Table Of ContentTIIE EPIGRAMS ASCRIBED TO TIIEOCRITUS:
A METHOD OF APPROACH
HELLENISTICA GRONINGANA
MONOGRAPHS
F.ditorial Board:
M.A. Harder
R.F. Regtuit
G.C. Willer
Advisory Board:
K. Gutzwiller, Cincinatti, OH
R.L. Hunter, Cambridge
A. Kohnken, Munster
R.F. Thomas, Cambridge, Mass.
F. Williams, Belfast
I. M.A. Harder, R. F. Regtuit, G.C. Wakker, Callimachus, 1993.
2. M.A. Harder, R.F. Regtuit, G.C. Wakker, Theocritus, 1996.
3. M.A. Harder, R.F. Regtuit, G.C. Wailer, Genre in Hellenistic Poetry, 1998.
4. M.A. Harder, R.F. Regtuit, G.C. Wakker, Apollonius Rhodius, 2000.
5. L. Roai, The Epigrams Ascribed to Theocritus: A Method of Approach, 2001.
HELLENISTICA GRONINGANA
THE EPIGRAMSA SCRIBED
TO THEOCRITUS:
A METHODO F APPROACH
Laura Rossi
PEETERS
LEUVEN - PARIS - STERLING, VIRGINIA
2001
Libnuy of Congress Cataloging-in-Publication Data
Rossi, Laura.
The epigrams ascribed to Theocritus: a method of approach / Laura Rossi.
p. cm. -- (Hellenistica Groningana; V)
Includes bibliographical references (p. ) and indexes.
ISBN 9042909927
I. Theocritus. Epigrams. 2. Epigrams, Greek--History and criticism. I. Title.
II. Series.
PA4442.E7 R67 200 I
884'.0l--dc21
2001016368
C 2001 - Peeters - Bondgenotenlaan 153 - B-3000 Leuven - Belgium
ISBN 90-429-0992-7
D.2001,u602/15
PREFACE
In this book. the revision of my doctoral dissertation submitted in
1998, the twenty-six epigrams transmitted by the bucolic and anthologi
cal traditions under the name of 'Ibeocritus are examined.
In the introduction, the two distinctive criteria (one 'vertical' and the
other 'horizontal') according to which I have regrouped the epigrams are
explained. Every classification turns out to be highly formalised and
respects its own internal 'code'. Using a convenient terminology, I
defined as epigrammatic 'genres' those same ancient groupings of epi
grams on which the subdivision of the Palatine Anthology into books is
based; here only the votive, funerary (eh. 1) and ekphrastic (eh. 2) gen
res are present. Further sub-divisions within these genres have been
defined as 'sub-genres', since they proceed from the general to the spe
cific. For example, within the votive genre it is possible to identify as a
homogeneous group the dedications by 'rustic' figures who, when they
retire from their activity, usually dedicate their tools of trade to the pro
tective deity of their trade (cf. epigram 2). Or else, within the broader
funerary genre, there are epitaphs 'specialised' in particular categories of
defunct people, such as the 'sub-genre' of epitaphs for those lost at sea
(cf. epigram 26) or for animals (cf. epigram 6). This classification that
follows a clearly 'vertical' pattern is not however valid in those cases in
which the typology of the epigram disregards the form (votive, funerary
or ekphrastic) of the epigram, namely its 'genre', in order to base itself
instead on content. Thus, for example, epigrams with bucolic themes or
on poets are indifferently dedications or epitaphs since the element that
characterises them is no longer their framework, but rather their theme.
Since the basic criterion of the grouping of these texts is 'horizontal',
oblique with respect to genres, I have considered it appropriate to stress
this difference from the terminological point of view as well. Thus, I
have defined this second classificatory method as 'type', that concerns
not only the already cited bucolic epigrams (eh. 3) and the epigrams on
poets (eh. 5), but also 'narrative' epigrams (cf. ep. 3), epigrams that pro
vide 'street directions' (cf. ep. 4), epigrams/'signs' (cf. ep. 14) or epi
grams/'invitation cards' (cf. ep. 5). A final typology is that of epigrams
in various metres (eh. 4), that for obvious reasons cannot be considered
either a 'genre' or a 'type', since in the Anthology their grouping in book
13 derives from grammatical interests and certainly not from their genre
VI 1lfE EPIGRAM ASCRIBED TO THEOCRITUS
or content. With the use of this terminology, I absolutely do not intend
to propose to treat epigram in a schematic manner as a literary genre that
should be approached solely through the application of labels. Rather, I
would simply like to draw attention to formal features within the genre
that, although well codified, do not seem to have aroused the requisite
attention of scholars.
In the second part, I have reproduced the text of Gallavotti 's third edi
tion, to which I also refer the reader for the complete apparatus criticus.
I have inserted brief annotations of apparatus only where I diverge from
the text adopted, so as to render immediately comprehensible the gene
sis of the modifications introduced in the text and especially to signal
them visually for the reader. The translation, immediately following the
individual compositions, in many cases already clarifies and anticipates
the interpretation of the entire epigram (and/or of single words) pro
posed in the commentary.
