By Christos Tsagalis
The previous few a long time have visible the improvement of recent severe tools with which the poetic and rhetorical dimensions of historic Greek texts might be evaluated. during this quantity, a world workforce of unique students comes jointly to envision how quite a lot of historic texts in several genres have been capable of assert their authority and claims to fact, frequently alluding to each other in refined methods as they tried to venture their very own superiority. a sequence of illuminating new readings is available of either specific passages and entire works within the gentle of those new severe advances
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Extra info for Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis
48 Eur. Alc. 357-362 (= Orphica 980 T Bernabé) and 962-971 (= Orphica 812 T Bernabé); see also Calame (2002) 397-400. 49 Apulian amphora attributed to the Ganymede painter, Antikenmuseum Basel inv. S 40 (= LIMC Orpheus 20). * Translated into English by L. Schwartzman. An earlier version of this contribution has been published in Spanish as “El discurso órfico: prácticas de escritura oral”, in: A. Bernabé and F. ), Orfeo y la tradición órfica. Un reencuentro I, Madrid, 2008, 811-866. Remembering the Gastēr Egbert J.
Similarly, in the case of the hexameter on Zeus’ sovereignty, the god is king because he corresponds to a unique principle of creative power over the plurality of existing things. A mention earlier in the poem of the river Ocean in a verse now lost to us receives the following commentary: “this verse (epos) was falsely composed; it is not evident to the majority, but transparent (eudēlon) for those who have the right knowledge, because Ocean is the air and because the air is Zeus”. From this, we learn that those who do not know (ou gignōskontes) are content with the appearances maintained by the customary language used by Orpheus to “signify” (sēmainei) his own opinion; because of his qualification, they continue to consider Ocean a river.
In the hermeneutic line already percepti37 PDerveni XXI, 1-12 (transl. by Laks & Most, 1997, 19); on this cosmic movement, cf. Calame (1997) 70-74 (with note 7, as well as Laks & Most, 1997, 21 note 53, on the form and the meaning of thornei), and Bernabé (2002) 118-119, with Burkert’s (2005) 51-60 comparative remarks, and the extended commentary of Kouremenos, Parássoglou & Tsantsanoglou (2006) 243-252. 38 However, the specificity of the interpretative mode adopted by the Derveni commentator resides in the return to divine powers.