Callimachus c. 310/305 B.C.-C. 240 B.C.
Greek poet and scholar.
Callimachus was a poet and scholar of great influence during a major transition in Greek history. After the death of Alexander the Great in 323 B.C. the influence of Greek culture began to extend beyond Greece east-ward to Persia and Asia; scholars have typically referred to this as the beginning of the Hellenistic Age. Many classicists have identified Callimachus as one of the forces that helped shape the literature of the age, even going so far, in the case of Bruno Snell, to dub Callimachus the "father of Hellenistic poetry." Callimachus was a highly prolific writer—producing an estimated 800 volumes of poetry and scholarship—and a substantial record of his work survives either in manuscript fragments or in citations by other writers. Scholars have devoted particular attention to his Hymns, all six of which are extant in complete form, most or all of his epigrams, the Iambi, and two of his longer works, the Aitia and Hecale. He is also well known, albeit less often studied, for his scholarship, conducted during his tenure as a cataloguer at the Alexandrian royal library. There he prepared exhaustive bibliographies—Pinakes—of the library's contents.
Scholars date Callimachus's birth between 310 and 305 B.C.; he was born in Cyrene, a Greek colony situated in the part of North Africa that is now Libya. Callimachus sometimes carries the name Battiades, or "son of Battus", in reference to his father's name and the royal lineage that that name designates: until about 450 B.C., the names of the colony's rulers alternated between Battus and Arcesilaus. His family, however, was probably middle-class. When he was a young man, Callimachus moved to Alexandria, Egypt, then a focal point of Greek culture and the home of the royal family. He initially took a position as a teacher in a suburb of the city, but eventually was offered a place in the royal library maintained by the ruler Ptolemy II Philadelphus, who wanted the volumes in his extensive library catalogued. Scholars still debate the exact nature of the position that Callimachus took on. Whether he was a cataloguer only or also the library director, there is no doubt that the work he did was substantial and significant. The bibliographies of the library's holdings that he created exceeded 120 volumes.
Callimachus's work for the library necessarily exposed him to literary and non-literary works from preceding generations, making him a tremendously learned writer. Critics regularly have noted the influence of this reading in Callimachus's poetry. Although he is not known for producing critical works, Callimachus nonetheless became a voice to be reckoned with in the poetics—or literary conventions—of his day, becoming enmeshed in heated feuds with other scholars and poets. The most significant of these was actually one of his own students, Apollonius Rhodius, who went on to hold the library director position. Evidence of these debates, which were often hostile rather than rational, shows up consistently in Callimachus's poetry. Scholars have found little information about his later years, determining only that he continued to work at the library and that he composed poetry until close to the end of his life.
Although the works Callimachus is known to have composed greatly exceed what has survived, there is still a substantial body of his work available for readers and scholars to examine. Because the Hymns are intact they win a good deal of study, as do the Aitia and Hecale, both of which have survived in substantial fragments. The Hymns are six in number, each addressed to a different deity: I to Zeus, 2 to Apollo, 3 to Artemis, 4 to Delos, 5 to Athena, and 6 to Demeter. In structure all closely imitate Homeric Hymns, typically composed for oral presentation at festivals; however, critics concur that Callimachus followed these conventions without ever presenting at such events. Callimachus apparently prepared his work for a small and elite audience, although some critics disagree, noting the dramatic and humorous elements that would seem to appeal to a broader audience, and arguing that seemingly esoteric allusions would in fact be familiar to the average Greek theateror festival-goer. The Hymns were generally shorter compositions and, like Callimachus's other works, incorporated his considerable knowledge of his poetic predecessors while introducing innovative and sometimes parodic elements.
Scholars have had to reconstruct the matter of the other major works from fragments. The Aitia, which translates as "causes", seems to compile and—for Callimachus's contemporaries—update various myths and local legends that the author would have encountered in his extensive reading. The work consists of four books, collected in discrete poems, totalling about 7,000 lines of verse. The last poem, The Lock of Berenice, became famous in its own right, eventually being translated by the Roman poet Catullus and providing the groundwork for Alexander Pope's 1712 mock epic, The Rape of the Lock. The Aitia also gives evidence of Callimachus's involvement in debates on poetics, since his introduction doubles as an Answer to the Telchines—a rebuttal of his literary critics.
