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GREEKEPIGRAMFROMTHEHELLENISTIC TOTHEEARLYBYZANTINEERA GreekEpigramfromthe HellenistictotheEarly ByzantineEra Editedby MARIAKANELLOU,IVANAPETROVIC,
ANDCHRISCAREY GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom
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Acknowledgements Wewouldliketothankthefollowinginstitutesfortheirgeneroussupportof theinternationalconferencefromwhichthisprojectoriginates:UCL(FIGS FundingandA.G.LeventisFund),theSPHS,andtheICS.Ourwarmthanks goalsotoOxfordUniversityPressandthetwoanonymousreaderswho supportedthisprojectand,lastbutnotleast,toDrDimitriosStamatisfor hisassistancewiththebibliographyandtoMrAdamGross,graduatestudent attheUniversityofVirginia,forhiseditorialassistanceandtheindexingofthe volume.
Contents ListofFigures ix
ListofAbbreviations xi
ListofContributors xix
1.Introduction1
MariaKanellou,IvanaPetrovic,andChrisCarey
Part1:EncounteringEpigram
2.ReadingInscriptionsinLiteraryEpigram19 JosephDay
3.LessonsinReadingandIdeology:OnGreekEpigramsin PrivateCompilationsoftheHellenisticAge35 AndrejPetrovic
4.AGarlandofFreshlyGrownFlowers:ThePoeticsof EditinginPhilip’ s Stephanos 51 ReginaHöschele
5.EpigramsonAuthorsandBooksasTextandParatext66 KristoffelDemoen
Part2:Imitation,Variation,Interaction
6.MiniaturizationofEarlierPoetryinGreekEpigrams85 AnnetteHarder
7.VariationsonSimplicity:CallimachusandLeonidasof TarentuminPhilip’ s Garland 102 CharlesS.Campbell
8.TheRiddlesoftheFourteenthBookofthe Palatine Anthology:Hellenistic,LaterImperial,EarlyByzantine, orSomethingMore?119 SimoneBeta
Part3:WritingDeath
9.DeathofaChild:GriefBeyondtheLiterary?137 RichardHunter
10.HellenisticandRomanMilitaryEpitaphsonStoneand onPapyrus:QuestionsofAuthorshipandLiterariness154 SilviaBarbantani
11.TearsandEmotionsinGreekLiteraryEpitaphs176 DorisMeyer
12.SeaandLand:DividingSepulchralEpigram192 MichaelA.Tueller
Part4:Gods,Religion,andCult
13.EpigrammaticVariations/DebateontheThemeof Cybele’sMusic213 MarcoFantuzzi
14.DreadfulEros,beforeandafterMeleager233 KathrynGutzwiller
Part5:PraiseandBlame
15.MythologicalBurlesqueandSatireinGreekEpigram ACase Study:Zeus’ SeductionofDanae249 MariaKanellou
16.EpigramsonthePersianWars:AnExampleofPoetic Propaganda272 FedericaGiommoni
17. ‘Fromatopaloftywall... ’:PhilosophersandPhilosophy inGreekLiteraryEpigram288 JosephM.Romero
Part6:WordsandImages
18.GreekSkopticEpigram,Ecphrasis,andtheVisualArts307 LuciaFloridi
19.EcphrasisandIconoclasm:Palladas’ EpigramsonStatues324 PeterBing
20.Art,Nature,Power:GardenEpigramsfromNerotoHeraclius339 StevenD.Smith
ListofFigures 18.1 TheThorn-Puller(SpinarioCapitolino),Inv.MC1186/S Musei Capitolini,PalazzodeiConservatori,SaladeiTrionfi.Archivio FotograficodeiMuseiCapitolini,Rome/photographbyZenoColantoni. 313 ©Roma,SovrintendenzaCapitolinaaiBeniCulturali MuseiCapitolini.
18.2GrotesqueastheThorn-Puller,Louvre,Paris,fourth/thirdcentury . 315 Photo©RMN-GrandPalais(MuséeduLouvre)/photograph byHervéLewandowski.
18.3Terracotta,Priene,secondcentury .Antikensammlung,Staatliche MuseenzuBerlin PreussischerKulturbesitz.
316 TC8626©JohannesLaurentius/SMBAntikensammlung.
18.4The ColonnaVenus intheMuseoPio-Clementinobelongstothe collectionsoftheVaticanMuseums.Itisprobablythemostfaithful replicaofthelostCnidianAphrodite.
321 Photo©MuseiVaticani.
18.5 AphroditeAnadyomene,PompeianmuralfromtheHouseofVenus intheShell. 322 ©ArchiviofotograficoPompei,courtesyoftheMinisterodeiBeniedelle AttivitàCulturaliedelTurismo SoprintendenzaPompei.Thispicturecannot bereproducedorcopiedinanyform.
ListofAbbreviations Thefollowinglistcontainstheabbreviationsusedinthisvolume,includingthoseof editionsoforiginaltexts.TheprincipaleditionsofepigramsareabbreviatedA–B, FGE, GPh,and HE inreferencestoepigrams,butfollowtheHarvardsystem(author–date) inregularcitations(usuallyinnotes).TheabbreviationsofGreektitlesfollowthe Greek-EnglishLexicon editedbyLiddell,Scott,andJones(LSJ)and,whereverthisis notpossible,the OxfordClassicalDictionary (OCD).Inthefewcaseswhereanauthor’ s namefeaturesinthe LSJ abbreviationsbutatitleofhisisabbreviatedonlyinthe OCD, wecombinetheabbreviationsfromthesetwosources.Latintitlesfollowthe OCD.The abbreviationsforthenamesofthejournalsthatappearintheBibliographyfollow L’Annéephilologique.
