In Spain, Fray Luis de León and Francisco de Medrano are the main followers. In “Los líricos griegos en Horacio y a través de Horacio”, Vicente Cristóbal, an expert in Latin poetry, guides our steps from Greece to Rome, from Alcaeus, Sappho, Pindar, Anacreon, Archilochus and Hipponax to Horace, who rightly adapted the Greek lyric to his Latin poetry with the results of its projection into later Europe by means of his Epodes and Odes. The Reception of Greek Lyric Poetry is represented by a Latin poet (Horace), a modern Greek poet (Odysseus Elytis) and a present-day Spanish writer (de Villena). 130 V=137 D: “first definition of love”, and a second fragment, 105a V = 116 D, which he deems “the first feminist text.” Nathaniel Hess explores metaphors related to small animals, whose suffering is somehow conceived as human suffering, in Lycophron’s Alexandra. In her analysis of Anacreon’s PMG 357 (14 Gentili) shehighlights the importance of number three in groups of deities, groups of verbs and groups of lines, in which parallels or contrapositions are established.įelipe Hernández Muñoz considers the formula Ἔρως λυσιμελής through time, focusing especially on Sappho fr. Her study of meaning as it relates to composition is rather remarkable. A second contribution by Esteban Santos under the same Philological Studies, “Anacreonte, cantor de Eros: análisis literario”, deals with Anacreon’s poems dedicated to Eros. The author quotes poems regarding the contrast among epithets, verbal expressions, personal pronouns (me/you), and words inherent to the subjects. The Texts section of Greek lyric poetry is divided into “Philological Studies of Greek Lyric” and “Influence of Greek Lyric Poetry on Posterity.” In “The Main Themes in Greek lyric: Anacreon’s Poetry as a Representative Example,” Alicia Esteban Santos presents the main subjects of Greek lyric by means of Anacreon’s poetry: love, symposium and wine, allusions to music and musical instruments, and the contrast of youth with old age. The Introduction, by Fernando García Romero, sets the present-day coordinates of the subject with a solid bibliography. They use Greek characters for the quotations, and translations into the language of the specific essays. Half of the contributions are written in English and half in Spanish. The result is a kind of anthology endowed with original contributions. The focus is on the texts themselves (Sappho and Anacreon are well represented), and on their philological and artistic reception, from Greek sculpture to Horace, from Fray Luis de León to Odysseus Elytis, from music to cinema. This collection of essays can be situated within the context of important research on Greek lyric in the last decade and its different approaches. The book under review is the result of a conference held at the Universidad Complutense de Madrid in 2015.
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