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By Marco Fantuzzi

Hellenistic poets of the 3rd and moment centuries BC sought to mark their continuity with the classical prior in addition to display their independence from it. This significant examine explores Greek poetry of the interval and its reception and impact in Rome. the amount covers the most frequent poetry of the age, similar to Callimachus' Aitia, along exact attention of newly released texts just like the epigrams of Posidippus.

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Stuttgart 1960) 401. , Kleine Schriften zur klassischen Altertumskunde (K¨onigstein/Ts. g. p. 250. 71 Cf. esp. Schwinge (1986) 44–7. Cf. Kroll (1924) 202–3. On the complex meaning of mousikž in Plato cf. g. Harvey (1955) 165 and Else (1967) 37. 2 Impossible models and lost performance contexts 19 (kerannÅntev d• qržnouv te Ìmnoiv kaª pa©wnav diqur†mboiv, kaª aÉlw…d©av dŸ ta±v kiqarw…d©aiv mimoÅmenoi, kaª p†nta e«v p†nta sun†gontev). Unintentionally, in their idiotic way, they misrepresented their art, claiming that in music there are no standards of right and wrong at all, but that the most ‘correct’ criterion is the pleasure of a man who enjoyed the performance, whether he is a good man or not.

West (1982) 85–6 and 159–60; Del Ponte (1981) 101–4. ‘Groups of words’, composed of a word plus one or more particles, or enclitics or proclitics, or semantically linked words. The following pages presuppose Fantuzzi (1995a). Cf. M. Cantilena, ‘Approccio metrico alle teorie della composizione orale’, in R. M. Danese, F. Gori, and C. ) Metrica classica e linguistica (Atti del Colloquio: Urbino 3–6 Ottobre 1988) (Urbino 1990) 66–72. e. there is no ‘central’ caesura, which otherwise guarantees the basic division of the hexameter into two parts).

Cf. W. R¨osler, Dichter und Gruppe (Munich 1980) and id. ‘Uber Deixis und einige Aspekte m¨undlichen und schriftlichen Stils in antiker Lyrik’ WJA 9 (1983) 7–28; for a different view of the nature of deixis in archaic lyric poetry cf. J. Latacz, ‘Realit¨at und Imagination: eine neue LyrikTheorie und Sapphos ja©neta© moi k¦nov-Lied’ MH 42 (1985) 67–94. Whatever the genesis of these references, they would undoubtedly have been perceived by a Hellenistic poet as essential and typical components of archaic lyric and elegiac poetry.

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