A–BAustin,C.andBastianini,G.(eds)(2002), PosidippiPellaeiquae supersuntomnia,Milan
AdlerAdler,A.(ed.)(1967–71), SuidaeLexicon,5vols,Stuttgart (1stedn1928–38,Leipzig)
AEL’Annéeépigraphique (1888–),Paris
APAnthologiaPalatina
APlAnthologiaPlanudea
ArrighettiArrighetti,G.(ed.)(1960), Epicuro:Opere (ClassicidellaFilosofia4), Turin(2ndedn1973)
AstburyAstbury,R.(ed.)(1985), M.TerentiiVarronisSaturarum Menippearumfragmenta,Leipzig
BarrettBarrett,W.S.(ed.)(1964), Euripides:Hippolitos,Oxford BeckbyBeckby,H.(ed.)(1957–8), AnthologiaGraeca,4vols,Munich (2ndedn1965(vols1–2)and1968(vols3–4)
BergerBerger,A.(ed.,trans.)(2013), AccountsofMedieval Constantinople: The Patria(DumbartonOaksMedievalLibrary 24),Cambridge,MA
B–GBastianini,G.andGallazzi,C.,incollaborationwithAustin,C. (eds)(2001), PosidippodiPella:Epigrammi(P.Mil.Vogl.VIII 309) (Papiridell’UniversitàdegliStudidiMilano8),Milan
BidezBidez,J.(ed.)(1960), L’EmpereurJulien:Oeuvrescomplètes, vol.1.2,Paris(1stedn1924)
BillerbeckBillerbeck,M.(ed.)(2006), StephaniByzantiiEthnicaI:A–Γ (Corpusfontiumhistoriaebyzantinae43.1),Berlin
BKTBerlinerKlassikertexte (1904–),Berlin(availablewithupdated bibliographyathttp://ww2.smb.museum/berlpap/index.php/bkt–i)
ListofAbbreviations BoissonadeBoissonade,J.F.(ed.)(1831), Ἀνέκδοτα:AnecdotaGraecae codicibusregiis,vol.3,Paris,429–55
BrunckBrunck,R.F.P.(ed.)(1772–6), Analectaveterumpoetarum Graecorum,3vols,Strasbourg BudéWaltz,P.etal.(eds)(1928–), Anthologiegrecque,Paris BusseBusse,A.(ed.)(1900), EliaeinPorphyriiIsagogenetAristotelis Categoriascommentaria (CommentariainAristotelemGraeca 18.1),Berlin
CA Powell,J.U.(ed.)(1925), CollectaneaAlexandrina:Reliquiae minorespoetarumGraecorumaetatisPtolemaicae,323–146 ..: Epicorum,elegiacorum,lyricorum,ethicorum,Oxford(repr.1981, Chicago)
Cameron/HerrinCameron,A.M.andHerrin,J.,inconjunctionwithCameron,A., Cormack,R.,andRoueché,C.(eds)(1984), Constantinopleinthe EarlyEighthCentury:The Parastaseissyntomoichronikai (ColumbiaStudiesintheClassicalTradition10),Leiden
CEG Hansen,P.A.(ed.)(1983–9), CarminaepigraphicaGraeca,2vols (TexteundKommentare12and15),Berlin
CGFP
CIG
Austin,C.(ed.)(1973), ComicorumGraecorumfragmentain papyrisreperta,Berlin
Boeckh,A.(ed.)(1828–77), CorpusinscriptionumGraecarum, 4vols,Berlin
CILCorpusinscriptionumLatinarum:Consilioetauctoritate Academiaelitterarumregiaeborussicaeeditum (1863–),Berlin
CougnyCougny,E.(ed.)(1890), EpigrammatumAnthologiaPalatinacum Planudeisetappendicenovaepigrammatumveterumexlibriset marmoribusductorum,3vols,Paris
CPPCatalogueofParaliteraryPapyri,compiledbyM.Huysetal., availableonlineathttp://cpp.arts.kuleuven.be
DiehlDiehl,E.(ed.)(1925), AnthologialyricaGraeca,2vols,Leipzig (2ndedn1942;3rdedn1949–52)
D–KDiels,H.andKranz,W.(eds)(1952), DieFragmenteder Vorsokratiker,3vols,6thedn,Berlin(1stedn1903)
DindorfDindorf,L.(ed.)(1832), Chroniconpaschale,2vols,Bonn
EG Kaibel,G.,(ed.)(1878), EpigrammataGraecaexlapidibus conlecta,Berlin
FDFouillesdeDelphes:
III3.2=Daux,G.(ed.)(1943), Inscriptionsdepuisletrésordes Athéniensjusqu’auxbasesdeGélon,Paris
III4=Colin,G.(ed.)(1930), Inscriptionsdelaterrassedutemple etdelarégionnorddusanctuaire,Paris;2ndednFlacelière, R.(ed.)(1954),nos87–275,Paris
Fernández-GalianoFernández-Galiano,E.(ed.)(1987), PosidipodePela (Manualesy anejosde ‘Emerita’ 36),Madrid
FGE Page,D.L.(ed.)(1981), FurtherGreekEpigrams:Epigramsbefore 50fromtheGreekAnthologyandOtherSources,NotIncluded in HellenisticEpigrams or TheGarlandofPhilip,Cambridge
FGrHist Jacoby,F.(ed.)(1923–58), DieFragmentedergriechischen Historiker,Berlin
Fla Floridi,L.(ed.)(2007), StratonediSardi: Epigrammi:Testocritico, traduzioneecommento (Hellenica24),Alessandria
Flb Floridi,L.(ed.)(2014), Lucillio:Epigrammi:Introduzione,testo critico,traduzioneecommento (TexteundKommentare47), Berlin
Foerster/RichtsteigFoerster,R.andRichtsteig,E.(eds)(1972), ChoriciiGazaeiopera, Stuttgart(repr.of1929edn,Leipzig)
FörsterFörster,R.(ed.)(1903–27), Libaniiopera,12vols,Leipzig
GE Geffcken,J.(ed.)(1916), GriechischeEpigramme (Kommentierte griechischeundlateinischeTexte3),Heidelberg
GG Peek,W.(ed.)(1960), GriechischeGrabgedichte (Schriftenund QuellenderAltenWelt7),Berlin
GLP Page,D.L.(ed.,trans.)(1941–2), GreekLiteraryPapyri (Loeb ClassicalLibrary),Cambridge,MA
GPh Gow,A.S.F.andPage,D.L.(eds)(1968), TheGreekAnthology: TheGarlandofPhilipandSomeContemporaryEpigrams,2vols, Cambridge
GreenGreen,R.P.H.(ed.)(1991), TheWorksofAusonius,Oxford
Guéraud/JouguetGuéraud,O.andJouguet,P.(eds)(1938), Unlivred’écolierduIIIe siècleavantJ.-C. (Publicationsdelasociétéroyaleégyptiennede papyrologie:Textesetdocuments2),Cairo
GV Peek,W.(ed.)(1955), GriechischeVers-InschriftenI:GrabEpigramme,Berlin
HarderHarder,M.A.(ed.)(2012), Callimachus: Aetia,2vols,Oxford
HauryHaury,J.(ed.)(1962–4), ProcopiiCaesariensisoperaomnia, 4vols,Leipzig
