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By Hugo H. Koning

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Extra info for Hesiod: The Other Poet. Ancient Reception of a Cultural Icon (Mnemosyne Supplements - Volume 325)

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26 See for a detailed discussion of the autobiographical reading Stoddard () –. 27 Kambylis () ; Marsilio () –. There have also been some attempts to define the occasion for the performance of the poems. Jensen () , for instance, believes the WD to have been the actual defence plea held by Hesiod in the historical trial against Perses, and claims that ‘Hesiod may actually be guilty’; Wade-Gery ()  suggested that the poem recited by Hesiod in Chalcis (see WD –) was the Th.

37 The current in modern scholarship to present Hesiod and Homer as split is strong and pervasive. However, during the last thirty years or so many traditional views in the Hesiod-Forschung have been strongly attacked, and it has been the (often unintentional) effect of these recent studies to ‘lump’ Hesiod and Homer together. Two trends have fueled this powerful countermovement: a more nuanced view on the splitting factors discussed above, and a better understanding of how oral poetry works. I will now briefly illustrate this.

A good example of such an approach is the study of Tsagarakis, who derives one of his arguments to prove the priority of Homer from Hesiod’s passage on Hephaestus creating Pandora; since Hephaestus is mentioned in the Works and Days without any introduction whatsoever, the passage must (the argument goes) postdate the Iliad, since it is there that Homer describes Hephaestus as a craftsman; 35 Kirk () . g. Rzach () –, Geffcken () ; Barron and Easterling in Easterling/Knox () .

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