One of the debates in which Callimachus engaged concerned the conventions of epic poetry. Callimachus, opposing his student Apollonius, advocated marked changes in the genre, contending that new poems should be shorter than tradition demanded, and more simple and concise. His Hecale, estimated to have totalled about 1,000 lines, put into practice many of his ideas about epic. The poem tells a traditional tale—the story of Theseus's journey to fight the bull at Marathon. Along the way, the young hero encounters a storm that compels him to take refuge in the hut of an old woman named Hecale. Callimachus's rendition of this tale, while using a traditional basis, turned convention on its head by effectively putting Hecale rather than Theseus in the spotlight. The story she tells Theseus of her life—a fall from aristocracy to her present condition—occupies the lion's share of the poem. Furthermore, her death after Theseus's victory at Marathon marks the end of the poem, particularly since Theseus bestows on her a hero's funeral.
While the preceding poems have garnered the bulk of critical attention, fragments of many shorter works have allowed scholars to round out their impression of Callimachus's work as a whole. Thirteen iambi and various lyrics reinforce the image of Callimachus presented in the major works and supplement it with love poems and more satire. He is also acclaimed for the sixty-one epigrams that demonstrate his skill with this form.
Although what is available from Callimachus's corpus appears to be only a fraction of the prolific writer's works, it still provides a substantial sample. Many of his works were transmitted through the centuries because they were so broadly admired: writers imitated, quoted, and translated his works for hundreds of years after his death. Consequently, the six Hymns remain fully intact, preserved by their transcription in medieval manuscripts. Scholars assume that the sixty-one epigrams, mostly collected in Byzantine anthologies, represent Callimachus's contribution to the genre. The Aitia, Hecale, Iambi, and various lyrics became available for contemporary readers only in the twentieth century, when fragments of the works came to light with the discovery of papyri manuscripts.
Since his own age, Callimachus has been an object of critical debate. Typically, his admirers have applauded his innovative twists on convention, the polished concision of his style, and the breadth of his knowledge. His detractors have ranged from those who condemn his break with tradition—particularly because his poetry was too short and because it embraced mundane rather than elevated subject matter—to those who find his allusions too obscure. Callimachus's reputation grew with writers of following ages, who found much to admire and imitate in his innovations: the Romans Catullus, Propertius, and Ovid declared their debt and English poets of recent eras—including Alexander Pope, William Cory, and Lord Byron—have also attested to his influence.
Debate among twentieth-century scholars recreates, to some degree, that original critical divide, with some valuing Callimachus's originality and learnedness and others arguing that that learnedness made his work elitist. Moving beyond these stances, some critics have pursued historical analysis, investigating the influence of political environment and literary heritage on Callimachus's work. Historical studies of Callimachus's immediate circumstances typically stress his relationship to the Alexandrian court—especially his need to win continued patronage from the rulers Ptolemy II and Ptolemy III. Rudolf Pfeiffer's work, one of several studies that looks at the Pinakes as well as the poetry, has explored the breadth of Callimachus's learning. Combined, these approaches emphasize the interrelatedness of all aspects of the poet's life in the creation of his poetry.
Principal English Translations
The Works of Callimachus (translated by H. W. Tytler) 1793
Poems of Callimachus (translated by Robert Furness) 1931
The Epigrams of Callimachus (translated by Gerard Mackworth Young) 1934
Hymns and Epigrams (translated by A. W. Mair) 1955
Aetia, Iambi, lyric poems, Hecale, minor epic and elegiac poems and other fragments by Callimachus (translated by C. A. Trypanis) 1975
Hymn to Zeus (translated by G. R. McLennan) 1977
Hymn to Apollo (translated by Frederick Williams) 1978
Hymn to Demeter (translated by N. Hopkinson) 1984
The Fifth Hymn [Bath of Pallas] (translated by A. W. Bulloch) 1985
Callimachus: hymns, epigrams, select fragments (translated by Stanley Lombardo and Diane Rayor) 1988
Hecale (translated by A. S. Hollis) 1990
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SOURCE: "The Elegy," "The Epic," and "The Epigram," in Hellenistic Poetry, translated by Jacob Hammer and Moses Hadas, Columbia University Press, 1929, pp. 94-150, 150-257, 350-406.
[The following excerpt, drawn from his Hellenistic Poetry, presents Körte's summation of Callimachus as a writer of elegy, epic, and epigram. Examining Callimachus' work largely in the context of his biography and the social and political environment in Alexandria, Korte finds certain qualities constant in Callimachus across the genres. Korte emphasizes especially the poet's aptitude for originality and novelty, remarking that "precisely what was obscure, untouched and neglected had the greatest attraction for Callimachus." The excerpt also includes extended quotations in translation.]
Callimachus is the most significant and the most fascinating personality among the Alexandrian poets. He therefore deserves a detailed treatment.
