Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)

Starting from the assumption that the description of works of art in Herondas’ Mimiamb 4 (like the other ekphraseis in Theocritus, Posidippus or Apollonius) shows an important connection with the literary program of the poet, the article investigates in particular the affinity between Herondas and t...

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Main Author: Nicola Piacenza
Format: Article
Language:deu
Published: Università degli Studi di Ferrara 2017-12-01
Series:Annali Online dell'Università di Ferrara. Sezione Lettere
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author Nicola Piacenza
author_facet Nicola Piacenza
author_sort Nicola Piacenza
collection DOAJ
description Starting from the assumption that the description of works of art in Herondas’ Mimiamb 4 (like the other ekphraseis in Theocritus, Posidippus or Apollonius) shows an important connection with the literary program of the poet, the article investigates in particular the affinity between Herondas and the official painter of Alexander the Great, Apelles, whose realistic accuracy in portraying everything was famous in antiquity. Herondas, like Apelles, was a victim of his enemies’envy. Furthermore, as Apelles seemed not to appreciate Antiphilus, a painter who invented the caricatures called “Grylloi”, so Herondas seems not to accept the caricatural element in his verses (the article offers a new allegorical interpretation of Gryllos in Mimiamb 1). Maybe the ancient poet Hipponax, another important model for Herondas, could have had the same attitude fighting against the sculptor Boupalos, who, according to the tradition, showed a comic figure of Hipponax himself to laugh.
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institution Kabale University
issn 1826-803X
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publisher Università degli Studi di Ferrara
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series Annali Online dell'Università di Ferrara. Sezione Lettere
spelling doaj-art-2a03cb235de745bcaa186fd07d38a50f2025-08-20T03:34:52ZdeuUniversità degli Studi di FerraraAnnali Online dell'Università di Ferrara. Sezione Lettere1826-803X2017-12-01XII22943https://doi.org/10.15160/1826-803X/1598Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)Nicola PiacenzaStarting from the assumption that the description of works of art in Herondas’ Mimiamb 4 (like the other ekphraseis in Theocritus, Posidippus or Apollonius) shows an important connection with the literary program of the poet, the article investigates in particular the affinity between Herondas and the official painter of Alexander the Great, Apelles, whose realistic accuracy in portraying everything was famous in antiquity. Herondas, like Apelles, was a victim of his enemies’envy. Furthermore, as Apelles seemed not to appreciate Antiphilus, a painter who invented the caricatures called “Grylloi”, so Herondas seems not to accept the caricatural element in his verses (the article offers a new allegorical interpretation of Gryllos in Mimiamb 1). Maybe the ancient poet Hipponax, another important model for Herondas, could have had the same attitude fighting against the sculptor Boupalos, who, according to the tradition, showed a comic figure of Hipponax himself to laugh.erondaapelleantifilogryllosipponatte
spellingShingle Nicola Piacenza
Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)
Annali Online dell'Università di Ferrara. Sezione Lettere
eronda
apelle
antifilo
gryllos
ipponatte
title Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)
title_full Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)
title_fullStr Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)
title_full_unstemmed Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)
title_short Apelle, Ipponatte e la poetica di Eronda (Mim. 1 e 4)
title_sort apelle ipponatte e la poetica di eronda mim 1 e 4
topic eronda
apelle
antifilo
gryllos
ipponatte
work_keys_str_mv AT nicolapiacenza apelleipponatteelapoeticadierondamim1e4