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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]

The text of Aeneid 7.5 on the rites performed for Caieta, is suspicious for several reasons, most notably the unparalleled sedes of Aeneas . I argue that Virgil wrote at pius Aeneas sacris iam rite solutis, and that exsequiis is an intrusive gloss (evidence for which may be found in the ancient manuscripts). With sacris, Virgil seems to be suggesting cult honors as part of a complex allusion to Apollonius' Argonautica and Callimachus' Hecale . I also discuss four verse passages in Ovid, Petronius and Columella to argue that sacris would suggest a cult and, especially, that Ovid and Columella had a text of Virgil with sacris, not exsequiis. [ABSTRACT FROM AUTHOR]

Metapoetics is a strong focus of the scholarship on Ovid's Heroides 20-1. Viewed from this perspective, the figure of Acontius is frequently regarded as a prefiguration of the poet, while Cydippe has traditionally been seen as the poet-lover's object. This article argues that Cydippe too may be understood as an embodiment of the poet--even, to some degree, of the poet Ovid. The argument for this identification emerges from a close analysis of Callimachean and Ovidian allusions that appear to promote significantly different kinds of poetics in the two letters. Finally, the article reflects on the ways in which the notion of Cydippe as a prefiguration of the poet may inform our appreciation of Ovid's Callimacheanism. [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]

The study explores Hellenistic readers' reception of archaic and classical lyric poetry by using Pindar's dithyrambs as a representative test case. The 'horizons of expectations' in the Hellenistic era, it is argued, were influenced not only by ancient lyric poetry per se but also by the commentaries that accompanied the lyric corpora, by Hellenistic theorizing about the voice and by writers such as Dionysius of Hallicarnassus and Callimachus. The experience of attending to Pindar's 'vocal poetics' is characterized both by intense imaginative transport and a recognition of the reader's experiential finitude. [ABSTRACT FROM AUTHOR]

This study examines a representative selection of Hellenistic instances of choroi in the works of the three main poets, Apollonius Rhodius, Theocritus and Callimachus. It does so through the notions of 'choral self-referentiality', 'choral mediation' and the stratagem of 'choral projection'. Although Hellenistic choreia probably does not belong to the performative and multi-media milieu alongside lyric or tragic productions, it brings to the fore the continuity between archaic lyric poetry and Hellenistic poetry. This continuity largely consists in the tragic re-use of the choral element and the choral performance. [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]

The poets Posidippus of Pella and Callimachus of Cyrene, writing under Ptolemy II, actively construct a new Mediterranean geography in which people and luxury goods, even divinities, move from the Northern and Eastern Mediterranean to the new city of Alexandria. The building of the Alexandrian library provides a more concrete demonstration of that same trend, as the Ptolemies under the influence of both Greek thinkers like Demetrius of Phaleron and of Egyptian cultural practices like the great temple libraries strive to move the center of Greek learning from Athens to Alexandria. This paper explores the ways in which Posidippus and Callimachus shift Greek culture south. [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 passage, Callimachus enhances Hera's wrath against her rivals by means of a learned allusion to ancient zoological opinions - also attested in Lycophron, and possibly elsewhere - about female seals aiming to mate with men. [ABSTRACT FROM AUTHOR]

This paper discusses a new edition of Callimachus' Aitia by Annette Harder and a monograph, Callimachus in Context, by Benjamin Acosta-Hughes and Susan Stephens. A ‘contextual’ focus is common to both works, the edition no less than the monograph, which tackles the poem on what Harder calls the micro-, macro- and meso-levels, in order, not only to establish readings, explicate Realien and clarify detail, but also to explore literary techniques, structure and the degree to which the poem reflects the society and culture in which it was written. Recent interpretations have seen catalogue technique and organization as fundamental to the Aitia's poetics, and the review considers aspects of both the poem's structure and its contemporaneity – as well as the limitations of an excessively Alexandriacentric approach. [ABSTRACT FROM PUBLISHER]

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]

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]

The author claims that the excessive employment of the term λλεεππττóóςς for characterizing Aratus' poetry and for denoting its conformity to the aesthetic ideal of Hellenistic poetry, as defined by Callimachus' poetic standards, stems from a misinterpretation, both by the later biographical tradition and the modern scholarship, of a number of poetic sources. λλεεππττοολλóóγγοοςς, in king Ptolemy's epigram ( SH 712), λλεεππττὴ φφρροοννττííςς in Leonidas' epigram ( AP 9.25), λλεεππττή in an acrostich of the Phaenomena, the title Tὰ κκααττὰ λλεεππττóóνν of an Aratean poetic collection, all mean quite different things, and are unrelated to Callimachus' Mοοῦσσαα λλεεππττααλλέηη. The reception in contemporary Alexandria court circles of the poetry of Aratus, the official encomiast of Antigonus Gonatas, archenemy of the Ptolemies, was not favourable. A black mark in the poet's record must have been a pun on his name (ἄρρρρηηττοοςς -- Ἄρρηηττοοςς), which he impiously inserted in the hymnic Phaenomena proem which praised Zeus. Theocritus, Id. 17.1 -- 4, criticized him indirectly, but Leonidas, AP 9.25, exonerated him from the blasphemy. This incident prompted the cancellation of the Jovian proem and the composition of a series of alternative proems to the Phaenomena. Callimachus' Ep. 27 is not a praise of Aratus, as was hitherto believed, but a mortifying criticism of Aratus' didactic epic. It is written in a bi-level satiric style hidden behind an innocent faççade, used also in Ep. 13, an epigram against Posidippus of Pella. It blames Aratus not for imitating Hesiod, but for imitating the worst verses of Hesiod's Works and Days. It also reverses Aratus' pun (Ἀρρήττοουυ ἀγγρρυυππννííηηςς -- ἀρρρρήττοουυ ἀγγρρυυππννííηηςς), in order to stress the bookish and laborious character of the Phaenomena. [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]

Abstract: This paper examines the relevance that the mythological part of the Victoria Berenices has for the praise of Queen Berenice II and its intercultural connections with both Greek and Egyptian traditions. The ensuing picture provides further insights into the poem's unity and Callimachus' compositional technique in the Aetia. [ABSTRACT FROM AUTHOR]