Of his life we know, unfortunately, very little. He was born not much before 330 in the old Graeco-African city, Cyrene, which belonged after 322, with short intermissions, to the empire of the Ptolemies. His father bore the same name as the mythical founder of the city, Battus. From Battus the poet claimed descent; he therefore belonged to the old nobility of Cyrene. His grandfather, also named Callimachus, had occupied an eminent position...
(The entire section is 15544 words.)
SOURCE: "Art and Play in Callimachus," in The Discovery of the Mind: The Greek Origins of European Thought, translated by T. G. Rosenmeyer, Cambridge, Mass: Harvard University Press, 1953, pp. 264-80.
[In the following excerpt from his book The Discovery of the Mind: The Greek Origins of European Thought, originally published in German in 1948, Snell declares Callimachus the 'father of Hellenistic poetry" and compares him at length to Germany's Goethe. According to Snell, Callimachus's defining characteristic was his "post-philosophical" enhancement of technique and playfulness above moral instruction, the province of earlier eras in Greek literature.]
Thou art genius,
Art what inward glow
To Pindar was,
What to the world
Is Phoebus Apollo …
Not by the elm tree
Didst thou visit him,
With his brace of doves
In his affectionate arm,
Crowned with the friendly rose,
Playful him, flower-revelling
Not in the poplar grove
On the Sybaris' banks,
Nor at the mountain's
Didst thou seize him
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SOURCE: "A Glance at the Hymns," in The Poet at Play: Kallimachos, "The Bath of Pallas," E. J. Brill, 1962, pp. 10-25.
[In his book-length study of Callimachus 's Bath of Pallas, classicist K. J. McKay begins with an overview, excerpted below, of the poet's six hymns. In an effort to determine date of composition and what some of Callimachus's sources might have been, McKay considers the poems, especially their imagery, in relation to earlier works and in the context of the history of the Alexandrian court.]
We owe the preservation of the Hymns to the tidy mind of an early scribe who brought together the Hymns of Homer, Kallimachos, Orpheus (and the Orphic Argonautica) and Proklos. It is worth bearing in mind what we would now possess but for this fortunate circumstance. Of the 95 lines of the first Hymn we would have some thirteen complete lines, parts of ten others and tatters of papyrus. But this would be sheer luxury compared with the lot of Hymns 5 and 6. Of the latter we would be able to identify only three lines with confidence from ancient testimonia, with fragmentary relics on papyrus. Of the former, the subject of this study, we could not place a single line. Lines are not assigned to the Hymn on the rare occasions on which they are quoted, and—presumably by accident—the Hymn is not represented among the papyri. Among the hymns fewest ancient testimonia survive for Hs....
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SOURCE: "Kallimachos," in Hellenistic Poetry and Art, Barnes & Noble, Inc., 1964, pp. 98-121.
[In the following excerpt from his Hellenistic Poetry and Art, Webster considers Callimachus's reputation during his career and his aesthetic criteria, simultaneously providing an extensive examination of the poet's works, including the hymns, the iambi, Hecale, and the epigrams. Webster's discussion entails a summary of the "hostilities" concerning aesthetics that Callimachus found himself engaged in with other poets. In his final assessment, Webster attributes Callimachus with "elegance, humour, learning, and variety."]
Kallimachos certainly lived through the reign of Ptolemy Philadelphos and died in the reign of Ptolemy Euergetes. He came from Cyrene to Alexandria; he was first a schoolmaster in the suburb of Eleusis, then was in charge of the catalogue at the Library. The fixed points for his production are given by Pfeiffer [Callimachus]: Epigram 20 is very early, about 300, and was written at Cyrene; it probably takes Epigram 54, also for a Cyrenaean, with it. Hymn 1, according to Wilamowitz, contains a reference to Philadelphos early in his reign, i.e. about 280 B.C.; this therefore will have been written soon after Kallimachos came to Alexandria. The Galateia (fr. 378-9) is probably not long after 278 B.C. The Marriage of Arsinoe (fr. 392) is...
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SOURCE: "Callimachus and the Generation of his Pupils," in History of Classical Scholarship: From the Beginning to the End of the Hellenistic Age, Oxford at the Clarendon Press, 1968, pp. 123-51.
[One of the most-cited Callimachus scholars, Pfeiffer presents an in-depth study of ancient Greek scholarship in his History of Classical Scholarship: From the Beginning to the End of the Hellenistic Age. The chapter excerpted below looks at Callimachus as a primary contributor to the scholarship, especially in his role as cataloguer for the Alexandrian royal library. Pfeiffer also offers a detailed view of the Pinakes, or bibliographies, Callimachus prepared for the library, and considers their impact on Callimachus's poetry.]
