Callimachus (Greek: polytonic|Καλλίμαχος, 310 BC/305 BC-240 BC) was a native of the Greek colony of Cyrene,
Libya. He was a noted poet, critic and scholar of the Library of Alexandriaand enjoyed the patronage of ancient Egyptian Greek Pharaohs Ptolemy II Philadelphusand Ptolemy III Euergetes. Although he was never made chief librarian, he was responsible for producing the catalogue of all the volumes contained in the Library. His Pinakes (tables), 120 volumes long, provided the complete and chronologically arranged catalogue of the Library, laying the foundation for later work on the history of Greek literature. As one of the earliest critic-poets, he typifies Hellenistic scholarship.
Family and early life
Callimachus was a man of
Libyan Greek origin. He was born and raised in Cyrene, as member of a distinguised family, his parents being Mesatme (or Mesatma) and Battus, supposed descendant of the first Greek king of Cyrene, Battus I, through whom Callimachus claimed to be a descendant of the Battiad dynasty, the Libyan Greek monarchs that ruled Cyrenaicafor eight generations and the first Greek Royal family to have reigned in Africa. He was named after his grandfather, an "elder" Callimachus, who was highly regarded by the Cyrenaean citizens and had served as a general.
Callimachus married the daughter of a Greek man called Euphrates who came from Syracuse. However, it is unknown if they had children. He also had a sister called Megatime but very little is known about her: she married a Cyrenaean man called Stasenorus or Stasenor to whom she bore a son, Callimachus (so called "the Younger" as to distinguish him from his maternal uncle), who also became a poet, author of "The Island".
In later years, he was educated in
Athens. When he returned to North Africa, he moved to Alexandria.
Elitist and erudite, claiming to "abhor all common things," Callimachus is best known for his short poems and
epigrams. During the Hellenistic period, a major trend in Greek-language poetry was to reject epics modelled after Homer. Instead, Callimachus urged poets to "drive their wagons on untrodden fields," rather than following in the well worn tracks of Homer, idealizing a form of poetry that was brief, yet carefully formed and worded, a style at which he excelled. In the prologue to his "Aitia", he claims that Apollo visited him and admonished him to "fatten his flocks, but to keep his muse slender," a clear indication of his choice of carefully crafted and allusive material. "Big book, big evil" ("μεγά βιβλίον μεγά κακόν", "mega biblion, mega kakon") is another of his verses, attacking long, old-fashioned poetry using the very style Callimachus proposed to replace it. Callimachus also wrote poems in praise of his royal patron and a wide variety of other poetic styles, as well as prose and criticism. Callimachus' most famous prose work is the Pinakes (Lists), a bibliographical survey of authors of the works held in the Library of Alexandria. It is said to have comprised 120 books.
Due to Callimachus' strong stance against the epic, he and his younger student
Apollonius of Rhodes, who favored epic and wrote the " Argonautica", had a long and bitter feud, trading barbed comments, insults, and "ad hominem" attacks for over thirty years. It is now known, through a papyrus fragment from Oxyrhynchuslisting the earliest chief librarians of the Library of Alexandra, that Ptolemy II never offered the post to Callimachus, but passed him over for Apollonius Rhodius. Some classicists, including Peter Green, speculate that this contributed to the poets' long feud.
Though Callimachus was an opponent of "big books", the
Sudaputs his number of works at (a possibly exaggerated) 800, suggesting that he found large quantities of small works more acceptable. Of these, only six hymns, sixty-four epigrams, and some fragments are extant; a considerable fragment of the " Hecale", one of Callimachus' few longer poems treating epic material, has also been discovered in the "Rainer papyri". His "Aitia" ("Causes"), [An "aition" is a founding myth.] another rare longer work surviving only in tattered papyrus fragments and quotations in later authors, was a collection of elegiac poems in four books, dealing with the foundation of cities, obscure religious ceremonies, unique local traditions apparently chosen for their oddity, [Noel Robertson, "Callimachus' Tale of Sicyon ('SH' 238)" "Phoenix" 53.1/2 (Spring 1999:57-79), p. 58] and other customs, throughout the Hellenic world In the first three books at least, the formula appears to ask a question of the Muse, of the form, "Why, on Paros, do worshippers of the Charitesuse neither flutes nor crowns?" ["Aitia" 1, frag. 3.] "Why, at Argosis a month named for 'lambs'?" ["Aitia" 1, frags. 26-31a.] "Why, at Leucas, does the image of Artemis have a mortar on its head?" ["Aitia" 1, frags. 31b-e.] A series of questions can be reconstituted from the fragments. [Robertson 1999:58f, note 5.] One passage of the "Aitia", the so called "Coma Berenices", has been reconstructed from papyrus remains and the celebrated Latin adaptation of Catullus(Catullus 66).
