I think one of the most important factors in the development of the 
epyllion is the number of extremely _bad_ epics that get produced both in 
the Hellenistic era and the Augustan and (pre-Augustan era); this is what 
Callimachus (+others) are concerned to distance themselves from passim.

However, what Callimachus etc. are distancing themselves from is not Homer. 
Homer and Hesiod retain sublime status. The Hellenistic epyllions 
(Callimachus' Hecale; Moschus' Europa; Theocritus) are stuffed full of 
recondite Homeric / Hesiodic scholarship. The Callimachean hymn to Apollo 
is a good statement of the Callimachean aesthetic - I think you can read it 
as laying down the propositions I've just outlined. Aetia 1 has been 
supposed to refer to an aethetic dispute between Apollonius of Rhodes and 
Callimachus; I find that surprising - I think the Argonautica is a lot 
closer to the Callimachean aesthetic than it is to the tired panegyrics 
that I think Callimachus is distancing himself from.

The same thing happens in Rome, broadly speaking. Ennius acquires something 
of the sublime status of Homer, but the trendy poets (i.e. Catullus; and 
probably Calvus and Cinna) disparage the big book and are at pains to 
identify themselves with the Callimachean aesthetic.

The antithesis becomes more acute among the Augustans. I think considerable 
pressure can be detected on the Augustan poets to write an epic for 
Augustus. The Augustan poets take a hint from Aetia 1 and adapt this into a 
form of wittily saying no, I don't want to write this poem - the statement 
becomes not just aesthetic but anti-propagandist.

It is in this context that the decision to write the Aeneid must be viewed. 
Vergil, where other artists refused to "compromise their artistic 
integrity", decided to take up the challenge - this was a big risk in 
poetic terms. Interesting to note that Augustus is at pains to get one of 
the best poets to write this poem (see Horace Epistles 2); in Page's 
Fragmenta Poetarum Graecorum there's a dozen-odd hexameters of the sort of 
empty panegyric Augustus could have been content with.

Augustus is v. happy with what he gets. Whether he is right to so be is 
another question altogether.

That's all fairly general:- there are interesting specific points of 
discussion: the structure of the epyllion (in particular the "ekphrasis" 
device); where does the epyllion start? Callimachus? Philetas? (related 
question - is there a tradition of narrative elegy?); what's the 
relationship to, say, Stesichorus? The focus on "human" aspects? Humour? 
Imitation of Homeric devices.

Adrian Pay
-----Original Message-----
From:   Dr D P Nelis [SMTP:[EMAIL PROTECTED]
Sent:   Saturday, December 05, 1998 12:14 PM
To:     [EMAIL PROTECTED]
Subject:        Re: VIRGIL: epic and epyllion

Alan Cameron has a chapter on the epyllion in his 1995 Callimachus and his
Critics, and one on Vergil and the recusatio.
D. Nelis
----------
>From: David Wilson-Okamura <[EMAIL PROTECTED]>
>To: [EMAIL PROTECTED]
>Subject: VIRGIL: epic and epyllion
>Date: Sat, Dec 5, 1998, 0:51
>

>Date: Fri, 04 Dec 1998 16:27:57 -0800
>From: MISS C L DAVIES <[EMAIL PROTECTED]>
>
>Hi there, I'm new to this but am currently participating in an
>interesting discussion with my colleague about the difference between
>epic and epyllion.  What are your thoughts?
>
>
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