The third part is the commentary on individual epigrams. It is not tra
ditionally structured as a line-by-line commentary; rather, it aims at inte
grating in a complementary manner the model already offered by exist
ing commentaries, seeking to demonstrate a possible methodological
approach to epigram as a literary genre, taking the Epigrams of The
ocritus as the starting point. Every epigram as such, in order to be under
stood in its true significance and function, should be examined first of
all in terms of its manner of relating to and dealing with not only the epi
grammatic tradition, but also with its epigraphic model. Modem com
mentators on Hellenistic epigram have paid little or insufficient attention
to both epigrammatic typology and especially to epigraphic patterns. On
the one hand, they have limited themselves, for example, to labelling an
epigram as 'an epitaph for one lost at sea' or as 'a dedication of a
hunter', without however investigating and analysing systematically the
'generic signs' (on the thematic, stylistic and lexical level) of these as
well as of many other epigrammatic 'sub-genres' or 'types'. On the
other hand, sometimes they have adduced an epigraphic parallel, but
without undertaking more detailed formal studies, both comparative and
related to content. From a more in-depth analysis of Hellenistic epi
grams, in contrast, it is evident that the conventions of genre that gov
erned the composition were much better defined and respected than one
could imagine. Moreover, the allusive play of the epigrammatists con
cerned 'generic signs' no less than stylistic or lexical allusions to earlier
or contemporary poets.
But in order to approach epigram, it is necessary to bear in mind a
third kind of 'context', in addition to the literary and epigraphic, namely
vu
PREFACE
the examination of the Realien that could have provided the poet with
the inspiration for the composition of an epigram, for example, on a wet
nurse (ep. 20) or a physiognomist (ep. 11). It is extremely likely that epi
grammatists did not choose the subjects of their compositions com
pletely by chance, without any plausibility, without any link with the
world in which they lived. Poetic and literary stylisation naturally played
a role, but there must also have been some element that was derived
directly from 'reality' and that provided them with at least an initial
stimulus. These stimuli could be of various sorts, cultural, political, reli
gious, even learned and erudite, but in any case they deserve greater
attention than that which has been paid to them to date.
In the fourth part, the final two chapters focus, respectively, on the
dating and authenticity of the poems (eh. 6) and on the composition and
possible dating of the collection of epigrams 1-22 transmitted in the
bucolic manuscripts ( eh. 7)1
•
1be original contribution of this work should therefore be sought both
in the exploitation of the epigraphic material and the Realien of every
kind.a s well as in the attempt to outline the characteristics of the various
epigrammatic typologies identifiable within or alongside the broader (and
insufficient) 'canonical' labelling commonly used. My approach to epi
gram, that bears strictly in mind the context within which they were com
posed, was suggested and stimulated by three works that, in different
manners and fields, have stressed how important it is to reconstruct the
'setting' in which a poetic work is created. The article by Peter Parsons,
Poesia ellenistica: testi e contesti, first of all, demonstrated, in just a few
pages and with few but incisive examples, that even the most refined
Hellenistic poetry of Callimachus, Theocritus and Apollonius Rhodius
could be understood in depth only if the epigraphic and documentary
'context' is also considered alongside that literary, practically the only
one to have been studied systematically by classical scholars. The same
emphasis on the erroneous conception that sees the Alexandrian poets as
living and composing within and through an 'ivory tower' has been
strongly set out by Alan Cameron in his controversial book, Callimachus
and His Critics. Finally, Christiane Sourvinou-Inwood, in her 'Reading'
Greek Death, has amply shown that in order to gain a correct under
standing of ancient texts and their true significance it is necessary to
'read' the documentation in our possession through the 'eyes' of the
ancient Greeks and not through our own. Only after having reconstructed
I. I have not devoted specific treatment to dialectal issues and the manuscript tradi
tion. but mentiont hem only when they are useful to the approach I have followed.
VIII TIIE EPIGRAM ASCRIBFD TO 11il'.OCRmJS
the context that determined their creation can one hope to understand
ancient production, with its true intention and function, and above all in
the same manner in which the Greeks 'read' it and expected it to be com
posed.
Many people have helped me with invaluable advice and constant
encouragement during the writing of this work. Luigi Enrico Rossi, my
professor from my first day at university and the supervisor of my doc
torate, opened the world of Greek literature to me and over the years,
with his stimulating teaching, has continued to guide me affectionately
in discovering my interests. From Albio Cesare Cassio I learned to
analyse literary phenomena without underestimating the importance of
epigraphic texts, a methodology that plays a considerable role in the
general approach proposed in this book. Richard Hunter has followed
the development of this study in two extremely useful and unforgettable
stays in Cambridge. On many occasions he has discussed the arguments
treated, saving me from many errors. I received extremely valuable sug
gestions from Marco Fantuzzi, who placed at my disposal his immense
knowledge of Hellenistic poetry with the helpfulness and modesty of
which only he is capable. A thank-you is also owed to Roberto Pre
tagostini, for his helpful criticism above all on the question of the
authenticity of the epigrams. I would also like to thank Eleonora Taglia
ferro, who patiently followed the various versions of this work, spending
entire afternoons talking with me and teaching me the importance of
stylistic/lexical analyses. Lorenzo Argentieri, an extremely attentive and
very critical reader with whom I had many lively discussions, deserves
my thanks as well. I am very grateful to the editors of the series Hel
lenistica Groningana for accepting this work, and above all to Professor
Annette Harder for having considered this work worthy of publication
when it was still in progress. Special thanks are also due to Lori-Ann
Touchette, who performed the difficult task of translating the text into
English. The role played by my mother in all these years is known only
to her, and it is to her that this book is dedicated.
As far as regards the editions used, Theocritus and the authors of the
corpus bucolicum, unless otherwise specified, are normally quoted from
Gallavotti's third edition. The epigrams of the Anthology are generally
cited from the Bude edition; otherwise, the editor is specified. All the
other ancient authors are usually cited from the normal reference edi
tions. In the case of fragments, the abbreviated title of the collection or
the initials of the editor from which it is cited are always specified. The
abbreviations used to indicate authors and their works are largely based
PREFACE IX
on the OCD. Papyri are cited according to the abbreviations of LSJ. For
the epigraphic texts, I always reproduce the original text as published by
the editor, with the same diacritic conventions. Finally, all the transla
tions are mine, with the exception of the cases specified.
Rome, January 2000
