Theocritus' Idyll XVII: a stylistic commentary 9789025606381, 9025606385, 9789025609672, 9025609678

Citation preview

THEOCRm.JS'IDYLLXVJ/: A STYLISTICCOMMENT ARY

CLASSICAL AND

BYZANTINE MONOGRAPHS Edited by G. GIANGRANDE and H. WHITE VOL. XV

TIIEOCRITUS'IDYLL XVII: A STYLISTIC COMMENTARY by MARY ANN ROSSI

ADOLF M. HAKKERT - PUBLISHER - AMSTERDAM 1989

MARY ANNROSSI

THEOCRITUS' IDYLL XVII:

A STYLISTIC COMMENTARY

ADOLF M. HAKKERT - PUBLISHER - AMSTERDAM 1989

1.S.B.N. 90-256-0638-5 l.S.B.N. 90-2S6-0967 -8

To my husband, J. Bruce Brackenridge and To my mentor, Giuseppe Giangrande

TABLEOFCONTENTS Absttact.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 'VIl

Acmowledgements. . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . lnt:I'OOuction . . . . •. . . . . •. . •. •. . . . . . . . . . . . . . . . . . . . . . ... . . . . . ... . . . . . . . . . .

vm

Greektext of Idyll XVII . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1 4 5

CotDl'IlC;ntary . . . •. ••• •. • . . . . . . . . . . . . . . . . . . . • . . . . . . . . . . . . . . . . . . . . . . . ••

8

Sigla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . .

Ab'bl'e.vi.ati.ons..................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Biblio_graphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . 197 Index Veroorum. . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . 209 'Index I.oc.o.ruin ...•...................

"'. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

IndexNominum. . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. 239

VI

ABSTRACT The book consists of a commentary on Theocritus' Idyll XVI/, an encomium to Ptolemy Philadelphus. The language of this epic idyll is considered within the framework of epic diction, and the poet'sreflections and variations of Homeric usage, as well as that of other Hellenistic and later epic poets, are noted and commented upon. with frequent references to specialized studies in the 'Sprachgebrauch' of the Hellenistic poets. An 'index rerum' and 'index verborum' are provided, as well as an 'index locorum' and 'index nominum'.

VII

Acknowledgments It was my good fortune to spend three years at the Research Centre for Classics at Birkbeck College in the University of London, where I had the opponunity to meet and collaborate with dedicated postgraduates and outstanding scholars from all over the world in an extraordinary setting of mutual interest and good will. It is my pleasure now to record a great debt of gratitude to the Director of the Centre, Professor G. Giangrande, whose generosity is unbounded and whose personal library in the field of Oassics remains unsurpassed. His prodigious knowledge and his innumerable publications are a source of inspiration to all his postgraduate students. The continuous success of his Research Centre is a tribute to his perseverance in the face of obstacles and to his dedication to «p£'tll. My thanks are due also to Dr. Heather White, Research Officer, for her learned advice and unfailing guidance. The staff of the libraries of Birkbeck College, University College, the Institute of Qassical Studies, the Warburg Institute, and the British Museum weremost generous and helpful throughout my stay at the Centre, as were the library staff of Lawi:-ence University in Appleton, Wisconsin, where the final draft was prepared. To my husband I owe thanks beyond measure for his patient encouragement and untiring support.

VIII

Introduction Thcocritus has composed this encomium in the traditional pattern of the hymn, from the prooemium with its mandatory invocation of Zeus and its complementary invocation of the Muses, to the set design of the poem as a whole, adhering as it does to the conventional genre of the encomium. The remarkable features of this poem emerge from this rather rigid, apparently constrained encomiastic superstructure and reveal themselves as innovative and inspired to those versed in the stylistic conventions of the Hellenistic poets. Within the traditional invocation, for example, Theocritus employs several conventions that echo Homeric usage and at the same time evoke echoes of popular contemporary literature. The phrases lx:Awe;and h; A{a in the opening line illustrate the common Hellenistic convention of 'anaphora polyptoton' (the repetition of a word or phrase in an oblique case). The choice of verbs in the same line illustrates two more conventions of epic poetry, 'enallage modorum' and a transfer of subject, both reflecting Homeric usage and serving also to intensify the appeal to the Muses by direct address. The echoing of a phrase that begins a popular contemporary work. the P haenomena of Aratus, illustrates thefrequentHellenistic practice of alluding to contemporary poems. In this commentary I have endeavorcd to explicate and illustrate the 'anc allusiva' employed so skilfully by Theocritus in this idyll (cf. G. Giangrande, "Ane Allusiva and Alexandrian Epic Poetri', Xenia Bonnensia, pp. 371-416). My concern has been to elucidate Thcocritus' employment of stylistic, morphological, and semantic conventions, such as his coining of new compounds alluding to Homeric passages (1Cevcaupoq,6voto 20; aioAOµ{tpac; 19); his exegetical allusions to Homeric passages disputed by ancient grammarians (cf. index rerum s.v. 'disputed passages'); and his employment of Homeric aita~ Aey6µ£Va as unica

