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P.Oxy. XX 2258 is one of the most renowned papyri of Callimachus. This article demonstrates that one of the scraps published among the Unidentified Fragments, which contains marginal annotations, actually originates from a Demosthenes codex. [ABSTRACT FROM AUTHOR]

Pherecydes of Syros' work is difficult to understand because of its fragmentary nature. A previously unexplored perspective on his work is to analyze how it was understood and used in Ptolemaic Alexandria, particularly by Eratosthenes and Callimachus. Eratosthenes' distinction between Pherecydes of Syros and Pherecydes of Athens (DL 1.119) has been used as a key piece of evidence that those two authors are, in fact, distinct. However, there has been little discussion of Eratosthenes' interest in these authors outside of that statement. Callimachus' interest in Pherecydes has also been ignored by both scholars of Pherecydes and scholars of Alexandrian poetry (except for brief references). Through this examination, I argue that Pherecydes of Syros was an important figure in discussions about the development of prose in Ptolemaic Alexandria. [ABSTRACT FROM AUTHOR]

This article seeks to explain Callimachus' blame of Thebes in the Hymn to Delos , arguing that Callimachus uses Apollo as a mouthpiece to voice the goals of his poetic project, signaling not only the influence of earlier Greek works—particularly Pindar's Isthmian 1—but also his departure from these models. Moreover, Callimachus' relationship with Pindar is more than simply literary, as shown through an intertextual reference that reveals a perceived familial tie, which helps explain Callimachus' use of Pindar as a source. Callimachus' blame of Thebes is a programmatic statement, demonstrating how Callimachus views his sources, his poetry, and himself. [ABSTRACT FROM AUTHOR]

This article re-examines the scholium on Euripides, Andromache 445, which several scholars have used to support the claim that Andromache premiered outside Athens, and concludes that both the scholium itself and a remark in the play's hypothesis rather suggest that the play was produced in Athens as part of a dramatic competition. [ABSTRACT FROM AUTHOR]

The article focusses on the catalogue of love-affairs from Book 3 of Hermesianax's Leontion (fr. 7 Powell = 3 Lightfoot). Contrary to two basic assumptions of previous scholarship, this article underscores that fr. 3 Lightfoot is neither representative of the Leontion as a whole nor an instance of unsophisticated poetic production. The evidence indicates that Hermesianax's catalogue might have played a crucial role in shaping the later reception of some of the figures he portrays (Mimnermus, Antimachus and perhaps even Hesiod). Finally, several points of contact with Clearchus of Soli show that Hermesianax may be engaging with relevant aspects of contemporary culture, most of all the Peripatetic investigation of biography and the phenomenology of love. [ABSTRACT FROM AUTHOR]

This article offers a close reading of a gloss in Codex Ambrosianus B 106 of Origenes' Hexapla on Psalms, which has in the past only been analyzed for its reference to the Patriarch. This article focuses on the Jewish scholar described in the gloss and analyzes his method of identifying Moses as the author of ten anonymous Psalms in view of Alexandrian scholarship. As Origen could only have communicated with his Jewish contemporary in Greek, the gloss provides unique insights into Hellenistic Judaism in 3d century Caesarea, which turns out to be well connected to Alexandrian methods of scholarship, available in late Antiquity in numerous intellectual centers of the Eastern Mediterranean, including Caesarea and Gadara. Moreover, the article points to conduits of communication between the Jewish Hellenistic scholar and rabbinic literature, where his conclusions resurface. [ABSTRACT FROM AUTHOR]

The name of Virgil’s Volscian heroine Camilla has been a source of scholarly discussion, especially in light of evidence from Varro and Macrobius, citing Callimachus and Pacuvius. Consideration of Virgil’s introduction and presentation of his probable literary invention will show a deliberate intention of highlighting the importance of Callimachus as an intertextual model, not least in Camilla’s anagrammatic association with the Hellenistic poet. [ABSTRACT FROM AUTHOR]

