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By Mark Payne

The bucolic Idylls of Theocritus are the 1st literature to invent an absolutely fictional international that's not a picture of truth yet an alternative choice to it. it really is thereby exotic from the opposite Idylls and from Hellenistic poetry as a complete. This publication examines those poems within the gentle of historic and smooth conceptions of fictionality. It explores how entry to this fictional global is mediated through shape and the way this international looks as an item of hope for the characters inside of it. The argument culminates in a clean examining of Idyll 7, the place Professor Payne discusses the come across among writer and fictional construction within the poem and its value for the later pastoral culture. shut readings of Theocritus, Callimachus, Hermesianax and the Lament for Bion are supplemented with parallels from sleek modern fiction and a longer dialogue of the heteronymic poetry of Fernando Pessoa.

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Goldhill (1994) 217–22 and Burton (1995) 103–104 analyze the women’s use of Hellenistic art theory. For a judicious overview of the issues, see Hunter (1996b) 149–69. On Hellenistic ecphrasis and its relationship to contemporary art and its audiences, see Zanker (2004). Cf. Ott (1969) 103 n. 290: “Die ‘Momentaufnahme’ des Fischers zeigt nur seine Anstrengung, die Frage, ob ihm Erfolg oder Mißerfolg beschieden ist, muß der Leser f¨ur sich selbst beantworten. M. E. 45–54): tutq¼n dì Âsson Špwqen ‰litrÅtoio g”rontov perkna±si stafula±si kal¼n b”briqen ˆlw†, t‡n ½l©gov tiv kärov –fì a¬masia±si ful†ssei ¤menová ˆmfª d” nin dÅì ˆlÛpekev,  m•n ˆnì Àrcwv foit¦ƒ sinom”na t‡n trÛximon,  d ì –pª pžraƒ p†nta d»lon teÅcoisa t¼ paid©on oÉ prªn ˆnhse±n fatª prªn £ ˆkr†tiston –pª xhro±si kaq©xhƒ.

Pretagostini (1992) 71: “La performance di Tirsi sulla morte di Dafni . . mostra come un componimento . . ” While the end of the song is the clearest indication of Thyrsis’ adaptation of “The Sorrows of Daphnis” to its performance context, it is not the only one.

His use of pronouns is sparing in the extreme. 26 The men’s behavior is also hard to read. Hunter notes that the scene 23 24 25 26 A “narrative response to pictorial stasis,” as Heffernan (1993) 4–5 calls ecphrastic storytelling. Cf. 313–28 (Zeus and Hera). The abundance of pronouns leaves no doubt about who is feeling what for whom. Hunter (1999) ad loc. 36–37. On erotic infatuation with statuary, see Steiner (2001) 185–207 and Hardie (2002) 193, for whom the Pygmalion story thematizes “the close connection between erotic desire and the response to works of The pleasures of the imaginary 33 rewrites the legal dispute on the Shield of Achilles (Il.

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