This article argues that in Pindar's epinicians first-person statements may occasionally be made in the persona of the chorus and the athletic victor. The speaking persona behind Pindar's first-person statements varies quite widely: from generic, rhetorical poses—a laudator, an aoidos in the rhapsodic tradition (the “bardic first person”), an Everyman (the “first person indefinite”)—to strongly individualized figures: the Theban poet Pindar, the chorus, the victor. The arguable changes in the speaker's persona are not explicitly signalled in the text. This can (...) lead to significant ambiguities concerning the identity of the speaker (“blurred quotation,” “indeterminate speech boundaries”). The lack of a concern always to distinguish clearly the primary from the secondary narrators relates to a desire to confuse diegetic and mimetic forms; the practice of the fifth-century choral lyric poets in this regard is compared to that of other ancient Greek writers. The main challenge is to indicate how it is possible, in theory and in practice, for the athletic victor to be identified as the speaker when this is not explicitly signalled in the text; and, if this is possible, to suggest how it is possible for an audience to recognize when the speaking persona subsequently reverts to laudator or poet. An attempt is made to consider whether any formal, structural, or thematic tendencies can be observed in those passages in choral lyric where the chorus or the victor are tacitly introduced as speaking personae: such effects, it is argued, occur especially when links of ritual or genealogy enable the ode to “zoom” from the mythical past to the present occasion of the performance. The main passages discussed in the article are Pind. P.8.56–60, P.9.89–92, N.7.85, Pae. 2.73–79, and Bacch. 3.84–85. But the phenomena discussed are related broadly to other phenomena in Greek literature, in Latin poetry, and, especially, in Cicero's forensic oratory. (shrink)

El presente artículo aborda las connotaciones y los fundamentos de la paráfrasis cum canere vellem en Serv. Ecl. 6. 3. El análisis del sentido del verbo volo en este contexto y la confrontación del pasaje con Serv. Ecl. 6. 5 revelan que Servio interpreta la frase cum canerem reges et proelia como referencia a un temprano empeño de Virgilio en componer poesía épica, del que pronto desistió. Esta interpretación está condicionada por la idea de que la secuencia cronológica Églogas - (...) Geórgicas - Eneida tiene un correlato jerárquico, idea que se funda en noticias biográficas y en la teoría de la tripertita varietas. This paper focuses on the connotations and grounds of the paraphrase cum canere vellem in Serv. Ecl. 6. 3. The analysis of the sense of verb volo within this context, as well as the confrontation between that passage and Serv. Ecl. 6. 5, show that Servius interprets the clause cum canerem reges et proelia as a reference to Virgil's early endeavor to compose an epic poem, from which he shortly desisted. This interpretation is conditioned by the idea that the chronological sequence Eclogues - Georgics - Aeneid has a hierarchical correlate, an idea which is founded on biographical information and the theory of tripertita varietas. (shrink)