Within twenty years of Alexander's death his empire had split into separate states, whose rulers had taken the title of king. The new kings were forceful and ambitious men who relied on their armies and mostly ruled in lands where monarchy was traditional. The new monarchies presented Greeks with ideological problems. Wherever they lived, they had to adjust to a dominant royal power and to find an acceptable place for monarchy within their political philosophy. It has been widely argued that the Antigonid monarchy in Macedonia differed in important respects from monarchy in the other kingdoms. Hellenistic monarchy was closely associated with religion and the gods. More varied in both its form and its implications is the religious practice commonly known as ruler-cult. The legacy of Hellenistic kingship lived on in the Roman Empire, its ideology and its institutions, secular and religious alike, now adapted to the requirements of a universal monarchy.

Monarchies and monarchic Ideas

Wedding ritual in tragedy tends to be subverted. In explaining and arguing for this generalisation I hope also to shed new light on some of the passages deployed.My starting point is the actual wedding ceremony. How did the Athenians of the classical period imagine that it was celebrated? Our evidence derives largely from contemporary drama and vase-painting. The picture presented by this evidence coheres very well in certain respects with that derived from other periods and places: Sappho, Catullus' imitation of the Greek, the lexicographers, and so on. For example, one important element that is found in the Attic and the non-Attic evidence alike is the ambiguity, for the bride, of the transition. The abrupt passage to her new life contains both negative and positive elements. On the one hand it is like the yoking of an animal or the plucking of a flower. It means isolation, separation from her friends and parents. It is an occasion of resentment and anxiety, comparable to death.

The Tragic Wedding

The goal of this paper is to increase our understanding of what archaic verse epitaphs meant to contemporary readers. Section I suggests their fundamental message was praise of the deceased, expressed in forms characteristic of poetic encomium in its broad, rhetorical sense, i.e., praise poetry. In section II, the conventions of encomium in the epitaphs are compared to the iconographic conventions of funerary art. I conclude that verse inscriptions and grave markers, not only communicate the same message of praise, but do so in a formally parallel manner. Section III, drawing on Pindar as a preserver of archaic thinking, attributes the parallelism between verse epitaph and grave marker to their common debt to funerary ritual. The epigrams will be seen to share with their monuments the goal of memorializing this ritual.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/56A5E5AC91B84C57DAE7132CE074C87F/S007542690001257Xa.pdf/div-class-title-rituals-in-stone-early-greek-grave-epigrams-and-monuments-div.pdf

Rituals in stone: early Greek grave epigrams and monuments

Of the various Hellenistic kingdoms which arose out of the dissolution of Alexander the Great's dominions, and most resembled the empire conquered and for a time ruled over by the Macedonian king, was the Seleucid kingdom. This chapter discusses the geographical description, and military and naval aspects of the Seleucid Kingdom. The organization of the official cult of the sovereign can be useful for tracing the Seleucid administrative divisions. In considering the relations between the Seleucid kingdom and the Greek cities one must distinguish between the new Seleucid foundations and the 'old cities' which existed before the Seleucid period and even before that of Alexander and the Diadochi. The precise role of the Iranian regions and policies pursued there by the Seleucid sovereigns are less clear in comparison with the Persian empire, and the axis of the Seleucid kingdom was markedly further to the west. The achievement of Seleucid Syria is to be assessed historically as a posthumous contribution.

Syria and the East

The 'great man' of later Greek historical thought is the long product of traceable changes in ancient ideas about the meaning and impact of an individual life. At least as early as the birth of the Athenian democracy, questions about the ownership of the motion of history were being publicly posed and publicly challenged. The responses to these questions, however, gradually shifted over time, in reaction to historical and political developments during the fifth and fourth centuries BC. These ideological changes are illuminated by portrayals of the roles played by individuals and groups in significant historical events, as depicted in historiography, funerary monuments, and inscriptions. The emergence in these media of the individual as an indispensable agent of history provides an additional explanation for the reception of Alexander 'the Great': the Greek world had long since been prepared to understand him as it did.

Historical Agency and the 'Great Man' in Classical Greece

Griechische Vers-Inschriften

Die unter glücklichen Auspizien, noch unter U. v. W i l a m o w i t z ' Ägide und unter Mitwirkung Fr. v. Hil l er s entstandene, dem Altmeister der Philologie zum 80. Geburtstag gewidmete Arbeit, ist die umgearbeitete Fassung einer Dissertation. Aber auch abgesehen von dem durch beide Namen bereits gewährleisteten Gelingen muß die verständnisvolle Behandlung des vielfach sehr lückenhaft erhaltenen, in dorisch-aiolischem Mischdialekt verfaßten Textes und die Gründlichkeit des wohl alle Fragen erschöpfenden Kommentars anerkennend betont werden. Der Inhalt des ersten Hauptteils umfaßt neben der Geschichte der Auffindung des Inschriftsteins und Konstituierung des Textes sowie dem mit ausreichendem kritischen Apparat versehenen Text noch den Kommentar, in dem das Inhaltliche (der Hauptsache nach Religionsgeschichtliche) hinter Wortund Stilerklärung zurücktritt, außerdem eine metrische und grammatische Behandlung. Daran reiht sich das Verhältnis, in dem der Hymnos hinsichtlich seiner gedanklichen Form zu seiner Vorlage (als die der Prosatext von Kyme und los anzusehen ist) steht. Eine syntaktischstilistische Würdigung vervollständigt den erklärenden Teil. Zusammenfassend läßt sich der Gesamteindruck der wohl ins 1. vorchristl. Jhdt. gehörenden Dichtung dahin wiedergeben, daß ihr Verfasser trotz aller Unsicherheit noch im Banne einer großen Tradition aus alexandrinischer Zeit steht und sich einer fast barock anmutenden, stark subjektivischen Eindruckskunst bedient, in der das Ding an sich gegenüber der Emotion stark zurücktritt. — In dankenswerter Weise folgen als zweiter Hauptteil die Aretalogien vom Kyme, Kyrene, der Hymnos von Gomphoi, der Anubishymnos von Kios, das Gedicht des Mesomedes sowie ein Isishymnos von Kyrene, wodurch uns der Herausgeber ein ziemlich abgerundetes Bild dieser in rein theologischmystisches Gebiet einschlagenden Literaturgattung zu geben versucht. Wörterverzeichnisse erleichtern den Gebrauch.

Der Isishymnus von Andros und verwandte Texte

Lexikon zu den Dionysiaka des Nonnos

Griechische Versinschriften aus Kleinasien

Ein nejuer samisoher Historiker

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