(intCOAtviov 30). 1

In addition, Thcocritus' use of 'Selbst-Variation' (Moioa1 1; Moooamv 115), his penchant for threeness (lines 82-84), his introduction of Pindaric compounds into epic {~cx&61e0A.1to~ 55; ro66µo10 29), his employment of 'variatio in imitando' and 'oppositio in imita.ndo' (cf. index rcrum s.v.), among other conventions, bring to this poemthe mark of his poetic genius. Not the least remarkable is T:s continual stylistic innuendo of the legitimacy of Ptolemy's claim to the throne, such as the attribute of aycun11:6c;, used in Homer exclusively for 'only sons' (cf. on line 64), and his emphasis on the ideal love shared by Ptolcmy Soter and Berenice, the parents of Ptolemy Philadelphus (cf. on lines 38-40). By explicating the allusive techniques employed in Idyll XVII. I hope to have revealed. the excellence and ingenuity of the poem, so often maligned unjustly as a mediocre work (cf. Legrand; "11 n'y a IA sans doute rien qui soit A l'honneur de Th~te". Bue. Grecs,p. 145; and Snow: "The poem is decidedly inferior to the general style of Theocritus, and has been considered by some critics unworthy to be reckoned. among his writings I was fortunate indeed to spend two weeks in Firenz.e at the Biblioteca Laurenziana Medicea, where I studied two mss. and two edd. prr. (cf.p.4) of Idyll XVI/, which the Librarian, Signora Morandini, kindly made available for me in microfilm. The text reproduced in this book is that of Gow, except for the readings listed below, for which I give reasons at the appropriate line: ~6coµ£V 2 cpapctPT'IV30 1tpocpep£0tepoc;4 Kcu..u~rov{ov av5pa 54 i>M>t6µoc; 9 ~ef3cxpuµ£Vcx61 Aay(5cxc;14 Tp{o1toc; 68 OlCCl 14 lCOA.roVOV 68 intal 72 ~6µoc; 17 8ro{ 25 Ilcxµ(l)\)A{ota{ 68 0

).

The 'apparatus criticus' is also that of Gow, but fun.her variant readings and lexical choices are cited from the editions of modem editors such as Gallavotti, Ahrens, Fritzsche, etc. All editions con-

2

suited are listed in the bibliographywith abbreviations. The works of Homer are cited by arabic numbers, and the Homeric Hymns are listed h. Hom. The abbreviation ss is used for the 'same sedcs i.e., the same metrical position in the hexameter. Abbreviations used are generally the ones found in the ninth edition of LSJ, except to achieve greaterclarity; authors and works cited frequently in abbreviated form will be found listed fully in the bibliography. It is hoped that the indices will prove useful in the location of specific passages. Homeric hapax, as well as Theocritean unica and hapax are noted in the 'index verborum'. 1 :

3

SIGLA P3 Codd. K L W Tr A S • P • Pol. U

Pap. antinoae Primarii Cod. Ambrosianus 886 Cod. Parisinus Graecus 2831 Cod Laurcntianus Cod Pali.sinus Graecus 2832 Cod. Ambrosianus 390 Cod. Laurentianus 32.16 Cod. Laurenti.anus32.37 Cod. Laurcntianus 32.46 Cod. VaticanusGraecus1825

Edd. prr. • Med. • Iunt Callierges Xylander

c.A.D. 500 s.xill ... . x.xm-xtv

. . S.XlV

S.XlV

s.xill A.D. 1280 s.xiii-xiv s.:xili-xiv s.xiv

1480 1516 15581

For an explication of the families of mss. of Idylls 1-XVIll, cf. Gow, L liv-lvi. Gow suggests a stemmacodicumwhere a and p are archetypes from which on the one hand the p.Ox. P3 is descended, and on the other, K and the other mss.

• Mu. md edd. pn. comulted by me aalhe Bibliotcca Laurenziana Mcdicea.. 1 I owe a debt of lhank:s to the Warburg lnstiWlC for lhe loan of this early edition.

4

GreekText ΕΓΚΩΜΙΟΝ ΕΙΣ ΙΠΟΛΕΜΑΙΟΝ

Έκ Διος άρχώμεσθα καί ές Δία λήγετε Μοίσαι, άθανάτων τον άριστον έπην ~δωμεν άοιδαίς·

άνδρων δ'α~ Πτολεμαίος ένl πρώtοισι λεγέσθω χ:αί πuματος και μέσσος· ό γαρ προφερέστερος άνδρων. ηρmες, τοl πρόσθεν άφ' ήμιθέων έyένοντο, ρέξαντες καλα εργα σοφών έclρησαν άοιδων· αύταρ έγω Πτολεμαίον έπιστάμενος καλά είπείν ύμνήσαιμ' · ϋμνοι δε καί άθανάτων γέρας αύτων. 'Ίδαν ές πολύδενδρον άνηρ ύλοτόμος έλθων παπταίνει, παρεόντος άδην, πόθεν άρξεται εργου · ιο τί πρώτον καταλέξω; έπεί πάρα μυ ρία είπε'ίν,

οtσι θεοi τον άριστον έtίμησαν βασιλήων. έκ χατέρων ο!ος μεν εην τελέσαι μέγα εργον Λαγίδας Πτολεμαίος, οχ:α φρεσiν έyχ:ατάθοιτο

