![]() Callimachus Hymn to Apollo 31: Apollo is eu-humnos (εὔυμνος) ‘good for hymning’. In order to see more clearly the interaction of fluidity and rigidity as complementary Ģ. It was actually pictured as fluid by poets of that age, and such pictures of fluidity complement the antithetical pictures of Homeric rigidity. The Homer of Aristarchus, who flourished in the second century BCE, about a hundred years after Callimachus, stands in sharp contrast: it represents the most rigid editorial criteria for judging what is or is not genuinely Homeric, and those criteria were rigorously applied by later Aristarchean scholars like Didymus, who flourished in the age of Virgil.Ģ§3 Not only does Homeric poetry seem to be fluid in the age of Callimachus. From these examples, we will learn how Homeric poetry can also picture itself as fluid instead of rigid in its powers of narration.Ģ§2 In the age of Callimachus, even the textual tradition of Homer is fluid by comparison with the textual tradition of Homer in the later age of Aristarchus. We are about to see a variety of poetic examples emanating from the summit of Hellenistic poetry, the age of Callimachus, around the third century BCE. It originates from the idea of fluidity, the opposite of rigidity. Homeric poetry deploys a metaphor that forcefully expresses this changeability. More specifically, that something is Homeric narration, which shows its oral poetic heritage of changeability in performance. ![]() ![]() As I will now argue in Chapter 2, this three-dimensional vision of arrested motion is being expressed by something ever changing and – paradoxically – fluid. Homer the Classic in the Age of CallimachusĢ§1 Homeric poetry imagines itself as rigid – that is, unchanging like the petrified serpent in Iliad II. ![]()
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