Listed narratives in Greek poetry from Hesiod to Callimachus : the development of a genre
Authors
Asquith, Helen Catherine Aeronwy
Date
2006-02-14Awarding Institution
University of Cambridge
Author Affiliation
Faculty of Classics
Qualification
Doctor of Philosophy (PhD)
Type
Thesis
Metadata
Show full item recordCitation
Asquith, H. C. A. (2006). Listed narratives in Greek poetry from Hesiod to Callimachus : the development of a genre (Doctoral thesis). https://doi.org/10.17863/CAM.16544
Description
This PhD examines the development of the listed natntive form, its uses,
versatility and the reasons for its popularity. The principle focus is on Hellenistic
Kollektivgedichte, including Callimachus' Aetia, but their Hesiodic background is given
due attention.
Section one looks at the Hesiodic Catalogue of Women and its
predecessor, the Theogony. The Theogony provides an essential context for the study of
the Catalogue of Women, and yet at the same time reveals differences that point to the
development of the catalogue form. Although dominated by lists, the poem is highly
complex in structure and tightly subordinated to a teleological end. The structure of the
Catalogue is more complex, and shows a greater degree of engagement with
contemporary culture. The use of genealogy gives prominence to figures from the
margins of myth, by setting the 'canonical' Greek heroes in the context of their mothers
and sisters, and their courtship stmies. The poem makes frequent reference to four central
clusters of Greek myths - Heracles, the Argonautica, the Theban cycle and the Trojan
War - in a way that separates them from their usual context and presents different
episodes as side lights on characters' lives. While still closely bound up in the
genealogical frame, the natTatives point the way forward to the development of
Kollektivgedichte.
Section two looks at the range of sub-genres within Hellenistic Kollektivgedichte -
curse poetry, erotic catalogues and metamorphosis poetry - as well as considering the
form of works sometimes linked with Kollektivgedichte. Issues of generic play and the
negotiation with the Hesiodic predecessor are considered. Poets considered include
Phanocles, Hermesianax, Euphorion, Nicander, Boios and Sostratus.
Section three is devoted to Callimachus' Aetia, which has a privileged position
because of the number of fragments we possess and the poem's prestige. It is of especial
interest because the two halves of the poem were different in format, showing two
different conceptions of the structure and nature of catalogue natTative poems. The first
half, framed by the dialogue with the Muses, is shown to have a complex interplay of
themes, while the poet's enquiring nature is prominently on display. It the second half the
structure of the poem pushes at the boundaries of Kollektivgedichte by to an increasing
extent removing unifying features. This challenging of the poem's own form and genre is
important to an understanding of how the listed natTative form was conceived of by
Callimachus.
Generic play and self-reflexive experimentation are shown to be the chief
characteristics of Kollektivgedichte. Although many of the poets in question are neglected
by scholars, they are seen here to have been innovative and to exemplify many of the
traits of Hellenistic poetry.