βουλάν, αν oux: άλλος άνήρ οtός τε νοησαι τηνον χ:αi μαχ:άρεσσι πατήρ όμότιμον εθηχ:εν άθανάτοις, χ:αί οί χρuσεος δόμος έν Διος οίχ:φ δέδμηται · παρά δ' αύτόν 'Αλέξανδρος φίλα είδως εδριάει, Πέρσαισι βαρuς θεός αίολομίτρας. άvι:ία δ' Ήραιcληος εδρα κ:ενταuροφόνοιο ί'δρυται στερεοίο τετυγμένα έξ άδαμάvι:ος,

20

ενθα σύν αλλοισιν θαλίας εχει Ούρανίδnσι, #

•

~

1

f

Λ

χαιρων υιωνων περιωσιον uιωνοισιν,

οπι σφειον Κρονίδης μ.ε.λέ.ων έξείλετο -yηρας, άθάνατοι δε χ:αλεuνται θεοί νέποδες γεγαωτες. αμφω γαρ πρόγονός σφιν ό καρτερός Ήρακ:λείδας, άμφότεροι δ'άριθμεuνται ές εσχατον Ήραχ:ληα. τφ κ:αί έπεί δαίτηθεν ίοι κεκορημένος ηδη νέκ:ταρος εύόδμοιο φίλας ές δωμ' άλόχοιο, τφ μεν τόξον εδωιcεν ύπωλένιόν τε φαρέτρην, τφ δε σιδάρειον σιcύταλον κεχ,αραγμένον οζοις · οϊ δ'είς άμβρόσιον θάλαμον λεuκοσφύρου 'Ήβας οπλα καί αύτόν άγουσι γενειήταν Διος υίόν.

30

5

οϊα δ'έν πιννταίσι περιιc:λειτα Βερενίχ:α επρεπε θηλuτέρτις οφελος μέγα γεινομένοισι. τq. μεν Κύπρον εχοισα Διώνας πότνια κούρη κόλπον i.ς εύώδη ραδινας έσεμάξατο χείρας· τφ οϋπrο τινα φαντl άδείν τόσον άνδρί γυναικών, οσσον περ Πτολεμαίος έην έφίλησεν ακοιτιν.

η μ.άν άντεφιλείτο πολύ πλrον · ωδέ κε παισί θαρσήσας σφετέροισιν έπιτρέχοι οtιcον απαντα,

40

όππότε χ:εν φιλέων βαίytt λέχος ές φιλεούσης, άστόργου δε γuναιχ:ος έπ'άλλοτρίφ νόος αίεί,

ρηtδιοι δε γοναί, τέκνα δ'οu ποτεοιιcότα πατρL ιcάλλει άριστεύοοοα θεά ων πότν' 'Αφροδίτα, ' τηνα ' '-ι · σοι μεμt.Λητο· σ έθ εν

δ'" ' ενειcεν Β ερενιχ:α

εύειδης 'Αχέροντα πολύστονον ούκ έπέρασεν,

άλλα μιν άρπάξασα, παροιθ' έπ\ ναα ιcατελθεϊν κuανέαν καl στυ-,νόν άεί πορθμηα ιcαμόντων, ές ναόν κατέθηκας, εας δ'άπεδάσσαο τιμ.ας·

50

πασιν δ 'ηπιος αδε βροτοiς μαλακούς μεν ερωτας προσπνείει, ιcούφας δε διδοί ποθέοντι μερίμνας. 'Αργεία κuάνοφρu, συ λαοφόνον Διομήδεα μισγομένα Τuδηι τέκες, Καλuδώνιον άνδρα,

άλλα θέτις βαθύκολπος άκοντισταν 'Αχιληα Αίαιcίδ~ Πηληι, σε δ'αίχμητά Πτολεμαίε, αίχμητq. Πτολεμαίφ άρίζηλος Β ερενίκα. ιcαί σε Κόιος άτίτα.λλε βρέφος νεαyιλλον εόντα, δεξαμένα παρά ματρός, οτε πρόnαν ίδες άω.

ενθα γαρ Είλείθuιαν έβώσα~ο λuσίζmνον 'Αντιγόνας θuγάτηρ βεβαρuμένα ώδίνεσσιν· δέ οί εύμενέοισα παρίστατο, κάδ δ' άρα χάντων νrοδuνίαν ιcατέχεuε μ.ελων · ό δε πατρί έοικώς παiς ά-yαπητος εyεντο. Κόrος δ'όλδλυξεν ίδοίσα, φα δε ιcαθαπτομένα βρέφεος χείρεσσι φίλrισιν · 'όλβιε ιcο-ϋρε γένοιο, τ{οις δέ με τόσσον, οσον περ Δηλον έτίμησεν ιcuανάμπυιcα Φοίβος •Απόλλων· έν δε μι~ τιμq. Τρίοπος ιcαταθείο κολωνόν tσον Δωριέεσσι νέμων γέρας έyyuς έουσιν · ίσον ιcαί 'Ρήναιαν άναξ έφίλησεν 'Απόλλων.' ως άρα νασος εειπεν · ό δ 'ύψόθεν ειcλαγε φrονίf

60

a

6

70

t

,.

