7 X 11.5 Double Line.P65

Cambridge University Press 978-0-521-82522-1 - Reading Greek Vases Ann Steiner Index More information

INDEX OF VASES CITED IN TEXT ᇻᇼᇽ

Alpine (New Jersey) Collection of Stuart Tray 14501: 303n13 cup: 276n6 16389: 96–100, 103 Arezzo, Museo Civico 16391: 283n15 1465: 89, 223–227 Avallon (Yonne), Musee´ Municipal Arlesheim, Schweizer amphora: 274n11 cup (ARV2 1705): 216 Athens Basel Agora Museum Antikenmuseum und Sammlung Ludwig P 5157: 68 BS 436: 76 P 24113: 85 Ka 420: 158–159, 257, 293n84 P 5160: 300n61 Lu 19 (once Aachen, Ludwig): 166–167 P 23693: 300n61 Cahn British School of Archaeology 300: 268n8 kantharos: 275n21 925: 277n30 Kerameikos Museum Kambli: 277n27, 291n47 hydria (Para 45): 277n30 Market (MuM): 289n23, 289n30 691: 279n80 Bari, Museo Archeologico Provinciale National Archaeological Museum 6233: 276n7 hydria (Para 45 Lydos): 277n30 Berkeley, University of California column-krater (ABV 31, 3): 275n18 8/358: 83, 309n112 Akropolis 821: 296n14 8.1: 286n72 75: 48 Berlin, Staatliche Museen, Antikensammlung 192: 246, 247 1685: 109–110, 112, 115, 139 221: 44 1688: 165–166 ‘418’ (ABV 59, 12): 173–175 1699: 223 528 (CC. 634): 275n22 1718: 25–26 531: 121 1720: 73, 271n35, 279n79 533 (CC. 648) 1756: 76, 255 640 (CC. 631): 275n22 1894: 290n39 940 (CC. 633): 275n22 1966.19: 188–190, 201–203, 255, 256 1104: 18, 52, 67, 74, 75, 194, 196, 255, 259, 298n18 2160: 227 2420: 7, 290n42 2180: 85, 186 14498: 303n13 2262: 76, 216

323

INDEX OF VASES CITED IN TEXT

Berlin, Staatliche Museen, Antikensammlung (cont.) Eleusis, Archaeological Museum 2264: 112, 285n57, 286n67 767: 274n10 2278: 283 2285: 85, 190–191, 245–246, 300n50 Florence, Museo Archeologico Etrusco 2314 (and Villa Giulia): 300n61 Panathenaic amphora (ABV 110, 33): 122 3402: 135 3923: 85 4516: 121 3985: 89, 107–108 4604: 75–76 70995: 139–143, 145, 247, 290n33 F1795: 295n13 81601: 159–160, 219 Birmingham University Frankfurt, Market X698: 200, 255, 256, 279n7, 289n31 amphora(Ex. Munich Bareiss 262): 295n14 Bloomington (IN) University Art Museum 71.82: 168–169 Geneva, Musee´ d’Art et d’Histoire Bologna, Museo Civico MF 154: 7–8 lip cup: 281n27 I4:294n104 Boston, Museum of Fine Arts Gottingen,¨ University and Paris, Cab. Med.´ 01.8021: 188 hydria (ABV 109, 19): 277n30, 277n32 01.8037: 35, 40 03.852: 276n6 Hamburg, Museum fur¨ Kunst und Gewerbe 10.651: 277n34 1908.255: 121 88.1078: 274n9 1981.173 89.273: 18, 171, 178, 270n26 Havana, Lagunillas 99.538: 37, 41, 171, 213, 252 amphora: 288n21 1970.68: 276n3 Helgoland, Sammlung Kropatscheck 1973.88: 1–4, 12–13, 14, 52–53, 64, 66, 67, 74, 84, 85, cup: 287n73 171, 181, 207, 212 1979.618: 297n2 Istanbul, Archaeological Museum Brussels, Musees´ Royaux 9332: 165, 293n83 R253 + Naples, Astarita 306: 53 Ithaka oinochoe: 289n23 Cambridge, Fitzwilliam Museum 30.4: 175–176 Jena, Friedrich-Schiller-Universitat¨ GR 20.1929 (29.20): 286n72 Inv. Nr. 178: 289n22 Cambridge (MA), Harvard University Fogg Art Museum Karlsruhe, Badisches Landesmuseum 1972.42 (once New Haven, Watkins): 291n55 63.104: 293n92 Christchurch, New Zealand, University of 69/61: 277n30 Canterbury (B120): 76, 301n2 39/57: 122 Kassel, Staatliche Museen, Antikensammlung Cleveland, Private Collection of Jenifer Neils. T 384: 291n49, 291n52 Glaux skyphos: 48 T 674: 110–112 Copenhagen, National Museum of Denmark Kurashiki, Ninagawa (ex Lucerne Market) 109: 149–150 cup (ARV2 1611): 300n57 112: 117, 212–215, 227–230, 266n18, 271n41 959: 121 Leipzig, Karl-Marx-Universitat¨ 3259: 132–134 T355 + T391: 272n50 3877: 85, 87–88, 154, 223 London, art market 6585: 277n32 Christie’s: Siana cup from Taranto: 271n40 13365: 244 Hewett, amphora: 291n51 13966: 67, 81–83, 97–100, 103, 198, 255, London, British Museum 259 88.6–1.599 + Oxford G. 128.18: 275n18 1839.10–25.13 [B 191]: 297n32 Dijon, Musee´ 1843.11–3.86 [E 161]: 305n48 1301: 256 1867.5–8.962 [B 424]: 67, 79–80, 255, 259, 300n56

