By William Neilson
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M. Dawson, YCS 11 (1950) 89–90. Cf. g. Meillier (1979) 229 and n. 139. Cf. Fuhrer (1992), ead. ‘Callimachus’ Epinician Poems’, in Harder–Regtuit–Wakker (1993) 90–7. Cf. g. Bulloch (1985) 27, and below pp. 371–7. Cf. C. J. Herington, Poetry into Drama (Berkeley 1985) 6, S. H. Lonsdale, Arion 3 (1994–95) 29–32, and below pp. 360–1. 121 What should be noticed in Callimachus, however, is the obsessively archaeological precision with which he refers to the actual performance, in a manner that is typical of the hieratic hymn, as a poem that accompanies a specific ceremony.
26–8; for the ‘contamination’ of nomos and dithyramb in Timotheus, see [Plutarch], On Music 4, C. J. Ellingham ‘Timotheus’ Persae’, in Powell–Barber (1921) 63, and, more generally, B. Zimmermann, ‘Gattungsmischung, Manierismus, Archaismus: Tendenzen des griechischen Dramas und Dithyrambos am Ende des 5. Jahrhunderts v. ’, Lexis 3 (1989) 25–36; see also id. (1992) 133–6. Rossi (2000) 150 draws an analogy with chess: ‘the literary system (the chess-game) gradually proceeded towards new combinations, and the genres (the pieces) gradually assumed new values’.
E. Legrand in 1898,67 R. Heinze in 1919,68 and L. Deubner in 192169 still spoke, respectively, of ‘m´elange’, of ‘confusion des genres’, of ‘Gemisch’ and of ‘Mischung’ of genres, without pointing to a deliberate authorial policy. 71 Intellectualism was indeed an extremely important element in the radical reform of the literary system carried out by Hellenistic poets, but it was not the only one, as we shall see. Moreover, generic ‘contamination’ was not the exclusive prerogative of the learned poetry of third-century Alexandria.