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By Richard Hunter

This ebook specializes in the hymns, mimes and erotic poems of the Greek poet Theocritus, and examines how Theocritus makes use of the traditions of past Greek poetry to recreate prior varieties in a manner that exploits the recent stipulations below which poetry used to be written within the 3rd century BC. contemporary papyri have tremendously elevated our realizing of the way Theocritus learn archaic poetry, and those new discoveries are absolutely drawn on in a collection of readings that may switch the way in which we glance at Hellenistic poetry.

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Cf. i 557-61; HE 11 pp. 114-18. Cf. Call. fr. 398 with Pfeiffer's commentary; P. Knox, HSCP89 (1985) 112-16; N. 149-60. Whereas Callimachus seems to parody Asclepiades in fr. 398, Call. h. 2 seems to be parodied in an epigram ascribed to either Asclepiades or Poseidippos (Anth. Pal. 202 = Asclepiades xxxv G-P); it might be tempting to reverse this chronology after the pattern of the inuitus regina \ inuita 0 regina paradigm, but for the case which is well stated by A. Cameron, GRBS 31 (1990) 298-9: 'In Callimachus the ocpTi serves a precise and important function .

Both phenomena, however, illustrate the crucial fact that what is at stake here is not merely a matter of linguistic or dialectal colour, but rather the 'meaning' conveyed by a particular style: it is stylistic features which site a poem within particular traditions. A familiar feature of high Greek poetry is the apparent 'omission' of the definite article from positions where it would certainly be expected in prose; the greater the freedom with which the definite article is omitted, the more 'marked' the style.

40-2. The poetic context 19 and the Roman poets treat him and Callimachus as the Greek elegists par excellence^ it is, however, an easy guess that the Paignia included some metrical 'games'. e. 74 Asclepiades' preserved poetic output consists almost entirely of witty and elegant epigrams, largely on erotic themes, which were clearly an important formative influence on the direction subsequently taken by the epigrammatic tradition. They are largely written in the traditional language of Ionian elegy (Samos was an Ionian island), but the epigram on Erinna (cf.

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