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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 traces the relics of Callimachean criticism in the testimonia to the work of Anaximenes of Lampsacus and Choerilus of Iasos, portrayed either as poet-sycophants or authors of bad quality poetry. It assesses the profile of Anaximenes as an epic writer and investigates the origin and dynamics of the confusion between Choerilus of Iasos and Choerilus of Samos in late Hellenistic and Imperial witnesses. It concludes that the negative judgment on Choerilus of Samos formulated by Istrus, a disciple of Callimachus, may have been wrongly transferred to Choerilus of Iasos and that it influenced later critics and writers’ perception of the latter.

This article focuses on the implications inherent to the use of the word χέλυς (‘lyre’) at line 16 of Callimachus’ Hymn to Apollo with regard to both the Hymn to Apollo itself and the rest of Callimachus’ Hymns. Since the most famous source, and the one in which the χέλυς plays a prominent role, is the Homeric hymn to Hermes, it makes sense to surmise that this is the text Callimachus chose as his model. In this poem, not only does Hermes invent the lyre, but he also teaches his brother Apollo how to play it. The idea of music and poetry sponsored by Hermes centers upon grace and pleasantness. This idea seems to espoused also by Callimachus, whose account of Apollo’s achievements is markedly different from that we read in the Homeric hymn to Apollo. Since the same grace and pleasantness characterize the account of other deities’ deeds throughout the Hymns, we may say that Callimachus made Hermes’ idea of poetry his own.

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]

When dialogues with teaching purposes are studied, no one will think sua sponte of the little poems which are called ‘epigrams’. Nevertheless, this study tries to suggest how complex dialogues have gradually appeared in some of these small poems, which aimed at a sort of teaching. Focusing on epigrams which contain more than a single exchange of words, two epigrams are studied: in the first one, by Callimachus, the deceased teaches the living epigrammatist that there is nothing after death, whereas in the second one, Posidippus teaches us about the purposes of the allegory of Καιρός carved by Lysippus.

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]

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Copyright of Antik Tanulmanyok is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Propertius’ Elegy 1.18, the speaker arrives at an empty, desolate grove so that he may complain loud about being an abandoned lover in solitude. The work is positioned in the mainstream of the Augustan love elegy, but apart from elegiac concepts, it contains numerous topoi and intertextual references to the tradition of bucolic poetry. This article discusses the functioning of the motif of loneliness, which in 1.18 combines various elements that make up the image of the depicted world and enables the selection and modification of interpretative clues.

In his poetic work, Callimachus pushes the art of allusion to heights of refinement: the choice of an adjective in the Hecalea alone offers a fine illustration.

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]

In this paper I analyse the motif of drinking cold water in the poems of Leonidas of Tarentum, showing the relation of his epigrams to the works of Anyte and of other Hellenistic poets, focusing on metaphorical and programmatic meaning. Epigrams 16 and 18 GP of Anyte are interpreted as opening poems of a collection. The famous metaphor of drinking from the sacred fountain, instead of a polluted river, comes from Callimachus Hymn 2, 108-112, which is similar to the opposition in Leonidas' 86 GP. The ecphrasis of a cup represents poetic work in Theocritus Idyll 1. By comparing these texts, I argue that epigrams of Leonidas are related not only with Anyte's poems, but also with the works of other Hellenistic authors and the drinking motif should be read metaphorically, as referring to poetic activity, not as a simple bucolic scene. [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 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]

Copyright of Antik Tanulmanyok is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

We try to show from a few examples of the fragmentary collection of the Aitia that Callimachus is also sensitive to sound effects (alliterations, assonances, anagrams, sound chiasms) in the composition of his poetry and that this inclination is linked to the power of names which is the base of his poetic writing.

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Myrtia is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to underline the intertextual ties of the second book of the Horatian Epistles with the poetry of Callimachus. Horace is markedly inspired by the Alexandrian way of writing, both in choosing the form of the collection and in the manner that he uses some of the common motifs found in the Epistles. In other words, most of the famous motifs of Callimachus, such as the ὀλιγοστιχία and the need for originality that Callimachus declares in the prologue of Aitia are firmly present, yet they undergo transformation in Horace's poetry. [ABSTRACT FROM AUTHOR]