By James J. Clauss, Martine Cuypers
Providing unheard of scope, A significant other to Hellenistic Literature in 30 newly commissioned essays explores the social and highbrow contexts of literature construction within the Hellenistic interval, and examines the connection among Hellenistic and previous literature. offers a panoramic serious exam of Hellenistic literature, together with the works of well-respected poets along lesser-known historic, philosophical, and clinical prose of the interval Explores how the indigenous literatures of Hellenized lands stimulated Greek literature and the way Greek literature inspired Jewish, close to jap, Egyptian, and Roman literary works
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Additional resources for A Companion to Hellenistic Literature
While these poems have a dramatic setting, they are largely plotless: the action revolves around the performance of songs, in which the herdsmen poets, all highly conscious of their predecessors, identify themselves with figures such as Daphnis or Polyphemus, creating microcosms within the poem that are somehow related to, yet separate from, the world of the dramatic frame. There can be little doubt that Theocritus himself appears as a fictional character in Idyll 7 under the guise of Simichidas, which raises the question of whether the poet is also represented in the other poems.
The ambassadors in a learned speech full of complex genealogical arguments show how the Xanthians and the Cytinians are kin, with a shared ancestry that can be traced back to heroic times. The speech clearly excited the interest of the Xanthians, who proudly inscribed a summary of it, proof that they were part of the community of Greeks (Bousquet 1988; Erskine 2005: 126–7). Further east in Asia Minor, something similar was happening: cities in Pamphylia and Cilicia, such as Aspendos, Soloi, and Mallos, were turning themselves into Greeks with an Argive past (Scheer 2003: 226–31).
In Sositheus’ Daphnis or Lityerses, Daphnis, searching the world for the nymph he loved, found her as a slave at the court of the Phrygian king Lityerses, who required strangers to engage in a contest of reaping and killed them when he won; the play ended with Heracles decapitating Lityerses and returning the nymph to her lover. The main hero is a bucolic icon, the outcome that of a Euripidean tragedy, while the overall plot recalls satyr-play, epic, and the later novel. Whatever this play was, it was just as remarkable as the two best preserved Hellenistic ‘‘tragedies,’’ Ezekiel’s Exagoge, which dramatizes the story of Exodus (Gruen), and Lycophron’s Alexandra (Sens).
A Companion to Hellenistic Literature by James J. Clauss, Martine Cuypers