Abstract

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry by Pauline A. LeVenTom PhillipsPauline A. LeVen. The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge: Cambridge University Press, 2014. x + 377 pp. Cloth, $99.The “New Music” of the late fifth and early fourth centuries b.c.e. has been subject to a revival of interest in recent years. Most scholarship, however, has tended to focus either on socio-historical aspects of performance culture or on the philological problems posed by texts such as Timotheus’ Persians. The corpus of fourth-century hymns by authors such as Aristonous and Philodamus has likewise been a minority pursuit, addressed in the main by historians of religion and epigraphers rather than literary critics. This monograph provides a welcome change in emphasis. Resolutely literary in her approach, LeVen elaborates readings that challenge assumptions about a qualitative decline in late classical literature, arguing instead for reading these texts in terms of their particular interpretative demands and situating them in a continuum of literary developments. The New Musicians emerge not as vapidly showy musical and dramatic virtuosos, but as composers of considerable verbal sophistication who developed and extended traditional poetic techniques while also demanding new kinds of emotional and interpretative engagement from audiences. The textual strategies at work in the hymnic corpus are also brought into sharper relief, particularly as regards the effects created by the interplay of performance and material inscription. The result is a valuable contribution to scholarship: as well as situating the New Music in relation to earlier song culture, LeVen shows how some of the strategies [End Page 357] employed by Timotheus and his contemporaries anticipate literary developments in the Hellenistic period. As such, this book will be of interest to all students of ancient Greek poetry.The book begins with an overview of poetic activity in the late classical period, including a useful set of tables that present the literary and epigraphic sources grouped by type. LeVen also surveys developments in scholarship on the New Music, recapitulating the case for caution when assessing the evidence of ancient critics and comedians, and making a strong case for the importance of engaging with the poems’ “dynamics of allusion, emulation, and intertextuality” (69). The rest of the book consists of case studies concerned with individual authors and corpora, and thematic chapters discussing the New Musicians’ linguistic innovations. The first group includes a chapter on Philoxenus of Cythera (chap. 3), a discussion of the Dinner Party attributed to Philoxenus (chap. 6), and readings of the inscribed hymns (chap. 7). The discussion of Philoxenus of Cythera focuses mainly on the anecdotes about his life preserved by Athenaeus, Machon, and other later authors. LeVen explores these texts’ persistent concern with the interrelated issues of food, xenia, and poetry, and their varying figurations of Philoxenus’ character. She also argues convincingly that the Dinner Party (PMG 836) should be attributed to Philoxenus of Cythera (114–18), and a good part of chapter 6 is devoted to an analysis of this text. Her readings emphasize the poem’s creation of an interpretative dialogue: the speaker presents not just an ekphrasis but also an “appeal to his own feelings and to those of his internal addressee” which underlines the “social dimension” of dining (257). More controversially, she also argues that it was performed as a dithyramb: as a text performed on the public stage, its detailed descriptions of fine dining “collaps[e] the distinction between... the public competitions at festivals and sacrifices and the private elegant home” (261).In her concluding remarks about the role played by the symposium in fourth-century poetic culture, LeVen sees the distinctiveness of the period not in poems being performed in multiple locations but in “the open traffic” between public and private performance settings, “the symposium importing passages from the dramatic stage and exporting some of its traditional motives and forms of expression to more public settings, dramatic and beyond” (268). The remainder of chapter 6 is concerned with the hymns to Virtue and Health of Aristotle and Ariphron, while chapter 7 deals with inscribed hymns such as the Erythrean paeans, Aristonous’ Hymn...