{"id":4939,"date":"2025-06-25T19:35:04","date_gmt":"2025-06-25T17:35:04","guid":{"rendered":"https:\/\/www.secolidimezzo.com\/non-categorizzato\/critias-fr-8\/"},"modified":"2025-07-02T09:57:10","modified_gmt":"2025-07-02T07:57:10","slug":"critias-fr-8","status":"publish","type":"post","link":"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/","title":{"rendered":"Critias fr. 8"},"content":{"rendered":"

<\/i>Download Pdf<\/span><\/a><\/div>

[Autore]<\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Critias Atheniensis (460-403 a.C. ca.)<\/p>\n

[Opera]<\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Critias, fr. 8 Gent.-Pr.<\/p>\n

[Luogo dell\u2019opera]\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/strong>Atene<\/p>\n

[Fonte] <\/strong>Athen. 13, 600d-e: [scil<\/em>. Eros] \u1f43\u03bd \u1f41 \u03c3\u03bf\u03c6\u1f78\u03c2 \u1f51\u03bc\u03bd\u1ff6\u03bd \u03b1\u1f30\u03b5\u1f77 \u03c0\u03bf\u03c4\u03b5 \u1f08\u03bd\u03b1\u03ba\u03c1\u1f73\u03c9\u03bd \u03c0\u1fb6\u03c3\u1f77\u03bd \u1f10\u03c3\u03c4\u03b9\u03bd \u03b4\u03b9\u1f70 \u03c3\u03c4\u1f79\u03bc\u03b1\u03c4\u03bf\u03c2. \u03bb\u1f73\u03b3\u03b5\u03b9 \u03bf\u1f56\u03bd \u03c0\u03b5\u03c1\u1f76 \u03b1\u1f50\u03c4\u03bf\u1fe6 \u03ba\u03b1\u1f76 \u1f41 \u03ba\u03c1\u1f71\u03c4\u03b9\u03c3\u03c4\u03bf\u03c2 \u039a\u03c1\u03b9\u03c4\u03af\u03b1\u03c2 \u03c4\u1f71\u03b4\u03b5\u00b7 \u2018\u03c4\u1f78\u03bd \u03b4\u1f72 \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u03b5\u1f77\u03c9\u03bd \u2013\u2013 \u03c8\u03b1\u03ba\u1f71\u03b4\u03b5\u03c3\u03c3\u03b9\u03bd\u2019.<\/p>\n

[Tipologia]\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0Elegia<\/p>\n

[Periodo]<\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 450\u2013400 BC<\/p>\n<\/div>

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[Text]<\/strong><\/p><\/div>

