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THEEMERGENCEOFTHELYRICCANON

TheEmergenceof theLyricCanon

THEODORAA.HADJIMICHAEL

GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom

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©TheodoraA.Hadjimichael2019

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Acknowledgements

Thisbookwasmanyyearsinthemaking,andittravelledwithmetovarious cornersoftheworld.ItsstorystartedasadoctoralthesisatUniversityCollege LondonsupervisedbyChrisCarey,butithasgrownovertheyearsandit resemblesonlytoasmallpercentagethatinitialendeavour.Iamparticularly thankfultoChrisforhisfeedbackthroughoutmydoctoralyears,forhis generosityandpatience,enthusiasmandpositivethinking,hissupportand guidance,butmostlyforteachingmehowtoconstantlygrowasaresearcher andasascholar.MariaWykeaskedtherightquestionsbeforethethesiswas submitted;herbackgroundasaLatinistandherspecializationinModern Receptionaddedtomyresearcharejuvenatingtoneandoftenmademe considerthingsdifferently.Mytwoexaminers,FelixBudelmannandAngus Bowie,providedcriticism,usefuladvice,andguidancebothatmyvivaandthe yearsafter.Althoughthisbookisverydifferentfromitsearlyform,Ifeelthe needtothankMyrtoHatzimichali,SimonHornblower,thelateGeorgios Katsis,thelateRobertSharples,andJosephSkinnerwhohelpedmewith variousintellectualchallengesthatIfacedwhilecompletingmydoctoral thesis.GiambattistaD’AlessioandhisFragmentsSeminaratKingsCollege LondoncontributedtothedevelopmentofmyskillsinPapyrology,andadded tomyenthusiasmofdealingwithancientGreekscholarship,textualchallenges,andfragmentedquestions.IfIallowmymemorytotravelfurtherback, myacademiclifewouldnothavestartedwithoutthefoundationsthatwere laidinmyundergraduateyearsattheNationalandKapodistrianUniversity ofAthens,Greece,whereI ﬁrstencounteredPindarandBacchylidesatthe lecturesofMaryYossi.

SincecompletingmydoctorateIhavebeenveryfortunatetohavebeen exposedtovariousacademicenvironmentsandscholarlyapproaches,as IspenttimeintheUSA,theNetherlands,andGermanybeforeIreturnedto theUK.Myideasbene ﬁtedexceptionallyfrommywanderingacademiclife, whichmuchenhancedmyacademictrainingandrichlyshapedmyproﬁleas aclassicist.Theinitialstepsofthisbook’srevisionsstartedwithaMargo TytusSummerFellowshipattheClassicsDepartmentattheUniversityof Cincinnati,followedbyashort-termfellowshipatRadboudUniversityin NijmegenintheNetherlandsthatwassponsoredbytheInstituteforHistorical,LiteraryandCulturalStudiesoftheFacultyofArts.Apost-doctoral fellowshipatLudwig-Maximilians-UniversitätMüncheninGermanythat wasfundedbyLMUexcellentofferedmetherequiredtimetothinkcarefully, write,andpreparethemanuscript.Thebookthereaderholdsintheirhands

wascompletedand ﬁnalizedwhileIheldaMarieSkłodowska-CurieActions COFUNDfellowshipattheUniversityofWarwickUK.The ﬁnancialsupport oftheDFGExzellenzinitiativeandtheEuropeanUnion’sHorizon2020research andinnovationprogrammeundertheMarieSkłodowska-Curiegrantagreement No.713548isgratefullyacknowledged.IthankthelateGetzelCohenand theClassicsFacultyattheUniversityofCincinnati,andalsoAndréLardinois atRadboudUniversity,MartinHoseatLudwig-Maximilians-Universität München,andAlisonCooleyandDavidFearnattheUniversityofWarwick whosupportedtheapplicationsthateventuallyturnedintosuccessfulfellowships.

The2011–12AdvancedSeminarintheHumanitiesattheVeniceInternationalUniversityinItalyplayedadecisiveroleinmyfuturecareer,and IowespecialthankstoEttoreCingano.Friendsandcolleagues,scatteredall overtheworld,supportedmeandstoodbymeduringthisjourney:Peter Agócs,JuneAngelides,NinetaAvani,EmrysBell-Schlatter,IngridCharvet, JennFinn,LisaFuhr,KyriakiIoannidou,PetrosKoutsoftas,Zacharoula Petraki,StephanyPiper,ZoeStamatopoulou,HansTeitler,BobbyXinyue, myco-fellowsatWarwickEllieMartusandElizabethNolte,andsomany otherfriendsandcontactsImetinmyperipateticlife.Peter,Nineta,Zoe,and Bobbyhelpedmeunderstandthatitistimeforthisbooktocometolife.Iam mostgratefultoMargaritaAlexandrouforreadingandcommentingonan earlierversionofthemanuscriptandtotheanonymousreaderofOxford UniversityPress,whoseacutecommentsandcriticismmuchimprovedthis book.Allremainingerrorsandfolliesareofcoursemyown.Manythanksare alsoduetoCharlotteLoveridge,TomPerridge,andGeorginaLeightonat OUPfortheirhelpandpatienceinansweringallthequestionsofa ﬁrst-time author,andtomycopy-editorChristineRanftforherattentiontodetailand forherassistanceinpreparingthisbookforpublication.LydiaShinojoversaw theproductionprocessandIamverythankfultoherandtotheproduction teamfortheirresourcefulnessandprofessionalism.ThemapsthatareincludedinthebookwerepreparedbyMichaelAthansonwhoseimpeccable workmapsvisuallyandliterallythescopeofthisproject.Boththeproduction ofthemapsandtheinclusionofthevaseimagesweremadepossiblewith fundsfrommypost-doctoralfellowshipattheUniversityofWarwick.The DaliimagewasdiscoveredwithElenaGiustionarainyafternoon,anditsuse onthecoverofthisbookwasmadepossibleinpartbyacontributionoffunds fromtheInstituteofAdvancedStudy,UniversityofWarwick

Finally,myimmensegratitudegoestomyfamily myparentsandmy brothers whoalwaysbelieveinme.Wordscannotsufficetothankmyparents fortheir financial,moral,andemotionalsupport,theirunconditionallove andself-sacri fice.TheyandmybrothersconstantlyremindmethatIshould alwayskeepmyfeetontheground,andforthisIameternallygrateful.

