DOCSLIB.ORG

Pindar's First Olympian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pindar's First Olympian PINDAR'S FIRST OLYMPIAN 1. In a summary discussion of Pindar's first O!Jmpian, D.C. Young (1968, 121-3) presents an analysis of the poem, the purpose of which is to demonstrate that its construction is strictly symmetrical. A nucleus of 12 lines (53-64: Tantalus honoured by the Gods, his misdeed and punishment, introduced and followed by a "transitional gnome") is preceded by a first Pelops myth (25-53) and followed by a second (65-94), each of about 28 lines. The poem begins and ends with passages of approximately 24 lines (1-24 and 95-118) dealing with the Olympic games, Hieron, his victory, and the poet's role as the recorder of victory. To make my point, there is no need to treat the question whether the lines 95-118 Inirror in every detail lines 1-24, as Young claims they do: "A : superlatives, a: vµ.vos ciµ.cfn/3a.AAEra,, B: general praise of Hieron, b: tlwpiav cf,opµ.,yya, C: (Hieron's) Olympic victory, c: Mµ.1m oe oi KAeos" opp. "c 1: TO 0£ KAeos oeoopKE, C1: Olympic victory (general), b1: Aio>..17to, µ.oMr~, B 1: general praise of Hieron, a 1: Mo'io-a Tpecf,u (3e>..os, A 1: superlatives (specific)." Apart from the details, it is undeni­ able (1) that both passages deal with the Games, the victory, the victor and the poet, and (2) that the poet uses Hieron's KAeos, which shines in the ci1ro,Kia of Pelops, to move from the opening passage to the first myth, and ends the second myth with the mention of Pelops' KAeos radiating (oeoopKE) from afar in Olympia. It is equally undeniable that the section between lines 24 and 95 is in the form of a triptych: first Pelops myth -Tantalus myth - second Pelops myth. Reduced to the simplest form possible, the symmetrical construction of the poem appears as follows: A (1-24) Olympia, Hieron, his victory, the poet; Bl (25-53) Pelops abducted by Poseidon; B2 (53-64) Tantalus; B3 (65-94) Pel ops defeats Oenomaus; A 1 (95-end) as in A. The transition from B3 to A1 does indeed reflect exactly that from A to B1; even the same words are used. It is also notable that a gnome occurs both between B1 and B2 and between B2 and B3• 20 PINDAR'S FIRST OLYMPIAN The question of the function of such a construction is answered by Young as follows: (1) the symmetry as such is aesthetically satisfying; (2) "the emphasis on superlativity" at the beginning and end accentuates the interest "of the very idea of superlativity" with regard to "the heroic act" (of Pelops?), the Olympic games, and Hieron's position in the world; (3) "the balanced expressions about the shining of KAf.OS, the one pertaining to Hieron, the other to Pelops, tend to clarify the para­ digmatic relationship of Pelops' Olympic success to Hieron's victory"; (4) "the structural isolation of the Tantalus-myth, and its removal from all contexts directly associated with Hieron elucidate its function as a foil for the subjects with which the poem is elsewhere concerned, esp. for example, Hieron's way of life." This calls for comment. Re (1) It is doubtful whether, and if so, how it is possible to discern symmetry in the case of a text, where it cannot be perceived at a single glance as it can be in the case of a painting whose composition is sym­ metrical. It is evident that Pindar's audience can only realize afterwards, i.e. during and after hearing A1 and B3, that A and A1, and B' and B3 are of equal length. This also presupposes that the demarcation lines between the symmetrically composed sections are recognisable as such to the audience; that, for example, B' is almost of exactly the same length as B3, will only be apparent to them, when they are aware of the fact that the poem is divided into sections, and this awareness can only grow while they are listening, or rather at the point at which one section is followed by the next. If the audience is ignorant of this fact, they will merely notice that the poet again turns his attention to Pelops in B3 • Re (2) "Superlativity" is an abstract based on the presence of superlatives and superlative expressions. That superlative expressions accentuate the superlative character of the person or thing to which they are applied is a tautology; the fact that they occur more fre­ quently at the beginning and at the end than elsewhere in the poem is due to the subjects dealt with. Young's observation, therefore, amounts to no more than the statement that greater attention is paid to Hieron and his victory at the beginning and end of the poem. Re (3) K>,.fos of both Hieron and Pel ops does indeed constitute the transition to and from the central mythical section. But I do not see how this parallel could "clarify" the paradigmatic relationship of Pe-.