\u03c4\u1f78\u03bd \u03b4\u1f72 \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u03b5\u1f77\u03c9\u03bd \u03bc\u03b5\u03bb\u1f73\u03c9\u03bd \u03c0\u03bb\u1f73\u03be\u03b1\u03bd\u03c4\u1f71 \u03c0\u03bf\u03c4\u1fbd \u1f60\u03b9\u03b4\u1f71\u03c2
\n\u1f21\u03b4\u1f7a\u03bd \u1f08\u03bd\u03b1\u03ba\u03c1\u03b5\u1f77\u03bf\u03bd\u03c4\u03b1 \u03a4\u1f73\u03c9\u03c2 \u03b5\u1f30\u03c2 \u1f19\u03bb\u03bb\u1f71\u03b4\u1fbd \u1f00\u03bd\u1fc6\u03b3\u03b5\u03bd,
\n\u03c3\u03c5\u03bc\u03c0\u03bf\u03c3\u1f77\u03c9\u03bd \u1f10\u03c1\u1f73\u03b8\u03b9\u03c3\u03bc\u03b1, \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u1ff6\u03bd \u1f20\u03c0\u03b5\u03c1\u1f79\u03c0\u03b5\u03c5\u03bc\u03b1,
\n\u03b1\u1f50\u03bb\u1ff6\u03bd \u1f00\u03bd\u03c4\u1f77\u03c0\u03b1\u03bb\u03bf\u03bd, \u03c6\u03b9\u03bb\u03bf\u03b2\u1f71\u03c1\u03b2\u03b9\u03c4\u03bf\u03bd, \u1f21\u03b4\u1f7b\u03bd, \u1f04\u03bb\u03c5\u03c0\u03bf\u03bd.
\n\u03bf\u1f54 \u03c0\u03bf\u03c4\u1f73 \u03c3\u03bf\u03c5 \u03c6\u03b9\u03bb\u1f79\u03c4\u03b7\u03c2 \u03b3\u03b7\u03c1\u1f71\u03c3\u03b5\u03c4\u03b1\u03b9 \u03bf\u1f50\u03b4\u1f72 \u03b8\u03b1\u03bd\u03b5\u1fd6\u03c4\u03b1\u03b9, \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5
\n\u1f14\u03c3\u03c4\u1fbd \u1f02\u03bd \u1f55\u03b4\u03c9\u03c1 \u03bf\u1f34\u03bd\u03c9\u03b9 \u03c3\u03c5\u03bc\u03bc\u03b5\u03b9\u03b3\u03bd\u1f7b\u03bc\u03b5\u03bd\u03bf\u03bd \u03ba\u03c5\u03bb\u1f77\u03ba\u03b5\u03c3\u03c3\u03b9\u03bd
\n\u03c0\u03b1\u1fd6\u03c2 \u03b4\u03b9\u03b1\u03c0\u03bf\u03bc\u03c0\u03b5\u1f7b\u03b7\u03b9 \u03c0\u03c1\u03bf\u03c0\u1f79\u03c3\u03b5\u03b9\u03c2 \u1f10\u03c0\u1f76 \u03b4\u03b5\u03be\u03b9\u1f70 \u03bd\u03c9\u03bc\u1ff6\u03bd
\n\u03c0\u03b1\u03bd\u03bd\u03c5\u03c7\u1f77\u03b4\u03b1\u03c2 \u03b8\u1fbd \u1f31\u03b5\u03c1\u1f70\u03c2 \u03b8\u1f75\u03bb\u03b5\u03b9\u03c2 \u03c7\u03bf\u03c1\u03bf\u1f76 \u1f00\u03bc\u03c6\u03b9\u1f73\u03c0\u03c9\u03c3\u03b9\u03bd,
\n\u03c0\u03bb\u1f71\u03c3\u03c4\u03b9\u03b3\u03be \u03b8\u1fbd \u1f21 \u03c7\u03b1\u03bb\u03ba\u03bf\u1fe6 \u03b8\u03c5\u03b3\u1f71\u03c4\u03b7\u03c1 \u1f10\u03c0\u1fbd \u1f04\u03ba\u03c1\u03b1\u03b9\u03c3\u03b9 \u03ba\u03b1\u03b8\u1f77\u03b6\u03b7\u03b9
\n\u03ba\u03bf\u03c4\u03c4\u1f71\u03b2\u03bf\u03c5 \u1f51\u03c8\u03b7\u03bb\u03b1\u1fd6\u03c2 \u03ba\u03bf\u03c1\u03c5\u03c6\u03b1\u1fd6\u03c2 \u0392\u03c1\u03bf\u03bc\u1f77\u03bf\u03c5 \u03c8\u03b1\u03ba\u1f71\u03b4\u03b5\u03c3\u03c3\u03b9\u03bd.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10<\/p>\n<\/div><\/div><\/div><\/div><\/div>

[Metric]<\/strong><\/p><\/div>

Esametri dattilici<\/p>\n<\/div>

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[Critical apparatus]<\/strong><\/p><\/div>

