The author tends to emphasize that there are at least three reasons to analyze Callimachus\' epigram about Diodorus : First of all, the date of this epigram shows us that it represents the earliest information about Diodorus doctrine. Second, another support of its authenticity could be found in fact that this epigram expressing part of the atmosphere following, and also remaining after, discussing the Diodorian topics. Third, its philosophical relevance, usually minimized in classical literature, could be found in those (...) facts that it could show the way out in many today dilemmas about his philosophical claims and support some of our contemporary assumptions about its logical conception, as well as that of space, time, and meaning of statements. The author defends a position that it is necessary to develop well-grounded and methodologically relevant base covering the historical reconstruction and the interpretation of ancient logical theories. (shrink)

It is now five years since P. J. Parsons published the Lille Callimachus, and the dust appears to have settled. The appearance of these fragments, which greatly increase our knowledge of the opening of the third book of the Aetia, has been followed by no great critical reaction. Apart from the attractive suggestion of E. Livrea that the ‘Mousetrap’ may belong within the story of Heracles and Molorchus, the episode has had somewhat limited impact. This is against the usual (...) trend of over-reaction to the publication of new literary texts , and is in part a tribute to the thoroughness and clarity with which Parsons presented the fragments. (shrink)

The Telchines, magical craftsmen and wizards, are best known for their criticism of Callimachus’ poetry in the prologue to the Aetia. The other two appearances of the Telchines are also in programmatic passages in Callimachus’ extant works. In the Hymn to Delos (30–3), the narrator asks an aporetic question about the theme of his song. There, the Telchines are the makers of the trident used to form every island but Delos, highlighting her singular status as uniquely created without (...) force (30–3). In Aet. fr. 75, the Telchines appear in Xenomedes’ history of Ceos. There, Callimachus explicitly names one source for his material, but omits direct citation of equally important sources, namely Pindar and Bacchylides, while still alluding to their songs. This article examines verbal and thematic parallels among these three passages and argues that Callimachus uses the Telchines not only to link the passages but also to comment on his authorial process, his use of sources and his poetic programme. (shrink)

In making the following suggestions I have assumed the chronological possibility of allusions in the Aetia Prologue on the one hand to the quarrel with Apollonius Rhodius, and on the other to Arsinoe II. . That such a combination is possible is maintained by Rostagni in Rivista di Filologia, 1928, pp. 1 sqq. The textual supplements offered here, while intended to support the double hypothesis, differ from his in some points; notably in regard to the question of where the allusion (...) to Arsinoe is to be introduced into the text of Callimachus . It need hardly be said that the supposed allusions to the queen and to the rival poet do not necessarily stand or fall together. In the case of the former it might not be altogether incredible that such an allusion should have been made after her death; whilst the most obvious consequence in regard to Apollonius would be that, if a date before 270 B.C. be accepted for the Prologue, his birth would have to be placed as early as possible—say, 295–290 B.C. However this may be, it is here sought to complete, in the above sense, certain passages in the Prologue with the aid of the British Museum Scholiast . In regard to the latter a fresh study of the original text by the editor has been utilized, to say nothing of his valuable suggestions and criticisms; in the case of P. the facsimile in Ox. Pap. XVII. is depended upon. The silence of S. on some of the supposed points may fairly be adduced in objection to them; but it may be noted that he does not comment on Πυγμαίων , and that his exposition, where it can be checked, seems to be somewhat hasty and unbalanced. Further, we do not know what may have preceded the portion of his work which has survived. (shrink)

This article treats the figure of the fox that appears as one of the members of the embassy sent by the animal s to Zeus in Callimachus' second ¡ambo By exploring previous appearances of the fox in the poetic repertoire, I identify a series of Archaic and early Classical works that Callimachus uses by way of 'intertexts', and argue that the Hellenistic author draws on the animal's place within the interconnected iambic and fable traditions that inform his poem. (...) Already visible in these earlier texts, and anticipating Callimachus, is a concern with literary as well as ethical polemics. (shrink)

I have not seen the papyrus, but if β and μ are correctly reported, and if the space between would admit three letters, I tentatively suggest . sed haec quidem uituperatio.

