By Professor Marco Fantuzzi, Theodore D Papanghelis
This quantity on Greek and Latin Pastoral includes articles via a global crew of twenty-three students. The contributions concentrate on the old genesis, stylistic and narrative gains and evolution of pastoral, either as style and mode, from Theocritus to the Byzantine interval. designated consciousness has been paid to the belief of the "invention of a tradition", and to pastoral's thematic and formal dating with different literary genres. of their totality, the contributions, in addition to delivering a entire evaluation of the kind of standard matters and ideas mentioned in reference to pastoral, aspect to new emphases, developments and insights in present scholarly paintings during this sector. the amount is addressed to quite a lot of scholars and students in classics, yet a lot in it is going to even be of curiosity to these operating within the fields of comparative and sleek literatures.
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Extra info for Brill's Companion to Greek and Latin Pastoral (Brill's Companions in Classical Studies)
2), and Plato (Plt. 268b) points out that herdsmen soothe and calm their animals by charming them with both instrumental music and voice (cf. 27 In Euripides’ Alcestis Apollo, serving as herdsman for Adme24 Cf. 1, where a herdsman is told “to tell the truth and not make up things that are like myths” (τ λη λ γειν μηδ μοια πλ ττειν μ οις); Longus’ phrasing here produces intertextual references to both Hesiod and Theocritus, though returning to the traditional distinction. 25 For the similarity between Bourina and Hippocrene, see Krevans (1983) 209–212, Hunter (1999) on Id.
Theog. 26 ο ονε ντ το περ τ ν γαστ ρα μ νην σχολο μενοι κα μ να τ τ ς γαστρ ς φρονο ντες, “it refers to those concerned with just the belly and having thoughts only of the belly”; for parallel passages, see West (1966), note to the same line. 21 Theog. 27–28 has received extensive discussion by scholars, although the importance of the address to herdsmen is usually ignored; for a recent reading, see Clay (2003) 58–64, who argues that the Muses oﬀer to teach Hesiod how to sing both truth and deceiving falsehood.
Toward the end of his song in Id. 76–79); his feigned indiﬀerence to Galatea here is a remembrance of Odysseus’ advice in the dithyramb. In addition, in Id. 6 the songs exchanged by Daphnis and Damoetas work out the fantasies that Odysseus seeks to impose on Philoxenus’ Cyclops. 45 The opening of Id. 11, in which Theocritus tells his friend Nicias that there is no better pharmakon for love than the Muses, is expressly connected with Philoxenus by the bucolic scholiasts, who report that in the dithyramb Polyphemus soothed himself with song and sent dolphins to tell Galatea that he was curing himself of love (ad Id.