epigram

In 1872, the prolific scholar Thomas Wright published The Anglo-Latin Satirical Poets and Epigrammatists of the Twelfth Century within the Rerum Britannicarum Medii Aevi Scriptores or "Rolls Series," an important nationalist project exemplifying the Victorian preoccupation with England's medieval past.

Unlike Pliny or the epigrammatists, the Erotes presents specific viewing epiphanies that are constrained or limited by the access the temple setting allows.

CENTURIES from now, should our ancestors sort through the ephemeral artworks that rubbished the last century and, moreover, should they observe how even the truly lasting works seemed disproportionately obsessed by the ephemera and detritus of our culture (The Waste Land syndrome), they may wonder: Was there any poet who examined our world--regarding its weaknesses, imperfections, and evils--and fashioned the kind of permanent statements that the lyricists of the English sixteenth and seventeenth centuries, of the Italian thirteenth century, or the epigrammatists of Classical Rome, crafted out of and for their own?" If they do so inquire, that will be a very good thing--and for two reasons.

(94) Thus in two different ways, these two epigrammatists create fireworks that explode different domains with different results, except for one; laughter is the common product of their work.

In "The Comic and the Obscene in the Latin Epigrams of the Early Fifteenth Century," Donatella Coppini focuses on Panormita's Hermaphroditus as a groundbreaking generic model whose brand of comic obscenity carried over into the next several generations of Neo-Latin epigrammatists. Han Lamers follows up on this claim in "Marullo's Imitations of Catullus in the Context of His Poetical Criticism," where he shows that in his criticism of Martial and his imitations of Catullus, Marullo challenges the obscenity of Panormita, proposing instead a more chaste and modest poetics that stresses the emotional complexities of love.

In rereading Don Quixote, the reader is struck less by the Don Quixote-Sancho Panza duality, so beloved to Kafka, Borges, and other epigrammatists of Cervantes' epic tragedy, as by Don Quixote's solitude, his mental and spiritual hunger, the incommensurability of his soulful longing with his environs, his resistance to repetition, his fear of reproduction, his love for creative mimesis (always at variance with the original), and his hatred for banality.

and which was so much too common amongst the Roman women, at the time when all morality was lost, that it was more than once the subject for the epigrammatists and satirists of that age.

(31) Nisbet & Rudd 2004:141 defines a paraclausithyron as "the lament sung by an excluded lover in front of the woman's closed door" further indicating that this type of lament is "attested as early as Alcaeus 374 L-P"; also that "Hellenistic epigrammatists provide variations on the theme".