Thisbookisdedicatedtomycousin,whowasgonetoosoon.

9July2018

ListofMapsandFigures

Maps

1.1.Geographicaldistributionofthepoeticactivityoftheninelyricpoets24

6.1.LocationsofknownlibrariesintheMediterranean,inrelationtolyric activity,fromthe ﬁfthtothesecondcentury BC 221

Figures

5.1.Douriscup.F2285.Antikensammlung,StaatlicheMuseenzu BerlinPreußischerKulturbesitz 186

Photographer:JohannesLaurentius.©bpkBildagentur/Antikensammlung, SMB/JohannesLaurentius

5.2.DetailofDouriscup(Fig.5.1) 188

Photographer:JohannesLaurentius.©bpkBildagentur/Antikensammlung, SMB/JohannesLaurentius

5.3.AN18961908G.138.3.a.Onesimos/PanaitiosPainter.Atticred figure cup(kylix)fragmentsshowingseated figurewithscrollinfront ofbeardeddouble flute(aulos)player 189

Image©AshmoleanMuseum,UniversityofOxford

5.4.Atticred ﬁgurehydriaofthePolygnotosPainterGroup (Sapphohydria),NationalArchaeologicalMuseum,Athens, inv.no.1260 190

Photographer:GiannisPatrikianos.©HellenicMinistryofCulture andSports/ArchaeologicalReceiptsFund

ConventionsandAbbreviations

ThenamesoftheGreekauthorsandtheirworksappeareitherunabbreviatedorhave beenabbreviatedfollowingtheconventionsin LSJ.Forancientauthorsbeyondthe scopeof LSJ Ifollowtheabbreviationsofthe OCD;Latinauthorsappearasin OCD or unabbreviated.Journalsbeartheacronymsusedin L’AnnéePhilologique. Σ isusedfor scholion,andinthecaseofthescholiatoAristophanesitisstatedwiththeappropriate subscriptwhenthescholiaare vetera (Σ v)or recentiora (Σ r),whethertheyrefertothe commentariesofTzetzes(ΣTz),thoseofThomasMagistrus(ΣTh)orTriclinianius (ΣTr).Iincludethenumberingofthemostimportanteditionsoflyricfragmentsby usingtherelevantabbreviationand/orthenameoftheeditorineachcaseandby separatingthemwithasolidus(/).IstateinthetextwhereIfavourcertaineditions, andincaseswheretextualdiscrepanciesmatterIgivetherelevantvariants.For fragmentsIoftengivenotonlythefragmentnumberintheeditionreferredtoin eachcasebutalsothereferencetotheGreektextwherethefragmentwasquoted,and Iconnectthetwowithanequalto(=).ForthepassagesofPindarandBacchylides Igivetheabbreviationoftherelevanteditiononlyforfragments.

ABAustin,C.andBastianini,G.(2002), PosidippiPellaeiquae supersunt.Milan.

Adler Adler,A.(192838), SuidaeLexicon,5vols.Leipzig.

AGEP

Stadtmüller,H.(18941906), AnthologiaGraecaEpigrammatum PalatinacumPlanudea, 3vols.Leipzig.

ALG² Diehl,E.(193642), AnthologiaLyricaGraeca,editionaltera, 2vols.Leipzig.

ARV² Beazley,J.D.(1963), AtticRedFigureVasePainters,2ndedn, 3vols.Oxford.

Bethe Bethe,E.(190037), PollucisOnomasticon. Fasc.1:LibriIV;Fasc.2: LibriVIX;Fasc.3:Indices.Leipzig.

BroggiatoBroggiato,M.(2001), CratetediMallo:IFrammenti. LaSpezia. BrussichBrussich,G.F.(2000), LasodiErmione:Testimonianzee Frammenti.Pisa. BrunckBrunck,R.Fr.P.(17941814), AnthologiaGraecasivePoetarum Graecorumlusus. IndicesetcommentariumadjecitFridericus Jacobs,13vols.Leipzig. CalameCalame,C.(1983), Alcman.Rome. CampbellCampbell,D.A.(198293), GreekLyric,5vols.LoebClassical Library1424,461,576.CambridgeMA.

CEG Hansen,P.A.(1983), CarminaEpigraphicaGraecaSaeculorum VIIIVa.Chr.n. Berlin.

CLGP

I.1Fasc.2.1:Bastianini,G.,Haslam,M.,Maehler,H.,Montanari, F.andRömer,C.E.(2013), CommentariaetLexicaGraecain PapyrisReperta ParsI:CommentariaetLexicainAuctores. Volume1:AeschinesBacchylides.Fasc.2.1Alcman.Berlin. I.1Fasc.4:Bastianini,G.,Haslam,M.,Maehler,H.,Montanari, F.andRömer,C.E.(2012), CommentariaetLexicaGraecain PapyrisReperta. ParsI:CommentariaetLexicainAuctores. Volume1:AeschinesBacchylides.Fasc.4Aristophanes Bacchylides.Berlin.

ColonnaColonna,A.(1951), HimeriiDeclamationesetOrationes:Cum deperditarumFragmentis.Rome. ConsbruchConsbruch,M.(1906), HephaestionisEnchiridion.Leipzig.

Delectus Meineke,A.(1841), DelectusPoetarumGraecorumAnthologiae Graecae.Berlin.

DF DomingoForasté,D.(1994), ClaudiiAelianiEpistulaeet Fragmenta.Stuttgart.

Di Dindorf,W.(1855), ScholiaGraecainHomeriOdysseamex codicibusauctaetemendata,2vols.Oxford.

Diehl Diehl,E.(19036), ProcliDiadochiinPlatonisTimaeum Commentaria,3vols.Leipzig.

Diels Diels,H.(1895), SimpliciiinAristotelisPhysicorumlibrosquattuor posteriorescommentaria.CommentariainAristotelemGraeca vol.10.Berlin.

Dilts Dilts,M.R.(1974), ClaudiiAelianiVariaHistoria.Leipzig.

DindorfDindorf,W.(1829), Aristides,3vols.Leipzig.

