A Companion to Greek Literature (Blackwell Companions to the Ancient World)
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A Companion to Greek Literature presents a comprehensive introduction to the wide range of texts and literary forms produced in the Greek language over the course of a millennium beginning from the 6th century BCE up to the early years of the Byzantine Empire.
• Features contributions from a wide range of established experts and emerging scholars of Greek literature
• Offers comprehensive coverage of the many genres and literary forms produced by the ancient Greeks--including epic and lyric poetry, oratory, historiography, biography, philosophy, the novel, and technical literature
• Includes readings that address the production and transmission of ancient Greek texts, historic reception, individual authors, and much more
• Explores the subject of ancient Greek literature in innovative ways
whether it is possible at all to classify Christian writings according to the established matrix of Classical genres. In addition to the coexistence of similarities and divergences or the combination of different generic elements in one single text, it is important to note that there are also works which, only loosely related to Greek parallels, arise from other traditions, most notably the prominent literary type of the apocalypse, a record of visions and revelations. Dealing with ultimate
and Harvey 1955, 157). But such preference is a fraught analytical convenience. Critical convention privileges two generic criteria to map the field of Greek lyric: (1) the formal criterion of metrical design and (2) performance occasion narrowly conceived as private or public.4 The agora or temenos “sacred space” was often the site, and a festival often the occasion, for public performances, whose audience included, whether rhetorically or actually, all polis‐members. I will refer to the private
Greek drama, too, was fundamentally oral: both tragedies and comedies were composed to be performed orally, with spoken, chanted, and sung parts, and they were intended to be received visually and aurally, by an audience at a particular festival on a particular date. Although scripts were composed before the actual performances, actors were free to manipulate and interpolate, and although these scripts were copied and eventually made their way into collections of texts, and even textbooks, in
1. Didascaliae Tragicae. Catalogi Tragicorum et Tragoediarum. Testimonia et Fragmenta Tragicorum Minorum. 2nd. ed.; Kannicht, R., ed. 1981. Tragicorum Graecorum Fragmenta. Vol. 2. Fragmenta Adespota.; Radt, St., ed. 1985. Tragicorum Graecorum Fragmenta. Vol. 3. Aeschylus.; Radt. St., ed. 1999. Tragicorum Graecorum Fragmenta. Vol. 4. Sophocles. 2nd. ed.; Kannicht, R., ed. 2004. Tragicorum Graecorum Fragmenta. Vol. 5.1 and Vol. 5.2. Euripides. Göttingen. Usener, H., ed. 1887. Epicurea. Leipzig.
(Philochorus, FGrHist 328 T 1). 23 See Baines 2007, 42. 24 Henrichs 2003, 54–7. On leges sacrae see, e.g., Petrovic and Petrovic 2006. 25 On Egyptian demotic literature, see Dieleman and Moyer 2010; Tait 2013. 26 Baines 2007, 88 and 43 n.19. 27 Henrichs 2003, 39–40. 28 Vasunia 2001, 148–9. 29 Yoyotte 1969. 30 Dieleman and Moyer 2010; Manning 2013; Dillery 1999. 31 Ryholt 2013. 32 See Shipley 2000, 242–3; “[…] it may be that what we see as a distinctively Greek creation was a fusion of