'

,

,

•

,

.,

.,

ες τρις υχαι νεφειον μεγας αιετος, αισιος ορνις.

Ζηνδς 1tου τόδε σαμα · Διl Κρονίωνι μέλοντι αίδοίοι βασιληες, δ δ'εξοχος ον κε φιλήσυ -,εινόμενον τά 1tpω'ta · χολuς δέ οί ολβος όπαδεί, ωλλας δε κρατέει γαίας. πολλας δε θαλάσσας. μυρίαι ά1tειροί τε καί εθνεα μυρία φ{ι)tων λήϊον άλδήσκοοσιν όφελλόμενον Διος ομβρφ· άU'οϋτις τόσα φuει οσα χθαμαλά Αίγυπτος, Νείλος άναβλύζων διεράν οτε βώλαιcα θρύπτει, οuδέ τις ίί.στεα τόσσα βροτων εχει εργα δαέντων. τρείς μέν οί χολίαιν εκατοντάδες ένδέδμηνιαι., τρείς δ'άρα χιλιάδες τρισσαίς έπί μυριάδεσσι, δοιαί δε τριάδες, μετά δέ σφισιν έννεάδr.ς τρείς · τciν ώντmν Πτολεμαίος άγήνωρ έμβασιλεuει. m\ μην Φοιν{κας άποτέμ.νειαι •Αρραβίας τε ml Συρίας Λιβύας τε ιcελαινων τ' Αίθιοπήmν Παμφ6λιοισί τε πασι καί αίχμ.ηταίς Κιλίκεσσι σα.μαίνει, Λυιcίοις τε φιλοπτολέμ.οισί τε Καρσί, ml νάσοις Κυdάδεσσιν, έπεί οί ναες άριστοι

80

90

χόντον έπιπλώοντι, θάλασσα δε χασα ιcα\ α.tα χα\ ωταμοί 1eελάδοντες άνάσσονται Πτολεμ.αίφ, ωλλο\ δ'ίππηες, πολλοί δέ μιν άσ~ιιδώrtαι χαλ1eφ μαρμαίροντι σεσαγμένοι άμφαγέρονιαι. δλβφ μεν χάντας 1eαταβεβρίθει βασιληας ·

wσσον έχ'&μαρ ειcαστον ές άφνεον ερχεται ot1e0v ώντοθε. λαοl δ'φyα χεριστέλλοuσιν ειcηλοι· yάρ τις δηίmν χολυιcήτεα Νείλον uπερβάς uζός έν άλλοτρίαισι βοαν έστάσατο κώμαις, οuδέ τις αίγιαλόνδε θοαc; έξήλατο ναός 100 θιορηχθείς έπί βουσίν άνάρσιος Αίγυχτίuσιν· τοίος άνηρ dατέεσσιν ένίδρυται χεδίοισι ξανθοιcόμος Πτολεμαίος, έπιστάμενος δόρυ πάλλειν,

ou

φ έπυιαnυ μέλει πατρώια πάντα φuλάσσειν οt'άγαθφ βασιληι, τάδε κτεατίζεται αύτός. μάν άχρείός γε δόμφ ένί πίονι χρυσός

·

ou

μuρμάιαον α.τε πλοuτος άεl κέχuται μογεόντων ·

άλλά ,ιολuν μεν εχοντι θεων έρι1αιδέες οtιcοι, αίεν άπαρχομένοιο συν άλλοισιν γεράεσσι,

7

πολλόν δ'ίφθίμοισι δεδώρηται βασιλεοοι, πολλόν δε πολίεσσι, πολύν δ'άγαθοίσιν ετ:αίροις. οuδε Διmνύσοu τις άνηρ ίεροuς κατ'άγωνας

110

ϊιc:ετ'έχιστάμενος λιγuράν άναμ.έλφ-αι άοιδάν,

φ ού δ(Ι)'tίναν άντάξιον ώπασε τέχνας. Μοuσάων δ'ύποφηται άείδοντι Πτολεμαίον άν~' εύεργεσίης. τί δε κάλλιον άνδρί nν είη όλβίφ η κλέος έσθλόν έν άνθρώποισιν άρωθαι; τοuτο καί 'Ατρεί"δαισι μένει· τα δε μuρία τηνα οσσα μ.έyαν Πριάμοιο δόμον ιcτεάτισσαν ελδντες άέρι xq. ιc:έιcρuπται, οθεν 11:άλιν οuιc:έτι νόστος·

120

μοuνος οδε προτέρων τε ιcαl Φν ειι θερμά κονία στειβομένα ιc:αθύπερθε χοδων έιcμάσσεται ίχνη ματρ\ φ~ ιc:αί χατρl &υι.οδεας εϊσατο ναού v11C11aavtacpipeiv 1:pixo6' (Op. 657); and in h.Hom. Apo/.: av6prov 't£ ,cal.atrov it6eyuva11erovuµvov Cl£\OOUG\V 160.61. Found often in Pindar (0.1.8, N.8.50, al.) and in the tragedians (Cf. LSJ s.v. uµvoQ; in Soph. Ant. 815 we see again the 1eu ~tymologique'of Thcocritus' line 8: 1tO> µe'ttAot6µ.oc;is a unicum in Theocritus; it is used three times by the Homeric poets, once as an adjective (ll. 23.114 i>Aotoµouc; 1t£At1eea.c;),and twice as a substantive (/l.23.123 1tnvt~ 6'i>Ao1:6µ01q>ttpouc; cpepov· h.Hom. II, 229: ol6a yap CLV1\'t0µovµ.qa cp£pt£p0V {>A.01:6-µ010). Cf. Allen-Halliday on the latter line for a discussion