Dindorf Σ Dindorf,W.(1838), AristophanisComoedia.Vol4.ParsI:Scholia Grecaexcodicibusetemendata.Oxford.

DK Diels,H.(1964), DieFragmentederVorsokratiker,11thedn.rev. W.Kranz,3vols.Berlin.

Doutreleauetal.Doutreleau,L.,Hemmerdinger,B.,Rousseau,A.,andMercier, Ch.(19692002), Contreleshérésies:IrénéedeLyon:édition critiqued’aprèslesversionsarmenienneetlatine,10vols Paris.

Dr. Drachmann,A.B.(190327), ScholiaVeterainPindariCarmina, 3vols.Leipzig.

Ebert Ebert,J.(1972), GriechischeEpigrammeaufSiegerangymnischen undhippischenAgonen.Berlin.

Erbse Erbse,H.(196988), ScholiaGraecainHomeriIliadem(Scholia vetera),7vols.Berlin.

ErcolesErcoles,M.(2013), Stesicoro:LeTestimonianzeAntiche.Bologna. FCG Meineke,A.(183959), Fragmenta ComicorumGraecorum,5vols. Berlin.

ConventionsandAbbreviations

FGE Page,D.L.(1981), FurtherGreekEpigrams.Cambridge.

FGrHist Jacoby,F.etal.(1923), DieFragmentedergriechischenHistoriker. Leiden.

FHG Müller,C.(187885), FragmentaHistoricorumGraecorum,5vols. Paris.

FinglassDavies,M.andFinglass,P.J.(2014), Stesichorus:ThePoems. CambridgeClassicalTextsandCommentaries54.Cambridge. Fort. Fortenbauch,W.W.,Huby,M.P.,Sharples,R.W.andGutas, D.(eds)(1992), TheophrastusofEresus:SourcesforhisLife, Writings,ThoughtandInﬂuence,PartsIII.Leiden.

HC Hansen,P.A.andCunningham,I.C.(eds)(2009), Hesychii AlexandriniLexicon: VolumenIV; ΤΩ.EditionempostKurtLatte continuansrecensuitetemendavit.Berlin.

HarderHarder,A.(2012), Callimachus:Aetia,2vols.Oxford.

Henry Henry,R.(195991), Photius Bibliothèque,9vols.Paris. HermannHermann,G.(1830), AristophanisNubescumscholiis.Denuo recensitascumadnotationibussuisetplerisqueIo.Aug.Ernestii. Leipzig.

Hilg. Hilgard,A.(1901), ScholiainDionysiiThracisArtem Grammaticam Leipzig.

HobeinHobein,H.(1910), MaximiTyriiPhilosophumena.Leipzig. HWRh Üding,G.(ed)(1998), HistorischesWörterbuchderRhetorik. Darmstadt.

IeranòIeranò,G.(1997), IlDitirambodiDioniso:LeTestimonianze Antiche.Pisa.

IEG²

West,M.L(198992), IambietElegiGraeci:AnteAlexandrum Cantati,editioalteraauctaaqueemendata,2vols.Oxford.

IG InscriptionesGraecae (1873),Berlin.

Körte Körte,A.(1912), Menandreaexpapyrisetmembranisvetustissimis Leipzig.

KosterKoster,W.J.W.(1975), ScholiainAristophanem.ParsI ProlegomenadeComoedia,ScholiainArcharnenses,Equites,Nubes. Fasc.IAProlegomenadeComoedia.Groningen.

Kühn Kühn,C.G.(182133), KlaudiuGalēnuHapanta:ClaudiiGaleni Operaomnia,20vols.Leipzig.

Latte Latte,K.(1966), HesychiiAlexandriniLexicon.VolumenII; ΕΧ. Copenhagen.

LCL Loeb ClassicalLibrary

LdH Schmitt,H.H.andVogt,E.(eds)(2005), LexikondesHellenismus. Wiesbaden.

Liddell,H.G.,Scott,R.,StuartJones,H.,McKenzie,R.,Glare, P.G.W.(1996), AGreekEnglishLexicon,withaRevised Supplement,9thedncompletedin1940.Oxford.

M Maehler,H.(1989), PindariCarminacumFragmentis.ParsII: Fragments;Indices. Leipzig.

MaehlerMaehler,H.(2003), BacchylidisCarminacumFragmentis.Leipzig.

MartanoMartano,A.(2012), ‘ChamaeleonofHeraclea:TheSources,Text, andTranslation’,inMartano,A.,Matelli,E.andMirhady,D.(eds), PraxiphanesofMytileneandChamaeleonofHeraclea:Text, Translation,andDiscussion.RUSCHXVIII.NewBrunswickNJ, 157228.

MeinekeMeineke,A.(1849), StephaniByzantiiEthnicorumquaesupersunt. Berlin.

MillisOlsonMillis,B.W.andOlson,S.D.(2012), InscriptionalRecordsforthe DramaticFestivalsinAthens: IG II²23282325andRelatedTexts. Leiden.

MirhadiMirhadi,A.(2001),DicaearchusofMessana:TheSources,Text, andTranslation’,inFortenbauch,W.W.andSchütrumpf,E.(eds), DicaearchusofMessana:Text,Translation,andDiscussion RUSCHX.NewBrunswickNJ,3138.

MorettiMoretti,L.(1953), Iscrizioniagonistichegreche.Rome.

OCD Hornblower,S.andSpawforth,A.(eds)(2012), TheOxford ClassicalDictionary, 4thedn.Oxford.

Pack Pack,R.A.(1963), ArtemidoriDaldiani:OnirocriticonlibriV Leipzig.

PCG Austin,C.andKassel,R.(eds)(198398), PoetaeComiciGraeci. 8vols.Berlin.

I ComoediaDoricaMimiPlyaces (2001);II AgathenorAristonymus (1991);III.2 AristophanesTestimoniaetFragmenta (1984); IV AristophonCrobulus (1983);V DamoxenusMagnes (1986); VI.2 Menander (1998);VII MenecratesXenophon (1989); VIII Adespota (1995).

TherelevantvolumeisgiveninsmallRomannumeralsafterthe abbreviation.

Pf. Pfeiffer,R.(194953), Callimachus,2vols.Oxford.

