Greek Lyric Poetry

De Tirteu, poeta espartano arcaico do século VII a.C., restaram-nos apenas poemas elegíacos fragmentários. Seus fragmentos dividem-se entre aqueles que narravam a história e os preceitos espartanos, instituídos por reis descendentes dos deuses, e aqueles que exortavam a uma moralidade guerreira que privilegiava a morte heroica em combate e condenava a fuga. Este trabalho consiste na tradução integral e no comentário desses fragmentos remanescentes, analisando a constituição do gênero elegíaco e seus contextos de performance no período arcaico grego (séculos VII-V a.C), bem como a relação entre a poesia de Tirteu e a tradição épica grega.

This book is the edited proceedings from the conference 'The Art of Stesichorus' held at St John's College, Oxford, on June 29–30 2012. Contributors include: Ewen Bowie (Oxford), Chris Carey (London), Patrick Finglass (Nottingham), Richard Hunter (Cambridge), Adrian Kelly (Oxford), Ian Rutherford (Reading), Gerson Schade (Berlin), Laura Swift (Open University), Martin West (Oxford).

Pelling, C., Classics for All 2015/08/11

This article argues that the reception of Homeric poetry in the lyric poets of the Archaic period is a process of evolution, in which evidentiary difficulty and the gradual development of intertextuality combine to make Stesichorus the first truly intertextual poet in the Greek tradition. Earlier interactions are, as far as we can tell, very limited, confined to mentions of basic plot or famous episodes, whilst even his exiguous fragments allow us to see Stesichorus engaging in a sustained and recreative manner with the entire Iliad and Odyssey. This is an uncorrected proof.

Both in the epinicia and the fragments, Pindar uses phrases of the type ‘x does …; but I …’. These phrases are commonly seen as conventional formulas mostly denoting transition; this paper argues that many of them have an additional function: The ‘but I’ establishes a relationship between the poetic I and other figures or objects mentioned before and afterwards. By means of these relations, which can be either contrasting or positive, the phrases define or reiterate the poetic I’s role in the context of the respective poem.

Through close reading, this paper unmasks the violence latent in Pindar's ktistic narratives of divine rape. It argues that the poet juxtaposes language of pleasure and consent, even of marriage, with the traditional language of rape-abduction in order to downplay the use of force and the victims' experience of violation. Yet traces of the victims' perspective remain in the text: the poet has attempted to erase the violence of divine rape, but the erasure marks remain. (Helios 44.1: 1-27)

Traduzione letterale, interlineare dell'inizio del nono libro dell'Iliade, versi 1-113. Si tratta dell'assemblea greca che apre il libro, fino al termine del primo discorso di Nestore, in cui l'eroe suggerisce ad Agamennone, e all'assemblea riunita, di cercare un modo per convincere Achille deporre la sua ira e tornare a combattere.
La traduzione è accompagnata da note e commenti tratti, come sempre, dall'edizione commentata dell'Iliade di W. Leaf, e dal commentario edito da G. S. Kirk (per quest'ultimo, il commento è di B. Hainsworth).

Although the reception of archaic Greek poets within antiquity has ignited the interest of many modern scholars, very little attention has been given to the visual representation of these poets, despite the fact that many artifacts or inscriptions date back to the late archaic and classical periods and are valuable sources of information. My aim is to examine a neglected subject on the ancient reception of Alcman, thus his reception through the iconographic material. Despite the paucity of evidence, I suggest that the existing indications point to the direction that Alcman had a Panhellenic reception, at least from the later times and on, and that he was, eventually, acknowledged as one of the classics.

Lyric Poetry and Social Identity in Archaic Greece examines how Greek men presented themselves and their social groups to one another. The author examines identity rhetoric in sympotic lyric: how Greek poets constructed images of self for their groups, focusing in turn on the construction of identity in martial-themed poetry, the protection of group identities in the face of political exile, and the negotiation between individual and group as seen in political lyric. By conducting a close reading of six poems and then a broad survey of martial lyric, exile poetry, political lyric, and sympotic lyric as a whole, Jessica Romney demonstrates that sympotic lyric focuses on the same basic behaviors and values to construct social identities regardless of the content or subgenre of the poems in question. The volume also argues that the performance of identity depends on the context as well as the material of performance. Furthermore, the book demonstrates that sympotic lyric overwhelmingly prefers to use identity rhetoric that insists on the inherent sameness of group members.