28

Lme ten of the meaning. Hesiod uses i>Ao-toµe'iv (Op. 422), and Edwards discusses the close relationship of this word to the Homeric cognates cited above. (Lang. of Hesiod, pp.33, 36) Orac. Sib. has i>Ao'toµq> m 824. Nonnos uses the word as an adjective (-otc; 1taAaµ1101v)37.32, and several times as a substantive: 37 .35, 45.190, 40.333, 39.18, 2.100. (Dion) Given the interchangeability of vowels and the Homeric sources of the word, it is highly likely that ms. P has the correct reading of this rare word. U8cov: v .I. iv8cov:The replacement of "- with v in these words is a Doric phenomenon. Cf. B.Kock, De Epig. Gr. Dial., p.3. Cf. C.D.Buck, The Greek Dialects, pp.64-65: iv0e'iv / u.8e'iv is most widespread, occurring in Doric writers and in Corcyrean, Cyrenaean, Arcadian, late Delphian, late Cretan. Ahrens states that grammarians testify to the shift from A to v before 0 or t, as f3£A'tto-ro9'~evt1o'toc; and i\v8ev/nA0EV. (E.M.503,48). It is clear that T. used different dialects in the same poem (cf.1.7), and it is in keeping with this diversity that he uses Kattv0e'iv in line 48. Ahrens concludes: "Hoe enim certum est, earn mutationem non omnibus Doriensibus communem fuisse; dubium est, num apud Siculos constanti usu frequentata sit ... (De Graecae Linguae Dialectis, II, 110). Line ten xapt6vtTl Kpatepoc; Ilolucp11µoc;· Regarding the 'usus auctoris': septies m. and n. a. 1ecxp-,ter m. 1epa- Rumpel, p. 142. Ts purpose is to point up this Homeric variation in the spelling: e.g., o 1eapt£P0{; "ISa; (XXII, 140, 199), with its echoing alternate at line 173, x:pa'tepoc; Ilol'US£U1C11c;. a. Morsbach, Stud. zur gr. und lat. Grammatik, p. 30. 1epa-cepo( is a standing epithet of heroes: Ap. Rhod. 1.146 (1epa'tepov Ilol'USeu1eea); IV.1496; Opp. -oc; C. 2.333, etc. (more frequent than 1Cap'tep6c;, C. 2.462, etc.); Nonn. Dion. 1Cpatepoio A'UKOupyou 21.11. 'H pa 1eleiSac;: cf. Gow's note ad Joe. (II, p.331) on the origin of the Macedonian line. 1 On the spondaic hexameter in Homer, cf. Ludwich, De hex. spond., p.86 f. T. uses proper names at the end of this and the following line, creating a sonorous effect with anaphora poplytoton (ciµq,co/aµq,6tepot) also at the beginnings. For the type of anaphora that occurs at the beginning of consecutive lines, cf. Callim. H. Apol.l-2, 6-7, 1718. In Idyll XVI/ the same convention is found at 30-31, 69-70, 82-83, 110-111. On spondees with proper names, see White on XXIV, 2, in which she cites Futh, p. 7 ,n.2, and p.28; also cf. Mclennan's note on Call. H. Zeus,3. Williams notes close verbal correspondences between succeeding lines in his commentary on ) .Later genealogists traced the foundation of the royal house of Macedon beyond I.he Pcrdiccu of Herodotus 8.137 to Caranus, who was tenth in descent from Hcracles ...presumably T. means Caranus. not Perdiccas (Plut. Al~x. 2); on

Caranus see RE 10.1928. (Gow).

53

Line twenty seven Call. H. Apoll,21. Legrand (p.330, Etude) notes that in Idyll XVI/ "la proportion de vers spond. est a peu pres la meme que chez Homerc." (T. one sp. v. in 17; Homer one sp. v. in 18; Call. one sp. v. in 18 and a half).

27.ciµq>Otepot 6'cipt8µ.ruvta.t~ rox,a.tov~Hpadfia.. ciµ61epot ~UVT)ta1a.u1:a /1.23.809-810: 1euxea cpq>ro8c.ov . 1eaioq,tv 6ai1'ciyaffi\v 1tapa9itooµn, iv lCA.tOiT)tOtq>Otµeµaoav JtOAEµi~ElV 116eµaxro0cu.SS 17.495: TllOCXV o:µq,6-tepot· µaA.a 6£ Oq>lCHV U.JtetO 0uµoc; T. uses this pronoun in two other epic idylls: XXIV,3: aµcp()'t£pouc;A0l>(J(l(1(X lC(Xl EµJtA.flOO.Oa

ycil.a1Ctoc;ss XXIl, 26: o:µq>01epouc; uµvirov Ilolu6£i>1cro npii>-cov

.

