Callimachus,ep. 1 Pfeiffer relates an anecdote about Pittacus: when consulted by a stranger from Atarneus who was wondering whether to marry a woman of his own social class or one of a higher status, he suggests the question is answered by the cries of the children playing with tops, τν κατ ｃαντν ἔλα. The chequered history of the transmission and interpretation of the poem is beset by a number of unfavourable or patronizing judgements which, I hope to show, have (...) their origin in a series of misunderstandings. The poem seems to lack the sharp point characteristic of epigrams, and indeed Gow-Page go so far as to pronounce that it ‘has no claim to be called an epigram at all’. We now have a number of valuable parallels for the unusual length of the piece, but grave doubts continue to be expressed about the Callimachean authorship of the poem. While Diogenes Laertius, who quotes the poem in his life of Pittacus, explicitly attributes it to καλλμαχοఁ ν τοῖఁ ’Epsilon;πιγρμμαఁιν, in P and PI there is no ascription at all: there our epigram has been mistakenly consigned to the ’ɛπιτμβια simply becauseAP7.81, on the Seven Sages, is followed by some fifty epigrams on them and other philosophers, all derived from D.L. In the Palatine ms. there survive traces of the questions raised by this poem, though—surprisingly—both Pfeiffer and Gow-Page fail to report them. (shrink)

Callimachus,ep. 1 Pfeiffer (= LIV Gow-Page =AP7.89) relates an anecdote about Pittacus: when consulted by a stranger from Atarneus who was wondering whether to marry a woman of his own social class or one of a higher status, he suggests the question is answered by the cries of the children playing with tops, τν κατ ｃαντν ἔλα. The chequered history of the transmission and interpretation of the poem is beset by a number of unfavourable or patronizing judgements which, I (...) hope to show, have their origin in a series of misunderstandings. The poem seems to lack the sharp point characteristic of epigrams, and indeed Gow-Page go so far as to pronounce that it ‘has no claim to be called an epigram at all’. We now have a number of valuable parallels for the unusual length of the piece, but grave doubts continue to be expressed about the Callimachean authorship of the poem. While Diogenes Laertius (henceforth referred to as ‘D.L.’), who quotes the poem in his life of Pittacus (1.79ff.), explicitly attributes it to καλλμαχοఁ ν τοῖఁ ’Epsilon;πιγρμμαఁιν, in P and PI there is no ascription at all: there our epigram has been mistakenly consigned to the ’ɛπιτμβια simply becauseAP7.81 (= Antipater XXXIV Gow-Page), on the Seven Sages, is followed by some fifty epigrams on them and other philosophers, all (save three) derived from D.L. In the Palatine ms. there survive traces of the questions raised by this poem, though—surprisingly—both Pfeiffer and Gow-Page fail to report them. (shrink)

This paper argues that Socrates’s baffling digression on Spartan philosophy, just before he interprets Simonides’s ode, gives a key to the whole of Plato’s Protagoras. It undermines simple distinctions between competition and cooperation in philosophy, and thus in the discussions throughout the dialogue. It also prepares for Socrates’s interpretation of Simonides’s ode as a questionable critique of Pittacus’s sage wisdom “Hard it is to be good.” This critique stands as a figure for the dialogue’s contrast between Protagoras’s and Socrates’s (...) pedagogical methods. Protagoras advances an emulative view of education against Socrates’s self-knowledge model. The paper concludes with some thoughts on Protagoras’s claim that talking about poetry is as much about virtue as the earlier back-and-forth exchange about virtue’s unity and teachability. (shrink)

This paper aims to define the position of Protagoras on poetry, taking some crucial passages of Platonic Protagoras as texts that express the positions of the historical Protagoras. These passages, strictly incompatible with some essential theses of Plato’s thought, are the Great Speech (320c8-328d2), the intervention on the variety and variability of the good (334a3-c6) and the comment on the poem by Simonides (338e6-339d9). From these passages we can infer the position of the sophist towards poetry which could be summarized (...) in the following theses: 1. Poetry is an essential part of education. Epic poetry provides models for the education. Lyric poetry in turn helps to internalize in the souls of children the rhythm and the harmony that its verses contain. 2. However, an educated person should know how to evaluate what is right or wrong in the words of the poets. Criticism of Simonides’ poem is an example. From this perspective, the myth of Prometheus contained in the Protagoras Great Speech, which amends the versions of Hesiod and Aeschylus, can be considered as an model of poetic orthoepeia. (shrink)