1<\/strong> \u03c4\u1f78\u03bd \u03c3\u03ad Meineke || 2<\/strong> \u1f21\u03b4\u1f7a\u03bd frustra tentatum repetitionis vitandae causa || 3<\/strong> nota homoeoteleuta | cf. Anacr. fr. 98 Gent. \u1f20\u03c0\u03b5\u03c1\u03c0\u03cc\u03c2 || 3s.<\/strong> \u1f20\u03c0\u03b5\u03c1\u1f79\u03c0\u03b5\u03c5\u03bc\u03b1 et \u03c6\u03b9\u03bb\u03bf\u03b2\u1f71\u03c1\u03b2\u03b9\u03c4\u03bf\u03bd hapax || post 4 lacuna statuerunt Hartung, Bergk et alii || 5 <\/strong>\u03bf\u1f54 \u03c0\u03bf\u03c4\u03b5 \u03c4\u03bf\u1fe6 Hermann | \u03b3\u03b5\u03c1\u03ac\u03c3\u03ba\u03b5\u03c4\u03b1\u03b9 Epit. | \u03bf\u1f54\u03c4\u03b5 Diels || 6<\/strong> \u03c3\u03c5\u03bc\u03bc\u03b9\u03b3\u03bd\u1f7b\u03bc\u03b5\u03bd\u03bf\u03bd E<\/strong>, probb. Musurus, Bergk et alii || 7<\/strong> cf. fr. 4,6 Gent.-Pr. (= fr. 6,6 W. 2<\/sup>) et Dion. Chalc. fr. 1,2 Gent.-Pr. | \u03b4\u03b9\u03b1\u03c0\u03bf\u03bc\u03c0\u03b5\u03cd\u03c3\u1fc3 Musurus | \u03c0\u03c1\u03cc\u03c0\u03bf\u03c3\u03b9\u03c2 A <\/strong>(-\u03c3\u03b9\u03bd E<\/strong>): corr. Musurus | \u1f10\u03c0\u03b9\u03b4\u03ad\u03be\u03b9\u03b1 Epit<\/em>., cf. Dion. Chalc. fr. 3,1 Gent.-Pr.: \u1f10\u03c0\u03b9\u03b4\u03ad\u03be\u03b9\u03b1\u03bd A<\/strong>: \u1f10\u03c0\u1f76 \u03b4\u03b5\u03be\u03b9\u1f70 dett., probb. Diels et alii || 8<\/strong> cf. v. 1 || 9 <\/strong>cf. fr. 1,12 Gent.-Pr. (= fr. 2,12 W. 2<\/sup>) | \u03c0\u03bb\u03ac\u03c3\u03c4\u03b9\u03be A<\/strong> | \u03c4\u03b5 \u1f21 A<\/strong>: \u03b4\u1fbd\u1f21 CE<\/strong> | \u03ba\u03b1\u03b8\u03af\u03b6\u03b5\u03b9 A<\/strong> (-\u03be\u03b5\u03b9 E<\/strong>): -\u03bf\u03b9 Musurus ||10<\/strong> cf. fr. 1,1 Gen.-Pr. (= fr. 2,1 W. 2<\/sup>) || 10s.<\/strong> \u1f51\u03c8\u03b7\u03bb\u03bf\u1fe6: -\u1f74 Wilamowitz, prob. Edmonds: \u03ba\u03bf\u03c1\u03c5\u03c6\u03b1\u1fd6\u03c2 \u0392\u03c1\u03bf\u03bc\u1f77\u03bf\u03c5 \u03c8\u03b1\u03ba\u1f71\u03b4\u03b5\u03c3\u03c3\u03b9\u03bd <\u03b2\u03b1\u03bb\u03bb\u03bf\u03bc\u03ad\u03bd\u03b7> ci. Kaibel et Wilamowitz<\/p>\n<\/div>

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[Translation]<\/strong><\/p><\/div>

Colui che intrecci\u00f2 un giorno canti di muliebri melodie,<\/p>\n

il dolce Anacreonte, Teo lo recava in dono alla Grecia,<\/p>\n

pungolo di simposi, seduzione di donne,<\/p>\n

d\u2019auloi<\/em> rivale, di cetra amico, dolce, privo di afflizione.<\/p>\n

Mai l\u2019amore tuo invecchier\u00e0 e non morir\u00e0,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5<\/p>\n

finch\u00e9 acqua mista a vino nelle coppe<\/p>\n

un garzone porter\u00e0 in giro, dispensando brindisi verso destra,<\/p>\n

e femminei cori celebreranno sacre notturne feste,<\/p>\n

e la piastra, figlia del bronzo, sieder\u00e0 sull\u2019estremit\u00e0<\/p>\n

delle alte cime del cottabo per le stille di Bromio.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a010<\/p>\n<\/div>