,

O.£lOCOSS

Also found in other contemporary and later Hellenistic poets: Ap. Rhod. 1.153 ss; Arat 248,707,724,904; Mus. 287,22 and 18 in ss and corresponsion, 252 ss; and Nonn . Par.I 8; Opp. H. 1.109; 3.319; Nonn. Dion. once in the ss. apt8µeuv-rat: cip18µhoei, is prosaic; prosaic constructions are frequent in T. cf. H. White, Studies, p. 80: cf., e.g., TJ{III, 15. This verb is used again by T. in ld.VIII,16. It is obvious that T. is here playing the learned exegete, for the Homeric model ciµcprowas expunged according to (/l.2.124) o:p18µn811µ£Vat Aristonicus (Ebeling, s.v. apt8µero). Attic correption is used once by Callimach_us (Ep. 24, 1), but used thirty-eight times by T., twenty-nine times in the middle of a word, as here in api8µ.rovtat, and nine times at the end. CT.line 44. CT.Legrand, Etude, p.321. On Homeric forms of this verb with the augment, np{8µrov Od.10.204, and 11pi8µtt Od.12.218, cf. Poehlmann,

Quomodopoetae epici augmentotemporaliusi sint, p.16. ooxa-cov:referring to Her. as the founder of the race, this usage is a 'variatio' of the spatial use of this word in Homer: Od.1.23:

54

Line twenty seven roxa-rot av6pci>v (of the Ethiopians); Od.6.205: fuxatot (most remote); 21.9: laxa1:ov: innermost. At times T. and other Hellenistic poets reflect this Homeric connotation: T. /d.XVl,52: 'Ai6av 't'Eiaa{v t' eupu peovta lCQtroxata. 1t£tpata 2t0vtou. Cf. for the thought in Idyll XVI/: Virgil, Aen. VII,49: "tu sanguinis ultimus auctor ... As Cholm. points out 1 this descent was claimed officially by the Ptolemies, CJ.G. 5127 (document of Ptol. III Euergetes): J3aatA.euco6ro:; Pi.0.7.32: £\)pTJO£l (comp and sup. Id: C.P.6.16.1) Ades. 695: roo6µoc; xpcotoc; Crinag. 37: lC(lt OUlC euooµov o66vtc.ovxp{ova Pallad. 4: e:u66µotc;0£ µi>pOlCJt lC(lt £\)7t£'taAOtxe,

va

1CUOOCXtATtc;, Od. 14.202 ('Uietc;) "fUfl(HOt£~ &A6xou,etc. T. practices 'variatio in imitatione' by his placement and dialect form of the adjective: q,U.cxc; ... [email protected] t6v is correct and the phrases ix'c.oA£VO and i>x'roliv11A.EVCX u; Since Ilgen (cf. Allen and Halliday, ad. Joe.) was prompted to change the ms. reading from i>xrolivtov to exroUvtov on the basis of line 433: 7

