Greek Lyric Poets

Tipo di tesi Tesi di dottorato di ricerca
Autore BENELLI, LUCA
URN etd-12092013-172526
Titolo SAPPHOSTUDIEN ZU AUSGEWÄHLTEN FRAGMENTEN
Settore scientifico disciplinare L-FIL-LET/02
Corso di studi DISCIPLINE UMANISTICHE
Commissione tutor Prof. Hammerstaedt, Jürgen
relatore Prof. Medda, Enrico
Parole chiave
Frammenti
Fragmente / Saffo
Sappho
Data inizio appello 15/01/2014;
Disponibilità completa
Riassunto analitico Commento filologico dettagliato ad una serie di frammenti di Saffo, con nuove proposte testuali.

Ancient Greek popular songs are a heterogeneous group.  They vary in subject matter, tone and dialect. They, usually, have a different geographical origin and they are composed at a different date. It is extremely difficult to determine the exact conditions of their performance since these songs are believed to have been repeatedly sung by different performers at different performative settings within a large time range. Nonetheless, they are united by a common set of formal features that recur throughout the corpus.  One of these features is repetition.
It has been suggested that repetition frequently occurs in Greek popular songs either because it is a good mnemonic devise or because repetition is a characteristic of some types of these songs that have to do with ritual practices (e.g., mourning, incantations) who call for the repetition of some meaningful words,  or, in other, words, that repetition in ancient Greek popular songs is related to their composition and their oral character. Nonetheless, Nagy has long ago noted that repetition is not only a matter of composition but also a matter of performance.  What is more, he has argued that repetition is a matter of further reperformance.  Recently other contemporary scholars suggested that work songs could be repeated continuously to accompany a monotonous task,  that is, that the repetitions encountered in some of the ancient Greek popular songs can be related to the conditions of their performance.
I suggest that repetition in ancient Greek popular songs is related not only to their performance context, but also to the poetics of their performance. Through repetition and other textual strategies related to repetition,  ancient Greek popular songs inscribe the poetics of their performance and their reperformance. Repetition is a sign that they were composed to be repeated and continuously reperformed in various settings. In addition to this, the repetition of this breve and simple compositions provides the illusion that the performance of an ancient Greek popular song can be continued ad infinitum. Their performers seem to be caught in a loop of eternal performance and reperformance in a separate time.

This is a meticulous survey of the reception of some lyric subgenres
in Hellenistic poetry and it is meant to be the first of a series of contributions
on the subject. Leaving aside lyric in a religious context, the paper is divided
into two main sections, namely lyric poetry composed for rulers and lyric poetry
written for everyday people. In the new social context lyric poetry was intended
for presentation in the royal symposia. The Alexandrians wrote all types of occasional
lyric poetry (enkomia, epinikia, epithalamia, threnoi and epikedeia), a fact
that is reflected both in the work of distinguished poets, such as Callimachus,
Posidippus and Theocritus as well as in the epigrammatic tradition and in poetic
fragments found on papyri. Special attention is given to stichic lyric poetry and
to the new genre of the mime, whereas the oral tradition of the carmina popularia
and the making of lyric anthologies for symposiastic use complete the picture.

Exegetical and critical notes on Archil. fr. 8,1 (connecting ἐυπλοκάμου with ἁλός), 33
(editorial history of the fragment, elimination of a false reading, analysis of the context
of quotation in [Luc.] Am. 3), and °°328,9 W.2 (new reading of the ms. and establishment
of the text).

Abstract: Attraverso l’analisi di una serie di passi tratti dai frammenti del P.Oxy. 3722 (hypomnema ad Anacreonte) si tentano nuove strade nell’interpretazione e nella comprensione testuale, ricorrendo anche a nuovi supplementi o ipotesi di lettura. Dalle colonne meglio conservate del papiro si ottiene un valore approssimato di 30±3 lettere per ogni rigo, una media che, con le dovute cautele, può essere estesa a tutto il rotolo nella sua conformazione originaria.
Abstract: Durch die Untersuchung einer Reihe von Stellen, die aus den Fragmenten des P.Oxy. 3722 (Papyruskommentar zu Anakreon) stammen, wird versucht, den überlieferten Text soweit möglich zu rekonstruieren und auszulegen, indem man auch neue Ergänzungen und Lesungen vorschlägt. Aus den am besten erhaltenen Kolumnen des Papyrus kann man einen Durchschnitt von ungefähr 30±3 Buchstaben je Zeile rechnen.
Abstract: Through analysis of some passages from P.Oxy. 3722 (commentary on Anacreon) we will try to find something new in relation to the interpretation and the textual comprehension, also with the aid of supplements and new readings. Text columns, which have been preserved at their best, contained about 30±3 letters per line, an average which, with due caution, could be extended to the whole roll.

The paper is the first part of S. Barbantani’s contribution "Lyric for the Rulers, Lyric for the People: The Transformation of Some Lyric Subgenres in Hellenistic Poetry", in E. Sistakou (ed.), "Hellenistic Lyricism: Traditions and Transformations of a Literary Mode"
(Trends in Classics 9, 2), Berlin - Boston 2017, pp. 339-399 (which discusses encomiastic lyric, epinikion in Callimachus, Posidippus and inscriptional epigram, literary epithalamia, threnoi and epikedeia, poems in stichic lyric meters, Carmina popularia, anthologies for symposiastic use and mimes). This contribution analyses how some of the main lyric
genres developed in archaic and classical Greek poetry underwent transformation in the Hellenistic period, following social, political and cultural changes. The paper specifically explores lyric poetry produced ‘for the gods’ (hymns, esp. paeans, preserved on stone and on papyrus).