PLG Bergk,Th.(1878 82), Poetae LyriciGraeci,4thedn,3vols.Leipzig.

PLF Lobel,E.andPage,D.L.(1955), PoetarumLesbiorumFragmenta. Oxford.

PMG Page,D.L.(1962), PoetaeMeliciGraeci.Oxford.

PMGF Davies,M.(1991), PoetarumMelicorumGraecorumFragmenta, Vol1:Alcman,Stesichorus,Ibycus. Oxford.

PolteraPoltera,O.(2008), SimonidesLyricus,TestimoniaundFragmente: Einleitung,kritischeAusgabe,ÜbersetzungundKommentar.Basel.

PowellPowell,J.U.(1925), CollectaneaAlexandrina:ReliquiaeMinores PoetarumGraecorumAetatisPtolemaicae323146A.C.Epicorum, Elegiacorum,Lyricorum,Ethicorum.Oxford.

Radt Radt,S.(200211), StrabonsGeographika: MitÜbersetzungund Kommentar, 10vols.Göttingen.

RE Pauly,A.Fr.,Wissowa,G.,Kroll,W.etal.(eds)(18941980), RealEncyclopädiederklassischenAltertumswissenschaft Neue BearbeitungbegonnenvonGeorgWissowaunterMitwirkung zahlreicherFachgenossen,83vols.Stuttgart.

Rose Rose,V.(1886), Aristotelisquiferebanturlibrorumfragmenta. Leipzig.

ScheerScheer,E.(1958), LycophronisAlexandra. Vol.2:Scholiacontinens, editioalteraexeditioneanniMCMVIIIlucisopeexpressa.Berlin. SchmidtSchmidt,M.(1862), HesychiiAlexandriniLexicon,vol.4Appendix. Jena.

SchneiderUhligSchneider,R.andUhlig,G.(1878), ApolloniiDyscoliquaesuperunt, VoluminisprimiFasc.1. Leipzig.

SIG Dittenberg,G.(191524), SyllogeInscriptionumGraecarum, 3rdedn,4vols.Leipsig.

SLG Page,D.L.(1974), SupplementumLyricisGraecis:Poetarum LyricorumGraecorumFragmentaquaerecensinnotuerunt.Oxford.

SEG (1923), SupplementumEpigraphicumGraecum.Amsterdam.

SH LloydJones,H.andParsons,P.(1983), Supplementum Hellenisticum.Berlin.

SIG Dittenberg,G.(191524), SyllogeInscriptionumGraecarum, 3rdedn,4vols.Leipzig.

Slater Slater,W.J.(1986), AristophanesByzantiiFragmenta.Berlin.

SLG Page,D.(1974), SupplementumLyricisGraecis.Oxford. SchwartzSchwartz,E.(188791), ScholiainEuripidem,2vols.Berlin.

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TrGF TragicorumGraecorumFragmenta,5vols.Göttingen.

Vol.1 DidascaliaeTragicae,CatalogiTragicorumetTragoediarum, TestimoniaetFragmentaTragicorumMinorum (ed.Snell,B.1971, 2ndedn.1986);Vol.2 FragmentaAdespota (eds.Kannicht,R.and

ConventionsandAbbreviations

Snell,B.1981);Vol.3 Aeschylus (ed.Radt,S.1985);Vol.4 Sophocles (ed.Radt,S.1977,2ndedn1999);Vol.5 Euripides (ed.Kannicht,R;2 parts2004).

TherelevantvolumeisgiveninArabicnumeralsafterthe abbreviation.

V Voigt,EM.(1971), SapphoetAlcaeusFragmenta.Amsterdam.

vanKrevelenvanKrevelen,D.A.(1939), Philodemus:DeMuziek.Amsterdam. W² Wehrli,F.(196778), DieSchuledesAristoteles.Texteund Kommentar,2ndrev.edn,Basel.

I Dikaiarchos (1967a);II Aristoxenos (1967b);III Klearchos (1969a);IV DemetriosvonPhaleron (1968a);V Stratonvon Lampsakos (1969b);VI LykonundAristonvonKeos (1968b); VII HerakleidesPontikos (1969c);VIII EudemosvonRhodos (1969d);IXPhainias vonEresos.Chamaileon.Praxiphanes (1969e); X HieronymosvonRhodos.KritolaosundseineSchüler.Rückblick: DerPeripatosinvorchristlicherZeit Register (1969f); SupplementbandI HermipposderKallimacher (1974); SupplementbandII Sotion (1978).

TherelevantvolumenumberisgiveninsmallRomannumerals eitherafterW²orafterthedate.

WendelWendel,C.T.E.(1914), ScholiainTheocritumvetera: Adiectasunt scholiaintechnopaegniascripta.Leipzig.

WH Wachsmuth,C.andHense,O.(18841912), IoannisStobaei Anthologium,5vols.Berlin. xviii

NotetotheReader

Theterm lyric isusedthroughoutthisbookinassociationwiththecanonical ninelyricpoetsandmarksprimarilytheircanonizationintheHellenisticera. Lyric isinterchangedwith melic,whichisusedmostlyincaseswherethe audienceandtheirexperiencingofpoetryasoralperformanceareinvolved.In thosecases lyricsong, melos,or melicpoem mayalsobeused.Wherethe materialityofthephysicaltextisimplicatedtheterm lyric isusedinstead.In passageswheretheninelyricpoetsarerecalledinconnectionwiththeirpoetic compositionstheterm melopoios isalsousedalongsidetheterm lyric inorder toemphasizetheperformativecharacteroftheirpoeticcompositions.

ItransliterateanditalicizetheGreektermsoflyricsongsthatwererecognizedintheHellenisticeraasdistinctlyricgenresandasclassifyingcategories ofsong,i.e. enkōmion, hyporchēma, thrēnos,epinikion,partheneion,skolion, hymnos,prosodion.Transliterationanditalicizationappliesalsotoother Greektermsthatareincludedinthetext,andInoteboththeomegaand theiotawithamacron(ō, ē).TheGreekword symposion,however,iswritten ‘symposium’ .

Translationsthroughoutthebookaremyown,althoughIhaveconsulted therelevantvolumesinthe LoebClassicalLibrary andtheArisandPhillips seriesforthoseoftheGreektexts.Alldatesare BC,unlessstatedotherwise.

