A Companion to Classical Receptions (Blackwell Companions to by Lorna Hardwick, Christopher Stray

By Lorna Hardwick, Christopher Stray

Analyzing the great quantity of the way within which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A spouse to Classical Receptions explores the impression of this phenomenon on either historical and later societies.Provides a finished advent and assessment of classical reception - the translation of classical artwork, tradition, and idea in later centuries, and the quickest growing to be sector in classicsBrings jointly 34 essays via a global workforce of individuals desirous about historical and sleek reception recommendations and practicesCombines shut readings of key receptions with wider contextualization and discussionExplores the influence of Greek and Roman tradition around the world, together with the most important new components in Arabic literature, South African drama, the historical past of images, and modern ethics

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Erskine 2001). Finally, there is the fairly intractable problem of distinguishing ancient from modern receptions of Homer. A. Wolf, Prolegomena ad Homerum, originally published in 1795). More generally, the discipline of classics is built on a particular understanding of the relationship between Greece and Rome – a relationship exemplified by Livius Andronicus’ translation of the Odyssey (Leo 1913; Barchiesi 2002). At a basic level, we may ask two questions: in what ways the ancient reception of Homer shaped modern readings; and, conversely, how modern views about Homeric epic affect our understanding of its ancient reception.

Broadly speaking, the epic tradition from which Homeric poetry grows is both more pronounced and less open to change than the tradition of Anacreontic poetry within which Cowley was operating. Whereas Cowley was free to reshape Anacreontea 21 quite radically, albeit within the wider traditional framework of Anacreontic song, the language, themes and narrative patterns of early Greek epic tend to be more stable. The reasons for this are complex and are certainly not exhausted by labelling Homeric poetry an ‘oral’ art form (Foley 2002).

But tradition also puts a premium on continuity, sometimes even timelessness. Anacreontic poetry continued to be widely popular across a number of centuries. 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.

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