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  1. Dancing for Free: Pindar's Kastor Song for Hieron.Peter Wilson - 2019 - Classical Antiquity 38 (2):298-363.
    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 (...)
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  • Pindar, Isthmian 4.47.Nicholas Lane - 2020 - Classical Quarterly 70 (2):891-894.
    45 τόλμᾳ γὰρ εἰκώϲθυμὸν ἐριβρεμετᾶν θηρῶν λεόντωνἐν πόνῳ, μῆτιν δ᾽ ἀλώπηξ,αἰετοῦ ἅ τ᾽ ἀναπιτναμένα ῥόμβον ἴϲχει·χρὴ δὲ πᾶν ἔρδοντ᾽ ἀμαυρῶϲαι τὸν ἐχθρόν.46 θηρᾶν: HeyneFor he [sc. Melissus, the victor] resembles the boldness of loudly roaring wild lions in his heart during the struggle, but in skill he is a fox, which rolls on its back to check the eagle's swoop. One must do everything to diminish one's opponent.
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  • Sophocles at Patavium (fr. 137 Radt).Matthew Leigh - 1998 - Journal of Hellenic Studies 118:82-100.
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  • Textual Notes on pindar's Eleventh Nemean.Nicholas Lane - 2020 - Classical Quarterly 70 (2):894-898.
    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 (...)
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  • Violence, Culture, and the Workings of Ideology in Euripides' "Ion".Stanley E. Hoffer - 1996 - Classical Antiquity 15 (2):289-318.
    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 (...)
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