1tA.£Vtov made better sense for the placement of the lyre, it remains to be shown that the ms. reading i>xroAEVtov is not only plausible, but even more apt and sound, according to the conventions of early epic and later Hellenistic poetry. We find from ancient illustrations (cf. D.S., s.v. lyra) that the lyre when played was placed between the two forearms of the player. It was thus held on the left forearm (ixrolivtov) and under the right forearm (i>1troAevtov) which was poised above it so that the player could pluck the strings. The instrument being played is thus held on one forearm and beneath the other. It is enlightening now to go back to the text of the Homeric Hymn to Hermt!sin order to confinn this double description of the attitude of the lyre-player. 54: 116'u1to X,ElpOcolevo,."(A.W. James in a private communication). James further suggests that Aratus may have revived the type with his St0>A.£V1.oc; (vi11)202, and simple COA£Vit1 679, 0>A£Vi11 164. And of course, as we saw above, Ap. Rhocl employs £1troA.ivtov in 1.557. According to Buck-Petersen (p.268), the only -rolevox- in h.Hom.Herm. 510 and T. XVII,30 and St- in Aratus 202, are the following (Buck-Petersen, p.85): xap- Poll.2.138 (Hesych. s.v., 1taprolevta; 't©V xe1.pii>v't0 01tta8ev), O.A£lO:V' 'tl16, et£Pn 06.1eoc;£Upi>yepov. 1t£1ta.AayµEVOV &Cn Note the similarity of construction in addition to the symmeny of the correlative phrase. at66.petov: the adjective ('ferreus') is used here literally in the samecontext as that of the Homeric counterpart in //.7.244, 7.141: at6rtpe{n teopuvu (cf. Virg. Eel. V,90: 'formosum paribus nodis atque acre.') In the two other passages where T. employs this word, however, he uses the metaphorical connotation, as in many Homeric passages: T. Jd.XXII,41: aaprlai611pei11 (N.B. the dialect mixture) ld.XXIX, 24: ('Epoc;) 1Cllµ£µal8o:KOV ~ Elt0T)O£ 0160:p{ro reflecting this Homeric usage: Od. 23.172 cn611peoc; 8uµ6c; (cf.5.191); 12.280 ao1ye 01611pro xaV'to: 'tm>rto:1. Ap.Rhod. reflects the metaphorical II.340, and the literal usage: 1.733: 01611pe{nc;... aq,upna1v; IV.776: at611pe{cov tU1tt6rov. The adjective is found again in Call. 115.16 (01611peio:c;); Orac. Sib. IIl.540 (at6T)pii) and m.329 (ai611pe1oc;); Nonn. Par. T 29 (at611pea ), T 94 (at6rtpe{ro). It is used of Hcraclesthe ironsided (Simon. 8). Opp. has -rov C 4.185; Nonn. Dion. uses the word eight times: atfuipeiou ,ceproV'toc;/ 6cxt~oµivotoXt'trovoc;21.74. acita.A.Ov : a unicum in T. not found in Homer, but first found in Pindar. 0.9.30: 1tooc; ci.vtpt66ovtoc; 'Hpa.d£11. Hence the unicum here ~reated by T., leu1e6aq,upou, illustrates the Hellenistic poets' delight in developing compounds from familiar Homerisms. Oppian uses a variation of Theocritus' innovation with his Ae'OKOXPOOV at C 3.371. The word ''HP11c;is found in Opp. at H.5.465, and in Nonn. Dion. four times, always in the first foot: 1.470; 8.96; 33.74; 35.333 . .,Hl3ac; : this gen. s. is by far the favorcd form in this idyll; there are in addition nine such forms (q,U.ac;, aubvac;, 'Av'tiy6vac;, xollac; yac;. 1t0Uac;, 8CXA.cxooac;, cxiolµ{'tpac;, JtO'U1t1:0Uµo1ai te Kapa{ K / -o~ 1:e Kapeaat cett. aaµaive1 : the only use of this verb in T. to mean 'command'; elsewhere {XXIl,22) O'Tlµa{vouaa('portendo') as in Mus. 302; Call. has 011µi\vcum,97; Ap. Rhod. 1.343 011µa{ve1v;11.1099 O'Tlµa{vrov ; 1.361 O'Tlµatveetv,etc.; Opp. CJ11µa(ve H 3.11; and 44.89, etc. Aux:(01c; : 'Lycii, gcns Asiae Nonn. Dion. CJ11µaive minoris' (XVl,48 Aux:icov);Call. ·has Aunoc; 1,22, -010IV.304. q>tA01t'tOAeµota{ : a unicum in T. ('belli amans') reflecting II. 16.65 : ClPX£ 6£ Mupµ166vroat cptA.on:-toliµotatµaxea8at (v. Futh, p.33); Ap. Rhod. •Oto Il.778; -ouc;1.993; Nonn. Dion. obl. 22.131, 27.128; 30.2S7; 36.66. Kapa{ : unicum in T.; found in Opp. Kap~ Cyn. 1.371; -ac; 396; Nonn. Dion. Kapmv 13.548. 90. x:aivaaotc; Kudo:6roalV, bee( oi.va~liptO"tOl

91. n:6vtov£Jttn:ACOOvtt, 86:A.aaaa6t n:aaa x:aiata 90. lip1ata1 Stephanus .,:01codd. In an article published in the M.P .L. VI, (ed., G.Giangrande, Amsterdam, 1984, pp.89-91) entitled "A Textual Problem in Theocritus, Idyll XVIl.90", I pointed out that the superlative aptatot is used here by T. as an adjective of two terminations, and I cited illustrations of similar two-ending superlatives from Homer to Nonnos. This solution obviates the need to read va~ as masculine or to call the adjectival ending a mistake; we may also reject Vollgraffs reason for the confusion of genders in Homer and Theocritus, "scilicet per analogiam synonymorum." ("De Theocriti Dialecto", Mnemosyne, 41, 1919, p.333 ff.) In fact, Vollgraff expresses his surprise over the 'switch in gender' of vo:tc;in this passage of Id. XVI/ (p. 334). Wyatt (Metrical

138

Lines ninety and ninety one

Lengthening in Homer, pp. 335-6) also discusses this theory, but he is puzzled over va~, for which the related words, Kato£voc;IV 1604; -&va 111.1240;IV.1771; Call. -&vec; 111.261;-&va. 59,6; Lye. -rovec;1435; Opp. -&va H 3.315 ss; 5.617 ff.: roo1P11iov cixoc;, xaaa 6e ol µ.tM"CatlCOµt&ft, 1t0:vtyl 6e q,uA.aaaet,

