By James J. O'Hara
How should still we react as readers and as critics whilst passages in a literary paintings contradict each other? Classicists as soon as assumed that each one inconsistencies in old texts had to be amended, defined away, or lamented. development on fresh paintings on either Greek and Roman authors, this ebook explores the potential of analyzing inconsistencies in Roman epic. After a bankruptcy surveying Greek historical past fabric together with Homer, tragedy, Plato and the Alexandrians, 5 chapters argue that comparative research of the literary use of inconsistencies can make clear significant difficulties in Catullus' Peleus and Thetis, Lucretius' De Rerum Natura, Vergil's Aeneid, Ovid's Metamorphoses, and Lucan's Bellum Civile. no longer all inconsistencies can or may be interpreted thematically, yet various info in those poems, and a few old and smooth theorists, recommend that we will be greater readers if we give some thought to how inconsistencies might be functioning in Greek and Roman texts.
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Example text
See Thomas (1982b) = (1999) 12–32, Zetzel (1983), Gaisser (1995), Clare (1996) 60–5, and Theodorakopoulos (2000) 121–5. “Competing perspectives:” Gaisser (1995), “multiplicity of citations:” Goldhill (1986); see also Williams (1968) 227–8 and Theodorakopoulos (2000). 34 t h e f i r s t s h i p, a n d t h e e a r l i e r s h i p Peliaco quondam prognatae vertice pinus dicuntur liquidas Neptuni nasse per undas Phasidos ad fluctus et fines Aeeteos, cum lecti iuvenes, Argivae robora pubis, auratam optantes Colchis avertere pellem ausi sunt vada salsa cita decurrere puppi, caerula verrentes abiegnis aequora palmis.
Griffiths (1980) 129–32, Sens (1992) and (1997), Thomas (1999) 252–60, Hunter (1996) 46–76; for a traditional discussion of unity see Laursen (1992). See the summary in Sens (1997) 14, and also Cameron (1995) 431–3. Gow (1942) 16, quoted by Thomas (1999) 252. Thomas (1999) 253 = (1996) 232, Hunter (1996) 59, Griffiths (1980) 129–32, Sens (1992) and (1997); both Thomas and Griffiths point to similarities between the technique of this poem and that of the singing contest. Note too the challenging idea of Selden (1998) 349–50 that Hellenistic poetry, especially that of Callimachus, reflects “Egyptian 27 greek versions Part of the formal complexity of Callimachus’ Hymn to Artemis and Theocritus’ Hymn to the Dioscuri is signaled for the reader by the use of different models.
For unifying features cf. Clay (1989) 18ff. (noting that “certain crucial questions are raised in the first half but not satisfactorily answered until the end of the poem”), A. M. Miller (1986) (whose appendix tells the history of the unity question), Nagy (1979) 6–11. See Lloyd-Jones (1972). Waldock (1966) 11–24 discusses the “documentary fallacy” and Sophoclean criticism. 16 from homer to tragedy that began in the second half of the fifth century would eventually have had an impact upon playwrights’ expectations.