HE Gow,A.S.F.andPage,D.L.(eds)(1965), TheGreekAnthology: HellenisticEpigrams,2vols,Cambridge HollisHollis,A.S.(ed.)(2009), Callimachus: Hecale,Oxford (1stedn1990)
I.DélosInscriptionsdeDélos (1926–),Paris
IGInscriptionesGraecae (1873–),Berlin
IGLS Sartre-Fauriat,A.andSartreM.(eds)(2014), Inscriptions grecquesetlatinesdelaSyrieXV:LeplateauduTrachônetses
IGUR
ListofAbbreviations bordures,2vols(Bibliothèquearchéologiqueethistorique204), Beyrouth
Moretti,L.(ed.)(1968–90), InscriptionesGraecaeurbisRomae, 4vols,Rome
IKInschriftengriechischerStädteausKleinasien (1972–),Bonn
IKEstremooriente
IKKlaudiupolis
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CanalideRossi,F.(ed.)(2004), Iscrizionidelloestremooriente greco:Unrepertorio (InschriftengriechischerStädteaus Kleinasien65),Bonn
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Moretti,L.(ed.)(1967), IscrizionistoricheellenisticheI:Attica, Peloponneso,Beozia (Bibliotecadistudisuperiori:Storiaanticaed epigrafia53),Florence
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LGPN FraserP.M.,Matthews,E.,OsborneM.J.,ByrneS.G.,and CorstenT.(eds)(1988–2010), ALexiconofGreekPersonal Names,6vols,Oxford
LightfootLightfoot,J.L.(ed.,trans.)(2009), HellenisticCollection:Philitas, AlexanderofAetolia,Hermesianax,Euphorion,Parthenius (Loeb ClassicalLibrary508),Cambridge,MA
LIMC Boardman,J.etal.(eds)(1981–99), Lexiconiconographicum mythologiaeclassicae,8volsand2indices,Zurich
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ListofContributors SilviaBarbantani isassociateprofessorofclassicalphilologyandpapyrology attheUniversitàCattolicadelSacroCuoreinMilan,Italy.
SimoneBeta isassociateprofessorofclassicalphilologyattheUniversityof Siena,Italy.
PeterBing isprofessorofclassicsattheUniversityofToronto,Canada.
CharlesS.Campbell isvisitingassistantprofessorintheDepartmentof ClassicsatMiamiUniversityinOhio,USA.
ChrisCarey isemeritusprofessorofGreekatUniversityCollegeLondon,UK.
JosephDay isemeritusprofessorofclassicsatWabashCollege,USA.
KristoffelDemoen isprofessorofGreekliteratureatGhentUniversity, Belgium.
MarcoFantuzzi isprofessorofclassicsattheUniversityofRoehampton,UK.
LuciaFloridi isseniorassistantprofessorofclassicalphilologyinthe DepartmentofClassicalPhilologyandItalianStudiesattheUniversityof Bologna,Italy.
FedericaGiommoni ishighschoolteacherinArezzo,Italyandan independentresearcher.
KathrynGutzwiller isprofessorofclassicsattheUniversityofCincinnati, USA.
AnnetteHarder isemeritaprofessorofancientGreeklanguageandliterature attheUniversityofGroningen,theNetherlands.
ReginaHöschele isassociateprofessorofclassicsattheUniversityofToronto, Canada.
RichardHunter isRegiusProfessorofGreekattheUniversityofCambridge andFellowofTrinityCollege,Cambridge,UK.
MariaKanellou isresearchfellowattheAcademyofAthens,Greece.
DorisMeyer isresearchfellowinthejointresearchunitoftheFrenchNational CentreforScientificResearch(CNRS)andtheUniversityofStrasbourg, France(UMR7044, ‘ArcheologyandAncientHistory:Mediterranean Europe’ (Archimède)).
AndrejPetrovic isprofessorofclassicsattheUniversityofVirginia,USA.
IvanaPetrovic isHughH.ObearProfessorofClassicsattheUniversityof Virginia,USA.
JosephM.Romero isprofessorofclassicsattheUniversityofMary Washington,USA.
StevenD.Smith isprofessorofcomparativeliterature,languages,and linguisticsatHofstraUniversity,USA.
MichaelA.Tueller isprofessorofclassicsatArizonaStateUniversity,USA.
Introduction MariaKanellou,IvanaPetrovic,andChrisCarey
1.INSCRIBEDANDLITERARYEPIGRAM Greekepigramisnotonlythebriefestbutalsooneofthemostenduring andversatilepoeticforms.Theearliestextantinscribedepigramsdatefrom theeighthcentury BCE,verseinscriptionsformingasmallsectionofthe largerinscriptionalcanvasofthearchaicandclassicalperiods.¹Epigrams, intheoriginalsenseoftexts(inproseorverse)writtenorcarvedonastone oranotherphysicalobject,²arefoundongravemonuments,dedications, vases,andherms.Theywereusedforavarietyofpublicandsemi-public purposesandcouldbefoundinallsortsofcontexts,frommajorpublic memorials,suchasthecelebratedepigramfortheSpartanswhofellinthe BattleofThermopylaein480 BCE,³andfamilyfunerealinscriptions,whichcould beseenontombsstrungoutalongthehighroadleadingoutofanyGreekcityof note,throughnumerousdedicationsonstatues,downtohumbledomestic objectsvisibleinsanctuariesandpublicspacesacrosstheGreekworld.When epigram,duringtheHellenisticera,ceasedtobeexclusivelyaninscribedtext,its inscriptionalformcontinuedtoperformallthetasksthatithadalwaysdone:it accompanieddedications,statues,andotherimages,adornedpublicbuildings andspaces,and figuredongravemonuments,bothpublicandprivate.
Theearliestsurvivinginscribedepigramswerecomposedmainlyindactylic hexametersandlessfrequentlyintheiambicmetre.⁴ Fromthelatterpartof thesixthcentury BCE onwards,however,theelegiacdistichwaswidelyusedfor
¹SeeBingandBruss(2007b),2–4.
