By Richard Hunter
This paintings gathers jointly the significant essays of Richard Hunter, whose paintings has been primary within the smooth second look of Greek literature after Alexander and its reception at Rome and in other places. on the middle of Hunter's paintings lies the excessive poetry of Ptolemaic Alexandria and the narrative literature of later antiquity ('the old novel'), yet comedy, mime, didactic poetry and historical literary feedback all fall in the scope of those experiences. imperative recurrent topics are the makes use of and game of the prior, the modes of poetic allusion, the ethical function of literature, and the highbrow context for historical poetry.
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Extra info for On Coming After: Studies in Post-Classical Greek Literature and its Reception (Part 1: Hellenistic Poetry and its Reception)
Two further matters deserve notice. Callimachus leaves us in no doubt about the nature of Apollo’s opponent, dail|mior h^q, j aQm¹r evir. In Apollonius Dekv}mgr is merely given the general epithet pek~qior48 and there is no explicit indication of what sort of creature it was. We may contrast 4, 1396 – 1398 where K\dym, the serpent of the Hesperides, is described explicitly as wh|mior evir, and Apollonius’ obvious interest in dragons is fully displayed at 4, 127 – 161. His silence at 2, 706 may therefore be added to the cumulative argument that he is writing in this passage with his eye on an already existing poetic version.
Of some interest perhaps are the similarity of v. bom, to v. jo}s,, and the fact that whereas Apollonius has indicated an etymology for Delphi (cf. above p. 36), Callimachus refers to both names for the holy shrine, Delphi (98) and Pytho (100); no strong argument for priority can, however, be derived from either of these observations. Suggestive also is the word 1v}lmiom which both poets use. This word is first found here and at Call. fr. om 1v}lmiom43 ; 1v}lmiom has been thought to be an invention of Callimachus, but no good argument for this has been produced44.
Of criticism in English most can be learned from E. Phinney, ‘Narrative Unity in the Argonautica, the Medea-Jason Romance’, TAPA 98 (1967), 327 – 41 and Campbell 37 – 77. Cf. Fusillo’s strictures (p. 287 n. 54)’ II problema della “doppia Medea” e forse il piu ozioso e il piu falsato nell’ impostazione di quelli su cui si e soffermata la bibliografia apolloniana’. 2. 3 Behind criticism of this kind lies both an understandable desire to relate the characters of ancient literature, if not to our own experience, at least to what instinct tells us is possible, and the whole tradition of criticism which descends from the Poetics of Aristotle.
On Coming After: Studies in Post-Classical Greek Literature and its Reception (Part 1: Hellenistic Poetry and its Reception) by Richard Hunter