By Laura Miguelez Cavero

ISBN-10: 3110202735

ISBN-13: 9783110202731

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Q>ycºr), but this does not seem very convincing. Wilhelm suggested Zeus, Poseidon, Ares and Hades, starting with the king of gods and an invocation to the Emperor, more plausible, though the argument loses strength because of the subsequent order towards the left. Schçnbauer 1949 and Bernand 1969 first read Poseidons narrow side, then Zeus and then the opposite side (Ares), to finish with Hades, so that the poem begins, on the one hand with the partition of the world between the gods and the authors religious proclamation, and on the other with the authors full name, by way of introduction.

216 The collection was destroyed in Nikas revolt (532), so we do not know to what extent the poet is faithful to his subject matter. Obviously, though, his objective was not that of an art critic but of a poet who took those images and also details of others as a source of inspiration and expressed himself by means of epic forms. 218 The description seems to follow the order in which the figures were arranged. They often had their names on their bases, though sometimes the poet seems not to be sure as to whom the statue that he is describing represented (cf.

114 Collart 1930, passim; Keydell 1927; 1932a; 1936c, 909 – 11. Cf. summary in Vian 1976, xxix-xli and the review of the studies on the technicalities of Nonnian composition from the 18th c. to Riemschneider in DIppolito 1964, 5 – 36. 115 Fauth 1981, passim; Gigli Piccardi 1985, 97 – 8, 150 – 4, 214 – 17. 116 Keydell 1936c, 911. Also, Friedländer 1912a, 43; Wifstrand 1933, 33 ff. On the inappropriateness of the term baroque: Riemschneider 1957; String 1966, 4. 117 Keydell 1953; Vian 1976, xxxv-xxxvii; Schmiel 1998.

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Poems in Context: Greek Poetry in the Egyptian Thebaid 200-600 AD (Sozomena Studies in the Recovery of Ancient Texts - Vol. 2) by Laura Miguelez Cavero


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