²Theword epigramma (as ‘inscription’)is firstattestedatHdt.5.59and7.228.Herodotus usesittorefertothededicatoryinscriptionfromthetempleofApolloatThebes,inhexameter, andthe epitymbia atThermopylae,inelegiacs.Onthetermandtheprogressiveexpansionofits semantic field,seeBruss(2005),1–18;cf.A.Petrovic(2007a),50–1.
³Hdt.7.228: ‘Sim.’ AP 7.248= FGE 22(a), AP 7.249= FGE 22b,and AP 7.677= FGE 6.
⁴ Onthe ‘riseandfall’ ofiambicsinverseinscriptions,seeKantzios(2005),132–42.
2 MariaKanellou,IvanaPetrovic,andChrisCarey verseinscriptions,andbythefourthcentury BCE itwasestablishedasthemost popularepigrammaticmetre.⁵ Inscribedepigramsofthearchaicandclassical periodsrarelyexceededtwocouplets naturallyenough,sincetheywere constrainedbyphysicalspace.Brevityremainedadominantfeatureofliterary epigram,⁶ andthechallengeitpresentedtotheskilledcomposerwastocharge thewordswiththemaximumamountofmeaning.
Theinterpretationofinscribedepigramsongraves,monuments,ordedicatoryobjectsisoftenaidedbytheobjectsthemselvesandtheircollocation. Theconnectionbetweenaninscribedepigramandtheobjectonwhichitwas writtenorincisednotonlygaveepigramitsnamebutalsoinfluencedits receptioninbothantiquityandthemodernage.⁷ Fordecades,inscriptional epigramswereperceivedbyscholarsasuninspiredandoflesservaluein comparisonwiththosecomposedbyfamouspoetsoftheHellenisticera. Theirbrevity,roleasconveyorsofbasicinformation,andusuallackof indicationofauthor⁸ relegatedthemtothestatusofcraftratherthanart, andtheywerestudiedmainlyasprecursorstotheliteraryepigram.Scholarly consensuswasthatonlyafterepigramwas ‘emancipated’ fromitsobjectand founditswayintobooksdiditbecomea ‘literary’ genre.⁹ Recently,though, aseriesofpublicationshavequestionedandsubvertedtheseassumptions, revealingtheartistryofinscribedepigram,discussingitasapoeticform worthyofstudyinitsownright,andbroadeningourknowledgeofthe cross-fertilizationbetweeninscribedepigramanditsbookishcounterpart. ItgoeswithoutsayingthatHansen’stwo-volumeedition(CEG 1983–9)of archaicandclassicalinscriptionalepigramsfromtheeighthtothefourth century BCE,aswellasMerkelbachandStäuber’smultivolumeedition(SGO 1998–2004)ofinscriptionalepigramsfromtheGreekEastdatingfromthe fourthcentury BCE totheseventhcentury CE propelledthisrenewedand intensestudyofthegenre.¹⁰
⁵ Bowie(2010),322suggeststhattheriseandsubsequentdominanceoftheelegiaccoupletas theperformativemetreatsymposiaandfestivalsmighthaveplayedaroleintheestablishmentof elegiacsasthetypicalmetrefortheinscribed(andsubsequentlyliterary)epigram.
⁶ Forthepraiseof oligostichia,seePhil. AP 4.2.6= GPh 1.6;Parmen. AP 9.342.1–2= GPh 11.1–2(
, ‘Isaythatanepigramofmany linesdoesnotagreewiththeMuses’);Cyrill. AP 9.369= FGE p.115.Martial(9.50and10.1) congratulateshimselfonthebrevityofhisepigrams.For epigrammalongum,seeMorelli(2008).
⁷ Seee.g.Svenbro(1993),62and164,whodescribedtheepigramasamachinedesignedto produce kleos
⁸ Theearliestverseinscriptionswithpoeticsignaturesdatefromthefourthcentury BCE,by SymmachusofPellana(CEG 888.18–19)andIonofSamos(CEG 819.5–6,13).SeeGutzwiller (1998),48;FantuzziandHunter(2004),289–91.
⁹ Seee.g.Raubitschek(1968),1–26.
¹⁰ Usefulmaterialisalsoincludedinearliereditionsofinscribedepigrams:e.g.Kaibel(1878); FriedländerandHoffleit(1948);Peek(1955;1960).Ondedicatoryepigrams,seeKaczko(2016). Forausefullistofearliereditionsandspecializedcollectionsofepigrams,seeBingandBruss (2007b),19.
Forinstance,JosephDayelucidatedthesophisticatedwaysinwhichdedicatoryepigramfunctionsinunisonwithitsobject,attractingandguidingthe passer-by’sattention,¹¹andarguedthatfuneraryinscriptionsandgravemarkersalludetofuneraryritualsbyemployingthelanguageofpraisefamiliarfrom epic,elegiac,andencomiasticpoetry.¹²AndrejPetroviccontributedtoour appreciationofearlyinscribedepigramas ‘highpoetry’ byshowingthat Simonideswasperceivedasthefoundational figureofthegenre,probably becausehewasoneoftheprominentpoetsentrustedwithcomposingepigramsforpublicmonuments;PetrovicfurtherarguedthatGreekcitiesorganizedpoeticcompetitionsinordertodecidetowhomtheywouldassignthis prestigioustask.¹³ChristosTsagalisanalysedthepoetictechniquesoffourthcenturyAtticfuneraryepigrams,pushingforwardthestudyoftheliterary aspectsofinscribedepitaphs;¹⁴ EleonoraSantinstudiedthecorpusofverse inscriptionssignedbypoets,whichissignificantlylargerthanoriginally assumed;¹⁵ ValentinaGarulliexploredthewaysinwhichthepresentationof textsinpapyrusrollsinfluencedthelayoutofinscriptions;¹⁶ TimoChristian, focusingonthe ‘speaker’ ofthemonument,investigatedthewaysinwhich Hellenisticandlaterinscribedepigramsreactedtodevelopmentsintheir literarycounterparts;¹⁷ JonBrussexaminedthecreativereuseandrefashioningofmotifsandconventionsdrawnfrominscribedsepulchralepigramsby theHellenisticepigrammatists.¹⁸ Inaddition,acollectivevolumededicatedto thearchaicandclassicalepigramandeditedbyManuelBaumbach,Andrej Petrovic,andIvanaPetrovic(2010)discussedthesubgenresofepigram,¹⁹ the epigrammaticvoice,²⁰ earlycollectionsofepigrams,²¹therelationshipbetween inscriptionalepigramanditsobject,²²andepigrammaticdevicesandfeatures subsequentlydevelopedinHellenisticbookepigram.²³Anotherrecentlypublishedmulticontributorvolume,editedbyEvinaSistakouandAntonios Rengakos(2016),exploredtheinterrelatedissuesofthedialect,diction,and styleofbothliteraryandinscribedepigram.²⁴
¹¹Day(1994;2010).
