Ralph Rosen
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195309966
- eISBN:
- 9780199789443
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195309966.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book explores the dynamics of comic mockery and satire in Greek and Latin poetry, and argues that poets working in such genres composed their “attacks” on targets, and constructed their ...
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This book explores the dynamics of comic mockery and satire in Greek and Latin poetry, and argues that poets working in such genres composed their “attacks” on targets, and constructed their relationships with audiences, in accordance with a set of common poetic principles, protocols, and tropes. It encourages a synoptic, synchronic view of such poetry, from archaic iambus through Roman satire, and argues that only when we appreciate how an abstracted “poetics of mockery” governs individual poets can we fully understand how such poetry functioned diachronically in its own historical moment. The book examines in particular the strategies deployed by satirical poets to enlist the sympathies of a putative audience and convince them of the legitimacy of their personal attacks. It discusses the tension deliberately created by such poets between self-righteous didactic claims and a persistent desire to undermine them, and concludes that such poetry was felt by ancient audiences to achieve its greatest success as comedy precisely when they were left unable to ascribe to the satirist any consistent moral position. Several early chapters look to Greek myth for paradigms of comic mockery, and argue that these myths can illuminate the ways in which ancient audiences conceptualized specifically poeticized forms of satire. Poets addressed in this part of the book include Archilochus, Hipponax, Horace, Homer, Aristophanes, and Theocritus. Two chapters follow which address the satirical poetics of Callimachus and Juvenal, and a final chapter on the question of how ancient audiences responded the inherently controversial elements of such poetry.Less
This book explores the dynamics of comic mockery and satire in Greek and Latin poetry, and argues that poets working in such genres composed their “attacks” on targets, and constructed their relationships with audiences, in accordance with a set of common poetic principles, protocols, and tropes. It encourages a synoptic, synchronic view of such poetry, from archaic iambus through Roman satire, and argues that only when we appreciate how an abstracted “poetics of mockery” governs individual poets can we fully understand how such poetry functioned diachronically in its own historical moment. The book examines in particular the strategies deployed by satirical poets to enlist the sympathies of a putative audience and convince them of the legitimacy of their personal attacks. It discusses the tension deliberately created by such poets between self-righteous didactic claims and a persistent desire to undermine them, and concludes that such poetry was felt by ancient audiences to achieve its greatest success as comedy precisely when they were left unable to ascribe to the satirist any consistent moral position. Several early chapters look to Greek myth for paradigms of comic mockery, and argue that these myths can illuminate the ways in which ancient audiences conceptualized specifically poeticized forms of satire. Poets addressed in this part of the book include Archilochus, Hipponax, Horace, Homer, Aristophanes, and Theocritus. Two chapters follow which address the satirical poetics of Callimachus and Juvenal, and a final chapter on the question of how ancient audiences responded the inherently controversial elements of such poetry.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This study of the genre of Greek iambic poetry, from the perspective provided by ancient testimonies, places research on iambos in the framework of a new methodological approach to ancient genres ...
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This study of the genre of Greek iambic poetry, from the perspective provided by ancient testimonies, places research on iambos in the framework of a new methodological approach to ancient genres based on the cognitive sciences, offering an unprecedented study of ancient theories of genres and the way they affected ancient scholarship. It examines the possibility of musical performance of iambic poetry as well as the various occasions of public performance, particularly at musical contests and rhapsodic recitals. The author argues that, from the Archaic to the Classical period, there was a shift from the notion of literary class depending primarily on rhythm and on its archetypical representative, Archilochus, towards iambos as a genre defined mainly by invective as its dominant feature.Less
This study of the genre of Greek iambic poetry, from the perspective provided by ancient testimonies, places research on iambos in the framework of a new methodological approach to ancient genres based on the cognitive sciences, offering an unprecedented study of ancient theories of genres and the way they affected ancient scholarship. It examines the possibility of musical performance of iambic poetry as well as the various occasions of public performance, particularly at musical contests and rhapsodic recitals. The author argues that, from the Archaic to the Classical period, there was a shift from the notion of literary class depending primarily on rhythm and on its archetypical representative, Archilochus, towards iambos as a genre defined mainly by invective as its dominant feature.
S.J. Harrison
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203581
- eISBN:
- 9780191708176
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203581.003.0004
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Horace's Epodes both incorporate and react against their archaic model Archilochus, and also interact significantly with other contemporary genres (Vergil's Eclogues and love-elegy). The second half ...
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Horace's Epodes both incorporate and react against their archaic model Archilochus, and also interact significantly with other contemporary genres (Vergil's Eclogues and love-elegy). The second half of the book shows especially generic uncertainty; an interesting and rich generic mixture results.Less
Horace's Epodes both incorporate and react against their archaic model Archilochus, and also interact significantly with other contemporary genres (Vergil's Eclogues and love-elegy). The second half of the book shows especially generic uncertainty; an interesting and rich generic mixture results.