In this paper I try to demonstrate that Callimachusʼ commemorative poem in honour of the deceased queen Arsinoe II capitalizes heavily on the notorious Hellenistic penchant for verbal puns. In addition, it will be argued that etymologic and anagrammatic devices are not only contrived for their own sake, but are part and parcel of the poemʼs meaning contributing to its poetic and ideological agenda. [ABSTRACT FROM AUTHOR]

The Telchines, magical craftsmen and wizards, are best known for their criticism of Callimachus' poetry in the prologue to the Aetia. The other two appearances of the Telchines are also in programmatic passages in Callimachus' extant works. In the Hymn to Delos (30–3), the narrator asks an aporetic question about the theme of his song. There, the Telchines are the makers of the trident used to form every island but Delos, highlighting her singular status as uniquely created without force (30–3). In Aet. fr. 75, the Telchines appear in Xenomedes' history of Ceos. There, Callimachus explicitly names one source for his material, but omits direct citation of equally important sources, namely Pindar and Bacchylides, while still alluding to their songs. This article examines verbal and thematic parallels among these three passages and argues that Callimachus uses the Telchines not only to link the passages but also to comment on his authorial process, his use of sources and his poetic programme. [ABSTRACT FROM AUTHOR]

This article argues for an allusion in Virgil's Eclogue 4 to one of Pindar's victory odes (Olympian 6). It will be suggested that this Pindaric pretext is viewed by the Latin poet through a Callimachean perspective which adds to it further layers of significance. Consequently, the evidence will be discussed for reading the allusion in terms of royal ideology which places Virgil's poem in the tradition of Hellenistic ruler-encomia. [ABSTRACT FROM AUTHOR]

This article argues for a new way of reading Hellenistic “literary” hymns, one that situates them in contemporary religious and cultural discourse through the notions of “textualization” and the “cultural archive.” I apply this framework to Callimachus’ Hymn to Delos and show how this hymn became an important part of the articulation of Ptolemaic religion in the context of ritual politics in the third-century Aegean, as well as how it had a lasting impact on the way that the ritual geography of the Cyclades was imagined. Specifically, the analysis spotlights how the hymn successfully links historical and contemporary theoric choral activity with the etymologization of the Cyclades; how it textualizes the island of Kos within the ritual nexus of Delos; and, finally, how it becomes an important part of Greek cultural memory about Delos. [ABSTRACT FROM AUTHOR]

A treatise on rhetorical tropes is attributed in manuscripts to the first-century grammarian Trypho: this article considers for the first time a fifteenth-century manuscript of this work (Leiden, BPG 74G), which turns out to be the only complete witness of its hitherto unknown original version; this version (very fragmentarily transmitted by a fifth-century papyrus scrap) is also partly found in another fifteenth-century manuscript now kept in Olomouc (M 79). Four interesting poetic fragments are quoted in this newly discovered, fuller version of Ps.-Trypho's De Tropis: some lines from Callimachus' fifth and fourth Iambi (23–9 and 90–2 respectively: a radically new light is shed by this new witness on the parallel papyrus fragments carrying Callimachus' text), an epigram dubiously attributed to Simonides (FGE 44 Page, probably to be dated to the Hellenistic period: the text can be now restored to its complete form), and some enigmatic lines of "Hesiod"'s Wedding of Keyx, which the new witness finally makes fully understandable. [ABSTRACT FROM AUTHOR]

