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Lille Stesichorus
The Lille Stesichorus is a papyrus containing a major fragment of poetry usually attributed to the archaic lyric poet Stesichorus, discovered at Lille University and published in 1976.〔G. Ancher and C. Meillier, ''Cahier de Recherches de l'Institut de Papyrologie et d'Egyptologie de Lille IV''〕 It has been considered the most important of all the Stesichorus fragments, confirming his role as an historic link between genres as different as the epic poetry of Homer and the lyric poetry of Pindar. The subject matter and style are typical of his work generally but not all scholars have accepted it as his work.〔C. Segal, ''Archaic choral lyric'', 186〕 The fragment is a narrative treatment of a popular myth, involving the family of Oedipus and the tragic history of Thebes, and thus it sheds light on other treatments of the same myth, such as by Sophocles in ''Oedipus Tyrannos''〔R. Martin, ''The Voices of Jocasta''〕 and Aeschylus in ''Seven Against Thebes''.〔W. Thalmann, ''The Lille Stesichorus and the "Seven Against Thebes"''〕 The fragment is significant also in the history of colometry since it includes lyric verses that have been divided into metrical ''cola'', a practice usually associated with the later career of Aristophanes of Byzantium.〔D. Kovacs, ''Text and Transmission'', 385〕〔E. Turner, ''Greek Manuscripts of the Ancient World'', 124–25〕
==Discovery==
At the turn of the twentieth century, a mummy case and its contents were deposited at the Lille University by Pierre Jouguet, the founder of the university's Institute of Egyptology,〔see website for the Global Egyptian Museum (here )〕 and Gustave Lefebvre. The papyrus packing material inside the case was covered with ancient Greek script, including fragments of previously unknown poetry, a discovery that was made much later and which was published in 1976 by Ancher and Meillier (see References below). However they assembled the fragments for publication in the wrong order, basing it purely on considerations of papyrus texture, alignment of lines and length of columns. The correct order for the text was instead worked out by P. J. Parsons and published the following year (see References).
The assembled fragments comprised one hundred and twenty-five consecutive lines, of which thirty-three were virtually intact, representing a portion of a much larger poem (calculated to have been about seven hundred lines). The verses were structured in triadic stanzas (strophe, antistrophe, epode), typical of choral lyric. Triads are found for example in plays by Aeschylus, Sophocles and Euripides, in odes by Pindar and Bacchylides, and they are known also to have been characteristic of the poetry of Stesichorus. The handwriting indicated that a scribe had written it as early as 250 BC but the poetic style indicated that the original composition must have been much earlier .
There was no record of title or author but the Doric dialect, the meter and overall style suggested that it was probably a work of Stesichorus, sometime in the first half of the 6th century BC.〔J. Bremer et al., ''Supplements to Mnemosyne'', 128〕〔R. Martin, ''The Voices of Jocasta''〕 His authorship however was promptly questioned by Bollack et al. (see References) and Parsons also was sceptical, noting the Homeric cliches and "drab, repetitious flaccidity" of the verse.〔P. Parsons, ''The Lille Stesichorus'', 26〕 Martin Litchfield West then presented the case in favour of Stesichorus, even turning Parson's arguments on their head and winning over Parsons himself,〔A. Burnett, ''Jocasta in the West: The lille Stesichorus'', note 1 page 107〕 since ancient commentators had noted the same characteristics that Parsons had found fault with: Stesichorus could be long-winded and flaccid (''redundat et effunditur'', Quintilian 10.1.62) and "most Homeric" (, Longinus 13.3). However, West was careful not to endorse Parson's low opinion of the fragment's artistic quality.〔M. L. West, ''Stesichorus at Lille'', 1〕
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