Load more

Recommended publications
  • Rusudan Tsanava (Tbilisi)
    Phasis 5-6, 2003 Rusudan Tsanava (Tbilisi) MARRYING A KING'S DAUGHTER Marrying a king‟s daughter and, subsequently, gaining the governing authori- ty within the kingdom is one of the ways of obtaining the superlative position. This model is so popular and distinguished that it often serves as a tradi- tional plot-story for various people‟s fairy-tales. Though, beyond the see- mingly romantic story we could notice a very "strict" ritual, which will be described below. Let‟s discuss different variations of the ancient Greek mythoritual model – "Obtaining a wife". It is a common knowledge that there are various myths and legends created on the ground of analogy with the "major", "initial" myth. In this way, a whole kaleidoscope of resembling stories is being gradually formed. And further, applying the methods of excluding and summarizing this variety is brought down to one restricted story, which could be conditionally called an archetype model, using the terminology of Jung. As we mentioned above, seeking hand in marriage and obtaining govern- ing authority in such myths are equivalent to each other. Marrying a king‟s daughter means capturing authority. Here we come to describing the central image-symbols of this mythoritual model: 1. The Father of a bride 2. A youth seeking hand in marriage. Both these symbols are related to capturing power. The former acknowl- edges that by letting his daughter get married he looses the throne, while the latter, on the contrary, having obtained the desired woman, seizes the throne. The Model of the Father Oenomaus reigned in Peloponesos, Pisa city in Elis.
    [Show full text]
  • Euripides and Gender: the Difference the Fragments Make
    Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.
    [Show full text]
  • Aeschylusaeschylus
    AeschylusAeschylus •The Life and Times of Aeschylus •Aeschylus’ Contributions to Greek Tragedy • Overview of Myth: The House of Atreus •Aeschylus’ Agamemnon AeschylusAeschylus LifeLife andand TimesTimes •after winning both the Persian Wars, the Athenians’ spirits soared •they threw themselves into the arts with unprecedented energy and confidence • tragedy was among those arts, one which received much public attention AeschylusAeschylus LifeLife andand TimesTimes •the first tragedian whose work survives is AeschylusAeschylus (ca. 525 BCE ‐ 456 BCE) • according to his tombstone, Aeschylus fought in the Persian Wars •but it does not mention his drama • according to him, then, his most important achievement in life was fighting for freedom, not writing plays AeschylusAeschylus LifeLife andand TimesTimes •Aeschylus won the Dionysia for the first time in 484 BCE •he produced his last known trilogy in 458 BCE: Oresteia (including Agamemnon) •he wrote and produced over eighty plays during his life •thus, he entered the Dionysia at least twenty times AeschylusAeschylus ContributionsContributions toto DramaDrama •but only seven of his plays have survived •most in school texts, cf. Epic of Gilgamesh • nevertheless, we can see that he was the most important playwright of his day: –he won five or more victories at the Dionysia –later playwrights often referenced and imitated—and satirized!—his work –the audiences of the next generation enjoyed revivals of his drama AeschylusAeschylus ContributionsContributions toto DramaDrama •Aeschylus introduced
    [Show full text]
  • Collection of Hesiod Homer and Homerica
    COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.
    [Show full text]
  • Astronomy Handbook
    ASTRONOMY HANDBOOK 63 Table of Contents Section 1 – The Night Sky Purple Section 2 – The North Polar Sky Green Secton 3 – The Winter Sky Pink Section 4 – The Spring Sky Yellow Section 5 – The Summer Sky Blue Section 6 – The Autumn Sky Orange Section 7 – Other Information Red 64 Section 1 – The Night Sky Table of Contents Page Subject Myths & Legends included? 2 Teaching Astronomy - 4 A Little History - 6 The Universe & Milky Way Estonian 9 The Stars & Our Sun Greek, Native American, Scandinavian 16 The Planets Greek, Native American 25 The Moon Native American, Chinese 36 Asteroids, Comets, Meteoroids Native American 39 Greek & Roman Gods - 40 Constellations: An Intro Native American 65 Teaching Astronomy Most schools that come to TOS like to take astronomy. It’s a great opportunity for the kids to sit quietly, look at stars and planets that they may not be able to see in a town or city, and listen to myths and legends about the night sky. This information offers a good foundation to astronomy. Please read it and absorb as much as you can before you arrive. During training we will concentrate on learning constellations and the stories associated with them. Astronomy lasts an hour-and-a-half. We will usually start off with a few games (which we will also show you during training) to burn off some of the kids’ energy, and to wait for it to get dark. Once the stars come out, you will gather your team and find somewhere around camp to look at the night sky.
