The Poems of Callimachus (review)

The front cover of this volume features the second century A.D. Oxyrhynchus papyrus fragment of the prologue to the Aetia, arguably the most influential programmatic piece in all Greek and Latin poetry. The back cover announces an important new verse translation of the extant works of Callimachus, with a full introduction, notes that take up individual points of difficulty, a general index, an annotated index of all proper names and adjectives, comparative tables that reference translated fragments to the standard editions, and, as distinguishing this translation from others, a presentation of the translated fragments "as integral parts of the poetry books in which they originally figured, as these can be reconstructed in the light of modern research." The pages in between deliver everything that the front cover suggests and the back cover promises (with one qualification). On the whole, this is probably the most useful single volume available on Callimachus, certainly for the nonspecialist at whom it is aimed.

Nisetich's introduction leads the reader through the historical background, distinguishes what is known about Callimachus' life and literary career from what has been imputed, and, in the last two sections, surveys what has been recovered of his work and how it has been recovered. These last sections provide an excellent brief conspectus of Callimachean literary and textual criticism. The only thing lacking (this is the qualification mentioned above) in this otherwise admirably complete and up-to-date introduction is any significant communication of the nature and extent of Callimachus' influence, especially on Latin poetry. Surely it is tantalizing and a little unfair for the uninitiated to be told that Callimachus was "second to none but Homer in influence" (xv) but not to be told why or on whom or how. This omission is not corrected elsewhere in the book except, indirectly, for the necessary consideration of Catullus' translation of the Coma Berenices as possibly supplying omissions in the fragmentary Greek text.

This brings us to what I see as the book's chief virtue, which lies in the presentation of the fragments, the disiecta membra poetae, as the constituents of lost organic wholes—not only of complete poems but also of poetry books artfully and deliberately arranged. Here, as throughout the entire book, Nisetich has taken good advantage of recent scholarship. His presentation of Callimachus' Hecale, which leads off the translations, has benefited from Hollis's study (Callimachus: Hecale [Oxford: Oxford University Press, 1990]). The remaining fragments presented here—the fragments of the Aetia and of the Iambi—are also well arranged and contextualized. The "Victory Song for Sosibios" rounds out the fragmentary poems. It is left freestanding, although its connections with the Aetia and the Coma Berenices in particular are explained. Nisetich translates only those fragments for which an adequate context can be reconstructed, a sound decision even if it does leave approximately six hundred of the eight hundred or so fragments in Pfeiffer's edition untranslated.

Poems of Callimachus that we have in their entirety include sixty-three epigrams and six narrative hymns. The epigrams are helpfully arranged here by type (erotic, dedicatory, display, epitaph) rather than following any standard edition (although they are helpfully indexed to Pfeiffer as well as to the Planudean Anthology. The six narrative hymns are presented in their traditional order. An enlightening discussion in the introduction traces the thematic contours of this arrangement and suggests, convincingly, that it is deliberate on the part of Callimachus. We may have in Callimachus' Hymns the first extant poetry book.

Stylistically the translation is clean and fluent but rather undistinguished as poetry. As a poet-translator, Nisetich was more successful with Pindar's pyrotechnics (Pindar's Victory Songs [Baltimore: Johns Hopkins University Press, 1980]) than he is here with Callimachus' leptotes, which tends to come off as flat rather than subtle. His stated aim is more to serve the reader interested in what Callimachus...