I have reserved for discussion here certain passages containing more than a single interaction. Not all combinations are significant, though. The significant combinations in the Greek corpus are of several kinds, of which the best attested and conceptually simplest comprises those instances with a broadly or cumulatively preparatory effect in favour of the vehicle.

This chapter explores Gerard Manley Hopkins’s relationship to the tradition of the ode, most especially in his poem ‘The Wreck of the Deutschland’. It traces Hopkins’s scholarly interest in the odes of antiquity, particularly those of Pindar, and examines how this engagement with the classical tradition shaped ‘The Wreck’. ‘The Wreck’ is then contextualized within Romantic and Victorian approaches to the ode through comparisons with major odes by John Milton, William Wordsworth, and Lord Alfred Tennyson. Hopkins’s engagement with the ode embodies a Romantic concern with personal feeling but shares his fellow Victorians’ concern with the ode as a poem of public occasion while retaining the explicitly Christian orientation that animated Milton’s use of the form. The chapter closes with a brief consideration of Hopkins’s unrealized plans to write an ode on the life of the Jesuit martyr Edmund Campion.

This chapter explores the complex relationship between epic and the tricky genre of lyric. Spelman begins with brief historical orientation and then focuses on broader and more theoretical questions of genre, which have been given new impetus by Culler’s Theory of the Lyric. Taking ‘lyric’ in a broad sense to include iambos and elegy as well as melic poetry, Spelman considers some of the most famous and important lyric passages (especially drawing from Pindar and Sappho) that engage with Homeric epic, the Homeric Hymns and the Epic Cycle. Spelman ultimately examines how and whether lyric works out a definition for itself in contradistinction to epic—and whether such a definition can offer us a more nuanced understanding of what epic itself is.

Discussion of the transfer of cult knowledge from Anatolia to European Hellas in both the Bronze Age and Iron Age, with a close examination of Ephesian Artemis and other Asian Mother-goddess figures with consideration of Ur-Aeolian (= Ahhiyawan) and Aeolian involvement in the process.

This chapter argues for and interprets allusions to the invocation before the Catalogue of Ships (Il. 2.484-93) in Ibycus’ ’Polycrates Ode’, Pindar’s Paean 6 and Paean 7b, and Simonides’ ’Plataea Elegy’. It then considers these four poems together as a unique case study for the early reception of Homer. For no other passage from the Iliad or the Odyssey can we trace an equally extensive afterlife in early Greek lyric. The author argues that the unusual prominence of the narrator’s personality and the exceptionally emphatic claim to objective truth in Il. 2.484–93 made these lines a privileged point of reference for subsequent explorations of the nature of poetic authority.

Examination of Luvian patronymic adjectives and their diffusion into the Mycenaean dialect of Anatolia – that is, Ur-Aeolic – and their distinctive use in post-Mycenaean Aeolic. Also, discussion of hekwetai ‘warrior allies’ that appear in the Linear B documents, whose names are commonly identified by the use of the Aeolic patronymic formation of Luvian origin, and discussion of other sacralized warrior relationships with Anatolian ties.

This chapter examines how Pindar and Bacchylides make use of early epic (esp. Homer) in their victory odes, from an explicitly ’intertextualist’ perspective. It discusses (inter alia) the meaning of ’Homer’ in the fifth century BC to the earliest audiences of Pindar and Bacchylides and adverts to the complexity and multiplicity of the audiences of their victory odes. It argues furthermore for the critical importance and benefits of intertextual analysis of Pindar and Bacchylides, especially the ways in which interaction with texts such as those of archaic epic should prompt a wider openness to intertextual investigation of victory odes.

Exploration of Aeolian foundation traditions and the localizing of such traditions in both the eastern Aegean and Magna Graecia, and of the reflexivity and reciprocality of Aeolian ethnic identity that these mythic traditions entail.

This chapter discusses Plutarch’s On the Oracles at Delphi, and in particular the account of the grammarian Theon as to how prose came to replace verse, not just in the delivery of the Delphic oracle, but in literary discourse as a whole. Theon’s account of the history of Greek literate culture is an important document of how learned Greeks in the Roman empire imagined how their world had changed, along with the literature in which it was represented. The first part of the chapter considers another Plutarchan account of cultural and intellectual change, namely the opening of On the Obsolescence of Oracles, which tells the foundation story of Delphi. Both texts lay weight upon the fact of change itself, rather than on any detailed plotting of that change, let alone a chronology for it; so too, both illustrate a tendency to see recurrent patterns of change, by which the outlines of Greek literary history are found already adumbrated in classical literature itself. Among the classical texts which are central to this appropriation of past models are the programmatic chapters of Thucydides and Aristotle’s account of the development of poetic language.