The following article investigates how Phaedrus' Latin verse fables engage standard Callimachean topoi. When Phaedrus imitates the Hymn to Apollo he fails to banish Envy and when he adopts Callimachus' own polemical allusions to Aesop he turns them upside down. Such texts are essentially Callimachean in spirit and technique and constitute a recusatio: by “mishandling” or “abusing” and thus “rejecting” various Callimachean topoi and the role of the “successful” Callimachean poet, the fabulist demonstrates his skill and versatility within the (...) Callimachean tradition. This sort of recusatio satirizes those poets who unimaginatively rehash Callimachean staples and represents a strategy that gains momentum in the first century AD. It thereby provides a literary context for understanding Phaedrus' engagement with the evolving traditions of Roman Callimacheanism. (shrink)

Callimachus has a resurrected Hipponax dramatize his revival of archaic iambus by summoning a learned Alexandrian audience to hear a humble tale of Thales and his fellow sages. The strange blend of surly address and genial legend, all in bantering choliambs, offers more than a homily on modesty for contentious intellectuals. In its modulation of tone, theme, and mode, the first Iambus presents a paradigm for literary renewal. Both persona and embedded narrative demonstrate the symbiosis of poetry and its (...) "well-read" muse, and the prospects that newly expanded intellectual and cultural horizons afford. (shrink)

Recent work on Callimachus has tended to concentrate on the technicalities of his poetry. Commentaries on the Hymns have dealt exhaustively with vocabulary, metrics, Homeric allusion, historical background. What remains to be done is to use these detailed pieces of work in readings of the individual poems, showing how the commentator's minutiae can be assimilated into an overall view of each hymn. In Hellenistische Dichtung Wilamowitz attempted such an appreciation; but since his time literary approaches have changed considerably. With (...) the thorough commentary of G. R. McLennan as foundation, it may be worth while to make a re-assessment of the Hymn to Zeus in less technical terms. In the reading which I offer here I hope to escape the tyranny of the individual word; but I hope, too, that what I have to say will not appear too loosely founded on the text. (shrink)

Philologus, founded in 1846, is one of the oldest and most respected periodicals in the field of Classics. It publishes articles on Greek and Latin literature, historiography, philosophy, history of religion, linguistics, reception, and the history of scholarship. The journal aims to contribute to our understanding of Greco-Roman culture and its lasting influence on European civilization. The journal Philologus, conceived as a forum for discussion among different methodological approaches to the study of ancient texts and their reception, publishes original scholarly (...) contributions with a strong international focus. Publications languages are: German, English, Italian, French. As of 2014 the publication of supplementary volumes will be resumed. The series Philologus. Supplemente / Philologus. Supplementary Volumes will publish monographs and edited volumes pertaining to all aspects of the study of ancient literature and its reception, with a special focus on topics concerning literary theory, philosophy and the history of scholarship from an interdisciplinary perspective. (shrink)

In his monumental edition of Callimachus, R. Pfeiffer has questioned the authenticity of three epigrams. More than fifty years ago U. v. Wilamowitz- Moellendorff had rejected Ep. 33 and Ep. 36 4; but Pfeiffer seems to be the first critic to exclude Ep. 63 from the collection of Callimachus' epigrams. Although he sets forth his objections in a long footnote, none of the reviewers has so far discussed this point.

In his monumental edition of Callimachus, R. Pfeiffer has questioned the authenticity of three epigrams. More than fifty years ago U. v. Wilamowitz- Moellendorff had rejected Ep. 33 and Ep. 36 4; but Pfeiffer seems to be the first critic to exclude Ep. 63 from the collection of Callimachus' epigrams. Although he sets forth his objections in a long footnote, none of the reviewers has so far discussed this point.

Callimachus Aitia 82–85. I cannot quite get this right to my satisfaction, but it must have been something like:ΠλΧS0009838800019261_inline1σεΨΜλ.

Callimachus' Victoria Berenices has received a good deal of scholarly attention since its first publication in 1976, both from textual critics, attempting to clarify uncertain readings, and from specialists in Latin poetry, eager to trace allusions to Callimachus in Vergil, Statius, or Ovid. While the search for Callimachean influence on the later texts has proved quite fruitful, it opens up the possibility of reading certain issues inappropriately backwards into the Hellenistic material. The discovery of parallels may lead to (...) an assumption of complete agreement that misrepresents the earlier, more fragmentary text. I would like to consider one particular incident in the Victoria Berenices that has fallen prey to this fate, namely the reception of Heracles by the farmer Molorcus. (shrink)

