‘Corpus Theognideum’ from an oral perspective. With special emphasis on fragments of double attribution (Solon, Theognis)
Corpus Theognideum, a collection which includes around 1389 elegiac verses assigned to the archaic poet Theognis from Megara, has long given rise to the issue of its authenticity (namely the so-called ‘Theognidean question’); one of the principal problems encountered in this case is the similarities between Theognis’ poems and fragments which are elsewhere assigned to other poets. Accordingly, it is often held that the ‘true-Theognidean-poems’ are represented only by the vv. 19–254 of all collection, viz. the Florilegium Purum (in accordance with the term used by Martin L. West) or Gnomologia ad Cyrnum (Douglas Young’s term).
Studies on the authenticity of the Corpus Theognideum until the ’80s tended to treat the similarities between this sylloge and other elegiac works as the basis for the view that someone, some unknown copyist or a compiler, had used some pieces of Solon, Mimnermus, and Tyrtaeus in order to create this collection. However, the modern emphasis on the context of oral communication and on the performative character of archaic Greek poetry enables us to approach this issue from a new perspective through an oral communicative approach, and using the evolutionary theory of poetic development as the interpretative model for the process of formation of the Corpus Theognideum we can also understand the ‘double attribution’ of some Theognidean fragments as the manifestation of a broader phenomenon: from this point of view, both Solon and the poet/poets of the Theognidea use a pattern from the elegiac tradition and then lay it aside, adapting it more and more to their own purpose. Moreover, this interpretation is also strengthened by some disparties between Solon’ legacy and the elegies that we know from the Theognidean sylloge. Each difference appears to be purposeful and systematic (often repetitive as a constant lexical opposition, e.g. κέρδεα–χρήματα, χρῆμα–πρῆγμα) and to stem from the disparate nature of each poetic tradition.
How to Cite
Papers are published under the personal responsibility of the authors in terms of their content and linguistic form (eg, rights of any pictorial material, etc.).
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License licence that allows others free use of the work for non-commercial purposes as long as the author/s and the journal are attributed properly and the new creations are licensed under identical terms (Commons Attribution-NonCommercial-ShareAlike 4.0 International License).
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
Authors are permitted and encouraged to post their work online (preferably in institutional repositories or on their website), as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access). Any such posting must include a reference and a link to the journal’s website.