This paper seeks to shed fresh light on the aesthetic and stylistic affiliations of Lycophron's Alexandra, approaching the poem from two distinct but complementary angles. First, it explores what can be gained by reading Lycophron's poem against the backdrop of Callimachus' poetry. It contends that the Alexandra presents a radical and polemical departure from the Alexandrian's poetic programme, pointedly appropriating key Callimachean images while also countering Callimachus' apparent dismissal of the 'noisy' tragic genre. Previous scholarship has noted links between the openings of the Aetia and of the Alexandra, but this article demonstrates that this relationship is only one part of a larger aesthetic divide between the two poets: by embracing the raucous acoustics of tragedy, Lycophron's poem offers a self-conscious and agonistic departure from Callimachus' aesthetic preferences. Second, this article considers another way of conceiving the aesthetics of the poem beyond a Callimachean frame, highlighting how Lycophron pointedly engages with and evokes earlier Aristotelian literary criticism concerning the 'frigid' style: the Alexandra constructs its own independent literary history centred around the alleged name of its author, 'Lycophron'. The article proposes that this traditional attribution is best understood as a pen name that signposts the poem's stylistic affiliations, aligning it not so much with the Ptolemaic playwright Lycophron of Chalcis but rather with Lycophron the sophist and a larger rhetorical tradition of stylistic frigidity. Ultimately, through these two approaches, the article highlights further aspects of the Alexandra's aesthetic diversity. [ABSTRACT FROM AUTHOR]

This study argues that Callimachus' treatment of his 'animal-voiced' contemporaries at the conclusion of the fable in Iamb 2 reflects zoological and physiognomic practices so as to represent the poetic narrator as a taxonomist of men. Elsewhere the classification of men as if they were flora or fauna appears, like fable itself, in distinctly moral and ethical contexts, as, for example, in Theophrastus' Characters. Callimachus' formulation of his narrator as a taxonomist who classifies 'species' of men based upon their literary 'voices' thus plays with modes of invective new to iambos while uniting moral criticism with literary polemic. [ABSTRACT FROM AUTHOR]

This paper concerns the water imagery of two iconic passages of Roman satire: Horace's figuration of Lucilius as a river churning with mud at Sat. 1.4.11, and the transformation of that image at Juvenal, Sat. 3.62–8 (the Orontes flowing into the Tiber). It posits new ways of reckoning with the codifications and further potentials of these images by establishing points of contact with the workings of water in the Roman world. The main point of reference will be to the work of Rome's censors, who were charged not only with protecting the moral health of the state, but with ensuring the purity and abundance of the city's water supply as well. [ABSTRACT FROM AUTHOR]

This paper contributes evidence to support the widely accepted view that Lucretius may justly be regarded by the reader as a Callimachean poet by synthesizing and analyzing Lucretius' use of the so-called 'Alexandrian footnote' in the DRN. Although most scholars have come to agree with Kenney that Lucretius embraces many of the same poetic ideals as his contemporaries, there are still some who remain skeptical of Kenney's thesis, and, while Kenney adduces the most prominent parts of the DRN that show signs of Alexandrianism, in fact he only scratches the surface of the extent to which Lucretius practices his own version of Roman neo-Callimacheanism. Moreover, very few of those who accept Kenney's results have followed his lead by adding corroborating evidence. It is still very much worthwhile, therefore, to explore this aspect of Lucretius' poetic artistry; this paper's analysis of the Alexandrian footnote provides further proof that Kenney's argument is correct, and it expands on his thesis by showing how integral Alexandrian poetic techniques are to Lucretius' philosophical purposes. [ABSTRACT FROM AUTHOR]

In the text of the Ektheosis Arsinoes, as we have it, the name of the title character does not appear at all. Although it may be the result of the poem's fragmentary state of preservation, it seems to be consistent with Callimachus's stylistic preferences. This article suggests that the missing name ARSINOA can be detected in an anagram hidden in the first half of line 46. [ABSTRACT FROM AUTHOR]

