By Andrew D. Morrison
This 2007 textual content re-examines the connection of Hellenistic poetry to Archaic poetry. It demonstrates how Callimachus, Theocritus and Apollonius increase their fundamental narrators or major narrative voices - a vital function in their poetic demeanour - by means of exploiting and adapting types from a variety of Archaic poets and genres, together with Homer, Hesiod, the Homeric Hymns, Pindar, Sappho, Archaic iambos, and early elegy. It is going past past paintings by way of bringing jointly a detailed research of the Hellenistic re-making of the poetic types of the previous with the 1st accomplished exam of the first narrators of the most important poems and fragments of Archaic and Hellenistic poetry. construction on narratological methods to literary texts, it explores the ways that Archaic poets create their narrators and advance personas throughout their diversified works. It additionally exhibits that poets corresponding to Pindar and Hesiod supplied a useful narrative 'pattern-book' for Hellenistic poets to evolve and test with.
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Additional info for The Narrator in Archaic Greek and Hellenistic Poetry
Fr. 2 Janko, the rejection of diction varying with genre. ¼ fr. 3 Janko, the rejection of content varying with genre. ¼ fr. 5 Janko, poets’ styles as not differentiated. 26 The Narrator in Archaic Greek and Hellenistic Poetry Indeed poetry is not divisible according to verse-forms, according to Heracleodorus: o1 kg| pogsijg4 | [a0 le]qot4 | t/ p[aq]vot! rg[|, ja]sa! se le! [sq]a, ‘the entire art of poetry is indivisible, both according to verseforms . 151 The collapsing of generic distinctions by Heracleodorus, and the embracing of obscurity, have recently been connected with the practice of Hellenistic poets:152 [Heracleodorus’] advocacy of the mixture of dialects, styles, and genres, and of fine-sounding but not necessarily intelligible rt!
Lasa diaue! [ek]ija! ’,148 jai’ so’ ‘lgdeli! am [d]ia! kejsom j[x]kt! eim so’ m a0 caho’ m po[g]sg’ m diauai! meim ja[sa]rjetg’ m [g2 ]m a5 m e1 kgs[ai] poei4 m’, jai’ so’ ‘lgd[e’ ] vaqajsg4 qa| i0 dixh[g4 ]mai sx4 m pogsx4 m’149 [‘(sc. nor is there) one diction which is epic, another tragic], another which is iambic, or comic, or whatever, in short, some people say’, and that ‘comic, tragic and lyric contents do not differ (from each other)’, and that ‘no (kind of) speech prevents the good poet from making obvious the form which he chooses to create’, and that ‘poet’s styles are not individuated’.
159 above). How can the way a story is presented (the discourse) be separated from the medium in which it is presented? This has precipitated a ‘crisis’ in narratology. See Lowe 2001 for a cognitivist, neo-Aristotelian response to this crisis. g. Chatman 1978: 28. Cf. Chatman 1978: 22–7. What is Tristram Shandy in The Life and Opinions of Tristram Shandy ‘communicating’ (not much of the life, at any rate)? Does a joke ‘communicate meaning’ between teller and hearer? Culler 1981: 172. Introduction 29 entire superstructure by recognising the validity of a distinction between the author of a work and its narrator, or that between the content of a narrative and the way it is expressed.
The Narrator in Archaic Greek and Hellenistic Poetry by Andrew D. Morrison