Lycophron


Also found in: Wikipedia.

Lycophron

(lĭk`əfrŏn), fl. early 3d cent. B.C., b. Chalcis, Alexandrian Greek poet, one of the PleiadPleiad
[from Pleiades], group of seven tragic poets of Alexandria who flourished c.280 B.C. under Ptolemy II Philadelphus. Of the works of the men usually given in lists of the Pleiad only those of Lycophron survive. A group of enthusiastic French poets took c.
..... Click the link for more information.
. His only extant poem Cassandra or Alexandra, is an obscure and difficult work in iambic verse. In ancient times his tragedies were highly esteemed.

Lycophron

 

Born circa 320 B.C.; date of death unknown. Greek poet and grammarian.

The scholarly poem Alexandra, which contained the prophecies on the fate of the Greeks after the destruction of Troy, is attributed to Lycophron. He is known as the author of tragedies on mythological themes (20 titles are known), the satyr play Menedemus, and the historical and literary treatise On Comedy (fragments extant).

WORKS

Holzinger, C. Lykophron’s Alexandra. Leipzig, 1895.
In Russian translation:
Aleksandra [excerpts]. Vestnik drevnei istorii, 1947, no. 3, pp. 264–66.

REFERENCES

Istorila grecheskoi literatury, vol. 3. Edited by S. I. Sobolevskii [et al.]. Moscow, 1960. p. 96.
Ziegler. “Lykophron.” In Pauly’s Real-Encyclopädie der klassischen Altertumswissenschaft, vol. 13. Stuttgart, 1927. Columns 2316–81.
Mentioned in ?
References in classic literature ?
Fragment #2 -- Tzetzes on Lycophron, 682: But now he is speaking of Teiresias, since it is said that he lived seven generations -- though others say nine.
He then aimed a spear at Ajax, and missed him, but he hit Lycophron a follower of Ajax, who came from Cythera, but was living with Ajax inasmuch as he had killed a man among the Cythereans.
As his sources for Hymnus in Noctem, Chapman mentions only Greek poets: Hesiod, Aratus, Lycophron, Callimachus, Homer and the Orphic hymns, and uses Plato and Natalis Comes' Mythologiae once to explain specific assumptions implied in his inventions.
Les Anciens ont vraisemblablement percu ce lien, puisque un auteur comme "Lycophron explique dans 1 'Alexandra le nom de l'Egee par le fait que ses flots font des bonds de chevre.
(5) The only other evidence for the myth is found in a scholion on Lycophron's Alexandra (467), Athenaeus (2.43 = Kaibel 2.19), and Euphorion's Thrax (27) a work partly imitated by Parthenius (26).
Ambiguity in literature was cultivated, for example, in Alexandrian Greece, as exemplified by Lycophron's canonical poem Alexandra.
II, Hymns and Epigrams Lycophron: Alexandra Aratus: Phaenomena.
23) Hopes, fears and poetry are, of course, the "stuff" of tragedy that breaks the comforting zone of the "now." It is, however, not the specific allusions to the text that link it most strongly to the film, but its "pre-history." (24) Roditi wrote regarding it, "'Cassandra's Dream' is named after the long dramatic monologue composed in ancient Alexandria by the Greek poet Lycophron, whom Charles James Fox, in the eighteenth century, believed to have been the only Greek poet endowed with the same gift of prophecy as the Hebrew prophets." (25) Originally, "Cassandra's Dream" was published in a collection of Roditi's poems in 1949 and then republished in 1981 in a collection titled Thrice Chosen.
The Byzantine grammarian John Tzetzes wrote that "Under the royal patronage of Ptolemy Philadelphus, Alexander of Aetolia edited the books of tragedy, Lycophron of Chalcis those of comedy, and Zenodotus of Ephesus those of Homer and the other poets" (Tzetzes, 1952, pp.
There, one of the Sirens is seen plunging to her death, in support of an earlier story found in Lycophron's Alexandra (712-15) that proclaimed the suicidal end of the Sirens when their song was resisted.
Part one, entitled "Epic and Elegiac Poetry", includes chapters on Homer, Hesiod, The Homeric Hymns, Apollonius of Rhodes, Callimachus, Theocritus and Mo schus; part two is concerned with Historiography and deals with Herodotus, Thucydides, Xenophon, Polybius, Arrian, Appian, Cassius Dio, and Herodian; Choral Lyric is the focus of part three, the sole chapter of which focuses on two authors, Pindar and Bacchylides; part four concentrates on Drama and, in addition to the more obvious ancient exponents of this genre (Aeschylus, Sophocles, Euripides, Aristophanes and Menander), Lycophron's narrative technique also comes under scrutiny (see below).