    [Show full text]
  • Ancient Greek Athletics and Violence Dr. Yiannaki Soteria, Laboratory Faculty, Department of Physical Education & Sport
    Ancient Greek Athletics and Violence Dr. Yiannaki Soteria, Laboratory Faculty, Department of Physical Education & Sport Science Athens, GREECE [email protected] In an era where man’s moral standards are tested by material social trends, the phenomenon of violence proliferates to an irrepressible degree imposing catastrophic results in many areas of society. Violence is not excluded even from competitive athletics, the very expression of a healthy life. However the aim of this study is not to go along with or adopt these examples but underline the significance of these forms of violence in Ancient Greek athletic games. The research will be restricted to a selection of particularly provocative examples of violence in sport but all these forms of athletics which are generated from instinct taken in context seem legitimate. A certain creativity can be discerned on assessment of the facts based on the mark they have left on history. Reference will not be made to biological reasons or sociological problems that have a direct relationship to violence; neither shall inclusion or explanation be made about violence as part of the instinctive “laws of conflict”1. The word violence is found in Ancient Greek writing and its meanings are varied. Homer uses violence to mean courage, strength, power, the might of domination2, the taking of human life3 and psychological violence4. He refers to physical bodily violence, physical assault, violent behavior, extortion coercion and force5. Hesiod distinguishes two types of violence, which are conflicting: Hateful6, which is represented by war, and Peaceful7, which is expressed by creativity in society. As time passed violence was personified8 or was expressed as potential violence9; whereas in Attic law we come across it interpreted as usurpation10.
    [Show full text]
  • Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
    Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
    [Show full text]
  • The Pleiades Star Cluster, in the Constellation of Orion, Is the Location of the 'Home World', and from Whence the Atlanteans Came
    THE PLEIADES Compiled by Campbell M Gold (2008) CMG Archives http://campbellmgold.com --()-- Introduction In o.e.v lore, the Pleiades star cluster, in the constellation of Orion, is the location of the 'Home World', and from whence the Atlanteans came. Very faint echoes of the alternative history can be found in the mythology surrounding the Pleiades, especially regarding Merope. The Pleiades In mythology, the Pleiades were the seven daughters of the titan Atlas and the sea-nymph Pleione, and were born on Mount Cyllene. They are the siblingss of Calypso, Hyas, the Hyades, and the Hesperides. The Pleiades were nymphs in the train of Artemis, and together with the seven Hyades were called the Atlantides, Dodonides, or Nysiades, nursemaids and teachers to the infant Bacchus. The Seven Sisters 1) Maia , eldest of the seven Pleiades, was mother of Hermes by Zeus and Iris by Thaumas. 2) Electra was mother of Dardanus and Iasion by Zeus. 3) Taygete was mother of Lacedaemon, also by Zeus. 4) Alcyone was mother of Hyrieus by Poseidon. 5) Celaeno was mother of Lycus and Eurypylus by Poseidon. 6) Sterope (also Asterope) was mother of Oenomaus by Ares. 7) Merope , youngest of the seven Pleiades, was wooed by Orion. In other mythic contexts she married Sisyphus and, becoming mortal, she faded away. She bore to Sisyphus several sons. How Did The Seven Sisters Become Stars? The Seven Sisters received their "Catasterismi" (placement among the stars) when they all committed suicide because they were "so saddened" by either the fate of their father, Atlas, or the loss of their siblings, the Hyades (also daughters of Zeus).
