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This chapter explores Or. 24, an emergency intervention concerning Rhodes. Internal strife had recently broken out in the community, which could prompt Roman rulers to deprive Rhodes of its status as civitas libera. To facilitate the end of stasis, Aristides mobilises the full spectrum of political lyric: canonical poets are recalled alongside mythical singers, while monodic and choral performances are brought into play to exalt harmonia over stasis. Through this discursive re-enactment of lyric, Aristides transfers to his prose appeal the political effectiveness of lyric poetry and music. This intermedial strategy culminates in the evocation of Alcaeus’ poetry on stasis. Together with stasis-plagued Lesbos, Alcaeus embodies the spectre of civic discord which an orderly Dorian community like Rhodes must reject at all costs. Lyric reception thus brings into focus Aristides’ approach to contemporary politics, especially his awareness of what it meant for a Greek community to live under the scrutiny of Roman rulers.
This book is the first study of the persistence and significance of ancient lyric in imperial Greek culture. Redefining lyric reception as a phenomenon ranging from textual engagement with ancient poems to the appropriation of song traditions, Francesca Modini reconsiders the view of imperial culture (paideia) as dominated by Homer and fifth-century Attic literature. She argues that textual knowledge of lyric allowed imperial writers to show a more sophisticated level of paideia, and her analysis further reveals how lyric traditions mobilised distinctive discourses of self-fashioning, local identity, community-making and power crucial for Greeks under Rome. This is most evident in the works of Aelius Aristides, who reconfigured ancient lyric to shape his rhetorical persona and enhance his speeches to imperial communities. Exploring Aristides' lyric poetics also changes how we interpret his reconstruction of the classical tradition and his involvement in the complex politics of the Empire.
This article discusses Ovid’s allusive engagement in Tr. 1.2.75–80 with his own earlier works, as well as with the works of his elegiac predecessors—Propertius and Tibullus—and of Catullus. It is argued that this suggestive intertextuality may point toward Ovid’s re-articulation of his conceptualization of elegy as it is now to be written from exile.