By Lorna Hardwick, Christopher Stray
Analyzing the great quantity of how within which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the impression of this phenomenon on either old and later societies.Provides a accomplished advent and review of classical reception - the translation of classical paintings, tradition, and idea in later centuries, and the quickest starting to be quarter in classicsBrings jointly 34 essays via a world team of individuals interested in historical and smooth reception strategies and practicesCombines shut readings of key receptions with wider contextualization and discussionExplores the impression of Greek and Roman tradition all over the world, together with an important new parts in Arabic literature, South African drama, the historical past of images, and modern ethics
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Additional resources for A Companion to Classical Receptions (Blackwell Companions to the Ancient World)
West 1998, though he would resist calling the man ‘Homer’: West 1999). These different conceptions dramatically affect the project of studying his ancient reception since, depending on our conceptual framework, we may focus on the texts of the Iliad and the Odyssey as they have reached us, or consider the broader epic tradition out of which those two poems gradually emerged. I propose to start with a brief overview of ancient uses of the name Homer. The Iliad and the Odyssey, as is well known, are resolutely silent about their author and so, it seems, are the other hexameter poems which were sometimes described as Homeric in antiquity.
Yτjν. ους, P δ’ tλιος θJλασσαν, τOν δ’ tλιον σηλjνη. οι, καYτ=ι θRλοντι πnνειν; The black earth drinks, the trees drink it. The sea drinks the torrents, the sun the sea, the moon the sun. Why fight with me, my friends, if I too want to drink? (tr. Campbell) Clearly, Cowley’s poem uses the structure and conceits of the Anacreontea piece, expanding on it in length and level of rhetoric. Cowley imitates the basic sequence of the drinking earth, plants, sea, sun and moon, leading up to the question about the speaker’s own drink, but elaborates throughout and so produces a poem that is three times as long.
The appeal of each individual poem will have had something to do with its particular features and circumstances – such as Cowley’s anti-puritan snipe for the consumption of other anti-puritans – but for a balanced understanding of Anacreontic poetry one needs to come to terms also with the many features that one finds again and again, in different periods and languages: brevity (Cowley’s poem is at the long end of the spectrum); simplicity of metre (here: the iambic tetrameters); simplicity of language (Cowley is unusually rhetorical, but even Cowley’s language is quite straightforward); wit (here: the punch line); a small number of usually apolitical and unspecific themes (especially drink, which here has a political application, and love); and, above all, a light-hearted tone.