    [Show full text]
  • Pelops at Olympia , Greek, Roman and Byzantine Studies, 30:4 (1989) P.485
    SLATER, W. J., Pelops at Olympia , Greek, Roman and Byzantine Studies, 30:4 (1989) p.485 Pelops at Olympia w. j. Slater So brauchen wir uns gar nicht zu wundern, wenn auch sonst bei He­ roenopfern nach olympischen Ritus geschlachtet und vom Opfertier gegessen wird .... K. Meuli , Ges. Schriften II 920 HE PROBLEM [sc. of epiphanic gods] is related," remarked T W. K. Pritchett, "to the 'divine banquets' common in Greek (theoxenion) and Roman (lectisternium) rituals, where the god reclines on a KAtVll." 1 Ritual table-laying and bed­ spreading are practically synonymous with theoxenies, and the custom is old. 2 Presumably the god's or the hero's invisible presence is assumed,3 sometimes symbolized by means of e.g. armour (:E Pind. N em. 2.19 Drachmann), sometimes replaced by a masked worshipper,4 a statue or image,S or other represen- 1 W. K. Pritchett, The Greek State at War III (Berkeley 1979) J 7f; cf. K. MEULI, "Griechische Opferbrauche," in Gesammelte Sch riften , ed. T. Gelzer (Basel 1975: hereafter 'Meuli') II 907-1021, esp. 917. Also cited by author's name: W. BURKERT, Greek Religion, tr. J. Raffan (Oxford 1985); A. D. NOCK, "The Cult of Heroes," HThR 37 (1944) 141-74 (=Essays on Religion and the Ancient World, ed. Z. Stewart (Cambridge, Mass., 1972] II 575-602). 2 H.-J. Klauck, Herrenmahl und hellenistischer Kult (=NeutestamentI.Abh. N.F. 15 [Munster 1982]) 120, cf 158 n,433; Hdt. 6.139; Pind. 01. 3.40; and above all the material collected by K. Schauenburg, "'Theoxenien auf einer schwarz­ figurigen Olpe," in Melanges Mansel I (Ankara 1974) 101-17 with pIs.
    [Show full text]
  • F[* H Ffiaa 1 }!Qeg1 Ia Isaeef;Re
    R f.tls s! = 'A? aaaEealffiEE'g Eatet l'ffiaali lig1 , a*r a $ a?a;- a Esai€i ie g}g?;EgE[ ial ?EEi5 gIE I- F;?g iig ' F[* H ffiaa 1 }!qEg1 ia isaEEF;rE o#<n^ ffiF \ \ \\\ EFS g-E-:ilEg.E.g E 5 f E ig, ;Tg E F rE$ e' A 1;.; * ia F g g H;\ it;6 + Fi:iEglg$gEEE*E[EE : F3i.;;6.E > g AsI .38i6 ,-' # lc** 519 E s ?1 $ *?ii .E= gfi3 i ?lH r +EF i * $ --P.> o o._-if ,sXxI o 16_5 f F$ istF aq$ ssxlg a 3"AY E : J.! oa r S = = = ^ :t s. *.3;= q= ! { +61 3 * * = f ,t +sFs g{i e ! E; E *E FFrr s[*+ Ei* [:i:fr * oE q$ 1s:diiae cL r iig ; i! E H' uigg P e:,:* iHts ? g ;"E ;BFE P it i;*ei 6 F1Y * 9! gg i I ;F;s"E:=.q9* F 3 Irs Ji:I t fi$F ; ;6-.9X16 I b 7 ;t :ir:+T1i ;X r383l3s J J o<! *;t h o:i6 6 giEEE o- :oil Gt= + ^:.o r_I C = +F 5F;s F*+ FB'B 3= I L=41 if- F rJ;Ei rg 9 P ; o U 93 o 6 =.':Y* = '€ m 3r[ r*3 t + elrl 5 EEs fi1i= H*3 s E =I Re+y Et Ii5E €f is*Ts= F*-u I r *,HEE o= rF +idi g : risE o ila^lvus- n 5 €** -= gs=[ E 6 <6'T== H@ "YT !i;os-:d6l ='q' X?a 3ia s€,,i + i ; c.#-= : Li F '*irl 65 +E a ed €[ =ad $AII 96= =q 'gEl$ I *tg i o ,6 l.'r - Thc Temperomentql llosiciqn: f, pollo Artemis's brother, Apoilo, was iust as sure a shot.
