Faces of Silence in Ancient Greek Literature ed. by Efi Papadodima

Abstract

BOOK REVIEWS/COMPTES RENDUS 327 As Floridi states in the foreword, Hedylus’ epigrams have benefitted from the careful treatment of Gow and Page,5 but the small number of his poems has so far kept scholars from dedicating a monographic work to Hedylus. However, growing scholarly interest in this kind of poetry, attested by recent publications,6 has made a book such as the one under review a desideratum for all aficionados of Greek epigrams. This beautiful edition fully complies with the two tough goals the author set for herself. As outlined in the foreword, Floridi’s first aim was to prepare an updated critical text of Hedylus’ poetic output, based on a new examination of the ancient tradition and on a detailed analysis of the remarkable philological activity carried out over the last centuries. The extensive critical apparatus (where I have noticed four emendations put forward by Floridi) is clear evidence that this goal has been successfully met. Secondly, she wished to offer a close study of Hedylus’ poetry in order to evaluate his relevance in the development of the epigrammatic genre, particularly in the satiric subgenre. Her precise notes on Hedylus’ six satiric poems, almost half of his remaining production, well demonstrate that this kind of poetry, very popular in the first century c.e. as evidenced by Lucillius, Nikarchos, and Martial, has its roots in the Hellenistic age. These are two very good reasons for buying this book (even though, as all De Gruyter books, it is quite expensive at more than 100 dollars). University of Siena Simone Beta Faces of Silence in Ancient Greek Literature. Edited by Efi Papadodima. Berlin: De Gruyter (Trends in Classics Suppl. 100; Athenian Dialogues 1). 2020. Pp. viii, 318. This inaugural volume in the sub-series “Athenian Dialogues” is the product of a one-day conference sponsored by the Research Centre for Greek and Latin Literature of the Academy of Athens.1 Of the twelve contributions, two deal with epic and lyric, two with the novel, and eight with drama, of which the first treats comedy, the rest, tragedy. André Lardinois leads off with a study of silences in epic and lyric. Homer often signals silence in response to a statement by another character, for example, sig_ at Iliad 3.420, of Helen, frightened by Aphrodite’s rebuke; other causes are shame, awe, shock, and anger. In the example cited, sig_ is in enjambment; Lardinois argues that the rhapsode may well have paused here, reproducing and extending Helen’s silence before resuming the recitation, thereby inducing suspense when the explanation for the silence is given afterward. So too, when the other gods fall silent (sivp_, Il. 8.28, end line position) after Zeus’ threat, the performer might have paused, allowing the audience to wonder why. Lyric poets more often refer to their own silence, as when Theognis (not precisely a lyric poet) says, sig™ (420). A wedge is inserted between speaker and performer in Sappho 31, when she affirms her tongue is tied and she cannot speak. (Lardinois concludes by suggesting that the chorus in Euripides’ Medea may have paused significantly after 1283, at the word tŽknoiw, leaving the audience to expect in 5 A. S. F. Gow and D. L. Page (eds.), The Greek Anthology: Hellenistic Epigrams 1–2 (Cambridge 1965). 6 Cf., for example, Kanellou et al. (above, n. 2). 1 It follows on S. Montiglio, Silence in the Land of Logos (Princeton 2000) and P. Bernardini (ed.), Le funzioni del silenzio nella Grecia antica (Pisa 2015). 328 PHOENIX the antistrophe another outcry from the children inside the house). Praise poetry, as Anna Tatsi observes in her chapter on Pindar, is by its nature anything but taciturn, since, as Pindar himself puts it, great accomplishments should not be covered in silence (Nem. 9.67), while shirkers and losers deserve mute obscurity (Isth. 4.30; cf. Parth. 1 = fr. 94a.6–10). Even earned praise, however, should not be carried to excess, for it may arouse envy; also, a victor’s achievements may be too numerous to recount (Isth. 1.60–63). Moreover, the mythic ancestors of great families are guilty of various crimes, which are best left unsung...