Ivana Petrovic

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Callimachus in Context: From Plato to the Augustan Poets by Benjamin Acosta-Hughes, Susan A. StephensIvana PetrovicBenjamin Acosta-Hughes and Susan A. Stephens. Callimachus in Context: From Plato to the Augustan Poets. Cambridge: Cambridge University Press 2012. xvi + 328 pp. 4 maps. Cloth, $99.Callimachus is a scholar’s poet, not just because his poetry is difficult and challenging, but also because we tend to see a reflection of ourselves in him: self-assured to the point of arrogance, delighting in recondite words and fun facts, a target of unfair criticism from malevolent and envious colleagues. Callimachus was for decades perceived as antiquarian, bookish, a scholar whose poetry was divorced from the performative setting, not championing civic values, but rather l’art pour l’art avant la lettre. The main focus of scholarship used to be Callimachus’ relationship with the Greek poetic tradition, and virtuoso studies in intertextuality demonstrated just how rich and wide-ranging the tapestry of his allusions is, from poetry to technical writings in prose. However, in the last couple of decades, this image of Callimachus as the ivory-tower scholar-poet began to change. In his ground-breaking monograph Callimachus and His Critics (Princeton 1995), Alan Cameron argued that Callimachus was a prominent and active figure at the Alexandrian court, and far from an armchair intellectual.In recent years, numerous scholars have looked into the way Callimachus was indeed a child of his own time. Brill’s 2011 Companion to Callimachus (edited by the authors of the present book and Luigi Lehnus) is a good illustration of the current state of affairs in Callimachus scholarship: six out of twenty-seven papers discuss Callimachus’ relationship with the royal family and explore his status as a court-poet, his attitude to contemporary religion, and the geopoetics of his poetry and its political implications.This book is a successful union of the two aforementioned approaches to the poet. First, the authors set out to “contextualize Callimachus within his intellectual traditions and within his physical and social environments”; second, they pose five questions: “Why do there appear to be so many Platonic tangents in Callimachus? Why, in a poet considered the model of the ‘bookish’ author, are there so many indications of poetic performance? What is the rapport between the Ptolemies and their political interests and a remarkably diffuse body of work of one court poet? Why is Callimachus an ongoing feature of Roman poetic culture, and in such a particular way?” (viii). They provide an answer to each of these questions in separate chapters, carefully and meticulously negotiating between the study of intertexts and Callimachus’ social contexts.The introduction is fast-paced and fact-based. It provides an overview of Callimachus’ career and the political and cultural history of his native city, Cyrene, and his adopted home, Alexandria. It is the choice of facts and the sharp eye for detail that sets this section apart from a mere collection of data: by discussing the poetic production of the lesser-known Cyrenaean epic poet Eugamon, the authors provide “a glimpse into regional poetics and how it operated within the broader Panhellenic context” (6); careful reading of inscriptions and an assessment of the archaeological remains allows them to offer an interesting suggestion regarding [End Page 365] the dramatic performances of dithyrambic choruses in connection with the festival of the Carneia, which Callimachus memorably described in his Hymn to Apollo.A succinct discussion of Cyrenaean cults brings together results of decades of archaeological study and allows material culture to inform and enrich our view of Callimachus’ poetry: there was a bronze Delian palm in the Cyrenaean sanctuary of Leto (cf. H. Ap. 1–2); the local temple of Zeus Olympius had a cult statue that replicated Phidias’ (cf. Iambus 6); Thesmophoria were probably celebrated in the Cyrenaen sanctuary of Demeter and Kore (cf. H. Dem.); a number of local statue-groups and reliefs coincide with figures in Callimachus’ poetry. By juxtaposing the old and venerable city Cyrene with the newly founded cosmopolitan Alexandria in Egypt, the authors emphasize the cultural contrast between Callimachus’ native city and his chosen home. Since Callimachus was a poet active in a city...