Greek metre; an introduction by by D.S. Raven.

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Arguing for an early date see esp. Bollansée (1999) and in FGrHistCont IVA/1 pp. g. West (1984) 126–7, Fehling (1985) 13–18. 30 See Barkowski in RE II/2 (1923) 2248–54, Busine (2002) 53–85 (with a handy prospectus at 57). 29 OUP CORRECTED PROOF – FINAL, 26/8/2016, SPi 14 Vanessa Cazzato and Enrico Emanuele Prodi Croesus (70 F 181). 31 The ascription of skolia to the wise men can also be viewed as an alternative to the procedure epidexia. 32 In a similar way, Lobon maps the trajectory of his skolia onto the pan-Hellenic spread that the Seven Sages represent, in the jagged itinerary that alone can suit a series of formally parallel but disconnected and mutually independent biographies.

Another well-attested form for skolia is that of the two-liner (PMG 897–906). Of course a sequence of these could be performed in a catena, but most often, or perhaps always, by different singers. For other melic performances, so short a song as one of two or four lines does not seem likely to have been common, but at least we can set it as a lower limit. This is much easier to claim as a secure datum than an upper limit. Any upper limit will have been the product of several factors. One of these will have been the length of time for which the individual singer could both play his lyre well and maintain his vocal production at an adequate level, and of course this is a factor that will have operated similarly both in the case of sympotic performances and in the case of performances in other venues.

1981) 5 against the opinion of Hiller (1878) 522 and most recently Lloyd-Jones and Parsons (SH p. 255), who regard the poems as a Hellenistic product, and of Crönert (1911) 130 and West (1984) 126, who place them in the fourth century. ) (1983) xxxiv–xxxv; Crönert (1911) 130, followed by Garulli (2004) 136, suggests that they originated in a now-lost Banquet of the Seven Sages (see further n. 30). OUP CORRECTED PROOF – FINAL, 26/8/2016, SPi Introduction 13 thus implied. In a different vein, Anacreon’s persona—no less than his poetry—gave rise to a tradition of ‘imitators’ that reached throughout antiquity to Byzantium and the modern age.

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