The Cambridge Companion to Greek Lyric (Cambridge Companions to Literature)

"Greek lyric poetry encompassed a wide range of types of poem, from elegy to iambos and dithyramb to epinician. It particularly flourished in the Archaic and Classical periods, and some of its practitioners, such as Sappho and Pindar, had significant cultural influence in subsequent centuries down to the present day. This Companion provides an accessible introduction to this fascinating and diverse body of poetry and its later reception. It takes account of the exciting new papyrus finds and new critical approaches which have greatly advanced our understanding of both the corpus itself and of the sociocultural contexts in which lyric pieces were produced, performed and transmitted. Each chapter is provided with a guide to further reading, and the volume includes a chronology, glossary and guide to editions and translations."--Publisher description The Cambridge Companion To Greek Lyric (2009) ......Page 1 ISBN: 9780521614764 (paperback)......Page 5 CONTENTS......Page 6 ILLUSTRATIONS AND MAPS......Page 9 NOTES ON CONTRIBUTORS......Page 12 PREFACE......Page 16 Abbreviations......Page 18 Transliteration......Page 22 Introducing Greek lyric......Page 24 The meanings and history of ‘lyric’......Page 25 A varied and ill-defined corpus......Page 28 An incomplete record......Page 30 Genres and categories......Page 33 Reconstruction 1: texts......Page 36 Reconstruction 2: contexts......Page 37 Greek vs. Latin and modern lyric......Page 38 The lyric ‘I’......Page 39 FURTHER READING: GENERAL DISCUSSIONS OF GREEK LYRIC......Page 40 The nature of genre......Page 42 Verse form, genre and performance......Page 44 Songs for gods......Page 45 Songs for humans......Page 51 Genre and symposion......Page 53 FURTHER READING......Page 59 Introduction: the mercenary motive, or, going for a song......Page 60 Fame......Page 65 Pride in place: colonisation poetry and epinikia......Page 66 Elites or not?......Page 71 The political motive: Solon and others......Page 72 Epilogue: panhellenism......Page 76 FURTHER READING......Page 77 Introduction......Page 79 Choral lyric......Page 81 Monodic lyric, elegy, and iambos (poetry for single performers)......Page 87 FURTHER READING......Page 92 Introduction: Human wisdom and poetic expertise......Page 93 Relating to the gods......Page 96 Fate, fortune and morality......Page 100 Building community......Page 104 The symposion – microcosm of the human condition......Page 109 Immortalisation, transformation and ‘play’......Page 111 FURTHER READING......Page 115 5 - BARBARA GRAZIOSI AND JOHANNES HAUBOLD - Greek lyric and early Greek literary history......Page 116 The epic Muses......Page 118 Cohesion and divergence......Page 121 Lyric and epic......Page 124 Lyric and the emergence of new literary genres......Page 129 FURTHER READING......Page 133 Introduction......Page 135 Some pragmatic features: from text to context (and vice versa)......Page 136 Language......Page 141 Language......Page 149 The basics......Page 151 Looking behind the system: Indo-European metre and the rise of the Greek tradition......Page 154 Aeolic verses and strophes......Page 155 Iambic and trochaic metres: Archilochus and Hipponax......Page 157 Archilochus and the epodes: dactyls, iambs, the hexameter and the elegiac distich......Page 158 Dactylo-epitrites in Stesichorus and the metrical inventiveness of Pindar and Bacchylides......Page 161 Greek music in its cultural setting......Page 163 Modes and genera......Page 164 Instruments......Page 165 Metre......Page 166 Music......Page 167 8 - CHRIS CAREY - Iambos......Page 168 Archilochus......Page 171 Semonides......Page 179 Hipponax......Page 181 FURTHER READING......Page 186 Elegos and elegy......Page 187 Elegy as a medium of communication......Page 188 Ionian elegy......Page 190 Tyrtaeus and elegy at Sparta......Page 192 The Megarian symposion (Theognidea)......Page 193 Attic elegy......Page 194 Public elegy......Page 197 Elegy and epigram......Page 198 The functions of elegy......Page 201 Elegiac (and epic) diction......Page 204 Nothing to do with Lesbos? A conclusion about