By Felix Budelmann
Greek lyric poetry encompassed quite a lot of different types of poem, from elegy to iambos and dithyramb to epinician. It really flourished within the Archaic and Classical sessions, and a few of its practitioners, comparable to Sappho and Pindar, had major cultural impact in next centuries right down to the current day. This better half offers an obtainable creation to this attention-grabbing and various physique of poetry and its later reception. It takes account of the intriguing new papyrus reveals and new severe ways that have significantly complicated our knowing of either the corpus itself and of the sociocultural contexts within which lyric items have been produced, played and transmitted. every one bankruptcy is supplied with a consultant to additional interpreting, and the amount features a chronology, word list and advisor to variations and translations.
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Additional info for The Cambridge Companion to Greek Lyric (Cambridge Companions to Literature)
What is left is often not representative. Pindar appears today as a composer of epinikian poetry, even though epinikia filled only four books of the seventeen-book Hellenistic edition. Mimnermus has become a poet of mostly small convivial pieces, even though he also composed a long elegy that was probably more similar to Simonides’ Plataea piece. , 144), we have only the vaguest understanding. Especially 13 On this controversial topic see Herington 1985, 45–7 and 201–6; Pöhlmann 1990, 18–23; Ford 2003.
Material culture helps fill in many gaps but poses its own interpretative problems. As a result much detail of archaic history is debatable and the work on the social and political contexts especially of the earlier pieces has to allow for vagueness and uncertainty. The historical context which can help understand a lyric text is often as problematic as the text itself, creating the risk of circular argument. This potential circularity has a positive counterpart in the scope it creates for constructive interaction between text and context.
For this reason it has been prominent in many modern taxonomies of Greek lyric, which differentiate between choral song and monody (= solo song). 14 The lack of interest in antiquity may partly reflect an emphasis on text rather than performance by bookish Hellenistic scholars, but it also shows up the fluidity in what might initially seem a straightforward dichotomy. First, for many songs the information necessary to determine whether they were performed by a chorus or an individual is lost, and was probably lost early on.
The Cambridge Companion to Greek Lyric (Cambridge Companions to Literature) by Felix Budelmann