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OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi THE CUP OF SONG OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi The Cup of Song Studies on Poetry and the Symposion Editedby VANESSA CAZZATO, DIRK OBBINK, AND ENRICO EMANUELE PRODI 1 OUPCORRECTEDPROOF–FINAL,26/8/2016,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:2016934845 ISBN 978–0–19–968768–8 PrintedinGreatBritainby ClaysLtd,StIvesplc LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi Acknowledgements Mostofthepapersincludedinthisvolumewerefirstpresentedataconference heldinOxfordin2011.Thiswas,ofcourse,notthefirstOxfordconferenceon the symposion, and it was our pleasure to have Oswyn Murray, organizer of the original Sympotica conference, as our symposiarch, as well as another oftheoriginalparticipantsinthepersonofEwenBowie. We thank all those who made the event possible and enjoyable, including the large and engaged audience, the session chairs (Bruno Currie, Penelope Murray,andMartinWest),andthespeakerswhosecontributiondidnot,for variousreasons,makeitintothevolume:HansBernsdorff,FelixBudelmann, EttoreCingano, SimonHornblower,Richard Hunter, Dirk Obbink,and Tim Power. Thanks are also due to Caterina Franchi for her good-humoured assistanceinallmatterslogistical.Wearegratefultothefollowinginstitutions forprovidingfinancialsupporttowardstheorganizationoftheconference:the Craven Committee and Faculty Board of the Faculty of Classics, Oxford; the John Fell OUP Fund; Merton College, Oxford; and the Classical Association andtheSocietyforthePromotionofHellenicStudies,whichfundedanumber ofbursariestofacilitateattendancebygraduatestudents.WethanktheJowett Copyright Trust for providing generous funding towards the cost of colour plates. Finally, we thank the editors and assistant editors at the Press who steered the volume to completion: Hilary O’Shea, Charlotte Loveridge, Clare Kennedy,andGeorginaLeighton. V.C. D.O. E.E.P. OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi Contents ListofPlates ix AbbreviationsandConventions xi NotesonContributors xvii Introduction:ContinuityintheSympoticTradition 1 VanessaCazzatoandEnricoEmanueleProdi 1. TheSymposionbetweenEastandWest 17 OswynMurray 2. Quousquetandem...?HowLongWereSympoticSongs? 28 EwenBowie 3. SomeThoughtsontheSymposiasticCatena,Aisakos,andSkolia 42 GauthierLiberman 4. Bacchylides’BanquetSongs 63 GiovanBattistaD’Alessio 5. TheSymposionasThemeandPerformanceContext inPindar’sEpinicians 85 LuciaAthanassaki 6. Smikros:FictionalPortraitofanArtistasaSymposiast byEuphronios 113 GuyHedreen 7. SymposiaandtheFormationofPoeticGenrein Aristophanes’Wasps 140 RalphM.Rosen 8. PartingShots:Aeschylus,Agamemnon1384–98andSymposia intheVisualRepertoire 159 DeborahT.Steiner 9. SymposiaenpleinairinAlcaeusandOthers 184 VanessaCazzato 10. TheWorldinaCup:EkpomaticsinandoutoftheSymposion 207 RenaudGagné OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi viii Contents 11. PartyorPerish:Death,Wine,andClosureinHellenistic SympoticEpigram 230 AlexanderSens 12. HierarchyandSymposiasticPoetry,GreekandLatin 247 GregoryO.Hutchinson Bibliography 271 Indexes 301 SubjectsandGreekwords 301 Passagescited 306 Inscriptions 327 Papyri 328 Vases 329 OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi List of Plates 1. FragmentofAthenianblack-figurekrater,ca.500–490.Amsterdam, AllardPiersonMuseum2117.Photo:AllardPiersonMuseum,University ofAmsterdam. 2. ScaraboidsealfromMonteVetrano,ca.750–725.MuseodiPontecagnano. Credit:MinisteroperiBenieleAttivitàCulturali—Soprintendenza periBeniArcheologicidiSAAVBNCE.Conc.12/2014. 3. FragmentaryAthenianred-figurecalyxkrater,ca.510–500.Munich, StaatlicheAntikensammlungenundGlyptothek8935. Photo:RenateKühling,StaatlicheAntikensammlungen. 