¹²Day(1989;2007)alsoarguedthatarchaicandearlierclassicalinscriptionalepigrams preserve ‘afossilofperformance’ (2007,46).Ontheissueofwhetherornotinscriptionswere readaloud,seealsoBing(2002);LivingstoneandNisbet(2010),26–30;andcompareDay’ s chapterinthisvolume.
¹³A.Petrovic(2007b;2009).¹⁴ Tsagalis(2008).
¹⁵ Santin(2009).Cf.SantinandTziafalias(2013).¹⁶ Garulli(2012).
¹⁷ Christian(2015).¹⁸ Bruss(2005).
¹⁹ Furley(2010);Trümpy(2010);Wachter(2010);Schmitz(2010b).
²⁰ Schmitz(2010b);Tueller(2010);Vestrheim(2010);Wachter(2010).
²¹Gutzwiller(2010a).²²Borg(2010);Lorenz(2010).
²³Bowie(2010);Bruss(2010a);Fantuzzi(2010);Hunter(2010).
²⁴ Onthemutualinfluencebetweeninscribedandliteraryepigram,seealsothechaptersby Barbantani,Day,andHunterinthisvolume.ForJuliaBalbillaandherfourGreekepigrams inAeolicGreekinscribedonthefamousColossusofMemnon,seeCirio(2011);foran
4 MariaKanellou,IvanaPetrovic,andChrisCarey
Thesurgeofinterestintheliteraryaspectsofinscribedepigramwas initiallysparkedbythestudyofHellenisticepigramanditsearlyroots.²⁵ Earlyepigrammaticcollectionsandthepracticeofquotinginscriptions andinscribedepigramsinliterarytextsprovidepreciousinsightintothe wayepigramdevelopedasaliterarygenre.Theso-called SyllogeSimonidea offersatantalizingglimpseintoearlycompilationpractices:ithasbeenargued thatitsoriginscanbedatedbacktothe fifthcentury BCE.²⁶ Inaddition, KathrynGutzwillerproposedthatanearlyformofthepseudo-Aristotelian Peplos,whichincludedmini-epitaphsonepicheroes,prosegenealogies,and otherinformation,wasaperipateticassemblagefromthelaterfourthcentury BCE.²⁷ Theincorporationofinscribedepigramsinliterarytextsofthe fifthand fourthcenturies BCE forexample,inHerodotus’ andThucydides’ Histories, whichincludeeightandthreeinscribedepigramsrespectively enabledtheir widedisseminationand,mostlikely,playedanimportantroleinthecreation ofcollectionsofinscribedepigramsinthefourthcentury BCE .²⁸ Philochorus ’ AtticEpigrams wasprobablysuchacollection,althoughnothingisknown aboutitapartfromitsmentioninthe Suda lexicon(s.v. Φιλόχορος , φ 441 Adler).Thetitleshowsthatgeographicallocationwastheprimaryfactorin theselectionofepigramsbythehistorian;butwedonotknowanything abouttheirarrangementandtheirtheme(s),orinfactwhethertheinscriptionswereinprose,inverse,orinablendofthetwoforms.² ⁹ Moreover,as hasplausiblybeenargued, fi fth-centurycollectionsofmetricalepitaphs circulatingamongengraverstoprovidethemwithmodelsforinscriptions couldhavecontributedtothecompilationofcollectionsofinscribedepigramsfortheentertainmentofareadingpublic.³⁰
Oncedetachedfromitsbondtoplaceorobject nolongerwrittenor carvedonatomb,monument,orobject epigramrapidlybecameandremainedamajormainstreampoeticform.Itquickly flourishedduringthe Hellenisticeraandattractedsomeofthe finestpoetictalentstheancientworld interdisciplinaryapproachtoGreekandLatinepigram,seeSantinandFoschia(2016);for inscriptionsandtheirreceptioninGreekandLatinliterature,seeLiddelandLow(2013).
²⁵ Seee.g.Walsh(1990;1991);FantuzziandHunter(2004),219–33(dedicatoryandfunerary epigram),338–49(eroticepigram);Meyer(1993;2005;2007);Bettenworth(2007),69–93; Tueller(2008).
²
⁶ SeeSider(2007),113–30.Fortheformationofthe Sylloge andtheepigramsattributedto Simonides,cf.Bravi(2006);A.Petrovic(2007b).
²
²
⁷ Gutzwiller(2010a),219–49.
⁸ SeeLivingstoneandNisbet(2010),30–45.Forinscribedepigraminpre-Hellenisticliterary sources,seeA.Petrovic(2007a,49–68;2007b,52–89).
²
⁹ Cf.FantuzziandHunter(2004),297withn.45,whoremindusthat,apartfromhistorical inscriptionsinprose,Philochoruswas ‘creditedwithapassionforcollecting “oraclesinverse” (FGrHist 328T6)’ .