324

INDEX OF VASES CITED IN TEXT

1906.12–15.1: 123, 200, 285n44 2301: 35–37, 41, 171, 252 1948.8–15.1: 75–76 2308: 154, 206, 255, 261 1948.10–15.1: 143, 145, 247, 277n31, 290n34 2309: 89 B 209: 270n26, 272n49, 272n50 2421: 89, 206–210, 211, 256, 259, 261, 297n38, B210: 266n34 302n16 B 211: 280n8 2447: 278n37 B 379: 173, 186, 253 2590: 284n39 B 417: 76 2620 (J. 337): 76, 85, 100–103, 302n24 B 426: 32, 49 2636: 244 E 3 (814): 41, 50, 76, 178, 216, 252, 276n36 2688: 10 E 16: 85 8763: 238 E 17: 85 9406: 48, 275n30 E 18: 85, 219, 293n80, 301n13 E 19: 85, 219, 293n87 Naples, Museo Nazionale E 37: 65, 71, 154–155, 200–201, 255, 256, 259, 260, 81238: 80, 83, 181, 255, 261, 300n56 261, 279n4, 296n29 81292 (2770): 301n8 E 38: 76, 216–219, 256, 293n80, 301n2 New York E 41: 104–106, 107, 115, 284n39, 293n80 Cooper-Hewett Collection, National Design E 49: 239 Museum E 139: 76, 301n2 1921.11.1: 157, 168 E 159: 305n48 Lois E 255: 203, 255 The Metropolitan Museum of Art E 258: 76 07.286.47: 306n70 E 438: 85, 286n65, 287n94 10.210.18: 216–221, 261, 297n32 E 468: 115–117 26.60.45: 42, 268n6 E 767: 81, 283n24 31. 11.11: 100 41.162.143: 291n51 Malibu, The J. Paul Getty Museum 56.171.18: 290n46 77.AE.46: 289n23 1972.11.10: 85, 115 83.AE.285: 85 1989.281.62 (Norbert Schimmel Collection): 60, 86.AE.155: 276n3 112, 115 86.AE.279: 198 1997. 388a-ee: 238 86.AE.286: 286n66 17.230.14: 20–21, 270n26 86.AE.324: 307n72 neck-amphora: 100, 102 Minneapolis (MN) Institute of Art 86.69: 289n30 Omaha (NE) Joslyn Art Museum Mississippi, University Art Museum 1951.885: 46, 255 1977.3.115: 273n67 Odessa, Museum Morgantina (Serra Orlando) 26602: 76, 181–183, 301n2 58.2382: 67, 89, 155, 227, 284n34, 286n69, Orvieto, Museo Civico 292n62 Collection Faina Munich, Staatliche Antikensammlungen und 2745 (ex Faina 187): 25 Glyptothek 2747 (ex Faina 77): 270n27, 292n75 1360: 274n9, 283n18 2748 + 3048 (ex Faina 78): 30–31, 32, 94, 129, 1382: 291n52 282n1, 282n8 1383 (J. 75): 167–168 Oxford, Ashmolean Museum 1396 (J.1114): 295n14 1965.135: 290n44 1397 (J. 1079): 148–149, 223 1966.768: 277n30, 277n32 1470 (J. 1295): 27–29, 40, 213, 301n8 Palermo, Museo Nazionale 1471 (J. 476): 60–63 lekanis from Chiusi: 7, 144–145, 200, 247, 255, 256, 2044: 24–25, 49 290n36 2080 (J. 1028): 32, 49, 60–62 1856: 294n94 2243 (J. 333): 67, 77–79 V650: 34, 41, 49