This article reconsiders the problematic and much discussed lines 11-12 of Callimachus fr. 1 Pfeiffer = 1 Massimilla = 1 Harder (the so called Aetia prologue), where there is an allusion to Mimnermus’ elegiac poetry, with the intention of offering a new textual reconstruction and a new interpretation of the general meaning of the passage. Since G. Bastianini demostrated that it is impossible to read the verbal sequence αἱ κατὰ λεπτόν in the lemma of the scholium Londiniense related to those verses by adding the supplement ῥήσιες (αLἱ κατὰ λεπτόν / ῥήσιες), several new solutions have been proposed. One in particular, advanced by L. Lehnus, seems to be paleographically more credible than the rest: he reads αἱ μεγάλαι in the lemma of the scholion and proposes to incorporate it into Callimachus’ text. Starting from this paleographical basis, but also reconsidering the addition of μεγα above the line in the scholion, this paper suggests to integrate αLἱ μέγα λ[εῖαι... at the end of v. 11 with the word ᾠδαί at the beginning of v. 12 (αLἱ μέγα λ[εῖαι / ᾠδαί μ’...]) alluding to sung performances of the sympotic Mimnermus’ elegies. Indeed, the whole context of lines 11-12 constitutes a complex allusion not only to Mimnermus and his poetry, but also to his heirs at Colophon, Antimachus and Hermesianax, and to their different ways of reappropriating his poetry in later performances. [ABSTRACT FROM AUTHOR]

This paper presents the development of an application for data maintenance in the Digital Archive of the Pina Bausch Foundation. First, the requirements of the Linked Data archive are outlined. The Linked Data Management System Callimachus is introduced, whereupon aspects of the approach of the application development are described. In the last part Callimachus is evaluated and discussed as a tool for information scientists. [ABSTRACT FROM AUTHOR]

The article offers a metapoetic reading of Herondas' second Mimiamb, in which Battaros should be identifi ed with Callimachus, Thalês with Apollonius of Rhodes and Myrtale with the poetic production of Callimachus himself. According to this approach, the real aim of the mimiamb could be the ironic description of Callimachus (portrayed as a greedy brothel-keeper) accusing Apollonius of stealing his poems: the Koan jury (probably the poets around Philetas) will have to judge, in fact, a case of plagiarism. [ABSTRACT FROM AUTHOR]

We describe an additional species in the oegopsid squid family Onychoteuthidae from the Gulf of Mexico. Although similar to Onykia rancureli Okutani (=Callimachus rancureli sensu Bolstad), the species described here differs by having fewer hooks and carpal suckers on the tentacle clubs and a wider head. In considering the generic relationships of this species, we briefly review the genera Walvisteuthis, Callimachus, and Onykia and conclude that the proper genus for this species is Walvisteuthis and that this genus is indeed an onychoteuthid rather than comprising a monogeneric family Walvisteuthidae. [ABSTRACT FROM AUTHOR]

The phrase λεπτόν και τι μελιχρόν ἒποϛ in Hedylus 5 Gow-Page has been read as engaging with Callimachean esthetic language, though its precise significance has been debated. This paper argues that Hedylus' engagement with Callimachean esthetic imagery and language is best understood by juxtaposing Hedylus 4 and 5 Gow-Page. The structure of the former, on a gold rhyton dedicated to Arsinoe Zephyritis, pointedly treats two Egyptian deities--one miniature, the other colossal--in language evocative of poetic composition, and does so in a way that effaces the bright oppositions between large and small in the prologue to Callimachus' Aetia. At the same time, the poem identifies sounds made by wine with sounds made by water, and thus sheds light on Hedylus' treatment of wine as a source of poetic inspiration in both epigrams. Far from being a rebuttal of Callimachean values, these poems appropriate and adapt his esthetic imagery and language to the genre of epigram. [ABSTRACT FROM AUTHOR]

In this paper, I examine metaphor as employed by Hellenistic Greek authors. Throughout, my emphasis is not on what any given metaphor means, but on how it means. I concentrate on three domains, namely religion, poetry/ philology, and science. First, I look at the discourse of revelation, where brief passages of Matthew’s Sermon on the Mount and of the Oracle of the Potter are compared. Second, I give a brief outline of metaphor as a vehicle of poetic competition in Callimachus and late-Hellenistic literary criticism. Third, metaphors in Alexandrian science and, especially, mathematics and medicine, come into focus. While current research on metaphor stresses the cognitive functions of metaphor, I conclude with the suggestion that in the corpus surveyed metaphor’s main function is to enhance authority and that metaphor is used as a tool geared to achieve competitive goals within the literary field. [ABSTRACT FROM AUTHOR]

