American Journal of Philology

This stimulating and highly readable book explores the ancient afterlife of three famous literary bully-boys: Archilochus, Semonides, and Hipponax, the unholy Trinity of archaic Greek iambus. Tom Hawkins sets out to examine their reception, not among the classical and Hellenistic Greek poets to whom they were living forebears (although the Callimachean intertext is a lively presence, e.g., 40–51, 146–49), or in the literary flourishing that they in turn inspired in late Republican and “golden” Augustan Rome, but amid authors of the Empire and Late Antiquity, extending into a recognizably Christian age. Only one of the six authors chosen (Babrius) adopts an iambic meter, and three—Dio, Lucian, and Julian—do not even compose verse (or not here). Hawkins’ choices are piquant. He has sought out the kinds of text that classicists generally skip: odd, minor works by the less reputable pagans, and by the type of early churchman we tend [End Page 180] gratefully to surrender to our colleagues in theology. Indeed, some are scarcely read at all (qua texts) but merely dipped into as a source of corroborating factoids, at least until now (142, on Gregory Nazianzen). Hawkins contends that an “iambic tradition” of sorts remains culturally alive and vital throughout these early centuries c.e.: a tradition not so much of metrical continuation or even necessarily of working closely with the archaic texts, but nevertheless retaining a definite sense of the constituent elements (e.g., animal-fable, a scruffy narrator) that, variously combined, let the reader or audience know they are in dialogue with an “iambic mode” (terms are defined in the introduction’s first footnote, 2).

Authors and readerships of these centuries had at their command much more of the text of the archaic iambicists than is available to us moderns, provided they cared to read it and could understand what they read (28–29 suggests it was often otherwise). Today, Archilochus et al. are mere tattered ghosts, pieced together by editorial ingenuity out of citations and mentions, and latterly read in papyrus fragments gleaned from ancient rubbish heaps (the heroes of this scholarly epic of reconstruction include the late Professor Martin West, news of whose death came shortly before this review went to press). Some of the Imperial poets and prose authors studied by Hawkins envisage an ideal reader to whom archaic iambus is an open book, but the true constant is the ancient biographical tradition about Archilochus in particular (the stories told about the others are often recognizable knock-offs, but all three are names to conjure with; there are grounds for thinking that Archilochus had become literally proverbial for invective abuse even among non-readers, 27). Hawkins is very good at showing how these interwoven life-stories took on a life of their own and continued to grow in the telling (9), all the more so perhaps as actual familiarity with the texts waned. Over several centuries and numerous genres, the malleable myth of iambus—the slighted outsider, embracing abjection to shock a complacent Establishment and shame his nemeses—proved endlessly useful as a temporary vantage point when authors felt like taking a walk on the wild side.

The iambic tradition tracked by Hawkins thus has “more to do with the sediment of cultural memory about iambic poets and their poetry than with historical realities, but once we get beyond a fascination with origins, such sediment becomes the only reality worth talking about” (8). In Hawkins’ readings of his chosen texts, this textual-biographical muck is fertile stuff. Iteration and generic migration turn the iambic life-story into a potent and versatile literary trope which usefully combines ironic distance (to be, or even make like Archilochus is an obvious non-starter in such a belated and grown-up age), and thus self-evident deniability, with the implicit threat that traces of iambus’ murderous power may yet remain. For Hawkins, the hint is if anything strengthened by repeated, name-checking recusationes that keep the iambic biopic in the...