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Lyric after Pindar should be seen not as declining and petering out, but as developing in ways which radically question or play with the fundamentals of the genre (or “super-genre”). The stanza is a crucial feature of lyric up to Pindar, especially when seen textually; “modernist” expansion into huge astrophic entities (Timotheus, etc.) and “postmodern” reduction into stichic lines (Callimachus, etc.) both involve radical rethinking of the super-genre, and one is a reaction to the other. However, the most innovative postmodernists are the poets somewhat earlier than Callimachus and Theocritus (Simmias, Philicus, etc.); Callimachus and Theocritus continue their ideas with new twists and new point. And the stanza is not really dead: within Timotheus’ and Callimachus’ poems stanza-like structures are built up. The late-classical and Hellenistic development of lyric is as dynamic and thought-provoking as that of sculpture. On ne devrait pas considérer que la lyrique après Pindare décline et s’épuise, mais plutôt qu’elle se développe selon des voies qui questionnent radicalement ou jouent avec les fondements du genre (ou « super-genre »). La strophe est une caractéristique cruciale de la lyrique jusqu’à Pindare, surtout d’un point de vue textuel ; l’expansion « moderniste » en grandes entités astrophiques (Timothée entre autres) et la réduction « postmoderne » à des vers stichiques (Callimaque entre autres) impliquent toutes deux une remise en cause radicale du super-genre, et l’une est une réaction à l’autre. Cependant, les postmodernistes les plus novateurs sont les poètes un peu antérieurs à Callimaque et Théocrite (Simmias, Philicos entre autres) ; Callimaque et Théocrite prolongent leurs idées avec de nouveaux ajustements et de nouveaux objectifs. Mais la strophe n’est pas réellement morte : dans les poèmes de Timothée et de Callimaque se construisent des structures d’apparence strophique. Le développement tardif et hellénistique de la lyrique est aussi dynamique et stimulant que celui de la sculpture. Dopo Pindaro la poesia lirica non declina e non si esaurisce, ma si sviluppa in modi che mettono in discussione o giocano con i fondamenti del genere (o sopra-genere). La stanza è un aspetto cruciale della lirica fino a Pindaro, specialmente se considerata da un punto di vista testuale; un’espansione “modernista” in enormi entità astrofiche (Timoteo, ecc.) e una riduzione “postmoderna” in versi stichici (Callimaco, ecc.) implicano entrambe un totale ripensamento del sopra-genere e l’una è una reazione all’altra. Tuttavia, i postmodernisti più innovativi sono i poeti che collochiamo un po’ prima di Callimaco e Teocrito (Simmia, Filico, ecc.). Callimaco e Teocrico riprendono il loro pensiero con nuovi sviluppi e una nuova prospettiva critica. La stanza non è davvero morta. Con i poemi di Timoteo e Callimaco vengono costruite strutture simili alla stanza. Lo sviluppo tardo-classico e ellenistico della lirica è dinamico e stimolante come quello della scultura.

The present discussion reconsiders the extant poetic and grammatical fragments of Simias of Rhodes in an attempt to point out his main preoccupations and, as a consequence, to sketch his intellectual profile. His interest in philology manifests itself not only in his grammatical fragments—which suggest that his lexicographical technique, albeit rather rudimentary, was of distinct character—but also, on a more sophisticated level and in accord with the practice of later poets, in his poetic works. Further attention is devoted to his well-known penchant for formal experimentalism, both in the field of metre and wordplay. Finally, it is argued that the marked presence of the fantastic element was a defining trait of his poetry. One of the most notable manifestations of his predilection for the eerie and the uncanny is his obsession with the paradoxes of the voice, speech and communication of humans, animals and fantastic creatures. La présente discussion reconsidère les fragments poétiques et grammaticaux existants de Simias de Rhodes dans le but de montrer ses principales préoccupations et, par là, d’esquisser son profil intellectuel. Son intérêt pour la philologie se manifeste non seulement dans ses fragments grammaticaux – qui suggèrent que sa technique lexicographique, quoique plutôt rudimentaire, était d’un genre particulier – mais aussi, à un niveau plus sophistiqué et en accord avec la pratique des poètes ultérieurs, dans son œuvre poétique. Une attention particulière est accordée à son penchant bien connu pour l’expérimentalisme formel, à la fois dans le domaine du mètre et du jeu de mots. Enfin, il s’agit de montrer que la présence marquée de l’élément fantastique était un trait distinctif de sa poésie. L’une des manifestations les plus notables de sa prédilection pour l’inquiétant et l’étrange est son obsession des paradoxes de la voix, du discours et de la communication des hommes, des animaux et des créatures fantastiques. Questo articolo riprende i frammenti poetici e grammaticali conservati di Simia di Rodi nell’intento di mettere in luce i suoi interessi fondamentali preoccupazioni e, di conseguenza, di tracciare il profilo intellettuale del poeta. Il suo interesse per la filologia non si manifesta solo nei frammenti grammaticali – il che suggerisce che la sua tecnica lessicografica, sebbene rudimentale, fosse peculiare, ma si riscontra anche, ad un livello più sofisticato e in sintonia con la pratica dei poeti posteriori, nella sua opera poetica. Ulteriore attenzione si rivolge alla sua ben nota inclinazione per lo sperimentalismo formale, sia in ambito metrico che nel gioco lessicale. Infine, si afferma che la marcata presenza dell’elemento fantastico fosse un aspetto distintivo della sua poesia. Una delle manifestazioni più importanti della sua predilezione per il misterioso e il prodigioso è la sua ossessione per i paradossi della voce, del linguaggio e della comunicazione di umani, animali e creature fantastiche.

This index presents the list of Greek terms that occur in this book titled Poetry as Window and Mirror. The book sets out to chart, then, not only the well-known complexities of handling the poetic past, but especially their relation to the poetic interaction of the Hellenistic, in particular Alexandrian poets. It started out as an enquiry into the representation of "the poet" in early Hellenistic poetry, that is to say, the extant works of the Greek-speaking poets of the third century BCE.Keywords:Alexandrian poets; Greek poet; Hellenistic poetry

Clearchus of Soloi, a junior colleague of Aristotle's, devoted a work in at least two books to the topic of eros. Like most of what survives from his once substantial corpus, the remains of this work display wide learning, especially in history and literature, and a moralizing orientation. The work did not circulate widely; all that survives is a handful of passages in Athenaeus (frs. 21-35 Wehrli), most very brief. That is far too little to permit any reconstruction of its overall structure or scope. But some of its interests and themes can be recovered. Clearchus discussed love, especially between the sexes, with more sympathy and subtlety than previous scholarship has recognized. His work on eros also appears to have been largely in tune with trends in early Hellenistic poetry.