The uneasy relation between violence and sanctity, between oppression and culture, underlies the dramatic action of Euripides' "Ion." Ion's monody ends with his threatening to shoot the birds who would soil the temple, or in other words, to protect purity through violence and death. The earlier part of his song also shows how the forces of exclusion and domination create sacredness. Ritual silence , restricted access to the aduton, ritual chastity, even the irreversible transformation of natural gardens into laurel brooms (...) and jugs of water all suggest how violence and domination create culture out of nature. The rape of Creusa epitomizes the relation between culture and violence. Her meeting with Ion reveals the psychological cost of social oppression and portrays the imperfect interdependence between moral feelings and legal institutions. Various dramatic devices portray the divisions in Creusa's mind that the injustice has created, devices including self-address, riddling speech, self-restraint, and silence. Her reluctance to pose her bold question to the oracle, and her displacement of the story onto the person of a raped "friend," show her resentful awareness that social institutions collaborate in the oppression. Ion's disillusionment echoes her resentment more theoretically. Together their comments show how moral rules and legal institutions, though fundamentally based on personal feelings such as shame and indignation, enact these feelings only imperfectly; the resulting dissonance in turn leads to further indignation and moral reflection. Finally, the allusions to fifth-century politics in Ion's speech on Athenian politics and elsewhere suggest that democracy itself depends on political domination and imperialism. (shrink)

This article studies a neglected melic poem by Pindar, a hyporcheme for Hieron of Syracuse. It places the work in the context of vigorous poetic production associated with Hieron's foundation of the city of Aitna in 476/5 and assembles the relevant fragments, arguing for the inclusion of frr. 105ab, 106, 114 S-M, and for the relevance of sch. Aelius Aristeides Panathenaikos 187, 2 Dindorf. It analyzes and accepts as likely the evidence of the Pindaric sch. vet. Pythian 2.127 Drachmann that (...) this hyporcheme was referred to by Pindar as a Kastoreion or “Kastor song,” and weighs the significance of the further claim that the poet gifted it to Hieron as a “free extra.” A survey of the hyporcheme as a melic form permits some conclusions as to the likely performative qualities of the work. A close reading of the surviving fragments follows, with an emphasis on how they advanced key motifs of Hieron's propaganda: notably, the image of himself as king and founder, and as a promoter of Dorian culture; and his efforts to assume a kind of Spartan mantle. It is also argues that the poem associates Sicily with the invention of the chariot in an effort to counterbalance the greater hippic successes already achieved by Hieron's brothers Gelon and Polyzalos, as well as the Emmenids. (shrink)

εἰ δέ τιϲ ὄλβον ἔχων μορφᾷ παραμεύϲεται ἄλλουϲ,ἔν τ᾽ ἀέθλοιϲιν ἀριϲτεύων ἐπέδειξεν βίαν,θνατὰ μεμνάϲθω περιϲτέλλων μέλη, 15καὶ τελευτὰν ἁπάντων γᾶν ἐπιεϲϲόμενοϲ.ἐν λόγοιϲ δ᾽ ἀϲτῶν ἀγαθοῖϲί νιν αἰνεῖϲθαι χρεὼνκαὶ μελιγδούποιϲι δαιδαλθέντα μελίζεν ἀοιδαῖϲ.The Loeb translates lines 15–16 ʻlet him remember that mortal are the limbs he clothes and that earth is the last garment of all he will wear'. It is debatable whether τελευτάν is an adverbial accusative with ἁπάντων added as a qualifying genitive, as it seems more natural to take (...) the phrase as a simple apposition to γᾶν. But there is a real difficulty in that τελευτὰν ἁπάντων could be taken to indicate that death is ‘the end of everything’ (or ʻof all men') and that contradicts indications elsewhere in Pindar that death is not, or at least not quite, the end. (shrink)