By Pappas, Alexandra
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Extra resources for Greek writing in its aesthetic context: Archaic and Hellenistic arts and letters - Ph.D., The University of Wisconsin - Madison, 2004
4 Although Svenbro 1976: 153~157 notes Simonides' use of the artifact to discuss his own poetry, he understands poem and statue not as vying with one another, but as combining to memorialize Scopus. 41 42 For the spatial deilnition of"goodness," Carson 1992u: 119, and 124 for the spatial conception of "Virtue" (579 PMG). See Steiner 20Cll: 273, who follows Hurwit 1985: 344 and others, for the interpretation that Simonides' negative portrayal of the kouros reflects the shift from the values of the archaic elite to those of the classical democracy.
Erapov, itself a thing of visual wonder, 8a'r;-rov (2). evov ~· eprou (3-4). Pindar, like Homer, creates visually striking imagety with his poem's ekphrastic description, thereby calling attention to the ability of his poetry to create an image in the mind's eye of the audience. Ironically, however, the visual qualities of the building transfer to the poem itselfbecause he explicitly equates the image of the building with the poem that creates it. By thus embedding the representation of his poem within an image created by his poem, Pindar emphasizes his poetic skill and the monumentality of his poetry.
Grafiiti, on the other hand, are nearly always added after firing, resulting in a different relationship between the object and the writing on it. ike abecedaria, f()r example, seem only to take advantage of any ceramic or lithic writing surface, their eon tent and form may have little to do with the context that preserves thern. All the more notable, then. are the eases where the graffiti. mding decoration. Although some inscribers were unarguably just scribbling down letters or words, some were also thinking in artistic terms, as the examples below reveal, indicating their awareness of the visual, decorative qualities of written words, whether scratched or painted.