Ihavebeenunabletoaccessafewbooksthatwerepublishedin2018,and thusthereaderwill ﬁndimportantgapsintheBibliography:i.e.Rawles,R. (2018), SimonidesthePoet:IntertextualityandReception,Cambridge; Spelman,H.(2018), PindarandthePoeticsofPermanence,Oxford;Schorn,S. (2018), StudienzurhellenistischenBiographieundHistoriographie.Berlin.

Introduction

TheLyricCanon

Twoanonymousepigramsandatwenty-lineelegiacpoempreservedinthe scholiatoPindarareonlysomeoftheseveralancienttestimoniawhichrecord ninenameswhoaregroupedtogetherandareidentiﬁedastheLyricCanon.¹

Theadespotonepigram AP 9.184isthe ﬁrstevidencefortheexistenceofa selectionofninelyricpoets.

Pindar,holymouthoftheMuses,andloquaciousSiren Bacchylides,andtheAeoliangracesofSappho, Anacreon’swrittenwordandyou,Stesichorus, whodrewofffromtheHomericstreaminyourownworks, Simonides’ delightfulpage,andyou,Ibycus, whogatheredthesweet ﬂowerofPersuasionandofboys, andAlcaeus’ swordthatpouredfrequentlythebloodoftyrants indefenceofancestrallawfulcustoms, andAlcman’ssoftsingingnightingales,begracious, youwhoestablishedthebeginningandendoflyricpoetry. AP 9.184

¹AccordingtoBarbantani(1993)7thenumberofthelyricpoetsisnineinordertocreate parallelswiththegroupofthenineMuses.Whetherornotthisistrue,multipliesofthreeare strikinglycommoninancientcanons.

Wepossessnosecurechronologicalinformationontheepigram,anditsdate isthusdisputedinmodernscholarship.Theepigram’stechnique,accordingto Wilamowitz,suggeststhatitwasnotacompositionoftheRomanperiodbut ratherthatitbelongedtothetimeofBion(c.100 ).Stadtmüllerontheother handattributestheepigramtoAlcaeusofMessene,andconsequentlydatesit attheendofthethirdcentury ,whileSilviaBarbantanigroupsitwiththe otherepigrammaticlistsofthesecond/firstcentury  AntipaterSidonius AP 7.81fortheSevenSages, AP 9.58fortheSevenWondersoftheWorld, andAntipaterThessalonike AP 9.26fortheSevenPoetesses andoffersan approximatedateinthesecondcentury .²Theexistenceofmorethanone epigramwithsimilarcataloguesofnamessuggeststhat(canonical)lists preservedasepigramswerepresumablyatrendinthesecond/firstcentury . Suchacorrelationcouldbeusedasahelpful(thoughnotabsolute)indicatorto date AP 9.184inthatperiod.Theepigram’shymnictonethroughwhichthe distinctpoeticqualitiesofthelyricpoetsareenumeratedendowseachoneof themwithexemplarystatus.Itadditionallyindicatesthattheepigramwas composedataperiodwhentheLyricCanonwaswellestablishedandthe distinguishingfeaturesofitsindividualmemberswerealsowellrecognized. Eachpoetisperceivedanddefinedintermsofhis/herpoeticcorpusandits distinctivefeatures,whicharealsoprojectedtothe figureofeachpoet:Pindar isportrayedinadivineauraandinassociationwiththeMuses;Bacchylides’ poeticsoundresemblesthatoftheSirens;Sapphoisrememberedforher gracefulAeolicpoetry;Anacreonisdepictedasthepoetofthewrittenword; Stesichorus’ workischaracterizedbyHomericqualities;Simonides’ poetic sweetnessandIbycus’ eroticizedpoemsarepresentedasrenownedfeaturesof theirpersonae;AlcaeusisrecalledforhispoliticalverseandAlcmanforhis softlysung partheneia.³

Beyondtheattributestoindividualpoetstheepigrambecomesanimportantsourceofinformationnotonlyfortheliteraryhistoryandreceptionof lyricpoetrybutalsoforthestatusthiscanonicallisthadacquiredbyitsdateof composition.⁴ Theverylabel λυρική (‘lyric’)deﬁneseverypoetwhoisnamed intheepigram,andembracesallnineofthemasagroup.Wecanobservethe persistenceoftheterm λυρικός inotherlistsandlatersourcesastheprincipal

²Wilamowitz(1900)5;Stadtmüller(1906)in AGEP iii.144;Barbantani(1993)8and(2009) 303,wheresheclaimsthatthisparticularepigram ‘couldbelongtoascholasticandrhetorical environment’;AcostaHughes(2010)214datestheepigraminthe ﬁrstcentury .

³SeealsoAcostaHughes(2010)21416;Phillips(2016)94commentsonhowtheepigram combinesevaluativeandstylistictermsthatreﬂectperformance(ἱερὸνστόμα, λάλεΣειρήν)and termsthatpointtothematerialityofthebook(γράμμα, σελίς).

⁴ Dependingonwhetherwedate AP 9.184inthethirdcentury ,theepigrammaycontain the ﬁrstknownuseoftheterm λυρική,onwhichWilamowitz(1900)5andAcostaHughes (2010)217;cf.Budelmann(2009)2n.3whosuggeststhattheearliestoccurrenceoftheterm appearsin SIG³no.660(160 ).

qualificationappliedtothesamegroupofpoetstheaboveepigramevokes. Theveryterm λυρική drawsattentiontothesinglecharacteristicthatunifies thenamedpoets:thelyre.⁵ Thisisexceptionallyimportant,asthetermnot onlyrevealsthecommonmusicalaccompanimentofthesepoets’ compositions,butalsoreflectstheperformativecontextwithinwhichtheirpoetrywas oncesungandcirculated.Itimplicitlythereforerecallsthesong-cultureof previouscenturies,whilethetermalsoatteststotheHellenisticclassification ofthesepoetsandtotherepresentationandrecognitionoflyricpoetryasa distinctpoeticcategory.⁶ Wilamowitzalsodrawsattentiontotheconcluding phraseoftheepigram καὶ πέρας ἐστάσατε andarguesthatthephrase suggeststhatbythetimeoftheepigram’scompositionthecanonofthenine lyricpoetswas fixedandclosed.⁷ Notonlytheconcludingphrasebutalso theentireconcludingsentenceoftheepigramisrevealing,andshouldthus beinterpretedasacompletewhole

ἐστάσατε.Theconcludingverseimpliesthatthosewhoarenamedwithinthe epigram(οἵ )establishthebeginningandtheend(ἀρχήν ... καὶ πέρας)ofthe wholeoflyricpoetry(πάσης λυρικῆς).Suchaformulationdemonstrates theexclusiveandselectivecharacterofthelist,andconﬁrmsasaresultits distinctivenatureascanonical.Atthesametime,itassertsWilamowitz’ s conclusiononitsstrictness.