325

INDEX OF VASES CITED IN TEXT

Paris 20846: 89 Bibliotheque` nationale, Cabinet des Medailles´ 20847: 89 206: 58–60 Museo Gregoriano Etrusco Vaticano Musee´ du Louvre 343: 8 komast cup (ABV 31, 4): 47 344: 35, 83, 84, 255, 259, 269n9, 272n50 A 478: 289n30 433: 279n79 C 1249: 275n18 16586: 243, 306n60 C 10659: 295n14 G. 35: 295n14 CA 576: 293n83 CA 616: 290n39 Schwerin, Staatliches Museum CA 6113: 289n23 708: 103–104, 119 E 817: 132 St. Petersburg, Hermitage E 819: 132 B 2102: 76, 216 E 822: 274n9, 283n18 644: 208 E 874: 274n11 F 25 (MNB 1688): 294n98 Taranto, Museo Archeologico Nazionale F 26: 294n97 4359: 138–139, 223, 277n27 F 53: 150, 268n4, 292n70 929.22.9 (632): 286n72 F 70 (MNB 1686): 176 110338: 286n72 F 203: 33–34 110339: 54 G5:76, 178–181, 216, 299n30 20274: 277n32 G6:76 I.G. 4342: 134–135, 166 G 17: 85 I.G. 4363: 137–138, 277n32 G 30: 85, 186, 190, 252 Tarquinia, Museo Nazionale Tarquiniense G 42: 153, 292n70, 292n76, 305n55 617: 295n14 G 43: 283 618: 295n13 G 104: 89, 106–107, 124 RC 1061: 295n14 G 105: 123–127, 296n25 RC 1091: 198 G 106: 296n30 Toledo (OH) Museum of Art G 107: 183–186, 210–211, 253, 256, 287n94 1980.1022: 268n4, 301n8 G 138: 85, 89, 162–164, 294n100 Turin, Museo di Antichita` Seilliere` 4123: 153, 154, 292n67 amphora (ABV 133, 9): 268n4 Vienna Philadelphia (PA) University of Pennsylvania Kunsthistorisches Museum Museum 1672: 276n3 L 64.185: 85, 124, 221–223, 284n38 3667: 46 3442: 21, 67, 94, 96, 285n50, 286n67 3695: 85, 119, 286n70 4873: 26–27, 34 3725: 284n24 Pithekoussai 3729: 284n29 “Nestor cup”, Ischia: 247 Vienna, University Polygiros, Archaeological Museum 631a: 80, 257, 299n39 235: 143, 247, 290n35 Princeton, Art Museum Warsaw, National Museum 1990–20a–b + y 1990–54: 285n48 142331: 88–89 Providence (RI) Rhode Island School of Design 142332: 161–162, 201–203, 212, 255, 257 25.077: 296n20 Wurzburg¨ University, Martin von Wagner Museum 244: 291n56 Richmond (VA) Richmond Museum of Fine Art 247: 147–148, 166 60.23: 60, 291n49 248: 223, 291n48 Rhodes, Archaeological Museum 251: 176–178, 213 5008: 46, 276n7 308: 269n14 Rome 319: 150 Villa Giulia 468: 76, 301n2 calyx-krater (ARV2 77, 90): 76, 160–161, 301n2 L 265: 119–121, 239, 293n85