This chapter considers the nature and development of Greek literary history before Aristotle, a generally acknowledged watershed. It covers all sorts of reflections on the literary past and studies the assumptions and paradigms at work in our earliest sources. While highlighting the continuity of tropes and stock narratives, it also seeks to understand the development of literary history in relation to the technology of writing and in relation to an emergent ideology of classicism, which literary historical thinking both reacted to and further strengthened. The first section briefly surveys immanent literary history in poetry from Homer to Aristophanes, typologising tropes which would endure through the ages and suggesting a skeletal metahistory of early literary history. The second and third sections then move forward in time and shift from poetry to prose in order to consider in greater detail two specific work. Glaucus of Rhegium’s On the Archaic Poets and Musicians and the Mouseion of the sophist Alcidamas, early instantiations of, respectively, a macroscopic narrative of progress and a literary biography, prefigure many core characteristics of later ancient literary history. A conclusion returns to the bigger picture to consider the distinctive value of studying ancient literary history on its own terms.

The introductory chapter is framed by the story of Ergoteles, a major Panhellenic victor and the only athlete whose epinikian ode and epigram have survived to the present day. The differences and similarities in the characterization of Ergoteles in each medium prompt the book’s main question: how does place, performance mode, and genre affect the representation of athletic identity? The bulk of the introduction outlines the angelia, the proclamation of victory by a herald at an athletic event. By stressing our – and ancient audiences – inability to access the actual speech-act, the chapter reinterprets the angelia as it persists in epinikian and epigram as an allusive representation, the modification and manipulation of which lies at the core of the verse celebration of athletic victory.

While the figure of herald and the actual angelia at the athletic site sit at the beginning of athletic praise, these real figures and actual proclamations are not the only heralds and messages that find their way into epinikian song and inscribed epigram. Rather, explicit and implicit references to the figure of the herald and the angelia are frequent in both genres. This chapter examines implicit and explicit heralds and messages across epinikian song and inscribed epigram. It focuses on the figure of the herald and the message and their ability to authenticate what are, in fact, secondary and elaborated speech-acts. By attaching themselves to the voice of the herald at the Games, epinikian songs and epigrams demand that audiences take their praise seriously, as if it were the voice of herald itself in the sacred landscape of a Panhellenic sanctuary.

This chapter focuses on elaborations from the categories of the angelia - the herald’s proclamation of victory - that are so productive for epinikian verse. The angelia’s utility for epinikian song goes beyond simply reinforcing authority or justifying praise. While the epinikian singer was undoubtedly provided the “facts of identity," they do not dryly report these facts; moreover, in some cases they do not report the specific “facts” of the angelia at all. “Identity,” in epinikian song’s modification of the angelia, is a subjective category, and the “facts” that relate to the victor – name, father’s name, polis, festival, and event – are not set in stone but rather creatively reworked, sometimes reimagined, and sometimes made extremely complex, in the context of song and its performance. By replacing fathers and integrating family, spinning myths derived from the victor’s polis or the festival site, and using the details of athletic practice itself as a mode of praising, the epinikian singer uses the angelia to structure his song and praise his patron (or patrons).

At the turn of the twenty-first century the chorus captured the attention of readers of Greek tragedy, especially anglophone scholars. In the field of cultural anthropology, the indirect influence of Victor Turner’s work on ‘theatrical performance’ was particularly significant. Inspired by Wilhelm Dilthey’s notion of experience as Erlebnis, and on the basis of ethnological field research on the initiation rites of male and female adolescents in the Ndembu tribe of present-day Zambia, Turner formulated a view of culture as a collection of individual experiences made available to society by means of expression (both verbal and physical). Theatrical performance is thus a ‘structured unit of experience’, a processual accomplishment or ritualized staging of the social drama.

This chapter explores the indexical potential of time in three ways: chronological perspective, the use of temporal adverbs and adjectives to situate an episode within a larger span of literary history; marked iteration, the self-reflexive replay or foreshadowing of other events; and epigonal self-consciousness, the direct or indirect appeal to poetic predecessors. All three tropes are active in archaic epic and lyric, but with differing accents. In epic, references to time and iteration mark intratextual and intertextual cross-references and doublets, while epic heroes’ epigonal relationships with their πρότεροι figure the tensions of the poet’s relationship with his predecessors. In lyric poetry, temporal references similarly index tradition; δηὖτε marks both generic and intertextual repetition; and direct appeals to πρότεροι follow and challenge both whole genres and specific texts. Indexical temporality was deeply embedded in archaic Greek poetics from the very start.