There was no distinguished textual critic in the generation after Zenodotus; only Aristophanes of Byzantium at the end of the third century was his equal if not his superior in this field. The outstanding representatives of scholarship between Zenodotus and Aristophanes were two men from Cyrene, Callimachus and Eratosthenes.
After Alexander's death Ptolemy I ruled over the old Dorian colony of Cyrene as the western part of his Egyptian kingdom (perhaps 322 B.C.); then his stepson Magas was given a kind of independent regency (about 300 B.C.?), and there was a time of considerable trouble between Egypt and Cyrene in the seventies. But at length the only...
(The entire section is 6095 words.)
SOURCE: "The Practice of Pictorial Realism" and "The Everyday and the Low in Alexandrian Poetry," in Realism in Alexandrian Poetry: A Literature and Its Audience, Croom Helm, 1987, pp. 55-112, 155-227.
[In the following excerpt, Zanker studies the use of pictorial realism among Alexandrian poets, looking at Callimachus alongside Appollonius, Theocritus, and Herodas. Zanker's discussion of Callimachus considers many of his works, including the Aetia and the Hymns, but his thesis rests primarly on an extended study of the Hecale, which he finds particularly demonstrates the meaning of pictorial realism. He argues that Callimachus uses the style for a specific meaning—to show "that appearances may be deceptive and that moral nobility can be found in people of lowly circumstances"—and that he achieved "a totally new tone … in epic" with his use of pictorial realism.]
THE PRACTICE OF PICTORIAL REALISM
… In the case of Callimachus of Cyrene, … we have indisputable evidence of a keen yet judicious interest in pictorial realism, even though two works of great importance to this book, the Aetia and the Hecale, are in a fragmentary state,
To consider the Aetia first, it must first be noted that cult origins will not have been a theme naturally conducive to pictorial description. Callimachus is in general...
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SOURCE: "Kallimachos and His Lists of Greek Authors and Their Works," in Kallimachos: The Alexandrian Library and the Origins of Bibliography, translated by Hans H. Wellisch, The University of Wisconsin Press, 1991, pp. 124-81.
[In the excerpt that follows, Blum focuses his attention on Callimachus the scholar rather than Callimachus the poet. Blum carefully reconstructs the history of the royal library at Alexandria, attempting to determine the post Callimachus held there and the years of his tenure.]
Accounts of the life and work of Kallimachos are neither particularly extensive nor are they particularly sparse. Our main source is the article "Kallimachos" in the Suda which contains some biographical data and a selective bibliography of his works. The article is based on an epitome of the Onomatologos (Nomendator), a lost bibliographic lexicon compiled from older reference books by Hesychios of Miletos in the 6th century A.D. The abridgment of the Onomatologos affected also the article "Kallimachos". This explains some of its defects. Thus, we learn from it, for example, what was the name of Kallimachos's father-in-law, but we do not know what position he himself occupied at the court of the Ptolemies in Alexandria. Nevertheless, this article supplies interesting information not contained in any other source. The data of Hesychios which were incorporated in the Suda are...
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Bulloch, Anthony W. "The Future of a Hellenistic Illusion: Some Observations on Callimachus and Religion." Museum Helveticum, Vol. 41, No. 4, October, 1984, pp. 209-30.
Addresses the "sense of paradox and even puzzlement" readers often have in response to Callimachus's religious poetry in order to work out some of the complexities in the Hellenistic view of the human rulers' relationship to the gods.
Bundy, Elroy L. "The 'Quarrel between Kallimachos and Apollonios' Part I: The Epilogue of Kallimachos's Hymn to Apollo." California Studies in Classical Antiquity, Vol. 5, 1972, pp. 39-94.
Uses the ambiguity of Callimachus's feud with Apollonius and a careful examination of language to demonstrate the hymn's "artistic integrity."
Cameron, Alan. Callimachus and his Critics. Princeton: Princeton University Press, 1995. 534 p.
An exhaustive overview of Callimachus's work, the work of his contemporaries, and the critical discussion that has surrounded Hellenistic poetry.
Dawson, Christopher M. "The Iambi of Callimachus. A Hellenistic Poet's Experimental Laboratory." Yale Classical Studies, edited by Harry M. Hubbell, Vol. 11, 1950, pp. 1-168.
Comments exhaustively on each of the Iambi, the history of the manuscripts, and suggests a possible "coherent view of the Iambi as a whole."...
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