³⁰ SeeBingandBruss(2007b),6–7.Cf.Reitzenstein(1907);Tsagalis(2008),53–6.Onearly epigramcollections,seeA.Cameron(1993),1–18;Pordomingo(1994);Argentieri(1998); Gutzwiller(1998),20–36;Parsons(2002),115–22;A.Petrovic(2007b),92–101.
produced.Whilesomepoetscomposedepigramsalongsideotherpoetic genres,othersspecializedinepigram,aswecanjudgebytheproxenydecree oftheAetolianLeagueatThermon(IG IX1²1.17.24,263/2 BCE),where Posidippusiscalledan epigrammatopoios.Whatsurvivestodayrepresents onlyaminuteproportionofthevastoutputofthisartisticactivity.The Greek Anthology,ourchiefsourceforepigrams,isitselfaselectivecompilationfrom aseriesofselectiveancientcompilations.³¹Thesteadystreamofmodern publicationsofepigramspreservedonpapyri,butnotinthe GreekAnthology, orinotherliterarysourcessuchasAthenaeus’ Deipnosophistae,atteststothe popularityofthegenreintheancientworldand,moreimportantly,continues todeepenourunderstandingofitsfeaturesanddevelopmentinantiquity.³² Toofferthreechiefexamplesofsuchrecentdiscoveriesinthe field:the MilanPapyrus(P.Mil.Vogl.VIII309)preserves112epigramsattributedto Posidippus,ofwhichonlytwowerepreviouslyknown(APl 119= HE 18=65 A–Band HE 20=15A–B).Thepapyruscodex P.CtYBRinv.4000 contains aroundsixtyfragmentaryepigramsattributedtoPalladasofAlexandriaby KevinWilkinson,³³whileweknewofjusttwoofthembeforeitspublication (ep.37Wp.21,ll.4–8=Pall. AP 9.379andpartofep.28Wp.12,ll.28–31 =Pall. AP 9.127).TherecentlypublishedViennaEpigramsPapyrus(G40611), datingfromthelatethirdcentury BCE,includes226incipitsofepigrams selectedfromatleastfourbooksofanunspecified,possiblymulti-authored collection.Onlytheincipitincolumni.14canbeattributedtoapoetalready knownfromthe Anthology,Asclepiades,sinceitsurvivesastheopening lineof AP 12.46= HE 15.³⁴ EpigramalsoinspiredLatinpoets,notably Martial,Catullus,andAusonius,andsurvivedtheriseofChristianityasthe dominantstatereligion.³⁵ Likeothergenres,itvirtuallydisappearedduring theculturalandpoliticalupheavalsthattheByzantineworldexperienced inthemid-seventhandeighthcenturies CE,butexperiencedarevivalin ninth-centuryByzantium³⁶ andyetanotheroneintheformoftheneo-Latin
³¹ForthehistoryofanthologiesofGreekepigrams,seeA.Cameron(1993).
³²Forpapyriincludingepigrams,seeGutzwiller(1998),20–36andp.12inthischapter.
³³SeeWilkinson(2012),whodatesPalladas’ poetrytotheageofConstantine.Benelli(2015) suggestedthatthisisamulti-authoredanthology,possiblyincludingpoemsofPalladas.Fora discussionofPalladas’ dateandotherinterrelatedissues,seee.g.Ast(2014);Dijkstra(2014); Kanellou(2014);Floridi(2014b;2016);Benelli(2016);A.Cameron(2016).OnPalladasand ecphrasis,seeBing’schapterinthisvolume.
³⁴ Theincipitincol.ii.10partiallyoverlapswiththebeginningoftheanon. AP 14.106.The editionofthepapyrusisbyParsons,Maehler,andMaltomini(2015);forthepapyrusbeforeits publication,seee.g.A.Cameron(1993),9–10;Argentieri(1998),12–13.
³⁵ ForHellenisticepigramandLatinelegy,seeKeith(2011);seealsothechaptersby GutzwillerandFantuzziinthisvolume,andcomparethoseofBetaandKanellou.Forthe epigrammataBobiensia,seeNocchi(2016);fortheepigramsattributedtoLucian,seee.g.Setti (1892)andBaldwin(1975);forintratextualityinMartial’sepigram,seee.g.Fitzgerald(2007).
³⁶ SeeLauxtermann(2003),131–48.Forepigram,art,andpersonalpietyinlaterByzantium, seeDrpić (2016).
epigramsoftheRenaissanceandafter.³⁷ Epigramhashadaprofoundinfluence inmoderntimeswithimitationsinmanylanguages,includingLatin andancientGreek,³ ⁸ stretchingintothetwentiethcentury,mostnotably in fluencingEzraPoundandConstantinosCava fi s.³⁹ Insum,epigramhas maintaineditspopularityalmostwithoutinterruptionfromarchaicGreece tothemodernworld.
Duringthelastcoupleofdecades,theincreasingpopularityofliterary epigramintheHellenisticperiodbecamethefocalpointofseveralstudies. AsPeterBingandJonBrussargue,Hellenisticpoetsmusthavebeenattracted byitstextualityandbytheamplescopeitofferedforexperimentation.⁴⁰ The separationofthetextfromitsoriginalmaterialcontextsallowedforinnovative developmentsofitstwotraditionalepigrammaticsubgenres.Althoughsome epitaphicliteraryepigramsoriginatedasinscribedtexts,sepulchralepigram couldnowbecomeapurely fictionalworkreferringtothe(imagined)graveof ahistoricalor fictive figure,andthisallowedtheepigrammatiststoexplore differentwaysofarousingpathos.⁴¹Thisclassofepigrams,likeothers,rapidly acquiredsubcategories,suchasthoseforfamouspoets(mainly)ofthepast,⁴² forsoldiers,⁴³formendrownedatsea,⁴⁴ andforanimals bothlargeand
³
⁷ SeeDeBeer,Enenkel,andRijser(2009).ForepigramfromtheHellenisticperioduntilthe Renaissance,seeLaurens(1989);forthereceptionofGreekepigramfromtheearlynineteenth centurytotheyearsaftertheFirstWorldWar,seeNisbet(2013);foramorecomprehensive overview,seeLivingstoneandNisbet(2010),140–62.OnepigramandEuropeanliterature,see Häusle(1979),31–45.
³
³
⁸ SeeingeneralNisbet(2013),andesp.83,87,and140;Money(2015).
⁹ EzraPound’sownwords(see Letters 249,editedbyPaige1951,312)expresshisadmiration forthe GreekAnthology: ‘Obviouslyinthelastanalysisthegradeofanyperioddependsonone, twoorafewofthebestwriters.TheGreekanthologyisnotacontradiction;itdoesnotrepresent themediocrityofonedecadebutthe florilegiumofalongseriesofdecades.’
⁴⁰ BingandBruss(2007b),6–7,withn.26;cf.LivingstoneandNisbet(2010),6and46–7.