XtatVQ)V £c;«£8AaA.tyuq,86yyou µ.iAoc; au6ijc; Opp. uses this simile of a person preparing for a singing contest to describe the preparationof the sponge-cutters for their labor. Nonn. Dion. uses the noun once in the ss: a,c 6ov't t Aiovtoq,6vouc;r.t;ay&vac; 17.53. For the placement adj.-prep. noun cf. 11. 83 and 127. Used in /l.18.376 of and assemblage of the gods. Line 113 is holodactylic, and the quick pace of the metre complements the light mood of this triplet, the theme of which is Ptolemy's beneficence towards poets. i1ee-t': aor. of hcveoµat, found often in Hom. in the sense 'approach as a suppliant' (II. 14.260; 22.123, etc.; Od. 9.267. Used by Noon. Dion. 2.205, 246, 687; 7 .315. In Hom. and Hes. this form of the verb is found with an augment (ll. 11.88; Hes. Th.554) and without (II. 13.837; Hes. Th.685).({1eeto / tKeto}. In T. the form 'i1eet' is found at XXII, 195; tlC£tOis found in the repeated refrain of Idyll II (69, 75, etc.); in XIlI,19 ss, 59, 75; and in xvm, 19. It is a unicum in Arat. (473), and in Call. (67,12), and in Dion. Per. (1026), but found ten times in Ap. Rhod. 1.12, 709, etc.; and in Nonn. Par. seven times, B 9, r 155, etc. avaµ.u.vat : a unicum in T., with the cognate acc. aot66:v, recalling an earlier' jeu etymologique' in line 2. Found in Philo 1.312 with o:pµ.ovicxv,and with oilC'tpovµu.oc; in Ps. Callisth. 1.46 (LSI, s.v.). A.1yupav: a 'variatio of Od. 12.183: (cf. 44) A1"fUPflV 6' £V't'UVOV aot6,iv and of Hes. Op. 659: Ma µ.£ 'tO xpc7rcovltyupi\c; extPrtacxv ciot6i\~. T. in 'Selbst•variation' uses A.tyupac;cip~euµ.£0' aot6o:~ at XV,135, and with another twist of the poetic phrase, l1yup~ civeP6:lltt' o:£i6e:vvm, 71. Moschus uses A.tyuponate at 3.70, and Ap. Rhod. uses A1'yupft

eu

1

168

Lines one hundred twelve through one hundred fourteen (cont.) at 1.1085 and IV.914. Found in the n.pl. as adv. in Theogn. 939: Atyupcxaei6etv. Orac. Sib. has A.tyup68pooc; at II,9.; ·Nonn. Dion. has Atyupol(af\tat) once in the ss (11.285). ao16cxv: Futh (p. 29) lists all the occurences of this noun in T. and notes that it is found at the end of the hexameter, as in I I. 2.595 (Cf. line 2) except at Od. 1.351, and 8.429. The passage recalls in particular these lines from the Odyssey: 8.497-9: am{x' e:yoo xaa1v µu~aoµat av8pmxotatv, ~

a.pa tOt 1tpacpptoc; (µ6voc;) trov ,cpotipmv x:al tmv ea.'Utou xavtmv xpoy6vmv. Briggs' brilliant conjecture tE x:a.i &v has been

accepted by most modern editors (Ahr.. Cholm., Mein n,m, Ziegl., Paley, Frit-Hiller, Snow, Wilam., Legrand, Gall., Gow, Wordsw.), who believe that the poet intended the phrase to mean the living ('Of those of whose footsteps the still warm ground trodden upon receives the impression'). Cf. Gow on this line Il, 344 for parallel phrases in Erinna and Ovid Cf. FriL for similar phrases in Eur. and A.P. IX,371. Cholm. recalls the carol of King Wenceslaus: ,.Heat was in the very sod, Which the saint had trodden." Wilst. cites A.P. Fr. Iacobs, Animadv. Tom.ill P 11 p. l 09. WilsL and Kiess. associate the ixv11with the father of Ptolemy, and they recall Call. Del. 170 (cited at I. 44), as well as Pi. P. 10.20: 6e auyyev~ iµpepax:ev ixvrotv 1ta.tp~. µouvoc;:found in Hom., often of an only child, as at Od. 2.365: µouvoc; irov ciya7tT1toc; ss; or simply 'alone', as at II. 9.482 ss. T. uses µrovoc; in the ss at XVIll,18; Bion has µouvouA.61tt6ac; ,cpottpmv UµVflaav old'); T. at XVI,50: ti µ11 cioi6oi; and Ap.Rhod.at m.919:

to

174

Line one hundred twenty two

£V8'ou1tco tt.e;toioc; bti 1tpotepcovyevet'a.v6pii>v and at IV.985 1tpo1:ipmv &oc;;found also at Arat. 130, 388, 637; Dion. Per. 455; Nonn. Par. Z 218; 8 168; TI 84; and Nono. Dion. once in the ss. 8epµci: in Hom. usually applied to baths, tears, blood, etc. Od. 8.249 ss; 9.388 ss; T. uses the word again in the ss at 11,137; Ap.Rhod. -ov II 1213; ill.963; -T\VIV.929; Opp. H. 1.501, 3.270, etc.; C. 3.215, 371, 376, etc.; Lye. 1103, 684, 1240, 371; Nonn. Par. E9; Nonn. Dion. 4 times in ss, 42.378, etc. 1eov{11: found in the dat. pl. at the end of the hexameter at Od. 7.153; (Od. 11.600, II. 23.502, etc.); T. employs 1e6vtv at XXIV,93; found in M.7.3; Ap.Rhod. -not I.1056, 1175; Il.107; Ep. 40,3; -tv V,6; 297, 1049 of Lye. IV.1303, 1338; Call. 1e6vtc; have -tv; 1e6vu;is at 316; Opp. has -T\