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HERONDAS 8.66-79: GENERIC SELF-CONSCIOUSNESS AND ARTISTIC CLAIMS IN HERONDAS' MIMIAMBS

HERONDAS 8.66-79: GENERIC SELF-CONSCIOUSNESS AND ARTISTIC CLAIMS IN HERONDAS' MIMIAMBS <jats:sec><jats:title>Abstract</jats:title><jats:p>In Herondas' mimiamb 8, a poem particularly concerned with questions of generic identity and reception, the poet defends his work and puts forward his literary program by means of a dream dominated by images related to Dionysiac myth and cult. The interpretation of the dream at ll. 66-79 is seen in terms of the generic affinities between Herondas' mimiambs, the iambographic tradition of Hipponax and the mime. In this paper the Dionysiac character of those images is not considered as an indication of a hypothetically dramatic nature of Herondas' work. It is argued, by contrast, that the poem's Dionysiac imagery and its subsequent interpretation are linked with the associations of Herondas' work with the mime and, more specifically, with the non-literary mime. Mimiamb 8 is considered as part of a long process through which the latter was eventually regarded as a dramatic genre. Herondas seems to be conscious of the disreputable character of that part of his sources, but attempts by means of a masterful use of images pertaining to Dionysiac myth and ritual to persuade his critics of the dramatic nature of the mimic origins of his work so as to invest his poetry with the authority and prestige of dramatic poetry.</jats:p> </jats:sec> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Mnemosyne Brill

HERONDAS 8.66-79: GENERIC SELF-CONSCIOUSNESS AND ARTISTIC CLAIMS IN HERONDAS' MIMIAMBS

Mnemosyne , Volume 55 (3): 301 – Jan 1, 2002

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Publisher
Brill
Copyright
© 2002 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0026-7074
eISSN
1568-525X
DOI
10.1163/156852502760185289
Publisher site
See Article on Publisher Site

Abstract

<jats:sec><jats:title>Abstract</jats:title><jats:p>In Herondas' mimiamb 8, a poem particularly concerned with questions of generic identity and reception, the poet defends his work and puts forward his literary program by means of a dream dominated by images related to Dionysiac myth and cult. The interpretation of the dream at ll. 66-79 is seen in terms of the generic affinities between Herondas' mimiambs, the iambographic tradition of Hipponax and the mime. In this paper the Dionysiac character of those images is not considered as an indication of a hypothetically dramatic nature of Herondas' work. It is argued, by contrast, that the poem's Dionysiac imagery and its subsequent interpretation are linked with the associations of Herondas' work with the mime and, more specifically, with the non-literary mime. Mimiamb 8 is considered as part of a long process through which the latter was eventually regarded as a dramatic genre. Herondas seems to be conscious of the disreputable character of that part of his sources, but attempts by means of a masterful use of images pertaining to Dionysiac myth and ritual to persuade his critics of the dramatic nature of the mimic origins of his work so as to invest his poetry with the authority and prestige of dramatic poetry.</jats:p> </jats:sec>

Journal

MnemosyneBrill

Published: Jan 1, 2002

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