4. Athenianred-figurepsykter,ca.510–500(detail).Malibu,J.PaulGetty Museum82.AE.53.Photo:TheJ.PaulGettyMuseum,VillaCollection, Malibu,California. 5. Athenianred-figurestamnos,ca.510–500.Brussels,MuséesRoyauxd’Artet d’HistoireA717.Photo:MuséesRoyauxd’Artetd’Histoire,Brussels. 6a,b. Athenianred-figureamphora,ca.510–500.Berlin,StaatlicheMuseen, Antikensammlung1966.19.Photo:bpk,Berlin/Staatliche Museen/JohannesLaurentius/ArtResource,NY. 7. FragmentofanAthenianred-figureamphora,ca.510–500.Paris,Musée duLouvreCP11071.Photo:LesfrèresChuzeville.©RéuniondesMusées Nationaux/ArtResource,NY. 8. Athenianred-figurevolutekrater,ca.510–500.Arezzo,MuseoCivico1465. DrawingafterA.FurtwänglerandK.Reichhold,Griechische Vasenmalerei(Munich1900–25)IIpl.61;reproducedbypermission. 9a,b. Athenianred-figureamphora,ca.510–500.Paris,Muséedu LouvreG107.Photo:ClaudeGaspari.©RMN-GrandPalais/Art Resource,NY. 10a,b. FragmentaryAthenianred-figurecalyxkrater,ca.515–510.Paris, MuséeduLouvreG110.Photo:LesfrèresChuzeville.©RMN-Grand Palais/ArtResource,NY. 11. Atticred-figurebell-kraterbythePainteroftheLouvre,ca.400. Paris,LouvreG521.Photo:HervéLewandowski.©RMN-Grand Palais/ArtResource,NY. 12. Atticred-figurehydria.Athens,NationalMuseum1262. 13a,b. Atticred-figurecup,ca.575–550.StaatlicheMuseenzuBerlin, AntikensammlungF2299.Photo:JuttaTietz-Glagow. 14. Atticred-figurehydriabytheKleophradesPainter,ca.490–480.Paris, LouvreG50.Photo:HervéLewandowski.©RMN-GrandPalais/Art Resource,NY.

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The symposion is arguably the most significant and well-documented context for the performance, transmission, and criticism of archaic and classical Greek poetry, a distinction attested by its continued hold on the poetic imagination even after its demise as a performance context. The Cup of Song ex
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OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi THE CUP OF SONG OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi The Cup of Song Studies on Poetry and the Symposion Editedby VANESSA CAZZATO, DIRK OBBINK, AND ENRICO EMANUELE PRODI 1 OUPCORRECTEDPROOF–FINAL,26/8/2016,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:2016934845 ISBN 978–0–19–968768–8 PrintedinGreatBritainby ClaysLtd,StIvesplc LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi Acknowledgements Mostofthepapersincludedinthisvolumewerefirstpresentedataconference heldinOxfordin2011.Thiswas,ofcourse,notthefirstOxfordconferenceon the symposion, and it was our pleasure to have Oswyn Murray, organizer of the original Sympotica conference, as our symposiarch, as well as another oftheoriginalparticipantsinthepersonofEwenBowie. We thank all those who made the event possible and enjoyable, including the large and engaged audience, the session chairs (Bruno Currie, Penelope Murray,andMartinWest),andthespeakerswhosecontributiondidnot,for variousreasons,makeitintothevolume:HansBernsdorff,FelixBudelmann, EttoreCingano, SimonHornblower,Richard Hunter, Dirk Obbink,and Tim Power. Thanks are also due to Caterina Franchi for her good-humoured assistanceinallmatterslogistical.Wearegratefultothefollowinginstitutions forprovidingfinancialsupporttowardstheorganizationoftheconference:the Craven Committee and Faculty Board of the Faculty of Classics, Oxford; the John Fell OUP Fund; Merton College, Oxford; and the Classical Association andtheSocietyforthePromotionofHellenicStudies,whichfundedanumber ofbursariestofacilitateattendancebygraduatestudents.WethanktheJowett Copyright Trust for providing generous funding towards the cost of colour plates. Finally, we thank the editors and assistant editors at the Press who steered the volume to completion: Hilary O’Shea, Charlotte Loveridge, Clare Kennedy,andGeorginaLeighton. V.C. D.O. E.E.P. OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi Contents ListofPlates ix AbbreviationsandConventions xi NotesonContributors xvii Introduction:ContinuityintheSympoticTradition 1 VanessaCazzatoandEnricoEmanueleProdi 1. TheSymposionbetweenEastandWest 17 OswynMurray 2. Quousquetandem...?HowLongWereSympoticSongs? 