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[Comment]<\/strong><\/p><\/div>

Nel frammento si riscontrano accenni di tipo eziologico: il testo mostra infatti una peculiare declinazione del tema dell\u2019enunciazione del principio primo, con riferimento specifico all\u2019iniziatore del canto simposiale di argomento d\u2019amore, il poeta Anacreonte. Il frammento presenta un contesto fortemente arcaizzante che pone in relazione il presente, inteso come continuit\u00e0 del passato, e il recupero dell\u2019antico, inteso come patrimonio comune di valori condivisi. La prima parte del componimento (vv. 1-4) \u00e8 costituita da un lungo elenco di epiteti che qualificano l\u2019autore e la sua opera; segue l\u2019enunciazione del tema dell\u2019immortalit\u00e0 della poesia con la descrizione di questo tipo di poesia e il contesto di esecuzione (vv. 5-8). Da notare in particolare la complessa pericope finale (vv. 9-10), che ricalca molto da vicino gli ultimi versi del fr. 1,12-14 Gent.-Pr. (= fr. 2,12-14 W. 2<\/sup>), riferiti alla citt\u00e0 di Atene, nella sua gloriosa tradizione rappresentata dalla ceramica attica. Si tratta di una ridondanza di stile caratteristica dell\u2019autore e che accosta l\u2019argomento trattato, con riferimento alle origini di una specifica tradizione, a un dato socio-politico che guarda con favore al passato. Sull\u2019uso dell\u2019esametro e l\u2019interesse di Crizia per questo genere poetico, vd. testim<\/em>. 43 Gent.-Pr.<\/strong><\/p>\n<\/div>

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[Reference Edition]<\/strong><\/p><\/div>

B. GENTILI-C. PRATO (edd.), Poetae Elegiaci. Testimonia et fragmenta. Pars altera<\/em>, Monachii et Lipsiae 20022<\/sup>.<\/p>\n<\/div>

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[Essential Bibliography]<\/strong><\/p><\/div>

A. GARZYA, \u2018Osservazioni sulla lingua di Crizia\u2019, Emerita<\/em> 20, 1952, 402-412; A. NICOLOSI, \u2018La poesia delle origini e il desiderio di restaurazione politica: l\u2019elegia di Crizia tra tradizione letteraria e contemporaneit\u00e0\u2019, RCCM<\/em> 66\/2, 2024, 457-464: 461 s.<\/p>\n<\/div>

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[Keywords]<\/strong><\/p><\/div>

Elegia, Crizia, Anacreonte<\/p>\n<\/div><\/div><\/div>

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[Anika Nicolosi]<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[128],"tags":[],"class_list":["post-4939","post","type-post","status-publish","format-standard","hentry","category-epic-elegy-lyric"],"yoast_head":"\nCritias fr. 8 - Secoli di Mezzo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Critias fr. 8 - Secoli di Mezzo\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/\" \/>\n<meta property=\"og:site_name\" content=\"Secoli di Mezzo\" \/>\n<meta property=\"article:published_time\" content=\"2025-06-25T17:35:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-07-02T07:57:10+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"68 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/#\/schema\/person\/d7eb887d5c017f8de5c1e9a2dfe74c95\"},\"headline\":\"Critias fr. 8\",\"datePublished\":\"2025-06-25T17:35:04+00:00\",\"dateModified\":\"2025-07-02T07:57:10+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/\"},\"wordCount\":13603,\"commentCount\":0,\"articleSection\":[\"Epic, Elegy, Lyric\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/\",\"url\":\"https:\/\/www.secolidimezzo.com\/en\/epica-elegia-lirica\/critias-fr-8\/\",\"name\":\"Critias fr. 8 - 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