This paper investigates the 'epinician' fragment of Callimachus' Hecale (fr . 69 H.) and its possible allusions to Pindar (chiefly O. 14. 20-24). Callimachus seems to use the Pindaric subtext, fusing it with a Homeric one, in order to enrich the episode with a touch of foreboding about Hecale's imminent death [ABSTRACT FROM AUTHOR]

Due to its structural aspects and content, Cleantes' Hymn to Zeus, is considered a significant and interesting text aiding our understanding of the Hellenistic era. [ABSTRACT FROM AUTHOR]

In this contribution a papyrus fragment of the Leipzig Papyrus- und Ostrakasammlung is published for the first time. It contains scholia to Callimachus' Iambus XII. The importance of this fragment lies in the new textual elements that contribute to the reconstruction of verses 2 and 3. The textual explanations offer some clues to the content of the lost section of Iambus XII. [ABSTRACT FROM AUTHOR]

Juvenal's synkrisis between Orestes and Nero climaxes with the statement that the former never played Orestes; the implied antithesis, that Nero did play Nero, gains point from the princeps' practice of wearing masks resembling his own face. This blurring of the distinction between 'playing Nero' and 'playing Orestes' problematizes the princeps' identity. This problematization is furthered by the peculiarities of Orestes, who in various tragic plots repeatedly either plays other roles or is himself impersonated. This is part of Satire 8's wider exploration of identity as underdetermined by ancestry and the inadequacy of names as signifiers. The further statement that Orestes never wrote a Troica is illuminated by its intertextual engagement with Callimachus Epigr. 59 G-P, in which the poet's loss of his 'Pyladeses' through writing a play contrasts with Orestes' omission of this final act of madness. The Callimachean Orestes thus keeps distinct the roles of tragedian and tragic hero, poet and character, thereby foregrounding Nero's failure to maintain this distinction. By blurring his identity with that of Paris in both his epic and his alleged burning of Rome, Nero confuses the categories of artist and perpetrator, creator and character, just as he and Orestes confuse those of actor and role. [ABSTRACT FROM AUTHOR]

This paper proposes a solution to the longstanding controversy over the identity of the obscure hunter named Aithon in SSH 970.22 by identifying him with the Callimachean Erysichthon. The fact that Erysichthon's alternative name Aithon has already been established in the Hellenistic period constitutes the primary indication for this identification. Callimachus' Hymn to Demeter includes a key-reference to Erysichthon as a hunter (ll. 81 f.) which can be suggestive of the hero's participation in the Calydonian Hunt. It is the premise of my argument that the association of the two Hellenistic texts is possible by assuming a variant list of Calydonian hunters, featuring Erysichthon among others. This list could have been the source of both the anonymous elegist and Callimachus. Further intertextual affinities and structural similarities between the two narratives are put forward to support this view. [ABSTRACT FROM AUTHOR]

The present paper offers a commentary on Callimachus' fragment 227 Pf. Firstly we discuss the fragment possible location in the poet's book of lambi, which has been mailer of a long and controversial discussion among the scholars. Secondly, We examine the text of the diégesis and, finally, I study the poem main difficulties to conclude with a brief reflection upon the theme of the symposium. [ABSTRACT FROM AUTHOR]

The present paper offers a commentary on Callimachus' fragment 227 Pf. Firstly we discuss the fragment possible location in the poet's book of lambi, which has been matter of a long and controversial discussion among the scholars. Secondly, we examine the text of the diégesis and, finally, I study the poem main difficulties to conclude with a brief reflection upon the theme of the symposium. [ABSTRACT FROM AUTHOR]