Switch to: References

Add citations

You must login to add citations.
  1. Epinician Variations: Music and Text in Pindar, Pythians 2 and 12.Tom Phillips - 2013 - Classical Quarterly 63 (1):37-56.
    The importance of music for epinician, as for all other types of choral performance in Archaic and Classical Greece, has long been recognized, but the exiguousness of the evidence for the compositional principles behind such music, and for what these poems actually sounded like in performance, has limited scholarly enquiries. Examination of Pindar's texts themselves for evidence of his musical practices was for a long time dominated by extensive and often inconclusive debate about the relations between metres and modes. More (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • (1 other version)Píndaro y la finitud (Comentario a la Pítica III).Aida Míguez Barciela - 2011 - Despalabro. Ensayos de Humanidades 5:19-29.
    Interpretamos ciertos aspectos de la tercera oda pítica de Píndaro partiendo de consideraciones sobre la problematicidad implicada en la mención de Tea, madre del Sol, en la quinta oda ístmica. Se ve cómo ello concuerda con el hecho de que el poema que empieza con la imposibilidad de invocar a una figura ausente desemboque en la cuestión de la presencia duradera que tiene lugar en el canto, o sea, en la mención del decir excelente.
    Download  
     
    Export citation  
     
    Bookmark  
  • (1 other version)Two Transitions in Pindar.Christopher Carey - 1989 - Classical Quarterly 39 (02):287-.
    This paper addresses itself to two transitional passages in Pindar which are frequently misunderstood. In both we appear at first sight to have an awkward change of direction, with the myth terminated abruptly and the following item of praise merely juxtaposed. In reality, both transitions are effected smoothly, and the same technique is employed in both odes.
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • (1 other version)Prosopographica Pindarica.Christopher Carey - 1989 - Classical Quarterly 39 (01):1-.
    Pindar's Eighth Olympian celebrates the victory of Alkimedon of Aigina in the boys' wrestling at Olympia in 460. This victory was the sixth won by a member of this family . The absence of detail about most of these victories suggests that the family had had little success in the great Panhellenic competitions and that the majority were won at minor festivals. However, one of the remaining five victories was certainly won in one of the four festivals which made up (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • (1 other version)Pindar, O. 2.83–90.Glenn W. Most - 1986 - Classical Quarterly 36 (02):304-.
    According to the traditional interpretation of these celebrated lines, Pindar is saying here that while the wise can understand his poetry by themselves, the mass of his listeners need interpreters if they are to do so; he then goes on to contrast inferior poets, who can sing only ineffectually and only what they have learned, with the poet of natural genius, who surpasses them as the eagle surpasses the crows; and finally he returns to the subject at hand, the praise (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • (1 other version)Pindar, O. 2.83–90.Glenn W. Most - 1986 - Classical Quarterly 36 (2):304-316.
    According to the traditional interpretation of these celebrated lines, Pindar is saying here that while the wise can understand his poetry by themselves, the mass of his listeners need interpreters if they are to do so; he then goes on to contrast inferior poets, who can sing only ineffectually and only what they have learned, with the poet of natural genius, who surpasses them as the eagle surpasses the crows; and finally he returns to the subject at hand, the praise (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • (1 other version)Prosopographica Pindarica.Christopher Carey - 1989 - Classical Quarterly 39 (1):1-9.
    Pindar's Eighth Olympian celebrates the victory of Alkimedon of Aigina in the boys' wrestling at Olympia in 460. This victory was the sixth won by a member of this family (line 76). The absence of detail about most of these victories suggests that the family had had little success in the great Panhellenic competitions and that the majority were won at minor festivals. However, one of the remaining five victories was certainly won in one of the four festivals which made (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • (1 other version)Two Transitions in Pindar.Christopher Carey - 1989 - Classical Quarterly 39 (2):287-295.
    This paper addresses itself to two transitional passages in Pindar which are frequently misunderstood. In both we appear at first sight to have an awkward change of direction, with the myth terminated abruptly and the following item of praise merely juxtaposed. In reality, both transitions are effected smoothly, and the same technique is employed in both odes.
    Download  
     
    Export citation  
     
    Bookmark  
  • (1 other version)The “Rough Stones” of Aegina: Pindar, Pausanias, and the Topography of Aeginetan Justice.Leslie Kurke - 2017 - Classical Antiquity 36 (2):236-287.
    This paper considers Pindar's diverse appropriations of elements of the sacred topography of Aegina for different purposes in epinikia composed for Aeginetan victors. It focuses on poems likely performed in the vicinity of the Aiakeion for their different mobilizations of a monument that we know from Pausanias stood beside the Aiakeion—the tomb of Phokos, an earth mound topped with the “rough stone” that killed him. The more speculative final part of the paper suggests that it may also be possible to (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Truth and Genre in Pindar.Arum Park - 2013 - Classical Quarterly 63 (1):17-36.
    By convention epinician poetry claims to be both obligatory and truthful, yet in the intersection of obligation and truth lies a seeming paradox: the poet presents his poetry as commissioned by a patron but also claims to be unbiased enough to convey the truth. In Slater's interpretation Pindar reconciles this paradox by casting his relationship to the patron as one of guest-friendship: when he declares himself a guest-friend of the victor, he agrees to the obligation ‘a) not to be envious (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Callimachus’ Other Telchines: Aetia Fr. 1, Fr. 75 and the Hymn to Delos.Leanna Boychenko - 2022 - Classical Quarterly 72 (1):177-190.
    The Telchines, magical craftsmen and wizards, are best known for their criticism of Callimachus’ poetry in the prologue to the Aetia. The other two appearances of the Telchines are also in programmatic passages in Callimachus’ extant works. In the Hymn to Delos (30–3), the narrator asks an aporetic question about the theme of his song. There, the Telchines are the makers of the trident used to form every island but Delos, highlighting her singular status as uniquely created without force (30–3). (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Pindar, Nemean 1.24.Nicholas Lane - 2022 - Classical Quarterly 72 (2):939-942.
    This note considers a Pindaric crux. It argues that Aristarchus’ ‘solution’ should not have been so readily accepted because the evidence can be interpreted differently, giving more satisfactory sense if ἐϲλ᾽ ὡς rather than ἐϲλούϲ is read for the manuscripts’ ἐϲλόϲ.
    Download  
     
    Export citation  
     
    Bookmark  
  • Hagesias as Sunoikistêr.Margaret Foster - 2013 - Classical Antiquity 32 (2):283-321.
    In positioning his laudandus Hagesias as the co-founder of Syracuse, Pindar considers the larger ideological implications of including a seer in a colonial foundation. The poet begins Olympian 6 by praising Hagesias as an athletic victor, seer, and sunoikistêr and therefore as a figure of enormous ritual power. This portrayal, however, introduces an element of competition into Hagesias' relationship with his patron Hieron, the founder of Aitna. In response, the ode's subsequent mythic portions circumscribe Hagesias' status so as to mitigate (...)
    Download  
     
    Export citation  
     
    Bookmark