⁴¹Seee.g.Antiphil. AP 7.176= GPh 25,oneofanumberofpoemsthataddresstheissueofthe disturbedgrave.Antiphilusplaysontheideaofthenakedcorpseontheshorebuttransfersitto fertilefarmland.Thetombisdisturbedbytheplough,leavingthecorpsetolamentthatnoteven deathbringsreleasefromsuffering.Mel. AP 7.182= HE 123,Antip.Thess. AP 7.185= GPh 16, andPhil. AP 7.186expanduponthetraditionalideaofthevirginforwhomdeathreplaces marriage.Allthreepoemsdeploythemotifofthecontrastbetweenthefuneraltorchandthe marriagetorch,whiletwooftheminjectanelementofparadoxbyhavingthebridedieonher weddingnightsothattheantitheticaltorchesbecomeoneandthesame.Themotifisturnedon itsheadbyAntipaterofThessalonica AP 7.367= GPh 63whenappliedtothegroom(onthe topic,seeHarder’schapterinthisvolume).Agathias AP 7.552usesthelong-establisheddialogue formtoexploreacomplexofemotionsofloss,thepathosofdeathandburialfarfromhome,the mother’sgriefatseparationfromherchildandthechild’santicipatedgriefatthedeathofhis mother.
⁴²ForepigramsonArchilochusandHipponax,seeRosen(2007).Forepigramsonpoets,see e.g.Gabathuler(1937);L.Rossi(2001),81–106;Kanellou(forthcoming)withfurtherbibliography.Forepigramspseudonymouslyascribedtofamouspoetsofthearchaicandclassical periods,seePage(1981),119–30;Sens(2007),374–5.
⁴³Onmilitaryepitaphs,seeBarbantani’schapterinthisvolume.
⁴⁴ Seee.g.DiNino(2010),77–187;MateoDecabo(2015);Tueller’schapterinthisvolume.
small,rightdowntoinsects.⁴⁵ Additionally,the fictivedimensionofthistype ofsepulchralpoemofferedopportunitiesforthecreationofironicdistance andhumour.Thisallowedforstillfurthervariationintone,includinga comminglingoftheseriousandhumorousthatcanoftenrendertheoverall poetictoneelusiveandopenthepossibilityofmultiplereadingsofthesame shortpiece.⁴⁶ Literaryepigramsimitatingverseinscriptionsonastatuebaseor monumentcanalsorecreatetheworkitself,inecphrasis,andintheprocess theycanexploretheaestheticsoftheartefactandthenatureofartistic representation.TheseriesonMyron’scow(AP 9.713–42)isanexcellent exampleofanepigrammaticgamewithinscriptionalnorms.⁴⁷ Literarydedicatoryepigramsalsoinventivelyexplorethesetofrelationshipsbetweenthe giver,aninscribedobject,andtherecipientthroughthedialoguecreated betweentheobjectandanimaginedpasser-by.⁴⁸
Inparallelwiththeplayoninscriptionalconventions,epigramwasrapidly takenoutsideitstraditionalboundaries.Asclepiadesisthe firstknownepigrammatisttoemploythisformasavehicleforexploringthethemeof eros anditspredicaments.Hellenisticepigramsalsoparodyinscriptionalnorms, engageinpersonalinvectivepromptedbyliterarydisputesandhistorical events,andinvolvesatiricalattacksagainstsympotic figures,gluttons,and drunkards.⁴⁹ TheViennaEpigramsPapyrusopensupthepossibilitythat satiricaltopoiconsideredsofartobetypicalofLucillius’ andNicarchus’ skopticepigrams,suchasthemockeryofprofessionalcategoriesandphysical defects,hadactuallybeenalreadytreatedbytheHellenisticpoets.⁵⁰
Theexpansionofepigram’sthematicrangereflectstheepigrammatists’ absorptionofthemesandfunctionsfrompreexistinggenres.Thearchaic andclassicalperiodssawavastoutpouringofsympoticpoetry;suchpoetry commentedonorreferredtoitscontextbycelebratingdrinkingandfellowship,providingadviceonarrangementsforthesymposium,makingappealsto drink,offeringguidanceonwineandmixtures,andincludingdescriptions ofdrinkinganditseffects.Asthesymposiumwasalocusfordesireand
⁴⁵ E.g.Antip.Sid. AP 7.209= HE 57,Anyt. AP 7.190= HE 20,Mnasalc. AP 7.192= HE 12and AP 7.194= HE 13,andNic. AP 7.200= HE 4.
⁴⁶ Seee.g.Antip.Sid. AP 7.218= HE 23,aninterestingmelangeofpraiseandblame,with Kanellou(2016),200–1;fortheserio-comictoneoferoticepigrams,seeKanellou(2013).
⁴⁷ SeeSquire(2010b).Ontheecphrasticepigram,seethechaptersbyBing,Floridi,andSmith inthisvolume.
⁴⁸ Forgeneraldiscussionsovertheinnovationsofdedicatoryepigrams,seee.g.Fantuzziand Hunter(2004),219–33;LivingstoneandNisbet(2010),54–67.
⁴⁹ OnHellenisticskopticepigram,seee.g.Blomqvist(1998);Floridi(forthcoming).Studies andcommentariesonskopticepigramincludeGalliCalderini(1984)onHedylus,Nisbet(2003) onimperialskopticepigram,Schatzmann(2012)onNicarchus,andFloridi(2014a)onLucillius. SeealsoFloridi’schapterinthisvolume.
⁵⁰ Forthispoint,seeFloridi(2016;forthcoming).AnotherinnovationoftheHellenisticerais theso-calledbucolicepigram,onwhichseeL.Rossi(2001).Forthesix technopaegnia includedin AP 15,seeKwapisz(2013a).
