By Christos Tsagalis
The previous few many years have obvious the advance of recent severe equipment with which the poetic and rhetorical dimensions of historical Greek texts might be evaluated. during this quantity, a world team of distinctive students comes jointly to envision how a variety of historical texts in several genres have been capable of assert their authority and claims to fact, usually alluding to each other in refined methods as they tried to venture their very own superiority. a chain of illuminating new readings is obtainable of either specific passages and entire works within the mild of those new serious advances
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S 40 (= LIMC Orpheus 20). * Translated into English by L. Schwartzman. An earlier version of this contribution has been published in Spanish as “El discurso órfico: prácticas de escritura oral”, in: A. Bernabé and F. ), Orfeo y la tradición órfica. Un reencuentro I, Madrid, 2008, 811-866. Remembering the Gastēr Egbert J. Bakker Yale University In discussing the self-reflexive, metapoetic, and intertextual aspects of Odysseus’ return, and hence the poetics of the Odyssey itself, it is impossible not to retrace many of the suggestive steps taken in this area by Pietro Pucci.
29 PDerveni col. XVII, 11-13 and col. XVI, 1-7 (for the use of the form sēmainei, see also col. XXV, 13, in relation to gignōskein); cf. Heraclitus fr. 22 B 93 DielsKranz and Hdt. 3; on the commented verses, cf. supra note 23. The Authority of Orpheus, Poet and Bard 27 and who is eventually absorbed by Zeus: “venerable”, which can also refer to the pudendum of Ouranos which is associated with the Sun. 30 The quasi-oracular procedure attributed to the poem, conforming implicitly to the legendary tradition of the prophetic qualities of the voice of the heroicized Orpheus, is definitively summarized even at the beginning of the commentary.
Theog. 53-55) αὐτὰρ ἀοιδὸς Μουσάων θεράπων κλεῖα προτέρων ἀνθρώπων ὑμνήσει μάκαράς τε θεοὺς οἳ ῎Ολυμπον ἔχουσιν, αἶψ᾿ ὅ γε δυσφροσυνέων ἐ πιλήθεται οὐδέ τι κηδέων μέμνηται· ταχέως δὲ παρέτραπε δῶρα θεάων. But the Singer, servant of the Muses, the fame of earlier men he shall hymn and the blessed gods who hold Olympos, and forthright one forgets one’s misery and is not aware of one’s cares: the gifts of the gods have turned these things away. (Hes. Theog. 99-103) The inspired poet and his rapt audience have in common with heroes that the menos they derive from the song, which contains the heroic deeds of the past, ousts the sorrows they have in the present.
Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis by Christos Tsagalis