A l’écoute des Muses en Grèce archaïque

Semenzato, Camille

doi:10.1515/9783110534795

Cited by 5 publications

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“…38This is often noted, and it is a major point of interpretation of the poem (see e.g. Manuwald (1989) 9–10, Stoddard (2002) 152–3, Blaise (2005) 32, Noussia-Fantuzzi (2010) 127–31, Semenzato (2017) 157–9), to which I return below. The Muses are associated with prosperity at Hes.…”

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KNOWLEDGE, SUFFERING AND THE PERFORMANCE OF WISDOM IN SOLON'SELEGY TO THE MUSESAND THE BABYLONIANPOEM OF THE RIGHTEOUS SUFFERER

Johnston

2019

Camb. class. j.

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This article offers a comparative reading of Solon's Elegy to the Muses (fragment 13 West) and the Babylonian Poem of the Righteous Sufferer, focusing on the interplay of literary form and theological content. It argues that in both poems, shifts in the identity and perspective of the poetic voice enable the speaker to act out, or perform, a particular vision of humanity and its relationship with the divine. The comparative analysis improves our understanding of both texts, showing for instance that Solon's elegy is a highly sophisticated attempt to articulate a coherent vision of divine justice and the human condition. It also sheds light on the particular modes in which ancient literature and theology interact in different contexts, and how this interaction could affect audiences.

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“…The remarkable thing about this passage is that the poet momentarily places himself among his audience of ordinary mortals. He too claims to be condemned to listening, even if what follows … is the most astounding feat of singing.’ For a recent reading of the passage see Semenzato (2017) 20–30.…”

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KNOWLEDGE, SUFFERING AND THE PERFORMANCE OF WISDOM IN SOLON'SELEGY TO THE MUSESAND THE BABYLONIANPOEM OF THE RIGHTEOUS SUFFERER

Johnston

2019

Camb. class. j.

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The Mythology of the Muses

Murray¹

2020

A Companion to Ancient Greek and Roman Music

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THE VIEW FROM OLYMPUS: THE MUSES’ SONG IN THEHOMERIC HYMN TO APOLLO

Spelman

2020

The Class. Q.

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Apollo travels from Pytho to Olympus, and the other gods greet his arrival (186–93): ἔνθεν δὲ πρὸϲ Ὄλυμπον ἀπὸ χθονὸϲ ὥϲ τε νόημα εἶϲι Διὸϲ πρὸϲ δῶμα θεῶν μεθ’ ὁμήγυριν ἄλλων⋅ αὐτίκα δ’ ἀθανάτοιϲι μέλει κίθαριϲ καὶ ἀοιδή. Μοῦϲαι μέν θ’ ἅμα πᾶϲαι ἀμειβόμεναι ὀπὶ καλῇ ὑμνεῦϲίν ῥα θεῶν δῶρ’ ἄμβροτα ἠδ’ ἀνθρώπων τλημοϲύναϲ, ὅϲ’ ἔχοντεϲ ὑπ’ ἀθανάτοιϲι θεοῖϲι ζώουϲ’ ἀφραδέεϲ καὶ ἀμήχανοι, οὐδὲ δύνανται εὑρέμεναι θανάτοιό τ’ ἄκοϲ καὶ γήραοϲ ἄλκαρ. From there he goes quick as a thought from the earth to Olympus, to the house of Zeus, in order to join the gathering of the other gods. Immediately the immortals concern themselves with lyre music and song. All the Muses together, responding with their beautiful voice, hymn the divine gifts of the gods and the endurance of men, all that they have from the immortal gods and yet live ignorant and helpless, unable to find a remedy for death and a defence against old age.

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A l’écoute des Muses en Grèce archaïque

Cited by 5 publications

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KNOWLEDGE, SUFFERING AND THE PERFORMANCE OF WISDOM IN SOLON'SELEGY TO THE MUSESAND THE BABYLONIANPOEM OF THE RIGHTEOUS SUFFERER

KNOWLEDGE, SUFFERING AND THE PERFORMANCE OF WISDOM IN SOLON'SELEGY TO THE MUSESAND THE BABYLONIANPOEM OF THE RIGHTEOUS SUFFERER

The Mythology of the Muses

THE VIEW FROM OLYMPUS: THE MUSES’ SONG IN THEHOMERIC HYMN TO APOLLO

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