elegiac definition......Page 206 FURTHER READING......Page 207 Introduction......Page 208 Alcman......Page 209 Stesichorus......Page 213 Ibycus......Page 217 Conclusion......Page 221 FURTHER READING......Page 222 11 - DIMITRIOS YATROMANOLAKIS - Alcaeus and Sappho......Page 223 Politics, tradition as ideology, liminality......Page 225 Sappho......Page 233 Paradigms, contexts, songs......Page 235 FURTHER READING......Page 245 Contexts......Page 246 An example......Page 248 Anacreon beyond drink and desire......Page 250 Reperformance......Page 253 Early iconography......Page 254 The Anacreontea......Page 255 FURTHER READING......Page 258 13 - HAYDEN PELLICCIA - Simonides, Pindar and Bacchylides......Page 259 How they came to write their poems......Page 260 The survival of the epinikia......Page 266 Simonides......Page 269 Pindar......Page 271 Bacchylides......Page 275 FURTHER READING......Page 280 14 - DIMITRIOS YATROMANOLAKIS - Ancient Greek popular song......Page 282 FURTHER READING......Page 295 15 - ERIC CSAPO AND PETER WILSON - Timotheus the New Musician......Page 296 Modern......Page 297 Popularity in antiquity......Page 298 Music critics......Page 299 Timotheus and tradition......Page 300 Timotheus vs. Sparta......Page 303 The New Musical style......Page 306 Democracy and class struggle......Page 309 Theatre......Page 311 FURTHER READING......Page 312 From performance to edition......Page 314 On the shelves of the Alexandrian Library......Page 315 Classified: Callimachus’ Pinakes and the mystery of the genres......Page 316 The (lost?) Sound of Music: Aristophanes and the colometry of lyric texts......Page 317 Canons of excellence: Aristarchus......Page 319 Kreuzung der Gattungen and polyeideia......Page 320 Epainos and psogos: Callimachus’ new elegy and iambos......Page 324 L’arme e gli amori: Hellenistic elegy on love and war......Page 326 Kammertheater: contexts of performance for learned poetry......Page 327 Teaching the lyric of the past......Page 328 The professionals......Page 331 Musical gifts to heavenly and earthly gods......Page 332 From performance to edition......Page 333 At play with tradition......Page 334 The sanctuary and the stage......Page 335 Predecessors in Rome......Page 336 The big Nine......Page 340 Coherence of the lyric voice......Page 341 Secondary lyric......Page 343 Patronage......Page 344 Coherence and restrictions......Page 345 The Carmen Saeculare......Page 348 Textual performance......Page 349 FURTHER READING......Page 351 18 - PANTELIS MICHELAKIS - Greek lyric from the Renaissance to the eighteenth century......Page 353 Pindar......Page 354 Anacreon......Page 359 Sappho......Page 363 FURTHER READING......Page 367 19 - MARGARET WILLIAMSON - Sappho and Pindar in the nineteenth and twentieth centuries......Page 369 Romantics and Victorians......Page 370 Pindar and the Romantic ode......Page 371 Nineteenth-century Sappho......Page 372 Images of Sappho......Page 373 ‘The lyric cry’: poetry as autobiography......Page 375 Tennyson......Page 377 Sappho and nineteenth-century women writers......Page 378 Swinburne......Page 379 Michael Field......Page 380 Aesthetics of the fragment......Page 381 Oxyrhynchus......Page 382 Pound’s Sappho: ‘a poiesis of loss’......Page 383 H.D.......Page 384 Pindar in the twentieth century......Page 385 Twentieth-century Sappho, continued......Page 386 FURTHER READING......Page 387 20 - MICHAEL SILK - Lyric and lyrics: perspectives, ancient and modern......Page 388 CHRONOLOGY OF SELECT MELIC, ELEGIAC AND IAMBIC POETS......Page 401 Critical editions......Page 403 Alcaeus......Page 404 Hipponax......Page 405 Epinikia: General......Page 406 Other Genres......Page 407 Semonides......Page 408 Tyrtaeus......Page 409 General bibliographies......Page 410 GLOSSARY......Page 411 LIST OF WORKS CITED......Page 415 Greek lyric poetry encompassed many types of poem, from elegy to iambos and dithyramb to epinician. It flourished in archaic and classical periods, and some of its practitioners had cultural influence in subsequent centuries down to the present day. This companion provides an introduction to this body of poetry and its later reception