By Cosetta Cadau
"This first monograph in English on Colluthus situates this past due vintage writer inside of his cultural context and provides a brand new appraisal of his hexameter poem the kidnapping of Helen, the end-point of the pagan Greek epic culture, which was once composed within the Christianised Egyptian Thebaid. The publication evaluates the poem's connections with usual and modern literary and inventive genres and with Neoplatonic philosophy, and analyzes the poet's re-negotiation of conventional fabric to fit the expectancies of a past due fifth-century advert viewers. It explores Colluthus' interpretation of the modern fascination with visuality, identifies new connections among Colluthus and Claudian, and exhibits how the author's engagement with the poetry of Nonnusgoes a lot additional than formerly proven"
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Additional resources for Studies in Colluthus' "Abduction of Helen"
15 Livrea 1968a, XXII. Colluthus And His Models 39 So why does Colluthus choose to invoke the Nymphs and not the Muses? Livrea16 rejected De Lorenzi’s interpretation,17 which justified the unexpected invocation of the Nymphs, and not the Muses or Apollo, as the deliberate choice of a poet other than Colluthus, who was seeking not to appear too obvious. The long debate is after all superfluous, as Muses and Nymphs are not necessarily to be distinguished in this context:18 in Lycophron 274, for instance, the Muses are called Nymphs.
9 In 1928, De Lorenzi suggested that the Abduction’s proem was the work of a scholar who added it to the poem after Colluthus’ death. His theory was based on alleged contradictions between the proem and the rest of the poem, which led him to consider the Abduction a fragment of an unfinished poem; this explained why it is not quoted among the works of Colluthus in the Suda. In De Lorenzi’s view, this poem was an Antehomerica, a work that was meant to cover the events prior to the Trojan War and stand beside Quintus of Smyrna’s Posthomerica and Triphiodorus’ Sack of Ilion, which bridged the gap between the Iliad and the Odyssey.
Colluthus aims at creating a picturesque scene in an impressionistic way, and for the proem the image is that of flowing water. Similarly, in Cypria fr. 5 Allen, Aphrodite’s toilette on the Ida rich with fountains was accompanied by the Nymphs. 32 It is possible that Colluthus also attempts here an allegorical reference to his poetry, as did Callimachus in h. 105–12, where he, through the voice of Apollo, expresses his taste for brief and refined poetry: flower baskets and gathering flowers in a beautiful meadow (68–9) when Zeus appears in the shape of a bull and abducts the young girl.