28 EwenBowie 3. SomeThoughtsontheSymposiasticCatena,Aisakos,andSkolia 42 GauthierLiberman 4. Bacchylides’BanquetSongs 63 GiovanBattistaD’Alessio 5. TheSymposionasThemeandPerformanceContext inPindar’sEpinicians 85 LuciaAthanassaki 6. Smikros:FictionalPortraitofanArtistasaSymposiast byEuphronios 113 GuyHedreen 7. SymposiaandtheFormationofPoeticGenrein Aristophanes’Wasps 140 RalphM.Rosen 8. PartingShots:Aeschylus,Agamemnon1384–98andSymposia intheVisualRepertoire 159 DeborahT.Steiner 9. SymposiaenpleinairinAlcaeusandOthers 184 VanessaCazzato 10. TheWorldinaCup:EkpomaticsinandoutoftheSymposion 207 RenaudGagné OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi viii Contents 11. PartyorPerish:Death,Wine,andClosureinHellenistic SympoticEpigram 230 AlexanderSens 12. HierarchyandSymposiasticPoetry,GreekandLatin 247 GregoryO.Hutchinson Bibliography 271 Indexes 301 SubjectsandGreekwords 301 Passagescited 306 Inscriptions 327 Papyri 328 Vases 329 OUPCORRECTEDPROOF–FINAL,26/8/2016,SPi List of Plates 1. FragmentofAthenianblack-figurekrater,ca.500–490.Amsterdam, AllardPiersonMuseum2117.Photo:AllardPiersonMuseum,University ofAmsterdam. 2. ScaraboidsealfromMonteVetrano,ca.750–725.MuseodiPontecagnano. Credit:MinisteroperiBenieleAttivitàCulturali—Soprintendenza periBeniArcheologicidiSAAVBNCE.Conc.12/2014. 3. FragmentaryAthenianred-figurecalyxkrater,ca.510–500.Munich, StaatlicheAntikensammlungenundGlyptothek8935. Photo:RenateKühling,StaatlicheAntikensammlungen. 4. Athenianred-figurepsykter,ca.510–500(detail).Malibu,J.PaulGetty Museum82.AE.53.Photo:TheJ.PaulGettyMuseum,VillaCollection, Malibu,California. 5. Athenianred-figurestamnos,ca.510–500.Brussels,MuséesRoyauxd’Artet d’HistoireA717.Photo:MuséesRoyauxd’Artetd’Histoire,Brussels. 6a,b. Athenianred-figureamphora,ca.510–500.Berlin,StaatlicheMuseen, Antikensammlung1966.19.Photo:bpk,Berlin/Staatliche Museen/JohannesLaurentius/ArtResource,NY. 7. FragmentofanAthenianred-figureamphora,ca.510–500.Paris,Musée duLouvreCP11071.Photo:LesfrèresChuzeville.©RéuniondesMusées Nationaux/ArtResource,NY. 8. Athenianred-figurevolutekrater,ca.510–500.Arezzo,MuseoCivico1465. DrawingafterA.FurtwänglerandK.Reichhold,Griechische Vasenmalerei(Munich1900–25)IIpl.61;reproducedbypermission. 9a,b. Athenianred-figureamphora,ca.510–500.Paris,Muséedu LouvreG107.Photo:ClaudeGaspari.©RMN-GrandPalais/Art Resource,NY. 10a,b. FragmentaryAthenianred-figurecalyxkrater,ca.515–510.Paris, MuséeduLouvreG110.Photo:LesfrèresChuzeville.©RMN-Grand Palais/ArtResource,NY. 11. Atticred-figurebell-kraterbythePainteroftheLouvre,ca.400. Paris,LouvreG521.Photo:HervéLewandowski.©RMN-Grand Palais/ArtResource,NY. 12. Atticred-figurehydria.Athens,NationalMuseum1262. 13a,b. Atticred-figurecup,ca.575–550.StaatlicheMuseenzuBerlin, AntikensammlungF2299.Photo:JuttaTietz-Glagow. 14. Atticred-figurehydriabytheKleophradesPainter,ca.490–480.Paris, LouvreG50.Photo:HervéLewandowski.©RMN-GrandPalais/Art Resource,NY.

Description:
The symposion is arguably the most significant and well-documented context for the performance, transmission, and criticism of archaic and classical Greek poetry, a distinction attested by its continued hold on the poetic imagination even after its demise as a performance context. The Cup of Song ex
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