Classical Greece to Ptolemaic Alexandria: Writers and Readers

2019 ◽  
pp. 55-82
Author(s):  
Derek Attridge
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
Sixth Century ◽  
Classical Greece ◽  
Greek Culture ◽  
Extensive Collection ◽  
Speaking Voice ◽  
The Impact

When the Phoenician alphabet was adapted for use in Greece remains a matter of debate, but the impact of writing on poetry appears most clearly around the end of the sixth century BC when papyrus rolls became more common. However, it was not until the establishment of Alexandria as a major centre of Greek culture in the later fourth century that the reading of poetry on the written page became the norm. This chapter focuses on the experience of poetry in Alexandria in this period. With the loss of the musical dimension of Greek lyric, poetry became more exclusively a matter of the speaking voice, and the epigram became a favoured genre. The extensive collection of papyrus rolls in the Library of Alexander made the work of earlier writers accessible and encouraged highly allusive verse. These qualities are best demonstrated in the poetry of Callimachus, one of whose poems is discussed as an example of the dramatic recreation of performance in a work designed to be read.

The Greek Impact in Asia Minor 400–250 BCE

2017 ◽  
Author(s):  
Stephen Mitchell
Keyword(s):  
Fourth Century ◽  
Democratic Legitimacy ◽  
Asia Minor ◽  
Hellenistic Period ◽  
Greek Language ◽  
Persian Empire ◽  
Greek Culture ◽  
Fourth Century Bce ◽  
Political Objective ◽  
The Impact

Until the end of the fourth century BCE the impact of Greek culture in Asia Minor was limited. Lykians, Karians, and Lydians offered alternatives to Hellenism and preserved their own languages until the end of the fourth century BCE. However, by 250 BCE these Anatolian languages ceased to be used in public or private documents, and polis organization became normative. After the overthrow of the Persian Empire the autonomy of Greek cities became the highest political objective. Greek civic decrees in the early Hellenistic period emphasized that democratic legitimacy depended on quorate citizen votes, the Greek language became the only medium for official public communication, and the native populations maintained their identity and independence by adopting polis organization. Between 400 and 250 BCE these populations did not merely absorb Greek cultural influence but underwent the encompassing experience of becoming Greek.

Tyranny in Greece in the Fifth and Fourth Centuries BC

2019 ◽  
Vol 36 (3) ◽  
pp. 419-441
Author(s):  
P.J. Rhodes
Keyword(s):  
Fourth Century ◽  
Sixth Century ◽  
Classical Greece

Abstract In a world in which it was easy to contrast slavery as being ruled by others with freedom as the power to rule others, it might have been said that subjection to a tyrant was bad but being a tyrant was good if one could get away with it. But in the fourth century Plato and Aristotle created a contrast between kings as good rulers and tyrants as bad rulers, which has been standard ever since. However, recent studies have tried to move away from the polarisation of good kings and bad tyrants, and look more generally at the nature of monarchic rule in Greece. This article explores the topic of tyrants and the use of the notion of tyranny in classical Greece, at the end of the sixth century and in the fifth and fourth.

The Peripatos

2019 ◽  
pp. 133-170
Author(s):  
Theodora A. Hadjimichael
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
New Music ◽  
Literary Study ◽  
Greek Culture ◽  
Close Analysis

Chapter 4 analyses the importance of the Peripatos in the canonizing process of lyric, and the analysis demonstrates a degree of continuity between fifth- and fourth-century reception and evaluation of lyric poetry. The aim of the Peripatetics was to register, memorialize, and study the Greek culture by accumulating written records and creating learned treatises. Close analysis of several fragments shows that the Peripatetic library also possessed texts of lyric, which were used to prepare the peri-treatises on the lyric poets. The Peripatetic lyric agenda is ultimately a classicizing agenda that was inherited by comedy and Plato, as the Peripatetics do not devote much scholarly energy to the representatives of the New Music. The overall analysis shows that Aristotle’s Lyceum became a centre for literary study that viewed poems as cultural and anthropological sources, and extant fragments from their treatises reveal that the Peripatetics also dealt with problems of authorship and authenticity.

Notes on How to Read the Song of Songs

2020 ◽  
Author(s):  
Я. Эйделькинд
Keyword(s):  
Old Testament ◽  
Gender Stereotypes ◽  
Cultural Context ◽  
Lyric Poetry ◽  
Song Of Songs ◽  
Widespread Belief ◽  
Female Voices ◽  
Speaking Voice

Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъективным интерпретациям. Последние вполне законны, пока не претендуют на то, чтобы быть единственно верными. Три контекста помогают понять Песнь песней: древний культурный контекст, более узкий контекст Ветхого Завета и контекст лирической традиции от древности до наших дней. This article is an attempt to formulate some principles of reading the Songs of Songs that would take into account its genre and poetic features. Being a collection of lyric poetry, the Song of Songs works primarily with sound and has no plot. An important role in its composition plays the principle of diversity and contrast. A serious tone gives place to a humorous one, and vice versa. Female voices alternate with male ones; gender stereotypes in some cases retain their power, but in others are subverted. Sexual physiology, contrary to a widespread belief, is not in the foreground — much more important are emotions. This fact belies both “spiritual” and “carnal” readings. The Song of Songs involves an identification of the reader with the lyrical speaking voice and provokes subjective interpretations. These are legitimate as long as they do not pretend to be the only true ones. Three contexts help to understand Song of Songs: ancient cultural context, a narrower Old Testament context and the context of the lyrical tradition from antiquity to the present day.

