By Bing, P., Bruss, J., Peter Bing, Jon Steffen Bruss
An the world over well known set of specialists on epigram deals an advent, clean ways, and new path to the examine of Hellenistic-era epigram via exploring the types, types, poetology, sub-genera, intertexts, and old and sleek reception of Hellenistic epigram.
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Extra resources for Brill's Companion to Hellenistic Epigram (Brill's Companions in Classical Studies)
Starting in 1794, Jacobs published an edition in four volumes, plus one of indices, on the same ordering principles as Brunck; to this he added seven volumes of notes or Animadversiones (1798–1814). , a tradition followed in subsequent editions through the twentieth century—Stadtmüller’s three-volume Greek text of AP 1–9 (1894–1906), Paton’s Àve-volume text and English translation (1916–9), Waltz’ multi-volume, multi-tome text with French translation and notes (1928–), and Beckby’s four-volume text with German translation (1957–8).
O citizens”), they are phrased as moves in speech situations. 14 However, poetry was predominantly a performance medium. Therefore, we should not be surprised that verse inscriptions stand at the head of writing in many Greek areas and that verse was long employed for all but the most minimal funerary and dedicatory inscriptions, when we consider the close relationship between inscription and performance. 15 Others, myself included, focus on the vocal reading of inscriptions and construe epigraphic performance more literally, suggesting parallels between read epigram and oral, performed, occasional poetry.
3–4; ƐƫƬƩƲɕƵưƶ ȄƬƬƲƫƵƣ ȄƲƥƣ . . 38 Likewise, its proud assertion of royal accomplishment recalls poem 78 AB of the Milan Posidippus papyrus, where the Ptolemaic queen Berenice proclaims her fame as a Àtting subject for song, Ƨ]ȠƱƣƵƧ, ƱɕƮƵƧƳ ǰưƫƦưɛ, ȀvɜƮ [Ƭ]ƭɗưƳ, Ƨ[Ƞ] +Ʊ[ưƵʞ ǰƲɗƴƬƧƫ / ƥƮƺƴƵɔ ƭɗƥƧƫƮ (1–2), and commands the Macedonians to “sing Queen Berenice’s crown” (. . 39 In this connection it is worth noting that in both poems the epigram characterizes itself and its own performance in terms of “song”:40 just as the poet of the Milan epigram clearly belongs among the ƱɕƮƵƧƳ ǰưƫƦưɛ addressed in line 1, and fulÀlls the command to “tell of my fame” at once by means of his poem, even so the poet of the Attalid verse-inscription counts among the “divine singers” honoring the king, every bit as much as the monument’s maker, Niceratus, counts among the sculptors; and just as the demand in Posidippus that the Macedonians “sing the crown” (13–4) is immediately satisÀed in the act of reading this selfsame poem, even so the verse-inscription’s claim that its monument will be the subject of song “also for those hereafter” (9) implies that the epigram itself is a present instance thereof.