Itisalsoworthconsideringandbrieflycommentingontheothertestimonia fortheLyricCanon.Asecondanonymousepigramlistsoncemorethenine lyricpoets(AP 9.571).Theorderinwhichthelyricpoetsarepresentedinthis epigrammaticcatalogueisdifferentfromthatof AP 9.184,andeachpoetis againqualifiedwithcertainpoeticcharacteristics,someofwhicharealso differentfromtheonesenumeratedin AP 9.184.Still,theirrecollectionand inclusionin AP 9.571suggestthattheserecalledpoeticfeatures,too,were accepted asdefinitiveofthepoet’sreceptionandrepresentation.

aresungtothelyre’); CommentariainD.T.ArsGrammatica p.21.1517Hilg.

(‘thesepoems arecalledlyricbecausetheyweretakentogetherwiththelyreandtheywerealsoperformedto thelyre’);Tzetzes Σ adLycophron p.2,35Scheer

(‘thecharacteristicsofthelyricpoetswerethattheir melē weresungtothe lyre’).SeeFärber(1936)1716ontheconnectionbetween ‘lyric’ and ‘lyre’ in oursources.

⁶ Cf.AcostaHughes(2010)217.

⁷ Wilamowitz(1900)7;cf.Phillips(2016)93n.22onhowthepositionof πέρας ἐστάσατε at theendoftheepigrammarksphysicallytheclosureand ‘limit’ ofthepoem.

PindarshoutedgreatlyfromThebes;themuseofSimonides withthesweetsingingsoundwasbreathingwithpleasure; StesichorusshinesandsodoesIbycus;Alcmanwassweet; Bacchylidesutteredasweetvoicefromhismultifariousmouth; PersuasionaccompaniedAnacreon; Alcaeus,theLesbianswan,criedinAeolicinvariousways. AmongmenSapphoisnottheninth; sheisratherrecordedamongthelovelyMusesasthetenthMuse.

AP 9.571⁸

Thissecondepigramisconsideredanimitationof AP 9.184,andwaspresumablycomposedwiththeaimtoenumeratetheninelyricpoets,concluding climacticallywithSappho.⁹ Sapphoissetapartnotonlyasthesolefemale voiceamongmalepoetsbutalsoasthesole figurefromwithinthecanonthat wasinscribedamongtheMuses.¹⁰ Sappho’srecognitionasthetenthMuse mightindeedbeduetoherfemalegender.Yet,thecoincidenceofthis identificationwiththeconclusionoftheepigramimplicitlyconveystheidea thatthewholepoemwascomposedwiththeaimtohonourSappho.Theverb καταγράϕεται ascribestoherinclusioninthegroupoftheMusesaformal tone,andgivestheimpressionthatitwaspermanentlysetinstone,andwasas aresultunquestionable.ThepresenceoftheMusescreatesanadditional associationbetweenthetwoepigrams.In AP 9.184thelyric figureportrayed inthecompanyoftheMusesisPindar,whosenameopenstheepigram.In AP 9.571Pindarholdshisplaceasthe firstpoettobenamedinthelist,but theMusesnowmovetotheendoftheepigram,wheretheyembracethesole female figureinthecanonofthelyricpoets,Sappho.

ThePindaricscholiafurtherconﬁrmtheselectivecharacterofthelyriclist. Anelegiacpoemsurvivesinthreeofthemanuscriptsthatcamedowntous withscholiaonthePindaricvictoryodes,andanumberofothermanuscripts withPindaricscholiadelivertwicethesamelistinprose(Σ Pi. DeIXLyricis, Dri,pp.10–11).Allthreetestimoniaarerevealing.Theelegiacpoemis entitled Εἰ ςτοὺς ἐννέαλυρικούς (‘Totheninelyricpoets’),andreadstoa certainextentlikeatextthatwasincludedintheschoolcurriculum;thereader isaskedtolearn(μάνθανε).Thelistispracticallyabiographicalpoemforall

⁸ Itranslate στομάτων as ‘multifariousmouth’ inordertodenotethepluralofthenounin GreekandwiththeaimtopointatthegenericvarietyofBacchylides’ poeticoeuvre.

⁹ Wilamowitz(1900)5;Barbantani(1993)9.Forananalysisoftheepigram,Barbantani (1993)10;AcostaHughes(2010)21617.

¹⁰ See AP 9.66and AP 9.506fordepictionsofSapphoasthetenthMuse,and AP 9.26where thelistoftheninepoetessesisparallelizedtothegroupofthenineMuses.

theninelyricpoets,andconsciouslyprovidesthereaderwithcollected informationaboutthehometownandorigin(πάτρηνγενεήντε),thefamily (πατέρας),andthedialect(διάλεκτον)ofeachpoet,aswellasaboutthemusical harmoniestheyusedfortheperformanceoftheirpoems(ἁρμονίην).Thetitle ofthepoem,whichismirroredintheintroductoryphrasetotheothertwolists intheotherPindaricmanuscripts Λυρικοίποιηταὶ μουσικῶν ἀσμάτων ἐννέα and ἐννέαδέοἱ λυρικοί, Σ Pi. DeIXLyricis (Dri,p.11) revealsthelist’ s exclusivecharacterandthemainbindingfeatureoftheseninenames:the catalogueincludesonlyninepoets(ἐννέα),allofwhicharelyricpoets(λυρικοί). Suchacharacterizationsuggeststhattheirpoetrywasclassifiedaslyric,recallingoncemorethelyrethataccompaniedtheperformanceoftheirpoems.The sameelegiacpoemopenswiththepuzzlingphrase ἐννέατῶνπρώτωνλυρικῶν. Theadjective πρώτων coulddenotechronology theoldestofthelyricpoets orqualityandpriority the firstandbestofthelyricpoets.Givenhowthe cataloguesignifiesselection,aswehavealreadyseenwiththetwoanonymous epigrams,itismorelikelythatthephraseisanindicationoftheselective characterofthelist.Itwouldinallprobabilitythereforestandfor ‘thenine first lyricpoets’,andonlybyassociationwouldthephrase ἐ