Bacch. fr. dith. 29d M. Tra i dithyramborum vel epiniciorum fragmenta dell'edizione di Bacchilide curata da H. Maehler (Bacchylidis carmina cum fragmentis, Monachii-Lipsiae 2003 11) compaiono, sotto il nr. 29, sette lacerti (a-g) tramandati da due papiri dei secc. II e III d.C. 1 e ascritti ad un ditirambo, forse intitolato Ὀρφεύς 2. Si riproduce di séguito il testo del frammento, con le integrazioni che appaio-no sicure (come quelle dei vv. 7, 9 e 14) o, quanto meno, molto probabili (come quelle dei vv. 10-13) 3. 1 Si tratta di P. Oxy. XXXII 2364 addendum a + b (C add. a + b) e di P. Oxy. XXIII 2364 (R), assegnati da Lobel rispettivamente al III e al II sec. d.C. I due papiri sono stati congiunti tra loro da Maehler (H. M., Die Lieder des Bakchylides, II. Die Dithyramben & Fragmente, Leiden 1997, 282s.) sulla base di alcune corrispondenze metriche rilevate da Führer (R. F., Zu P. Ox. XXXII (1967), p. 160. Addendum to 2364 (Bacch. Dith.), «Maia» n.s. XXI, 1969, 83-85) e dallo stesso Maehler (Bacchylidis carmina cum fragmentis, Lipsiae 1970 10 , 118 ad fr. 65), riassumibili come segue: fr. 29a [R fr. 1] vv. 1-4 = 29d [C add. b] vv. 10-13; 29b [R fr. 2] vv. 6-18 = 29d [C add. b] vv. 1-13. 2 Così Snell (B. S., rec. The Oxyrhynchus Papyri, XXXII, London 1967, «Gnomon» XL, 1968, 116-123: 122), e quindi Maehler nelle edizioni del melico (vd. supra n. 1). Sulla stessa linea è anche Irigoin (J. I., Bacchylide. Dithyrambes, épinicies, fragments, trad. par J. Duche-min-L. Bardollet, Paris 1993, 65). 3 Vd. anche Maehler, Die Lieder II cit. 52-55. Ai vv. 7-9 non si è accolto l'accostamen-to del frammento papiraceo C add. a, che pure confermerebbe, al v. 7, la felice congettura (πόντι]ον) di Snell, ma che costringe, al v. 8, a correggere il testo tràdito in κλε[ῖό]ν <σ>ε τὸν Οἰαγρίδα[ν (come alternativa, Maehler [o.c. 52] proponeva in apparato κλε[ῖό]ν <τ>ε τὸν Οἰαγρίδα[ν). In un testo così lacunoso, appare più prudente accedere all'ipotesi di errore da parte del copista solo dopo avere tentato altre possibilità di ricostruzione del testo. Un'al-tra proposta, più cauta, è quella, suggerita dubitativamente da Snell (Bacchylidis carmina cit. 122), di integrare κλε[αί]νετον, finora attestato solo come idionimo, ma mai come aggettivo. L'integrazione più probabile per il v. 8 appare, in ogni caso, εὐαί]νετον, proposto da Lobel (E. L., Addendum to 2364, in Id., The Oxyrhynchus Papyri, XXXII, London 1967, 160-162: 161) sulla scorta di Pind. P. 4,177 (si veda inoltre Bacch. 19,11, dove l'epiteto è attribuito alla poesia bacchilidea stessa), ovviamente accettabile solo se non si accoglie l'accostamento dell'addendum papiraceo e si attribuisce invece quest'ultimo frammento alla colonna precedente (per questa possibilità, cf. Snell, o.c. 123). Per una più dettagliata discussione sul contenuto del frammento sia concesso il rinvio a Orfeo apollineo (tra lirica arcaica e critica letteraria d'età classica), «AOFL» II (2009) 47-67. «EIKASMOS» XXV (2014)

Abstract: Textual notes and new reconstruction of Sappho Fr. 90a, col. III 22–23 V. (from a
papyrus commentary: P. Oxy. XXI 2293). In l. 23 ἀν[εμ]ο̣φορητο[ cannot be a lemma from a poem
of Sappho, as printed by Voigt, because it has an impossible metrical structure and seems to be a
late and prose word, not a poetic one. It also belongs to the language of exegetic and scholiastic
works. An analysis of its occurrences could help to reconstruct the original Sapphic passage.
Keywords: Sappho Fr. 90a V., P.Oxy. XXI 2293, commentary on papyrus, scholia, lexica,
Apollonius Sophistes, Apion

Abstract: All the editors of Sapph. fr. 117 V. print the text with the words †χαίροιϲ ἀ νύμφα† between cruces and overlook a testimonium to the fragment which is quoted
in the schol. vet. in Arat. Phaen. 250. This scholion, which guarantees for the first time Sappho’s authorship, transmits a probably older reading of the text, which is almost correct, both textually and metrically. Thus the schol. vet. in Arat. Phaen. 250 helps us to restore the original, “Alexandrian” reading of the passage: <x> χαῖρε, νύμφα, χαιρέτω δ᾽ὀ γάμβροϲ.

Abstract: Textual notes on a series of verses from Sappho Fr. 44A a-b V. At the beginning of v. 3
the new textual supplement ἐν Δάλωι κρανάαι Κρ]ονίδαι μεγαλωνύμω̣<ι> is very likely and would
solve the textual problems linked with this verse.
Keywords: Sappho Fr. 44A a-b V., Artemis, textual criticism