Paul Crowther
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780199240050
- eISBN:
- 9780191716850
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199240050.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Aristotle’s emphasis on ‘vividness’ in his account of metaphor is missed by many later theories. Metaphor operates by the imaginative realization and traversal of connections which exist in the ...
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Aristotle’s emphasis on ‘vividness’ in his account of metaphor is missed by many later theories. Metaphor operates by the imaginative realization and traversal of connections which exist in the ‘latent field’ of possible associations for the tenor of the metaphor. As such, it exploits and draws attention to structural features involved in all acts of cognition. The poetry of Archilochus is explored as a case study of the way in which literature is created in metaphor.Less
Aristotle’s emphasis on ‘vividness’ in his account of metaphor is missed by many later theories. Metaphor operates by the imaginative realization and traversal of connections which exist in the ‘latent field’ of possible associations for the tenor of the metaphor. As such, it exploits and draws attention to structural features involved in all acts of cognition. The poetry of Archilochus is explored as a case study of the way in which literature is created in metaphor.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.003.0005
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter presents an interpretation of Archil. 215W. It attempts to define a general type of occasion and a general function for the iamboi in Archil. 215W. The occasion: that of ritualized ...
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This chapter presents an interpretation of Archil. 215W. It attempts to define a general type of occasion and a general function for the iamboi in Archil. 215W. The occasion: that of ritualized commensality or conviviality, either restricted to some (i.e. symposia) or more public (at religious festivals or public meals). The function: mainly entertainment. Such an occasion and such a function are not distinctive enough for us to argue that they shaped the genre of iamboi or that they gave them their name. The more inclusive an occasion of performance, the less prone it is to give names to specific songs. It seems, therefore, that the question about the meaning of iambos for 7th-century BCE audiences cannot be answered exclusively by reference to function or occasion of performance. Additional features must have been at work, of which, rhythm may well have been a prominent one.Less
This chapter presents an interpretation of Archil. 215W. It attempts to define a general type of occasion and a general function for the iamboi in Archil. 215W. The occasion: that of ritualized commensality or conviviality, either restricted to some (i.e. symposia) or more public (at religious festivals or public meals). The function: mainly entertainment. Such an occasion and such a function are not distinctive enough for us to argue that they shaped the genre of iamboi or that they gave them their name. The more inclusive an occasion of performance, the less prone it is to give names to specific songs. It seems, therefore, that the question about the meaning of iambos for 7th-century BCE audiences cannot be answered exclusively by reference to function or occasion of performance. Additional features must have been at work, of which, rhythm may well have been a prominent one.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.003.0008
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter examines ancient evidence for a connection of iambos and music. It suggests that a similar term (iambos) was used for rhythm, melody and poetry, and -iamb- appears in names of musical ...
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This chapter examines ancient evidence for a connection of iambos and music. It suggests that a similar term (iambos) was used for rhythm, melody and poetry, and -iamb- appears in names of musical instruments and melodies. Although the conceptual link is not enough to prove that iambos was in practice a melic genre, it certainly presents the possibility that given the connection of iambos with several aspects of music such as rhythm, musical nomoi, and musical instruments, some iamboi at least, were occasionally sung or performed with musical accompaniment.Less
This chapter examines ancient evidence for a connection of iambos and music. It suggests that a similar term (iambos) was used for rhythm, melody and poetry, and -iamb- appears in names of musical instruments and melodies. Although the conceptual link is not enough to prove that iambos was in practice a melic genre, it certainly presents the possibility that given the connection of iambos with several aspects of music such as rhythm, musical nomoi, and musical instruments, some iamboi at least, were occasionally sung or performed with musical accompaniment.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.003.0009
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter suggests that iamboi were a ‘performance framed by ritual’; that is to say, not directly playing a role in ritual, but not purely theatrical either. Accordingly, iamboi had a loose ...
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This chapter suggests that iamboi were a ‘performance framed by ritual’; that is to say, not directly playing a role in ritual, but not purely theatrical either. Accordingly, iamboi had a loose connection to their various performance contexts, with entertainment playing an important role. They could be performed and re-performed at festivals and competitions, as well as on private or semi-private occasions (such as symposia). This proposition is examined with particular attention to evidence for the performance of iamboi on occasions other than symposia, namely religious festivals and mousikoi agones.Less
This chapter suggests that iamboi were a ‘performance framed by ritual’; that is to say, not directly playing a role in ritual, but not purely theatrical either. Accordingly, iamboi had a loose connection to their various performance contexts, with entertainment playing an important role. They could be performed and re-performed at festivals and competitions, as well as on private or semi-private occasions (such as symposia). This proposition is examined with particular attention to evidence for the performance of iamboi on occasions other than symposia, namely religious festivals and mousikoi agones.
