By Emmet I. Robbins, Bonnie MacLachlan
Emmet I. Robbins earned a global popularity as a student of historic Greek poetry, owning a vast cultural history and a command of many languages that allowed him to
present delicate and educated readings of poets from Homer to the tragedians. Thalia Delighting in Song assembles for the 1st time his paintings from 1975 via 1999, reflecting his shut
reading of the Greek texts and his enterprise grab in their literary, old and mythological contexts.
Among the essays incorporated during this quantity are vital reflections at the poetry of
Homer, Alcman, Sappho, Pindar and Aeschylus. additionally featured are Robbins' writings that situate Greek texts of their wider contexts, evaluating Greek poetry and smooth opera, for instance, or
assessing the long-lasting impact of fable within the Indo-European traditions, accounting for hyperlinks among Greek literature and the poetry, sagas and songs of a number of different cultures. Thalia
Delighting in Song guarantees that the subsequent iteration of Classicists will proceed to profit from the insights of 1 of the major students within the field.
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Extra info for Thalia Delighting in Song: Essays on Ancient Greek Poetry
76 There are references to a lyric poem for the battle of Artemisium (532–4 PMG), possibly for performance at Athens at the shrine of the wind-god Boreas or at the Panathenaea; Boreas had given the Athenians help in the battle (Her. ). The Suda mentions an elegy for Artemisium and a lyric poem for Salamis, but because the few quotations relating to Artemisium were lyric it had been believed that the Suda had reversed the genres and the battles. New evidence has, however, enlarged our knowledge of Simonides’ poetry for the Persian Wars and it has become clear from the papyri that there was in fact an elegy for Salamis (5–9 IEG2).
Simonides easily became a clever miser ( The two longest citations of the poetry of Simonides (542 & 543 PMG), have both been reconstructed as poetry from the prose of the authors who quote them. 542 is in fact from a discussion by Socrates with the sophist Protagoras in Plato’s dialogue Protagoras. The piece, addressed to Scopas, has a long history of being analyzed for its philosophic content and its importance in the history of Greek thought, since Simonides appears to be discussing what it means to be good and to be commending that man who of his own free will does nothing base.
Oxy. 2735 (= Ibycus S 166–219) is ascribed by some scholars to Stesichorus. Identity of dialect has in some cases led to a difference of opinion in attribution in the case of Sappho and Alcaeus too. 38 Brize 1980. 39 Brize 1980: 24–5. Page speculates, for instance (PMG pp. 95–6), on the possible inﬂuence of the Oresteia of Stesichorus on the metopes from Heraeum at the mouth of the Sele river near Paestum. But Brize (19) shows that this is most unlikely. public poetry: stesichorus 13 damaged fragments belonging to the Geryoneis.