English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the zaia usage as premium feature

ZAIA

Presents the pdf analysis as premium feature

PDF Analysis

Insights

Presents the summarisation as premium feature

Summarisation

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the access of premium content as premium feature

Premium Content

Zendy Tools

Zendy Open

From the second half of the last century onwards, the term ‘metalepsis’ has been in common use in the field of narratology, and has gradually found a place in literary criticism more broadly, to denote the transgression of diegetic boundaries, whether by the narrator or the narratee. The present article provides a thorough analysis of the metaleptic depiction of Bion provided by his anonymous eulogist at lines 58–63 of the  Epitaph for Bion . This passage describes Galatea’s reaction to Bion’s demise, with the result that the dead poet, who sang of the Cyclops in fr. 16, himself assumes Polyphemus-like traits. However, the parallelism between the poet and his character proves to be imperfect, because the text hints at a past liaison, and describes Galatea’s newly acquired status as a shepherdess, thus presenting Bion as a successful lover, and, more importantly, one who has been successful precisely where the Cyclops failed. The key to reading this ‘antagonistic’ portrayal of Bion is provided by analysis of the hidden web of intertextual connections that lies beneath this passage (Theoc.  Idd . 6, 11, Bion frr. 3, 16), which brings to the fore its strong poetological meaning, revealing it to be a poetic tribute through which the anonymous poet celebrates Bion’s achievements as both a bucolic and an amatory poet.

Oὐ γὰρ ἴσον Κύκλωπι μελίσδεο: Intertextuality, Metalepsis, and Eulogistic Strategies in EB 58–63