theninebestlyricpoets

OnelastusuallyignoredlistispreservedinthePindaricscholia.The scholiastconcludeshismetricalanalysisandprosodicexegesisofthecompositionsofthelyricpoetsin Capituladepraefationempertinentia (Driii, pp.306–10)withareferencetothelyricpoetsthemselves(Capitula f,Driii, p. 310).Thediscussionopenswitharemarkabouttheuseofstrophes, antistrophes,andepodesinthecompositionsofthelyricpoets(Capitula b, Driii,p.306),andclosesbynamingandenumeratingtheselyricpoets.

Thesearethelyricpoets:Alcman,Stesichorus,Alcaeus,Ibycus,Anacreon, Simonides,Pindar,Bacchylides. Capitula f, Dr.iii,p.310

Surprisingly,thecataloguedoesnotincludeSappho,whoislatermentioned alongwithAlcaeusandAnacreonasanexampleofalyricpoetesswhose poemsweremonostrophic.Unlessweassumethatwearedealingwitha scribalerror,aconclusionthatthemanuscript’sconditiondoesnotsupport, Sappho’sexclusionfromthislistcoulddesignatethescholiast’sconfusionof whetherherpoemswereperformedtotheaccompanimentofthelyre.As specifiedbythescholiast,thelyreisnonethelessthedefiningcharacteristicof theterm λυρικός andaccordinglythedefiningfeatureofthegroupofthelyric poetswhomhenames

¹¹OntheelegiacpoemfoundinthePindaricscholia,Labarbe(1968);Gallo(1974)91104.

(Capitula f,Driii,p.310, ‘lyricpoets:theywere calledsuchbecausetheirpoemsweresungtothelyre’).Theomissioncould indeedalsobeaccidental.Nevertheless,evenwiththisevidentlyconfusing ﬁnallist,whereSapphoisbothexcludedfromthelyriccatalogueandsingled outattheend,wecanreasonablyconcludethatourHellenisticandpostHellenisticsourcesandtestimoniaontheLyricCanonconﬁrmitsstable characterinantiquity.

CANONSANDCANONIZATION

Thisverybriefdiscussionofthetestimoniafortheexistenceofaselectionof ninelyricpoetswhichmodernscholarshipperceivedastheLyricCanonisa prerequisiteinordertounderstandthepicturepromotedinthesourcesthat deliverthisselection.Italsoformulatesthebackgroundagainstwhichthis bookpositionsitself,andservesasanimportantintroductiontoitspurpose.

Thepresentbookwillexaminetheemergenceandestablishmentofthe LyricCanoninantiquity,byinvestigatingitsformationasacultural,sociological,andideologicalprocess,thusbytakingintoaccountthecontext(s) withinwhichtheLyricCanonwasshapedinantiquity.Beingamodern conceptthatisinferredbyancientwritersratherthanexplicitlydeclaredin ancientsources,theverydesignation ‘LyricCanon’ deservessomeexplanation.Oursourcesthemselvesexplicatealreadytheterm ‘Lyric’,aswehave seen.Thepoetrythatwasrecognizedaslyricwasthepoetrycomposedin strophicmetresandperformedtothelyre,accordingtothePindaricscholiast. Inretrospectthereforethepoetswhocomposedthesepoemswerealsocalled lyric the λυρικοί asspecifiedbothin AP 9.184andinthescholiatoPindar. TheAlexandriansalsorecognizedthispoetryasadistinctpoeticcategory. Althoughoneshouldrefrainfromassumingthatperformancesoflyricpoetry ceasedtoexistcompletelyintheHellenisticera,theAlexandrians’ understandingofsixth-and fifth-centurylyricpoetrywasinallprobabilitynot basedonexperiencingforthemselvesaperformanceofasixth-and fifthcenturylyricsong.Itwasratherbasedpresumablyonthecorrelationbetween thenamesofthepoetswhocomposedthiskindofpoetryandtheirpoetic compositionswhichtheAlexandrianscholarspossessedasmaterialtextsin theLibrary.

Theterm ‘Canon’ asinstrumentofculturalmemory,asimpliedinits modernsense,isitselfaninventionofthemodernera.Thetermwascoined asaliterarymetaphorbyDavidRuhnkeninhis HistoriaCriticaOratorum Graecorum,publishedin1768. ‘Canon’ wasinitiallyusedforreligiouspurposes,anddeﬁnedthereligiousscriptsthataChristianshouldorwasallowed toread,andwhichconstitutedasaresultthebiblicalCanon.Therestrictive

useof ‘ canon ’ mighthavebeensuggestedtoRuhnkenpreciselybythebiblical tradition,butRuhnkenaimedtodeﬁnealistofvaluedsecularworksthat wouldhavebeenprivilegedinpedagogicalinstitutions.Forthispurposehe drewparallelswithselectedlistsofauthors,whichtheHellenisticphilologists drewinantiquity.¹²Ruhnken’scoinagewasthereforeusedtoreferexclusively tothosetextsthatwereacceptable,perhapsalsoauthoritative.Thesetextswere meanttobedistinguishedfromthosethatwerelessusefulorlessimportant, andwhichasaconsequenceweremarginalizedandthusexcludedfrom thecanon.

