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139:, the 2nd and the 15th, we know to have been derived from mimes of Sophron. What Theocritus is doing there, Herodas, his younger contemporary, is doing in another manner – casting old material into novel form, upon a small scale, under strict conditions of technique. The method is entirely Alexandrian: Sophron had written in a peculiar kind of rhythmical prose; Theocritus uses the
212:
Metrotimé, a desperate mother, brings to the schoolmaster
Lampriscos her truant son, Cottalos, with whom neither she nor his incapable old father can do anything. She narrates his misdeeds and implores the schoolmaster to flog him. The boy accordingly is hoisted on another's back and flogged; but his
310:
Their effect is achieved by true dramatic means, with touches never wasted and the more delightful often because they do not clamour for attention. The execution has the qualities of first-rate
Alexandrian work in miniature, such as the epigrams of Asclepiades possess, the finish and firm outlines;
190:
In Mime I the old nurse, now the professional go-between or bawd, calls on
Metriche, whose husband has been long away in Egypt, and endeavours to excite her interest in a most desirable young man, fallen deeply in love with her at first sight. After hearing all the arguments Metriche declines with
284:
The same Kerdon and Metro whom we see in VI appear, Metro bringing some friends to Kerdon's shoe shop (his name, which means "profiteer", had already become generic for the shoemaker as the typical representative of retail trade); he is a little bald man with a fluent tongue, complaining of hard
259:
The jealous woman accuses one of her slaves, whom she has made her favourite, of infidelity; has him bound and sent degraded through the town to receive 2,000 lashes; no sooner is he out of sight than she recalls him to be branded "at one job". The only pleasing person in the piece is the little
172:
The metre and language suit the tone of common life that
Herodas aims at realizing; for, as Theocritus may be called idealist, Herodas is an unflinching realist. His persons talk in vehement exclamations and emphatic turns of speech, with proverbs and fixed phrases; and occasionally, where it is
276:, but the dialogue is as clever and amusing as the rest, with some delightful touches. Our interest is engaged here in a certain Kerdon, the maker of the dildo and who hides this trade by the front of being a cobbler. On acquiring the information she desired, Metro leaves to seek him out.
293:
Opens with the poet waking up his servants to listen to his dream; but we have only the beginning, and the other fragments are very short. Within the limits of 100 lines or less
Herodas presents us with a highly entertaining scene and with characters definitely drawn.
199:
This is a monologue by the "whoremonger" prosecuting a merchant-trader for breaking into his establishment at night and attempting to carry off one of the inmates, who is produced in court. The whoremonger, remarking that he has no evidence to call, proceeds to a
302:
Some of these had been perfected no doubt upon the Attic stage, where the tendency in the 4th century had been gradually to evolve accepted types—not individuals, but generalizations from a class, an art in which
311:
and these little pictures bear the test of all artistic work – they do not lose their freshness with familiarity, and gain in interest as one learns to appreciate their subtle points.
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times, who bluffs and wheedles by turns. The sexual undertones which we have come to expect from his involvement in VI are only realised at the end when Metro's friends have left the shop.
84:
Apart from the intrinsic merit of these pieces, they are interesting in the history of Greek literature as being a new species, illustrating
Alexandrian methods. They are called
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204:
in the regular oratorical style, appealing to the Coan judges not to be unworthy of their traditional glories. The whole oration is a parody of
Athenian legal speeches.
121:
These were scenes in popular life, written in the language of the people, vigorous with sexual proverbs such as we get in other reflections of that region – in
453:
159:
with which that metre was associated. That, however, hardly goes beyond the choice and form of words; the structure of the sentences is close-knit
251:, "the Ephesian", of whom we have an interesting piece of contemporary eulogy. The oily sacristan is admirably painted in a few slight strokes.
272:
A friendly chat or a private conversation. The subject is a domestic one; Metro has arrived at
Koritto's house to ask her where she acquired a
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brought up in the house whose ready tact suggests to her mistress an excuse for postponing execution of a threat made in ungovernable fury.
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designed as proper to the part, with the most naked coarseness of expression. The scene of the second and the fourth is laid at
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Estudios sobre tragedia griega: Eurípides, el teatro griego de finales del s. V a. C. y su influencia posterior.
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Edited by Hubert Cancik and
Helmuth Schneider, cols. 251–254. Leiden, The Netherlands, and Boston: Brill.
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of his period. Rather, he affected a style that imitated the Greek spoken in the 6th century BC.
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There is an
English verse translation of the mimes by H. Sharpley (1906) under the title
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spirit does not appear to be subdued, and the mother resorts to the old man after all.
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70:– the name is spelt differently in the few places where he is mentioned), was a
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and the author of short humorous dramatic scenes in verse, probably written in
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457:. Vol. 13 (11th ed.). Cambridge University Press. pp. 380–381.
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Cazzato, Vanessa. 2015. "Hipponax' Poetic Initiation and Herodas' 'Dream'."
