[Author]<\/strong> CEG 564 (unknown author)<\/p>\n[Place of discovery]<\/strong> Athens<\/p>\n[Source] <\/strong>Marble stele with a relief of a naked youth holding a ball, a jumping dog, and a standing figure (possibly a servant)<\/p>\n[Typology] <\/strong>Elegy (epitaph)<\/p>\n[Period]<\/strong> 400\u2013350 BC<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Text]<\/strong><\/p><\/div>[\u03a6\u03b9\u03bb]\u1f79\u03c3\u03c4\u03c1\u03b1\u03c4\u03bf\u03c2 \u03a6\u03b9\u03bb\u03bf\u03be\u1f73\u03bd\u03bf\u03c5
\n\u03c0\u03b1\u1fd6 \u03c0\u03b1\u03c4\u1f73\u03c1\u03bf\u03c2 \u03c3\u03b1\u03c5\u03c4\u03bf\u1fe6 \u03c0\u03b1\u03c4\u03c1\u1f78\u03c2 \u1f14\u03c7\u03c9\u03bd \u1f44\u03bd\u03bf\u03bc\u03b1, |
\n\u03ba\u03b1\u1f76 \u03c0\u03b1\u03c1\u03b1\u03bc\u1f7b\u03b8\u03b9\u03bf\u03bd \u1f26\u03c3\u03b8\u03b1 | \u03c0\u03b1\u03c1\u03c9\u03bd\u1f7b\u03bc\u03b9\u1f79\u03bd \u03c4\u03b5 \u03b3\u03bf\u03bd\u03b5\u1fe6\u03c3\u03b9 |
\n\u039d\u03b5\u03bf\u03bb\u03bb\u03b1\u03c1\u1f77\u03c9\u03bd, \u03b4\u03b1\u1f77\u03bc\u03c9\u03bd \u03b4\u1f73 \u03c3\u2019 \u1f00\u03c6\u03b5\u1f77\u03bb\u03b5\u03c4\u03bf \u03c0\u1fb6<\u03c3>\u03b9 \u03c0\u03bf|\u03b8\u03b5\u03b9\u03bd\u1f79\u03bd<\/p>\n<\/div><\/div><\/div><\/div><\/div>
[Metrics]<\/strong><\/p><\/div>Iambic dimeter for the deceased\u2019s name and patronymic, pentameter followed by two hexameters for the epigram. Synizesis in \u039d\u03b5\u03bf\u03bb\u03bb\u03b1\u03c1\u1f77\u03c9\u03bd<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Critical apparatus]<\/strong><\/p><\/div>Milesian Ionic alphabet with long-vowel notation. Name and patronymic of the deceased inscribed in larger letters. v. 2 \u03c0\u03b1\u1fd6 lapis, \u03c0\u03b1\u1fd6\u03c2 Kirchner. v. 4 \u03c0\u1fb6<\u03c3>\u03b9: \u03c0\u03b1\u03c4\u03b9 lapis.<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Translation]<\/strong><\/p><\/div>Philostratus, son of Philoxenus
\nO boy who bear the name of your father\u2019s father,
\nyou were a comfort to your parents and Neollarion for them,
\nbut fate has taken you away, desired by all.<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Comment]<\/strong><\/p><\/div>This is one of many examples of epigraphic epigrams from the 4th century that reveal significant similarities with classical elegies and their innovations, namely the alteration of the normal hexameter-pentameter stanzaic sequence, the adoption of metaphorical and allusive language, and greater formal refinement, thanks to the number and variety of rhetorical devices, with a particular preference for figures of sound. It is a conception of poetic creation as a game and virtuosity in the use of words: literary examples of this new way of composing elegies are frs 1 and 5 W. by Dionysius Chalcus or fr. 4 W. by Critias. In the case of CEG 564 the deceased\u2019s name and patronymic, inscribed in larger letters, form an iambic dimeter (perhaps coincidentally) and are followed by an unusual sequence of a pentameter and two hexameters, strongly altering the standard elegiac couplet. In the opening pentameter, the formula \u03c0\u03b1\u03c4\u03c1\u1f78\u03c2 \u1f14\u03c7\u03c9\u03bd \u1f44\u03bd\u03bf\u03bc\u03b1, usually indicating the father\u2019s name, is cleverly adapted to indicate the grandfather, creating an internal anaphora with \u03c0\u03b1\u03c4\u03ae\u03c1 and an alliteration of syllable \u03c0\u03b1- recalling \u03c0\u1f71\u03c0\u03c0\u03bf\u03c2 and \u03c0\u1f71\u03c0\u03c0\u03b1\u03c2, the latter typical of infant speech (the deceased being a child). The alliteration recurs in the second verse in \u03c0\u03b1\u03c1\u03b1\u03bc\u03cd\u03b8\u03b9\u03bf\u03bd and \u03c0\u03b1\u03c1\u03c9\u03bd\u03cd\u03bc\u03b9\u03bf\u03c2, emphasizing the familial dimension, also highlighted by \u1f00\u03c0\u1f78 \u03ba\u03bf\u03b9\u03bd\u03bf\u1fe6 construction of the two words with \u03b3\u03bf\u03bd\u03b5\u1fe6\u03c3\u03b9: the child was a comfort to his parents who gave him the nickname Neollarion, while a general appreciation is mentioned only at the close. Syntactically, the three verses form a single period, but semantically the opening pentameter stands apart, continuing genealogical information after name and patronymic, while the two hexameters describe character and affections, thus justifying the unusual metrical sequence.<\/p>\n
<\/p>\n<\/div>
<\/div><\/div><\/div><\/div><\/div><\/div>
[Reference edition]<\/strong><\/p><\/div>P.A. HANSEN, Carmina Epigraphica Graeca saeculi IV a. Chr. n<\/em>. (CEG II), Berolini et Novi Eboraci 1989.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Essential bibliography]<\/strong><\/p><\/div>K. FLOWER SMITH, ‘Some Irregular Forms of the Elegiac Distich‘<\/em>, AJPh<\/em> 22.2, 1901, 165-194; A.-M. V\u00c9RILHAC, \u03a0\u03b1\u1fd6\u03b4\u03b5\u03c2 \u1f04\u03c9\u03c1\u03bf\u03b9. Po\u00e9sie fun\u00e9raire<\/em> 1, Textes, n. 108, Ath\u00e8nes 1978.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Keywords]<\/strong><\/p><\/div>Sepulchral epigram, classical elegy, irregular metrical structure, formal elaboration.<\/p>\n<\/div><\/div><\/div>
<\/div><\/div>
<\/div><\/div>
<\/div><\/div>
[Luca Bettarini]<\/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-6458","post","type-post","status-publish","format-standard","hentry","category-epic-elegy-lyric"],"yoast_head":"\n
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