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Additional resources for Allusion and Allegory: Studies in the "Ciris"

Sample text

This shared point is the poetologically significant opposition of the present moment to some other. Choerilus contrasts his modern-day poetry (νῦν δ’ ὅτε…) with that of the great poets of the past, Orpheus draws a distinction between the present composition  On which see recently MacFarlane (), with further bibliography.  Cf. MacFarlane () ‒ n. . 6 41 (νῦν δ’ ἐπεί…) and his earlier poems, and in the Ciris the narrator apologises that what he can write now (nunc) is not as good as what he hopes to write in the future.

Though not line  itself, but both what precedes it and what follows it, are alluding to one and the same fragment of Parmenides (Emp. fr.  μηδέ σέ γ’ εὐδόξοιο βιήσεται cf. Parm. fr.  μηδέ σ’ ἔθος πολύπειρον ὁδὸν κατὰ τήνδε βιάσθω and Emp. fr. ‒ μήτε τιν’ ὄψιν ἔχων †πίστει† πλέον ἢ κατ’ ἀκουὴν | ἢ ἀκοὴν ἐρίδουπον ὑπὲρ τρανώματα γλώσσης cf. Parm. fr. ‒ νωμᾶν ἄσκοπον ὄμμα καὶ ἠχήεσσαν ἀκουὴν | καὶ γλῶσσαν). However, Trépanier seems right in punctuating after εἰπεῖν and taking θάρσει as an imperative, as well as in changing θοάζει to θόαζε.

In fact, the Ciris proem appears to echo another Greek epic proem, albeit for the most part lost, that of the Persica by Choerilus of Samos (SH 317):⁵⁹ ἆ μάκαρ, ὅστις ἔην κεῖνον χρόνον ἴδρις ἀοιδῆς, Μουσάων θεράπων, ὅτ’ ἀκήρατος ἦν ἔτι λειμών· νῦν δ’ ὅτε πάντα δέδασται, ἔχουσι δὲ πείρατα τέχναι, ὕστατοι ὥστε δρόμου καταλειπόμεθ’, οὐδέ πῃ ἔστι πάντῃ παπταίνοντα νεοζυγὲς ἅρμα πελάσσαι. We do not know what the position and the context of this fragment in the proem was, and moreover the precise meaning of some terms within the fragment itself is not entirely clear (in particular in line 3).

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