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and another by Guy Davenport (1981). A prose translation is included in the
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222:
140:
122:
537:
Fernández Delgado, José Antonio. 2011. "Herodas’ Rhetoric of Proverbs." In
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Rosen, Ralph. 1992. "Mixing of Genres and Literary Program in Herodas 8."
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Theophrastus Characters. Herodas, Cercidas and the Greek Choliambic Poets
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Edited by Stephen Harrison and Christopher Stray, 53–72. London: Bristol.
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is said to have studied the drawing of character – were the work of
31:
541:
Edited by Milagros Quijada Sagredo, 219–232. Madrid: Ediciones Clásicas.
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series) and JA Nairn (1904), with introduction, notes and bibliography.
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229:. While the cock is being sacrificed, they turn, like the women in the
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Orrells, David. 2012. "Headlam’s Herodas: The Art of Suggestion." In
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579:
Sumler, Alan. 2010. "A Catalogue of Shoes: Puns in Herodas Mime 7."
558:
Hunter, Richard L. 1993. "The Presentation of Herodas’s Mimiamboi."
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This is a visit of two poor women with an offering to the temple of
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This article incorporates text from a publication now in the
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239:, to admire the works of art; among them a small boy strangling a
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163:. Herodas did not write his mimiambics in the contemporary Greek
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177:, and the speaking characters in each are never more than three.
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Arnott, W. Geoffrey. 1971. "Herodas and the Kitchen Sink."
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dignity, but consoles the old woman with a glass of wine.
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Expurgating the Classics: Editing out in Greek and Latin.
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duBois, Page. 2007. "Reading the Writing on the Wall."
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in 1891. Editions by Otto Crusius (1905, text only, in
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131:. Two of the best known and the most vital among the
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Finnegan, Rachel J. 1992. "Women in Herodian Mime."
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Sexuality in Greek and Roman society and literature
551:Furley, William D. 2005. "Herodas, Herondas." In
41:The first column of the Herodas papyrus, showing
110:, and the most famous of them – from which
247:that we know – and a sacrificial procession by
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461:The papyrus manuscript, obtained from the
398:Johnson, Marguerite; Ryan, Terry (2005).
674:Ancient Greek dramatists and playwrights
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574:Harvard Studies in Classical Philology
502:Zanker, Graham (ed., trans., comm.).
260:maidservant permitted liberties as a
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506:(Oxford: Aris & Phillips, 2009).
151:or "lame" iambic (with a dragging
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307:'s was esteemed the master-hand.
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465:, is in the possession of the
243: – doubtless the work of
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102:"), or mimes. Mimes were the
642:Resources in other libraries
618:Resources in other libraries
684:3rd-century BC Greek people
525:Cambridge Classical Journal
469:, and was first printed by
106:product of South Italy and
81:during the 3rd century BC.
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553:Brill's New Pauly, vol. 6.
402:. Routledge. p. 176.
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66:
61:
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637:Resources in your library
613:Resources in your library
155:at the end) and the old
30:Not to be confused with
482:A Realist of the Aegean
454:Encyclopædia Britannica
658:Loeb Classical Library
441:Headlam, Walter George
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486:Walter George Headlam
331:(Cambridge, 1922) ix.
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245:Boethus of Chalcedon
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679:Ancient Greek poets
532:Classical Philology
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27:Ancient Greek poet
689:Hellenistic poets
594:Library resources
504:Herodas: Mimiambs
491:Cunningham, I.C.
16:(Redirected from
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626:By Herodas
560:Antichthon
548:152:21–37.
546:Hermathena
534:102:45–56.
315:References
298:Discussion
202:peroration
137:Theocritus
79:Alexandria
562:27:31–44.
471:FG Kenyon
443:(1911). "
327:Headlam,
289:Mime VIII
241:vulpanser
237:Euripides
223:Asclepius
141:hexameter
123:Petronius
95:μιμίαμβοι
86:Mimiamboi
527:61:1-14.
497:Mimiambi
305:Menander
280:Mime VII
208:Mime III
125:and the
98:, "Mime-
54:Herondas
32:Herodias
18:Herondas
599:Herodas
493:Herodas
475:Teubner
451:(ed.).
445:Herodas
438::
421:Sources
329:Herodas
268:Mime VI
249:Apelles
217:Mime IV
195:Mime II
153:spondee
116:Sophron
100:iambics
67:Ἡρώνδας
50:Herodas
43:Mimiamb
596:about
447:". In
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406:
255:Mime V
186:Mime I
149:scazon
133:Idylls
108:Sicily
104:Dorian
62:Ἡρώδας
463:Fayum
274:dildo
262:verna
166:koine
161:Attic
145:Doric
112:Plato
90:Greek
72:Greek
52:, or
404:ISBN
143:and
75:poet
235:of
232:Ion
227:Cos
225:at
175:Cos
135:of
64:or
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495:,
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336:^
118:.
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88:(
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