The Cambridge Companion to Greek Lyric by Felix Budelmann

424 PHOENIX editing. Thethickness oftheBomarzo shield decreases from 10-14mmnear therim "toa mere 0.5-0.6mm, although thecentre widens outagain slightly to0.8mm" (30); actually itis 5-6 mmandthen 8 mm.1 Threefeet is equalto 1.83m(159). Adrian Goldsworthy isrechristened "Oliver" (186).Theforenoon isa period, which isroughly between 10and11or12a.m.(209). Allcomplaints aside, however, this isa brave attempt totake thediscussion ofhoplite warfare along new pathways. While previous scholars have debated the weight andnature ofhoplite armour, few have madesuch aneffort tofigure outwhat thephysical aspects andlimitations ofthat armour would have meant for men andtheir commanders. Ifyou areatallengaged inthisdebate, Schwartz's bookis definitely worth reading - even if you want tohurl itagainst a wallfrom time totime. MemorialUniversity Kathryn Simonsen The Cambridge Companion to GreekLyric.Edited byFelixBudelmann. Cambridge : Cambridge University Press. 2009.Pp.xii,457. "Hetravels ona solitary man;| Hisagehasnocompanion" (Wordsworth, The OldCumberland Beggar). Scholarship ofthepast twodecades hassaved ancient Greek lyric poetry from thefate ofWordsworth's agedmendicant. Thebookunder review here isthemost recent and comprehensive companion volume tothecorpus ofGreek lyric poetry, andcomes as a welcome addition toBrill's A Companion tothe Greek Lyric Poets (ed.D. Gerber, Leiden 1997)published almost fifteen years ago.Thecontributions ofthis new collaborative endeavour , while naturally covering much familiar ground, take into account recent discoveries ofancient lyric texts, such asthenew papyrus fragments ofSappho (P.Köln 21351y 21376)published in2004,aswellasthemost recent advances inmodern scholarship on thevaried poetic forms known as Greek lyric, inthis caseincluding elegy andiambos. The scholarly landscape inthisfield haschanged a great dealsince thepublication of C. M. Bowra's pioneering (andstill valuable) Greek Lyric Poetry: From Aleman toSimonides (Oxford 1936;2nded.1961), thefirst proper survey ofGreek lyric poetry. Following a useful introduction tothenature andstudy ofGreek lyric bythe volume's editor, Budelmann, the bookisdivided into three principal sections: Contexts andTopics ,Poets andTraditions, andReception. Inthefirst section, Carey begins appropriately with a chapter onthevexed question ofthegenre(s) oflyric poetry, examined from the perspectives ofboth form andcontent, andtheperformance contexts oflyric poetry, a theme towhich later chapters frequently andexpectedly return; Hornblower treats the social motivations (money, reputation) for poetic production, with a short section onthe rarity ofpanhellenism inlyric poetry; Stehle traces theroleofgender inbothchoral andsoloperformance from a feminist perspective; Griffith looks atlyric's reflection upon andconstructive placewithin theancient understanding ofhuman existence; Graziosi andHaubold delicately undertake thedaunting task ofunderstanding lyric's relationship toother early Greek literature (notjustearly epicpoetry, butalsolater philosophical, 1P.H.Blyth, "The Structure ofa Hoplite Shield inthe Museo Gregoriano Etrusco," BMMP 3(1982) 5-21, at12. BOOK REVIEWS/COMPTESRENDUS 425 historical, andoratorical genres); D'Alessio offers a stimulating, ifbrief, discussion ofthe language and"pragmatics" oflyric; Battezzato provides arelatively accessible introduction tolyric metre andmusic. In thesecond section, which examines inindividual chapters forms ofGreek lyric andthe work ofparticular poets, wehear again from Carey oniambos ,with a survey ofArchilochus, Semonides, andHipponax; Aloni dealsably with the genre ofelegy anditstraditions, ultimately (andsensibly) defining the genre along formal metrical grounds; Krummen provides a brief andsomewhat basicsurvey ofthepoetry ofAleman, Stesichorus, andIbycus; Yatromanolakis gives a well-considered reading of thework ofAlcaeus andSappho, including a veiy useful section ontheancient reception ofSappho; Budelmann dealssuccinctly with Anacreon and,most prominently, the importance ofthelater tradition ofAnacreontea' Pelliccia treats Simonides, Pindar, and Bacchylides (orSP&B asthey aregrouped together throughout) ina sensitive ifoverly circumscribed discussion (Pindar might justifiably have beengiven a lengthier treatment ina separate chapter); Yatromanolakis returns again with a welcome anddetailed contribution on"folk" or"popular" songs andtheir relationship to"literary" songs inancient Greece, oneofthemost original contributions tothevolume; CsapoandWilson then closethesecond section with a much needed survey ofTimotheus ofMiletus, hismusicalinnovations , andtheengagement ofhispoetry with Athenian society. Thethird section turns tothereception ofearly Greek lyric inantiquity andbeyond, first with a contribution byBarbantani onreception inthehellenistic period, which emphasizes the significance ofscholarly study andshifting modes ofperformance inthis period andincludes a discussion oflyric poetry composed inthehellenistic age;Barchiesi takes onthe reception ofGreek lyric inRome, with a focus onHorace but with useful comments also onLaevius andCatullus; moving onfrom Greek andRoman antiquity, Michelakis traces therediscovery andclassification ofPindar, Anacreon, andSappho intheRenaissance through totheeighteenth century; Williamson then offers a survey ofthereception of Pindar andSappho inthenineteenth andtwentieth centuries, with a particular emphasis onEnglish literature. Thebookcloses with a short epilogue bySwain, whoexplores briefly thedistinctions between theso-called lyric poetry ofthemodern Romantics and ancient Greek lyric. Asshould beclear from theabove summary, theamount ofground that this companioncovers isimpressive, asisthecollection ofinternational

Art · Art history · Aside · Elegy · Literature · Papyrus · Period (music) · Poetry · Scholarship · Classical Antiquity Studies · Classics · History · Law · Linguistics and language evolution