‘Canon’ hassincebeenatermthatisencounteredfrequentlyinmodern scholarshipofclassicalstudies.¹³Ruhnkenreferredtotexts,acharacteristic thatisstillpresentinanumberofliterarycanonsinthemodernera,butthe ‘ canon ’ asatermusedforantiquitydoesnotdesignateaprivilegedtextor setoftexts.Itratherdenotesagroupofauthors,andonlyinretrospectdoes itindicateaselectionoftexts/poems.AntiquityitselfascribedtotheGreek term κανών (‘ canon ’)itsaestheticapplication,andadditionallyprescribedto thecanonicalselectiontheparameter ‘exemplary’,bothofwhichde ﬁnethe term ’smodernusage.DionysiusHalicarnasseus,forinstance,choosesLysias astheperfectexampleoftheAtticlanguage(D.H. Lys.2),andthusemploys theword κανών asarhetoricalandphilologicalterm.Photiusalsoapplies thetermtoThucydides,whoispresentedasthe κανών forDioCassius,that isasthehigheststandardofhistoriography,orasthemodelforimitationfor theyoungerauthor(Bibl. cod.71,p.35b32–3Henry).Implicitinboththese usesistheauthoritativecharacterofthecanonasawholeandofeachofthe selectedauthorsindividually,andmightapplytothoseauthorswhowere consideredtheculminationofthenormoftheliterarygenretheyrepresent, themostfamous,orthemostuseful,ameaningthattheancients,too,appliedto theirunderstandingoftheword κανών andconsequentlytotheirunderstanding ofthe ‘ canon ’.¹⁴

¹²Ruhnken’scoinagegoesbacktoantiquityitself,astheterm κανών isalreadyfoundasearly asthefourthcentury .SeeAsper(1998)8702, HWRh s.v. ‘Kanon’ fortheusesoftheterm κανών downtothethirdcentury ;onthehistoryoftheword ‘ canon ’ fromthetimeofRuhnken toRousseau,Gorak(1997).

¹³ItisworthkeepinginmindPfeiffer’scriticismoftheterm ‘ canon ’,whopointsoutthatthe usageoftheword κανών withthemeaning ‘selectivelist’ hasnoGreekorigin;itratheroriginated intheeighteenthcentury,onwhichPfeiffer(1968)207.

¹⁴ InhisscholiatoLycophron’ s Alexandra Tzetzesreferstothepoetswhowereestablishedas representativesofeachgenre(p.1,234,p.2,113Scheer).Withoutusingtheterm ‘ canon ’ Tzetzes’ characterizationofthemostprominentandnotablerepresentativesofeachpoeticgenre as κατ ’ ἐξοχὴνποιηταί and ὀνομαστοί conﬁrmsthattheirselectionwasmadebasedonmeritand valueoratleastthatthisishowcanonswereunderstoodinlateryears.Oncanonsinantiquity, Schmidt,E.(1987)24658;Asper(1998)86982, HWRh s.v. ‘Kanon’;Dubielzig(2005)51319, LdH s.v. ‘Kanon’;Easterling(2012)2746, OCD s.v. ‘Canon’;HuberRebenisch(2013)2646.

Itbecomesevidentthroughtheusageoftheterm κανών inancientsources thateachliterarycanoninantiquityincludedauthorsorpoetswhowere selectedfromalargergroupofauthors.Consequently,eachliterarycanon representsafractionofthegenreinquestion.Referringtotheoratorical canon,PhotiusexplainshowAeschineswasincludedinthe κανών that comprisedthe ﬁrstandbestofAtticoratorybecausehewasoneofthe approved,sotospeak,authors(εἰ ςτοὺς ἀ

ἐγκρίνει Bibl.cod.61, p.20b25–7Henry);theCorinthianDeinarchuswasalsoanotheroratorwho wasapprovedtojointhoseoratorswhoweregroupedwithDemosthenes, accordingtothe Suda (s.v. Δείναρχος, δ 333Adler

έντωνεἷς);onthecontrary,theAthenianoratorPytheaswasnever includedinthegroupwiththeotheroratorsbecauseofhisboldandcorrupted character(Suda s.v. Πυθέας, π 3125Adler

ῥ ητόρων);lastly,DiodorusofSicilustestiﬁeshowPerianderwasexcluded fromthecanonoftheSevenSagesbecauseofhisharshtyrannicalrule (D.S.9.7.8–10 ἐκκρίναντεςτ

).Althoughthedirect evidencewepossessforthe terminitechnici thatareusedforselectingauthors tobeincludedinthesecanonicallistsandforexcludingauthorsfromsuch cataloguesapplyexclusivelytotheoratorsandtheSevenSages,theverbs ἐγκρίνειν and ἐκκρίνειν musthavealsobeentermsthatwereappliedtothe selected/approved andnon-selected/non-approvedpoetsrespectively.Those whobecamecanonical,thusthosewhowereacceptedasmembersofacertain canon,werethe ἐγκριθέντες,incontrasttothe ἐκκριθέντες whowereleftout. Thesameverbsthatareappliedtothoseprivilegedandthoseexpelledfrom canonicallistsreﬂecttheprocessthroughwhichtheseselectionsweremade, andconsequentlytheprocedurethroughwhichcanonswereformed.The choicewasapparentlymadepossiblethroughjudgementofpoets(κρίσις ποιητῶν).¹⁵ Inhis ArsGrammatica §1 Περὶ Γραμματικῆς DionysiusThrax enumeratesthestepsthroughwhichonecanhaveagoodandcomplete experienceofpoetryandliterature,andidentiﬁesinhisguidejudgementof poemsastheconcludingphase(κρίσιςποιημάτων).Hisinstructionsproceed climactically;hedescribesaprocedurewhereoneisinvolvedinprosodic reading,understandingofpoeticstyle,explanationoflanguageandnarration, discoveryofetymology,understandingofanalogyingrammaticalexamples, inorder,lastly,tobeabletojudgethepoemitselfasawhole.¹⁶ Thecompilationofcanons,asitseems,goesbeyondjudgementofindividualpoems;it ratherinvolvesjudgementofpoets,whichpresumablyreliesonassessingthe entirecorpusofeachpoet.Thus,theoverallassessmentandevaluationof

¹⁵ Cf.Quintilian Inst.10.1.54wherehepointsouthowAristophanesofByzantiumand Aristarchusactedoutas ‘judgesofpoets’ (poetarumiudices),onwhichseeChapter5inthis book, ‘CanonizingLyric:The “Hellenistic” LyricCanon’ ¹⁶ On κρίσιςποιημάτων,Ford(2002)122;Laird(2006)312;Porter(2006)31718.