seduction,lyricpoetryandelegy(mainlyMimnermusandTheognis)servedas amediumforaddressingthethemeoflove:declarationsoflove,descriptions oftheimpactofloveandofthetormentofunrequitedlove,songsinpraiseof thebeloved,recriminationsandappeals,prayerstoAphrodite.Butlyricsong wasmoreorlessextinctbythetimewegettotheearlyclassicalperiod;no majortalentsemergedafterAnacreon’sdeathintheearly fifthcentury BCE. Thispartialvacuumwas filledbyepigram.Thetopicsofwineandlovewere takenupbytheepigrammatistsandcontinuouslyreworkedandreinvigorated, inanendlessgameofpoeticimitationandcompetition.Hellenisticepigrams engagedwitharchaicpersonallyricpoetrynotonlyatathematicandrhetoricallevelbutalsothroughintertextualgesturestowardspecificpoetsand poems.AcharacteristiccasestudyisthecontinuousadaptationofSappho’ s γλυκύπικρον ἀμάχανον ὄρπετον (‘bittersweet,irresistiblecrawlingcreature’ , fr.130V).⁵¹
Thisdoesnotexhausttherichnessofthepoeticform.Thestrongsatirical–parodicstrandinepigramrefl ectstheinfl uenceofiambusandcomedy. ⁵²
Thethemesofarchaiciambusincludednotjustlovebutalsographic depictionsofsexualexploits;iambuswasalsoamediumforhumourand parodyandforthepursuitofquarrels ,theenactmentofrevenge,andthe expressionofhate.Jokes,vulgarlanguage,ridicule,andsatirewerealso constantfeaturesofAtticcomedyand,whiletheburlesqueofthegodsand theirmythsbloomedinfourth-centurymythologicalcomedy,illicitrelationships,rapes,andunrequitedloveswereakeyingredientofNewComedy. Epigramsabsorbedandrefreshedmate rialfrombothgenres.Forinstance, courtesansofeverysort,fromtheexpensivehigh-societyjeweltothereadily availableprostitute,wereanindispensablepresenceatthesymposiumand accordinglyfeaturedinallsmall-scal earchaicpoetry.Butthesheerubiquity ofthehetaerainepigramandtherecurrentmotifsofsubserviencetoherand praiseorblameprobablyowemuchtofourth-centuryAtheniancomedy.In addition,epigramsridiculeandsatirizenotonlyhumansbutgodsaswell; hereonedetectsthein fluenceofmythologicalcomedy.Sincenounbridgeablebordersexistedbetweenthevariousepigrammaticsubtypesoriginally categorizedonathematicbasis,theskopticelementwasintermingledwith theeroticonealreadyduringtheHellenisticera.TakeforinstanceHellenisticeroticepigramsdescribingsex-scenes anexcellentrepresentativeof thistypeoferotic – skopticepigramwithemphasisonsexualintercourseis
⁵¹Foreroticepigramanditsabsorptionandreuseofearlierpoetry,seeKanellou(2012).On theMeleagreansequenceonEros AP 5.176–80,seeGutzwiller’schapterinthisvolume.
⁵²Forpointsofcontactbetweenepigram,iambus,andcomedy,seee.g.Brecht(1930); Schatzmann(2012),96–105.Forthereceptionofiambusinantiquity,seeRotstein(2010); Carey(2016). 8
Dioscorides AP 5.54= HE 7and AP 5.55= HE 5 afeatureoriginatingin archaiciambus. ⁵³
JusthowfarHellenisticepigramreplicatedtheperformancecultureof previouscenturiesisstillamatterofdebate.ThetheorythatAsclepiades andotherepigrammatistsimprovisedtheirepigramsatsymposiahasfound bothfollowersandcritics.⁵⁴ Asapartialmodel,ithasmuchinitsfavour.The symposiumremainedanimportantfeatureofGreekcultureandthereisno reasontosupposethatpoetrylostitsplaceatthesymposium.Itisreasonable toassumethatepigramssuitablefortheambienceofdrinkingpartiescould havebeenreadoutorevenimprovisedatsymposia⁵⁵ andthenreworked forpublicationinauthorialcollections.Fromsuchauthorialcollectionsthey couldthen findtheirwayintoananthology.Atthesametime,however,in thebookishcultureoftheHellenisticera,otherepigramswouldhave beencomposedexclusivelyforareadership,imitatingthesymposiasticatmosphere.⁵⁶ Gutzwillerrightlyrecognizedthatthecirculationbytheearly thirdcentury BCE ofcollectionsofshortlyricsongsandelegies probably abbreviatedversionsorexcerptsfromlongerpoems enabledthethematic expansionofepigram,sincethegenericboundariesbetweenthetwoforms werenowblurred,elegylosingitssympoticcontextandepigramitsinscriptionalframework.⁵⁷
Epigramwas,beyonddoubt,ahighlyexperimental fieldfortheHellenistic poets.Itsabilitytoabsorbandamalgamateawiderangeofarchaicand classicalpoeticgenresandmotifsmakesitaremarkablephenomenonin Greekliterature.⁵⁸ Allliterarygenresarebothdynamicand flexible,inthat thereisaconstantinterplaybetweentheimplicitgenericmodelsharedbythe artistandtheaudienceorreadershipandthespecificformittakesinanygiven case;eachinstancebendsandstretchesthegenericmodelandcontributesto thefutureexpectationsoftheaudienceorreadership.Butthebroadoutline
⁵³Onmythologicalburlesqueandepigram,aswellasonerotic–skopticepigram,seeKanellou’ s chapterinthisvolume.
⁵⁴ SeeReitzenstein(1893),87–104;A.Cameron(1995),71–103.Thetheorywasresistedby Gutzwiller(1998),115–16;Bing(2009),113–15;andseenowF.Cairns(2016),4–7.
⁵⁵ Laterepigrammatistswerewellknownfortheirextemporizations:twoexamplesare AntipaterofSidon(Cic. Deor. 3.194)andArchias(Cic. Arch.18).
⁵⁶ SeeGutzwiller(1998),116–17.
⁵⁷ Ibid.;cf.FantuzziandHunter(2004),289;BingandBruss(2007b),11–12withn.44;Sens (2011),xliii–xliv.Onesuchcollectionofelegiaccoupletssurvives:theso-called Theognidean Sylloge,whichcouldhavebeenincirculationbythefourthcentury BCE.Theextentofitsinfluence onAsclepiades’ poetry,though,isdifficulttoassess,giventheuncertaintyaboutitsformand contentatthetimewhenAsclepiadescomposedhispoems(seeBowie2007).Onepigramand elegy,seeGentili(1968);onAsclepiadesandtheoriginsoferoticepigram,seeMagini(2000); Sens(2011),xlii–xlviii.Onsympoticpoetryandepigram,seeGiangrande(1968).
⁵⁸ Theconceptof KreuzungderGattungen was firstintroducedbyKroll(1924),202–24and subsequentlyreformedbyotherscholars;seee.g.L.E.Rossi(1971);Fantuzzi(1980);Fantuzzi andHunter(2004),17–26.
