By Paola Ceccarelli
During this quantity, Ceccarelli deals a background of the improvement of letter writing in old Greece from the archaic to the early Hellenistic interval. Highlighting the specificity of letter-writing, instead of different kinds of communique and writing, the quantity seems to be at documentary letters, but in addition lines the function of embedded letters within the texts of the traditional historians, in drama, and within the speeches of the orators.
While a letter is in itself the transcription of an oral message and, as such, will be both fair or deceitful, letters received destructive connotations within the 5th century, specifically while used for transactions about the public and never the personal sphere. considered because the device of tyrants or close to japanese kings, those detrimental connotations have been obtrusive particularly in Athens the place comedy and tragedy testified to an underlying trouble with epistolary conversation. In different parts of the Greek global, equivalent to Sparta or Crete, the letter can have been visible as an unproblematic software for dealing with public rules, with inscriptions documenting the professional use of letters not just by means of the Hellenistic kings, but in addition through a few poleis.
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Additional resources for Ancient Greek Letter Writing: A Cultural History (600 BC- 150 BC)
64 A passage from an unknown play of Cratinus (fr. ) conﬁrms that at least until the third quarter of the ﬁfth century epistole does not refer to a letter, but rather to an order: the fragment (¼Œïıå íFí ŒÆd ôÞíäå ôcí KðØóôïºÞí) is cited in Zonaras’ lexicon (p. 65 62 The shift in the terminology possibly mirrors a shift from reading aloud (or public performance) to silent, individual reading. 63 On the semantic evolution of KðØóôïºÞ in tragedy see Stéfanis 1997: 169–91. The use of letters in the Iphigenia plays of Euripides is discussed below, 224–35.
In view of some of the later meanings (geographical map or votive tablet) it is perhaps not accidental that pinax is chosen in the Iliad for a letter marked with óÞìÆôÆ ºıªæÜ, terrible, signiﬁcant signs, but not necessarily alphabetical. In Aesch. fr. 281a Radt. (the so-called ‘Dike’ fragment) the variation between deltos and pinax to indicate the same object may point to the catalogic aspect of Dike’s reading: the goddess writes down the offences of the mortals on a deltos, l. 21, but when the moment comes she recites the catalogue of names from the pinax, l.
16) = Suda å 2632 = schol. Plat. epist. 337 e: KðØóôïºÞ· KíôïºÞ, KðßóŒÅłØò; sch. Vet. Soph. Aj. 781: KðØóôïºÜò· KíôïºÜò (and note the fascinating schol. rec. Soph. Aj. 781ab: ôÜóä’ KðØóôïºÜò· ªæÜçåôÆØ ŒÆd KðØâïºÜò. Iðe ôBò Kðd ðæïŁÝóåøò ŒÆd ôïF KíôÝººïìÆØ. b. › ìbí OìÅæïò KðØôïºcí ºÝªåØ, ïƒ äb íåþôåæïØ KðØóôïºÜò, KíôïºÜò, ìÅíýìÆôÆ); schol. Soph. OC 1601: KðØóôïºaò· KíôïºÜò, ðæÜîåØò; Hesych. å 5255 KðØóôïºÆß· KíôïºÆß, KðØôÆªÆß. `Nóåýºïò —æïìÅŁåE. äØÆªæÜììÆôÆ. ŒÆd KðØóôÜºóåØò; Eust. , 29. 15; 312.