Callimachus' Victoria Berenices has received a good deal of scholarly attention since its first publication in 1976, both from textual critics, attempting to clarify uncertain readings, and from specialists in Latin poetry, eager to trace allusions to Callimachus in Vergil, Statius, or Ovid. While the search for Callimachean influence on the later texts has proved quite fruitful, it opens up the possibility of reading certain issues inappropriately backwards into the Hellenistic material. The discovery of parallels may lead to (...) an assumption of complete agreement that misrepresents the earlier, more fragmentary text. I would like to consider one particular incident in the Victoria Berenices that has fallen prey to this fate, namely the reception of Heracles by the farmer Molorcus. (shrink)

The list of Apollo's virtues in the second hymn of Callimachus describes, in the context of the appearance of the god, a mysterious healing substance which trickles from the hair of the patron of medicine. Hymn 2.38–41:αἱ δὲ κόμαι θυόεντα πέδῳ λείβουσιν ἔλαια⋅οὐ λίπος ᾿Απόλλωνος ἀποστάζουσιν ἔθειραι,ἀλλ᾽ αὐτὴν πανάκειαν⋅ ἐν ἄστεϊ δ᾽ ᾧ κεν ἐκεῖναιπρῶκες ἔραζε πέσωσιν, ἀκήρια πάντ᾽ ἐγένοντο.Apollo's hair distils flagrant drops of unguent to the ground: Apollo's curls shed no oil but panacea itself. In the city (...) where those dewdrops fall to earth, all things are safe. (shrink)

Both and are guaranteed by the London scholia , so the gap is reduced to the tantalizingly small one of a monosyllabic feminine noun in the accusative case, most probably of four letters. The number of possibilities cannot be unlimited. My own suggestion must necessarily remain in limbo in the present state of our knowledge concerning the poet or poets whom Callimachus is talking about, but at least it seems to me less bizarre than other restorations currently in the (...) field. (shrink)

This is a general reading of Callimachus' work within the socio-political context of Ptolemaic Alexandria. "Alibis" refers to the constitutionally expatriate nature of the populace and culture established there, which in Callimachus gives rise to a poetics based on the principles of displacement and convergence. Close analysis of a wide variety of passages, drawn principally from the epigrams, Aetia, and Hymns, demonstrates how the "order of the alibi" informs all major aspects of the poet's work, from the lexical (...) make-up of his texts to their larger narrative and thematic structure. Certain poems in the corpus, such as the Lock of Berenice and the Hymn to Apollo, not only require detailed knowledge of Greek literature, history, and religious institutions, but also draw extensively on Egyptian mythography and cultural models, which do not so much replace the Hellenic matter as-characteristically-cohabit with it. In this respect, Callimachus served both as a key architect of the new, multi-ethnic culture that the Ptolemies institutionalized in Egypt and as its most penetrating critic. (shrink)

The transition from the Athenian Peripatos of Aristotle to the Alexandrian Museion of Callimachus has often attracted notice. So closely akin was the organization of scholarship in the two centres of learning, so definite was the personal connexion between the two, that it seemed possible to trace an uninterrupted line of succession from the older to the younger school. That Callimachus the scholar worked in the Aristotelian tradition appeared obvious: ‘he might be called a Peripatetic in the same (...) sense as his pupils, but with more justification’ (Wilamowitz,Hellenist. Dicht.i. 214). Regarding Callimachus the poet and literary critic the picture seemed less clear. The non-classical character of his poetry had often been emphasized, and cannot be overlooked. But quite recently an attempt has been made to turn Callimachus into an Aristotelian even by virtue of his literary criticism. The alleged harmony of this development rouses suspicion and calls for inquiry. In the following pages I have tried to collect and discuss what material I could find for the relation of Callimachus to Aristotle and his school. I hope to show that such influences as there were are of a different and more subtle nature, and that this poet, if any, was his own Longinus. (shrink)

In his excellent commentary on Callimachus' fifth Hymn, A. W. Bulloch has discussed the many allusions to earlier literature out of which this poem is made. He has, however, missed one: an allusion to Hesiod's Catalogue, which, as I shall show here, not only sheds light on one of the poem's most puzzling scenes – Athena's consolatio to the nymph Chariclo – but also helps to explain the articulation and function of the poem's first, so-called ‘mimetic,’ section.

In his excellent commentary on Callimachus' fifth Hymn, A. W. Bulloch has discussed the many allusions to earlier literature out of which this poem is made. He has, however, missed one: an allusion to Hesiod's Catalogue, which, as I shall show here, not only sheds light on one of the poem's most puzzling scenes – Athena's consolatio to the nymph Chariclo – but also helps to explain the articulation and function of the poem's first, so-called ‘mimetic,’ section.