Iambus and Elegy: New Approaches PDF
Preview Iambus and Elegy: New Approaches
OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi IAMBUS AND ELEGY OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi Iambus and Elegy New Approaches Edited by LAURA SWIFT AND CHRIS CAREY 1 OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries ©OxfordUniversityPress2016 Themoralrightsoftheauthorshavebeenasserted FirstEditionpublishedin2016 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer PublishedintheUnitedStatesofAmericabyOxfordUniversityPress 198MadisonAvenue,NewYork,NY10016,UnitedStatesofAmerica BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressControlNumber:2015941010 ISBN 978–0–19–968974–3 PrintedinGreatBritainby ClaysLtd,StIvesplc LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi While the volume was in press, we learned of the sad death of Martin West, who contributed so much to our understanding of Greek iambus and elegy. In recognition of that contribution the editors dedicate this volume to his memory. 1 September 2015 OUPCORRECTEDPROOF–FINAL,28/3/2016,SPi List of Contributors MargaritaAlexandrouisaTeachingFellowandHonoraryResearch FellowatUCL. Antonio Aloni was professor of Greek Literature at University of TrentoandUniversityofTorino. Deborah Boedeker is Professor Emerita of Classics at Brown University. EwenBowieisanEmeritusFellow,CorpusChristiCollege,Oxford. ChristopherG.BrownisWilliamSherwoodFoxProfessorofClassics, UniversityofWesternOntario. ChrisCareyisaProfessorofGreekatUCL. Paula da Cunha Corrêa is Associate Professor in the Departamento deLetrasClássicas,UniversidadedeSãoPaulo. JuliaNelsonHawkinsisAssistantProfessorofClassicsatOhioState University. Tom Hawkins is Assistant Professor of Classics at Ohio State University. AlessandroIannucciisAssociateProfessoratUniversityofBologna, DepartmentofCulturalHeritage. DonaldLavigneisAssociateProfessorandHeadofClassicsatTexas TechUniversity. LauraLulliAssegnistadiRicercaatLaSapienza–UniversitàdiRoma. Anika Nicolosi is Ricercatrice of Greek Literature, Università degli StudidiParma. Cecilia Nobili is Assegnista di Ricerca in Greek Literature at the UniversitàdegliStudidiMilano. OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi x ListofContributors Andrea Rotstein is Associate Professor of Classics at Tel Aviv University. DavidSiderisProfessorofClassicsatNewYorkUniversity. LauraSwiftisLecturerinClassicalStudiesintheOpenUniversity. OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi Preface ThisvolumeassemblesselectedpapersfromtheconferenceonGreek iambusandelegyheldatUCLon11–13July2012.Wewouldliketo thank our sponsors, UCL Department of Greek and Latin and Arts andHumanitiesFacultyInstituteofGraduateStudies,theInstituteof Classical Studies, and the Society for the Promotion of Hellenic Studies, for helping to make the event possible, all who participated in theevent formaking itsuch anenjoyableand memorableexperi- ence and all our collaborators in the final publication for easing the taskoftheeditors. LauraSwift/ChrisCarey 20December2014 OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi Introduction 0.1. WHY IAMBUS AND ELEGY? The study of early Greek poetry has undergone a renaissance in recentdecades,fuelledbyasteadystreamofpapyrologicaldiscoveries thatcontinuetotransformourknowledgeofthecorpus.Atthesame time,methodologicaldevelopmentsinareassuchaspoeticpersonae, ancient concepts of genre, and the importance of performance con- text have changed the way that scholars discuss these texts. This resurgenceofinterestcanbeseeninthenumberofnewtitlesdealing with archaic poetry that have appeared in recent years, such as the editedvolumesbyBudelmann(2009),AthanassakiandBowie(2011), and Cazzato, Lardinois, Martin, and Peponi (2015). Yet despite this growth,thelion’sshareofscholarlyinteresthasbeendevotedtomelic poetry,withiambusandelegyrelegatedtoalesserposition.However, iambusandelegywerebothveryimportantintheirownrightwithin the performance culture of archaic Greece and also very significant for the development of Hellenistic and Roman poetry and thus for the shaping of later Western literature. Their influence can be seen inlaterformsoflovepoetry,funeraryelegy,comedy,andsatire,and an exploration of the genres is therefore of interest to scholars of Europeanliteratureofallperiods.Itwasthisrelativeneglectthatled to the birth of this volume, originally based on an international conference held at UCL in 2012, which was to our knowledge the firstconferencetofocusexclusivelyoniambicandelegiacpoetry. Several factors influenced our decision to take iambus and elegy together, rather than producing a volume that focused on one form ortheother.The first isthe weightof history. Ourearliest surviving iambic poet, Archilochus, is also our earliest elegist. Archilochus’ Iambus and Elegy. Laura Swift and Chris Carey. © Oxford University Press 2016. Published in 2016 by Oxford University Press. OUPCORRECTEDPROOF–FINAL,21/1/2016,SPi 2 IambusandElegy:NewApproaches example was followed by Solon, who also composed in both forms. Theformswerethereforeconnectedinthearchaicperiod,anditwas accepted from an early stage that a single poet might well choose to coverboth.Conversely,itwasnotuntilthetimeofSimonidesthata melic poet could establish himself as a composer of elegiac verse. Boundaries between forms and performance modes in the archaic and classical world tend to be strong, often impenetrable (we might recall the debate in the Symposiumon the separation of tragedy and comedy (223d)), and the pairing of iambus and elegy is therefore significant.Theseareformswhichwerefelttobesisters.Thefactthat more thanonearchaicauthorcomposedinbothhasalsoinfluenced modernclassicalscholars.Severalofthemajorscholarlyeditionstreat both the forms together, most significantly West’s Iambi et elegi Graeci, now the standard text for these authors, and his companion volumeStudiesinGreekIambusandElegy.1 Finally,therearemethodologicalsimilaritiesbetween thestudyof iambusandthatofelegythatmakeitfruitfultoexaminethemsideby side. Iambus and elegy are forms that resist easy definition, and in both cases attempts later in antiquity to find a ‘core’ meaning to the genres led to disjuncture from the archaic forms. Both iambus and elegy pose problems because of their diversity, and because their metrical forms (the tool most commonly used by ancient scholars to categorizepoetry) span multiplegenres.Inthe caseof iambus, by the fourth century BC, invective was considered the defining feature, yetasscholarshavenoted,thisnarrowingofthegenreoverlooksthe range of tones found in archaic iambus.2 For elegy, the water is muddied by the use of terminology such as elegos to denote grief and mourning, themes whose relevance to literary elegy from the archaicperiodhavebeenmuchdisputed.3Boththese,then,arepoetic formswheredefinitionalquestionshavedominatedscholarlydiscus- sion,andwheremoreremainstobedoneintermsofdetailedanalysis ofthepoetryitself. Thisbookaimsto explorewhatisdistinctiveabout Greekiambus andelegy,andseekstore-establishthemasmajorpoeticforms.The 1 Cf.alsoEdmonds(1931);Adrados(1990). 2 For a full discussion see Rotstein (2010),and see also her contribution in this volume. 3 For discussion of this issue, see Page (1936); West (1974) 4–7; Faraone (2008) 132–5;AloniandIannucci(2007)14–16,68–9,203–4;Lulli(2011)12–20;Nobili2011.
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