    [Show full text]
  • Pelops and the Chariot Race
    Pelops and the Chariot Race Long ago, there was a hero named Pelops who lived in Greece. Pelops was the grandson of Zeus, and he was famous throughout the land as a brilliant chariot racer. In fact, he was so good in these races that even Poseidon the sea god, was impressed, and he gave Pelops a special chariot with very fast horses as a reward. For a long while, Pelops was happy with his life, and he kept competing in races and becoming more and more famous. After a while, however, he decided that he should get married, since he wanted to have children who would rule after him. One day, he heard about a very beautiful and clever woman named Hippodameia, the daughter of King Oenomaus who ruled on the island of Elis, in a city called Pisa. This King was a very nasty man, who ruled over his people cruelly and wouldn’t let his daughter marry anyone. Only a few knew that this was because, when Hippodameia was born, an oracle had visited and told Oenomaus that one day he would be killed by his son-in-law. At first, Oenomaus tried to put this out of his mind, but over the years he became obsessed with the idea and slowly went mad, determined to prevent this from happening. Of course, Hippodameia had plenty of suitors – men came from all over Greece to beg the King to meet her and to ask for her hand in marriage, but time and again Pelops refused them, keeping Hippodameia locked in the palace and miserable.
    [Show full text]
  • Offprint / Ayribasim
    JMR BURSA ULUDAĞ UNIVERSITY JOURNAL OF MOSAIC RESEARCH AIEMA - TÜRkİye SCIENTIFIC COMMITTEE / BILIMSEL KOMITE CATHERINE BALMELLE (CNRS PARIS-FRANSA/FRANCE), JEAN-PIERRE DARMON (CNRS PARIS-FRANSA/FRANCE), MARIA DE FÁTIMA ABRAÇOS (UNIVERSITY NOVA of LISBON – PORTEKIZ/PORTUGAL), MARIA DE JESUS DURAN KREMER (UNIVERSITY NOVA of LISBON – PORTEKIZ/PORTUGAL), MICHEL FUCHS (LAUSANNE UNIVERSITY – ISVIÇRE/SWISS), KUTAlmıs GÖRKAY (ANKARA ÜNIVERSITESI – TÜRKIYE), ANNE-MARIE GUIMIER-SORBETS (AIEMA – FRANSA/FRANCE), WERNER JOBST (AUSTRIAN ACADEMY of SCIENCES – AVUSTURYA/ AUSTRIA), I. HAKAN MERT (BURSA UludAG˘ ÜNIVERSITESI –TÜRKIYE), MARIA LUZ NEIRA JIMÉNEZ (UNIVERSIDAD CARLOS III DE MADRID - IspANYA- SPAIN), ASHER OVADIAH (TEL AVIV UNIVERSITY – ISRAIL/ISRAEL), MEHMET ÖNAL (HARRAN ÜNIVERSITESI – TÜRKIYE), DAVID PARRISH (PURDUE UNIVERSITY – A.B.D./U.S.A), GÜRCAN POLAT (EGE ÜNIVERSITESI – TÜRKIYE), MARIE-PATRICIA RAYNAUD (CNRS PARIS – FRANSA/FRANCE ), DERYA AHIN (BURSA UludAG˘ ÜNIVERSITESI – TÜRKIYE), MUSTAFA AHIN(BURSA UludAG˘ÜNIVERSITESI–TÜRKIYE), Y. SELÇUK ENER (GAZI ÜNIVERSITESI – TÜRKIYE), EMINE TOK (EGE ÜNIVERSITESI – TÜRKIYE), PATRICIA WITTS (AIEMA– BIRLEŞIK KRALLIK/UNITED KINGdom), LICINIA N.C. WRENCH (NEW UNIVERSITY of LISBON – PORTEKIZ/PORTUGAL) OFFPRINT / AYRIBASIM VOLUME 11 2018 Bursa Uludağ University Press Bursa Uludağ Üniversitesi Yayınları Bursa Uludağ University Mosaic Research Center Bursa Uludağ Üniversitesi Mozaik Araştırmaları Merkezi Series - 3 Serisi - 3 JMR - 11 BURSA ULUDAĞ UNIVERSITY BURSA ULUDAĞ ÜNİVERSİTESİ JMR Prof. Dr. Yusuf
    [Show full text]