Hesiod and Comedy

2018 ◽  
Author(s):  
Jeffrey Henderson
Keyword(s):  
Fourth Century ◽  
Cultural Authority ◽  
Sixth Century ◽  
Cultural Currency ◽  
Fourth Century Bce

Comic dramas, attested as early as the later sixth century bce in Sicily and from ca. 486 bce in Attica, reflect familiarity with Hesiodic poetry from the time our actual documentation begins in the 470s for Sicily and 430s for Attica and into the mid-fourth century bce. Comic poets engaged with Hesiodic poetry at the level of specific allusion or echo and (more frequently) with Hesiodic stories, thought, themes, ideas, and style, now common cultural currency. They also engaged with the poet and his poetic persona, whether bracketed with Homer as a great cultural authority, distinguished as the anti-Homer in subjects or style, or showcased as an emblematic persona of poet and (didactic) sage. Aristophanes, for one, adopted elements of the Hesiodic persona in fashioning his own.

Milesian Measures: Time, Space, and Matter

2009 ◽  
Author(s):  
Stephen A. White
Keyword(s):  
Fourth Century ◽  
Natural World ◽  
The Other ◽  
Sixth Century ◽  
Greek Philosophy ◽  
Time Space ◽  
Complementary Problems

Any attempt to trace the origin of Greek philosophy faces two complementary problems. One is the fact that evidence for the early philosophers is woefully meager. The other problem raises a question of what is to be counted as philosophy. Yet neither problem is insuperable. This article proposes to reorient the search for origins in two ways, corresponding to these two problems. First, rather than trying to reconstruct vanished work directly, this article focuses on a crucial stage in its ancient reception, in particular, the efforts by Aristotle and his colleagues in the latter half of the fourth century to collect, analyze, and assess the evidence then available for earlier attempts to understand the natural world. The other shift in focus this article makes is from philosophy to science; or rather, it focuses on evidence for the interplay between observation, measurement, and explanation in the work of three sixth-century Milesians.

Dichin (Bulgaria): Interpreting the Ceramic Evidence in its Wider Context

2007 ◽  
Author(s):  
VIVIEN G. SWAN
Keyword(s):  
Black Sea ◽  
Eastern Mediterranean ◽  
Fifth Century ◽  
Sixth Century ◽  
Cultural Changes ◽  
North Central ◽  
Trading Patterns ◽  
Roman Military ◽  
Eating Practices ◽  
The Impact

In the Dichin (north central Bulgaria) store-buildings destroyed in about the 480s, the large quantities of imported Eastern Mediterranean and Black Sea amphorae typify late Roman military supply (annona) to the forts of the lower Danube limes. A dearth of amphorae at Dichin for most of the sixth century is linked ultimately to alterations in trading patterns in the Mediterranean as a whole. A slight increase in amphorae shortly before the final destruction of c.580 reflects a significant recasting of supply sources. The few imported red-slipped wares are mostly late fifth century and of Pontic origin. During the sixth century, modifications in the local coarse pottery reflect cultural changes in the region — the decline of Romanized eating practices and the impact of the barbarian social traditions. The wider significance of ‘foederati ware’ for the Germanic settlement of the region and its influence on the technology of indigenous ceramics production are also explored.

Τὸ καλόν as a Criterion for Judging Innovation (τὸ καινόν) in Greek Musical Pedagogy

2019 ◽  
Vol 7 (1) ◽  
pp. 21-32
Author(s):  
Antonietta Gostoli
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
Epic Poetry ◽  
History Of ◽  
The Aesthetic ◽  
And Training

Abstract The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from pre-Homeric epic poetry to the lyric poetry of the fourth century BC. Importantly, the work also contains an evaluation of the role of music in the process of educating and training citizens. Pseudo-Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

The Archaeology of Early Italian Churches in Context, 313–569 CE

2019 ◽  
pp. 556-580
Author(s):  
Alexandra Chavarría Arnau
Keyword(s):  
Fourth Century ◽  
Sixth Century ◽  
Early Christian ◽  
Christian Churches ◽  
Scientific Meetings ◽  
Archaeological Excavations

The archaeology of early Christian churches has made important advancements in recent decades in Italy thanks to a large number of new excavations and scientific meetings, as well as the development of the project CARE (Corpus Architecturae Religiosae Europeae (IV–X saec.)), in which most Italian specialists are involved. This chapter suggests new lines of research, thus contributing to a revised historiography of the archaeology of early Christian churches in Italy between the fourth century and the end of the sixth century. It surveys some of the ecclesiastical complexes that have been reanalyzed in recent decades or recently discovered through archaeological excavations.

Aristotle and the Dramatisation of Legend

1954 ◽  
Vol 4 (3-4) ◽  
pp. 151-157
Author(s):  
H. C. Baldry
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
Fifth Century ◽  
Wide Field ◽  
Works Of Art ◽  
History Of ◽  
The Subject ◽  
Scanty Information ◽  
The One ◽  
Traditional Stories

This article is a survey of familiar ground—those passages of the Poetics of Aristotle which throw light on the treatment of legend by the tragic poets. Although sweeping generalizations are often made on the use of the traditional stories in drama, our evidence on the subject is slight and inconclusive. We have little knowledge of the form in which most of the legends were known to the Attic playwrights, for the few we find in the Iliad and Odyssey appear there in very different versions from those they take on in the plays, and the fragmentary remains of epic and lyric poetry between Homer and the fifth century B.C. present us with a wide field for speculation, but few certain facts; while vase paintings and other works of art supplement only here and there the scanty information gained from literature.The comments of ancient writers on this aspect of tragedy are surprisingly few, and carry us little farther. The Poetics stands out as the one source from which we can draw any substantial account of the matter. Even Aristotle, of course, is not directly concerned with the history of drama, and deals with it only incidentally in isolated passages; and in considering these it must constantly be borne in mind that he is discussing tragedy as he knew it in the late fourth century, for the benefit of fourth-century readers. But even so, his statements are the main foundation on which our view of the dramatists' use of legend must be built.

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