By Benjamin Acosta-Hughes, Luigi Lehnus, Susan Stephens
Few figures from Greco-Roman antiquity have passed through as a lot reassessment in fresh many years as Callimachus of Cyrene, who was once energetic on the Alexandrian court docket of the Ptolemies through the early 3rd century BC. as soon as perceived as a preferrred instance of ivory tower detachment and abstruse studying, Callimachus has now become understood as an artificer of the photographs of a strong and colourful court docket and as a poet moment purely to Homer in his later reception.For the fashionable viewers, the fragmentation of his texts and the diffusion of resource fabrics has frequently impeded realizing his poetic fulfillment. Brills significant other to Callimachus has been designed to assist in negotiating this scholarly terrain, specifically the method of modifying and gathering his fragments, to light up his highbrow and social contexts, and to point the present instructions that his scholarship is taking.
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Extra info for Brill's Companion to Callimachus (Brill's Companions in Classical Studies)
8–21 Pf. + fr. 352 Pf. + SH 250): The Return of the Argonauts and the Rite of Anaphe (second aition). This section explains why the cult of Apollo on Anaphe, an island of the Sporades, is characterized by abuse and insults. We have the question of “Callimachus” to the Muses (fr. 19–21), regarding the cults both of Apollo at Anaphe and of Heracles at Lindus (treated in the following aition), which resembles Lindian Apollo’s in its abusive character. Calliope replies (fr. 22): the Argonauts, being overtaken by a very dark night during their return from Colchis, disembarked at Anaphe thanks to Apollo, who caused a prodigious light to shine for their safety;4 the following morning, the Argonauts performed a makeshift sacrifice to Apollo and were teased for it by Medea’s Phaeacian maidservants.
28), from the end of the fourth century, actually begins with the last seventy-seven verses of what was at least the sixth elegy of Book 3 (Acontius and Cydippe). Given that fragment 75 Pf. coincides with pages 151 and 152 of the 44 45 “Epigr. adesp. saec. VI p. C. vel potius posterioris aetatis” (vv. 1–7), test. 23 Pf. On the Aetia and Iambi as a superstructure, see Clayman 1988. 38 luigi lehnus papyrus, and that its pages contain between thirty-seven and forty-two lines each, the missing initial part of the codex must have amounted to some 5,900 verses, far too many for only two and a half books of the Aetia; therefore one can reasonably conclude that the Hymns and the Hecale, or the Hecale and the Hymns, did precede.
The contributions in the following section, “Sources and Models,” turn to Callimachus’ intellectual environment. L. Prauscello considers Callimachus from the perspective of the hugely popular New Music of the later fifth and early fourth centuries; A. Romano, in light of the development of contemporary literary criticism. A. Morrison looks at Callimachus’ debt to earlier epic and lyric poets through the lens of the Muses, contrasting previous claims for poetic authority with Callimachus’ reappropriation of these traditional figures.