Emmanuela Bakola
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199569359
- eISBN:
- 9780191722332
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199569359.003.0002
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Chapter 1 sheds light on Cratinus' poetic persona and its central role in his intertextual dialogue with his rivals, especially Aristophanes. Cratinus constructed his persona by taking his stand on ...
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Chapter 1 sheds light on Cratinus' poetic persona and its central role in his intertextual dialogue with his rivals, especially Aristophanes. Cratinus constructed his persona by taking his stand on his ‘Dionysiac poetics’, namely laying exclusive claim to genuine, natural, and flowing inspiration and creativity which had a special connection with Dionysus. In so doing he used techniques and strategies from earlier iambos and lyric poetry, and alluded to literary‐critical debates reflected by these genres. In positioning himself in relation to earlier models, Cratinus constructed himself as the ‘Archilochus’, but also as the ‘Aeschylus’ of comedy (fr. 342). The chapter goes on to show that poetic voice was much more extensively diffused in old comedy than a straightforward reading of extant Aristophanes might alone suggest. By discussing plays such as Boukoloi, Plutoi, Pytine, and Archilochoi, as well as Aristophanes' Frogs, it shows that Cratinus experimented with poetic voice, making it the heart of opening scenes and even of entire plays.Less
Chapter 1 sheds light on Cratinus' poetic persona and its central role in his intertextual dialogue with his rivals, especially Aristophanes. Cratinus constructed his persona by taking his stand on his ‘Dionysiac poetics’, namely laying exclusive claim to genuine, natural, and flowing inspiration and creativity which had a special connection with Dionysus. In so doing he used techniques and strategies from earlier iambos and lyric poetry, and alluded to literary‐critical debates reflected by these genres. In positioning himself in relation to earlier models, Cratinus constructed himself as the ‘Archilochus’, but also as the ‘Aeschylus’ of comedy (fr. 342). The chapter goes on to show that poetic voice was much more extensively diffused in old comedy than a straightforward reading of extant Aristophanes might alone suggest. By discussing plays such as Boukoloi, Plutoi, Pytine, and Archilochoi, as well as Aristophanes' Frogs, it shows that Cratinus experimented with poetic voice, making it the heart of opening scenes and even of entire plays.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.003.0010
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter contends that, previous to the categorization of iambos as invective, it was Archilochus who was first of all conceptualized as a representative par excellence of blame poetry. It ...
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This chapter contends that, previous to the categorization of iambos as invective, it was Archilochus who was first of all conceptualized as a representative par excellence of blame poetry. It examines the types of content associated with Archilochus before the Hellenistic period. Such early testimonies provide information on the reception of Archilochus at a stage when invective emerged as the dominant feature of his work. They also suggest awareness regarding other aspects of his poetry. Thus, although Archilochus begins to function in the 5th century BCE as prototype of invective poetry, he is not simply reduced to that. Archilochus' reputation was a matter of ideological contestation, and whoever praises or blames him usually has ulterior motives.Less
This chapter contends that, previous to the categorization of iambos as invective, it was Archilochus who was first of all conceptualized as a representative par excellence of blame poetry. It examines the types of content associated with Archilochus before the Hellenistic period. Such early testimonies provide information on the reception of Archilochus at a stage when invective emerged as the dominant feature of his work. They also suggest awareness regarding other aspects of his poetry. Thus, although Archilochus begins to function in the 5th century BCE as prototype of invective poetry, he is not simply reduced to that. Archilochus' reputation was a matter of ideological contestation, and whoever praises or blames him usually has ulterior motives.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.003.0011
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
The perception of Archilochus played a major role in the process of selection and reduction of the elements relevant for the categorization of iambos. Before the notion of iambos was restricted to ...
More
The perception of Archilochus played a major role in the process of selection and reduction of the elements relevant for the categorization of iambos. Before the notion of iambos was restricted to the dominant feature of abuse, it was the prototype of the genre, Archilochus, who was taken to be predominantly abusive, at the expense of the thematic and functional variety of his poetry. This chapter examines the stage at which the perception of iambos as mainly abusive crystallized.Less
The perception of Archilochus played a major role in the process of selection and reduction of the elements relevant for the categorization of iambos. Before the notion of iambos was restricted to the dominant feature of abuse, it was the prototype of the genre, Archilochus, who was taken to be predominantly abusive, at the expense of the thematic and functional variety of his poetry. This chapter examines the stage at which the perception of iambos as mainly abusive crystallized.
