies at funerals. Finally I try to establish the existence of longer elegiac poems intended for performance at public festivals. |
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In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by drinkers in (...) |
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Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact. No categories |
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In Euripides' Bacchae Dionysos visits Thebes in disguise to establish his mysteries there. And so, given normal Euripidean practice, it is almost certain that in the lost part of his final speech Dionysos actually prescribed the establishment of his mysteries in Thebes. In the same way the Homeric Hymn to Demeter tells how the goddess came in disguise to Eleusis and finally established her mysteries there. After coming to Eleusis she performs certain actions in the house of king Celeus, for (...) |
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One of the most familiar traits of the part-horse, part-man creatures known as silens is their keen interest in women. In Athenian vase-painting, the female companions of the silens are characterized by a variety of attributes and items of dress, and exhibit mixed feelings toward the attentions of silens. The complexities of the imagery have resulted in disagreement in modern scholarship on several points, including the identity of these females, the significance of their attributes, and the explanation of a change (...) |
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Many years ago Wilamowitz desiderated a systematic collection of the texts which relate to the different types of poetry composed by the great lyric poets of Greece. He hoped that if we could only crystallize our admittedly scanty information about the characteristics of, say, the Paean or the Dirge, we might be able to reach a slightly better understanding than we have now of the formal structure and artistic design of the poems and fragments which have come down to us (...) No categories |
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Many years ago Wilamowitz desiderated a systematic collection of the texts which relate to the different types of poetry composed by the great lyric poets of Greece. He hoped that if we could only crystallize our admittedly scanty information about the characteristics of, say, the Paean or the Dirge, we might be able to reach a slightly better understanding than we have now of the formal structure and artistic design of the poems and fragments which have come down to us (...) |
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Scholars have traditionally interpreted Hipponax fragment 128 as an epic parody designed to belittle the grand pretensions and gluttonous habits of his enemy. I suggest, however, that this traditional reading ultimately falls short because of two unexamined assumptions: that the meter and diction of the fragment are exclusively meant to recall epic narrative and not any other early hexametrical genre, and that the descriptive epithets in lines 2 and 3 are the ad hoc comic creations of the poet and simply (...) |
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We tend to suppose that the ancient Greeks had primitive ideas of the self, of responsibility, freedom, and shame, and that now humanity has advanced from these to a more refined moral consciousness. Bernard Williams's original and radical book questions this picture of Western history. While we are in many ways different from the Greeks, Williams claims that the differences are not to be traced to a shift in these basic conceptions of ethical life. We are more like the ancients (...) |
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Two representative and important works in one volume by one of the greatest German philosophers. The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it (...) |
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