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"Pindar"
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Pindar
Richard Stoneman shows that Greek melic poet Pindar's works, while at first seeming obscure and fragmentary, reward further study.
BOOK
Pindar and the poetics of permanence
Whereas the last several decades of scholarship on early Greek lyric have been primarily concerned with the immediate contexts of first performance, this volume turns its attention instead to the rhetoric and realities of poetic permanence, providing the first book-length study devoted to this topic. Taking Pindar and archaic Greek literary culture as its focus, it offers a new reading of Pindar's victory odes which explores not only how they were received by those who first experienced them, but also what they can mean to later audiences like us. Divided into two parts, the discussion first investigates Pindar's relationship to both of these audiences, demonstrating how Pindaric epinicia address the listeners present at their premiere performance and also a broader secondary audience across space and time, with Part One arguing that a full appreciation of these texts involves simultaneously assuming the perspectives of both of these audiences. Following on from this, Part Two describes how Pindar engages with a wide variety of other poetry, particularly earlier lyric, in order to situate his work both within an immanent poetic history and a contemporary poetic culture. In setting out his vision of the literary world, both past and present, the volume ably shows how this framework shaped the meaning of his work and illuminates the context within which he anticipated its permanence, offering new insights into the texts themselves and, more broadly, a re-thinking of the nature of early Greek poetic culture through a combination of historical and literary perspectives.
BOOK
PINDAR, OLYMPIAN 2.100
This note questions the transmitted word order at Pind. Ol. 2.100 and proposes a transposition to remove short open vowel at verse end.
Journal Article
On the Alleged dativus ethicus in Pindar
The article deals with six Pindaric passages where a dativus ethicus is supposed to be used by the poet. After a brief re-examination of Pind. Ol. 6.22-25, 9.35-39, 10.1-2, Pyth. 1.59, and Parth. fr. 94b.66 M., and on the grounds of a more detailed analysis and reconsideration of the traditional exegesis of Is. 5.38-39 it may be concluded that such rhetorical device never occurs; by contrast, the dative in these passages rather fulfills the common and specific syntactic function of either commodi, termini, or object.
Journal Article
The Contradiction of the 'Hymn to Zeus' in Nemean 3
This article examines the opening lines of Pindar's Nemean 3, which present an interesting problem from the perspective of genre. Pindar characterizes the poem in question as a ὕμνος (11) to Zeus, contradicting the position that the singular purpose of epinician is the glorification of the victor. According to this view, it is impossible for one poem to be both an epinician to a man and a hymn to a deity. I argue that we can in fact understand Nemean 3 as, at least in part, a hymn to Zeus, since victory odes instantiate praise in relation to multiple audiences.
Journal Article
AOIΔIMOI AΘANAI. Pochwała Aten w poezji Pindara
The prescriptions on how to eulogize the city, provided in 3rd century by Menander Rhetor in his treatise On Epideictic, reflect the encomiastic convention according to which Pindar composed his poetic encomia urbis. Among the topoi that the poet applies to praise Athens one can list the ancient origin of the city, including the identification of its founder, the practiced habits concerning the form of politeia as well as those concerning the professional skills and abilities of the inhabitants, their virtues and deeds in war and in peace. In Pindar’s victory odes, the praise of the city is always subordinated to the praise of an individual victor. Therefore, the poet praises the outstanding individuals, members of aristocratic families, whose values and achievements adorn their city, and who inherited their excellence from heroic ancestors, mythical founders of Athens. In dithyrambic poems, composed for Athenian festivals and performed by kyklioi choroi of men and boys representing the communities of phylai, polis-encomium is a form of self-praise, an expression of 5th century Athenian ideology, which makes citizens proud of their city’s power. Consequently, Pindar focuses on praising Athens’ military prowess and the dominant position which the city achieved in the Greek world, its institutions, its beauty and public buildings.
Journal Article