Vergil Eclogue 3.37, Theocritus 1 and Hellenistic Ekphrasis

Faber, Riemer

doi:10.2307/295329

Cited by 8 publications

(3 citation statements)

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“…3 One of the clearest examples is Anacreontea, 4. See Faber (1995); Nünlist (1998) 136, 197, 205;Faber (2000); Gutzwiller (2014); Prioux (2016); Faber (forthcoming, a and b); Prioux (forthcoming). The cup metaphor is related to the many metaphors that equate poetry with a drink or libation (especially of water, wine or milk) and the making of poetry with a state of drunkenness or soberness (Nünlist [1998] .…”

Section: «Ecphrasis» In Theocritus 1precious Artwork As Metapoetic Sy...mentioning

confidence: 99%

Theocritus and the Visual Arts

Prioux¹

2021

Brill's Companion to Theocritus

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Section: «Ecphrasis» In Theocritus 1precious Artwork As Metapoetic Sy...mentioning

confidence: 99%

Theocritus and the Visual Arts

Prioux¹

2021

Brill's Companion to Theocritus

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“…He calls his cups a caelatum opus (37), a phrase more commonly applied to metal (Faber 1995, 411 n. 3). Even if the learned reader is meant to understand this use of caelatum as a nod to the Homeric epic and Hellenistic ekphrastic traditions that Vergil inherited (Faber 1995), its misapplication retains its humor. Not only does Menalcas not know the right 32 The number of cups Menalcas has to offer is subject to some debate.…”

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Latet Anguis in Herba : A Reading of Vergil's Third Eclogue

Schultz¹

2003

ajp

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Most scholarship on Vergil's third Eclogue sees tension between Damoetas and Menalcas. This article argues that they sing with the same voice; instead, tension lies between the herdsmen and Palaemon, whose harmonious relationship with his environment contrasts with their pessimistic attitude. Emblematic of this distinction is that the herdsmen fear the snake lurking in the grass, while Palaemon sees the grass as the perfect place for poetic composition. Different outlooks mirror different approaches to the pastoral genre. This prompts Palaemon to award both singers the vitula, symbol of pastoral's realistic aspect, rather than the cups, which represent the genre's poetic register.

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“…Frank 2000: 16-29, did note its cultural significance and the impact this had on the understanding of holiness in later antiquity. Classical scholarship on enargeia includes: Becker 1992; Dross 2004;Faber 1995;Goldhill 1994;Hardie 2002: esp. 3-22;Laird 1993; Lunde 2004: 49-55;Manieri 1998; Meijering 1987: 5-53;Perry 2005: 150-71;Walker 1993;Webb 1997aWebb , 1997bVasaly 1993: 89-104;Zanker 1981Zanker , 1987Zanker , 2003Zanker , 2004 3.…”

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Absent Presences of Paul and Christ: Enargeia in 1 Thessalonians 1—3

Heath

2009

Journal for the Study of the New Testament

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Paul is absent from Thessalonica; Christ is (in some sense) absent until his parousia; God is distant, invisible; the missionary visit lies in the past. But in the letter they receive from Paul, the Thessalonians find these manifold presences conjured under Paul’s pen and again made vivid. The following article studies this in the context of ancient discussion of enargeia. Although enargeia was never well systematized in antiquity, the term was frequent in diverse contexts for a range of interrelated phenomena connected with effects of vivid presence. Previously, scholarly discussion of ‘absent-presences’ in Paul has focused on Paul’s practice of making his own personal presence vivid to addressees, and this has been debated chiefly in the light of ancient epistolary theory. The introduction of enargeia opens the way for investigation of a wider range of ‘absent-presences’ and relationships between them, and places the discussion in a broader cultural setting. The aim is a theologically and historically richer exegesis of the epistle.

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Vergil Eclogue 3.37, Theocritus 1 and Hellenistic Ekphrasis

Cited by 8 publications

References 4 publications

Theocritus and the Visual Arts

Theocritus and the Visual Arts

Latet Anguis in Herba : A Reading of Vergil's Third Eclogue

Absent Presences of Paul and Christ: Enargeia in 1 Thessalonians 1—3

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