The hymns of Callimachus are generally divided into two groups: the ‘mimetic’ hymns, which seem to be enactments of ritual scenes, and the ‘nonmimetic’ hymns, which seem to follow the pattern of the Homeric hymns. Occasionally this distinction has been challenged, for instance by pointing to an' element of mimesis inH. 1, but on the whole the division into two groups has been 1 adhered to rather rigidly. A drawback of this distinction is that it seems to prevent further insight (...) into an important aspect of Callimachus' poetic technique. I think that there is in fact a subtle play with various aspects of diegesis and mimesis which pervades the whole collection of hymns and gives it a certain unity, because it draws attention to the way in which narratives or descriptions are presented in the hymns. Although the emphasis on mimesis or diegesis may vary, none of the hymns can be regarded as diegetic in all its aspects and there is a great deal of fluctuation between, the two modes of presentation both within the collection and within the individual hymns. (shrink)

The hymns of Callimachus are generally divided into two groups: the ‘mimetic’ hymns , which seem to be enactments of ritual scenes, and the ‘nonmimetic’ hymns , which seem to follow the pattern of the Homeric hymns. Occasionally this distinction has been challenged, for instance by pointing to an' element of mimesis in H. 1, but on the whole the division into two groups has been 1 adhered to rather rigidly. A drawback of this distinction is that it seems to (...) prevent further insight into an important aspect of Callimachus' poetic technique. I think that there is in fact a subtle play with various aspects of diegesis and mimesis which pervades the whole collection of hymns and gives it a certain unity, because it draws attention to the way in which narratives or descriptions are presented in the hymns. Although the emphasis on mimesis or diegesis may vary, none of the hymns can be regarded as diegetic in all its aspects and there is a great deal of fluctuation between, the two modes of presentation both within the collection and within the individual hymns. (shrink)

Scholars have traditionally interpreted Hipponax fragment 128 as an epic parody designed to belittle the grand pretensions and gluttonous habits of his enemy. I suggest, however, that this traditional reading ultimately falls short because of two unexamined assumptions: that the meter and diction of the fragment are exclusively meant to recall epic narrative and not any other early hexametrical genre, and that the descriptive epithets in lines 2 and 3 are the ad hoc comic creations of the poet and simply (...) refer to the table manners of a glutton or a parasite. I argue instead that this fragment in several ways reflects the language, the meter and the performative goal of hexametrical chants or incantations designed to expel harmful famine demons or to escort human scapegoats from the city. I also suggest that the vivid and somewhat comic descriptions of the enemy in fragment 128 probably do not aim at his personal eating disorders, but rather they are drawn from two interrelated and generic features of archaic Greek thought: a tradition of describing famine-demons as insatiable eaters, and a popular theme in Greek invective which demonizes political enemies as rapacious pests who threaten to gobble up the commonwealth of the city and who therefore must be expelled from the community, precisely like a famine-demon. (shrink)

Early in Aeneid 3 Aeneas visits Delos and approaches the temple of Apollo with a request for advice on the destination for which the refugees should head. There is an immediate response to his questions : uix ea fatus eram: tremere omnia uisa repente, liminaque laurusque dei, totusque moueri mons circum et mugire adytis cortina reclusis.