The extant hymns are extremely learned, and written in a style that some have criticised as labored and artificial. The epigrams are more widely respected, and several have been incorporated into the
Quintilian(10.1.58) he was the chief of the elegiac poets; his elegies were highly esteemed by the Romans (see Neoterics), and imitated by Ovid, Catullus, and especially Sextus Propertius. Many modern classicists hold Callimachus in high regard for his major influence on Latin poetry.
*Pfeiffer, Rudolf. "Callimachus." V. 1, "Fragmenta". (Oxford 1949, repr. 1965); V. 2, "Hymni et epigrammata" (Oxford 1953). (in classical Greek)
* [http://books.google.com/books?id=_zYRAAAAIAAJ&pg=PA269&lpg=PA269&dq=mesatme+of+cyrene&source=web&ots=EEf1kakqhj&sig=PTVDGpP5kywO0P9evcm2jS0J0HY#PPA270,M1 Source for Family Information]
* [http://www.livius.org/caa-can/callimachus/callimachus.html Callimachus]
*Microsoft Encarta Encyclopedia - 2002
*Bing, Peter. "Callimachus’ Hymn to Delos 1-99: Introduction and Commentary" (U. Michigan Ann Arbor, 1981).
*Bulloch, A. W. "Callimachus: The Fifth Hymn" (Cambridge 1985).
*Hollis, Adrian Swayne. "Callimachus: Hecale" (Oxford 1990).
*Hopkinson, Neil. "Callimachus: Hymn to Demeter" (Cambridge 1984).
*Kerkhecker, Arnd. "Callimachus' Book of Iambi" (Oxford 1999).
*McKay, K. J. "Erysichthon: A Callimachean Comedy" (Brill 1962).
*McKay, K. J. "The Poet at Play: Kallimachus, The Bath of Pallas" (Brill 1962).
*McLennan, G. R. "Callimachus: Hymn to Zeus" (Edizioni dell'Ateneo & Bizzarri 1977).
*Williams, Frederick. "Callimachus: Hymn to Apollo" (Oxford 1978).
*Nisetich, Frank. "The Poems of Callimachus" (Oxford 2001). ISBN 0-19-814760-0
*Lombardo, Stanley and Diane Rayor. "Callimachus: Hymns, Epigrams, Select Fragments" (Johns Hopkins 1988). ISBN 0-8018-3281-0
Criticism and history
*Bing, Peter. "The Well-Read Muse: Present and Past in Callimachus and the Hellenistic Poets" (Göttingen 1988).
*Cameron, Alan. "Callimachus and his Critics" (Princeton 1995).
*Green, Peter. "Alexander to Actium: The Historical Evolution of the Hellenistic Age" Ch. 11: The Critic as Poet: Callimachus, Aratus of Soli, Lycophron "and" Ch. 13: Armchair Epic: Apollonius Rhodius and the Voyage of "Argo".
* Selden, Daniel. "Alibis," "Classical Antiquity" 17 (1998), 289-411.
*Richard Hunter. "The Shadow of Callimachus" (Cambridge 2006)
* [http://www.theoi.com/Text/CallimachusHymns1.html Online Text: Callimachus, Hymns translated by A. W. Mair]
* [http://www.perseus.tufts.edu/hopper/text.jsp?doc=Perseus:text:1999.01.0226 Greek Text: Hymns & Epigrams, Perseus]
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