326

SUBJECT INDEX ᇻᇼᇽ

acclamation, 65 Ajax Achaemenid empire, 304n20 and Achilles, playing dice, 35, 273n67, 279n8, Achaeus of Eretria, 69, 278n57 280n8 Achilles, 21–22, 31–32, 251, 269n23, 270n24 with body of Achilles, 25 and Ajax, playing dice, 35, 273n67, 279n8, with Cassandra at Athena statue, 173, 291n51 280n8 in fight over arms of Achilles, 117–119 Ajax carrying body of, 25–26, 27–28 Akestorides, 307n72 and Amazons, 272n49 Alberti, Leon Battista, 56 ambush of Troilos, 109–110 Alcaeus, 306n70 arms of, fight over, 117–119 Alcibiades, 253–254, 255, 271n40 body of, fight over, 25 Alexis, 69 death of, 21–24, 25–26, 94, 117–119 Alketes, 220 death of, and Antilochos, death of, 21–23, Aloni, A., 308n89 96 Amasis Painter, 60, 295n11 entrance into battle, 112–115, 286n63 and antonymy, 159 fighting Hector, 115–117 coming of age scene in work of, 166–167, fighting Memnon, 22–23, 115–117, 269n19, 270n26, 169–170 272n49 ellipsis in work of, 112 and Penthesileia, 10, 266n34, 266n35, 267n35, figures almost divine in work of, 294n98 272n49 gender equivalence in work of, 176 and Ransom of Hector, 110–112 intermingling of divine/mortal in work of, 158–159, and shield device, 271n40 164–170 Adrastos, 213, 214 linked generic events in work of, 119–121, 293n85 Aeschylus, 131 Recovery of Helen by, 167–168 Agamemnon, 9, 251, 252 repetition in work of, 112 Agathon, 253, 255 and symposion, 238 aidos, 153 Amazon, 296n30 Aineas, 4 and Achilles, 272n49 aition, 257–258 and Herakles, 32, 135, 183–186, 223–227 for civic ritual, 122–127 in unorthodox scene, 33–34 for cult, 54–56, 158–160, 162–164, 168–170, Amazonomachy, 67 257–258 as paradigm for symposiast, 155 for mortal activity, 85, 131, 157, 160–161 Amphiareos, departure of, 213

327

SUBJECT INDEX

amphora Antimenes, 220 belly, 234, 238, 247 Antimenes Painter, 269n14 case study on Berlin Painter, red-figure amphora Antiope, 115 Berlin, 2160, 227–230 Antiphanes, 219, 220, 308n100 continuous narration on, 7–8 antonymy, 16 exact repetition on, 35 antonymous nonsense, 205–206 function of, 49, 88, 238 of civilized symposion, 218 Horse-head, 283n18 on Horse-head amphora, 132 characteristics of, 43–44, 274n8 on pelike, 16 exceptions to repeated subject rule, 274n9 relationship to synonymy, 223 function of, 49 in work of Amasis Painter, 159 origin of, 44 in work of Exekias, 31–32 reason for development of, 276n35 in work of Glaukytes and Archikles, 79 synonymy/antonymy on, 132 apagoreuein, 58–60 as Type, 42–44, 274n11 Apatouria, 247 intermingling of divine/mortal on, 158–159, Apollo, 25, 257, 258 165–167, 257 Arafat, K., 304n20, 304n21 linked generic events on, 119–121, 293n85 Archikles, 79 mythical paradigm for mortal activity on, 129 Ares, 112 neck-amphora (see neck-amphora) Ariadne, 115, 139, 143 negative paradigm on, 153 Aristophanes, 70, 196–197, 240 Panathenaic amphora, 31, 122, 233–234, 235, 275n34, Aristotle, 295n4 276n34 arming panel, 166–168, 288n18, 288n21 warrior, 33–34, 115, 270n34, 271n34 paradigm on, 138–143, 148–150, 165 youth, 115, 205 parallelism on, 26–27 Artemis, 153, 203–205, 234, 237, 258 parody on, 201–205 Ashmole, B., 123 perspective on, 171–172, 178, 188–190 Astyanax, 109–110 phased causally linked narration on, 109–112 Athena, 122, 165, 166–167, 271n35, 273n67, syntactical repetition on, 132 299n38 temporal sequencing on, 112 and Achilles, 117 use in symposion, 237–238, 247 Athena Hippias cult, 234 Anakreontic scene, 244 birth of, 7–8, 60, 79–80, 89 Anchippos, 150 facets of character, 172, 173–175, 252 Anderson, P., 298n21 in Gigantomachy fighting Enkelados, 81–83, Andokides/Lysippides Painters, 32–33, 34–39, 272n51, 97–100 273n51, 273n69 with Herakles, 24, 25, 30, 35–37, 68, 79–80, 148–149, cyclical narration in work of Lysippides Painter, 33 165–166, 171, 173, 203–205 ellipsis in work of, 35 and heroic-to-mortal parallel, 134 exact repetition in work of, 37, 40–41 as paradigmatic warrior for hoplite, 132–134 influence of Exekias on, 33–34, 279n8, 280n8 shield device of, 134 redundancy in work of Lysippides Painter, 34 as statue, 122, 173, 186, 291n51 repetition in work of, 41 and Theseus, 106–107 temporal sequencing in work of, 32–33, 35 Athenaeus, 68 Andromache, 155, 291n50 Athenian Acropolis (findspot), 127 andron (dining room) Athenian Apaturia, 234 characteristics of, 239–240 Athenian comic production, parody in, 195–196 decoration of, 239, 240 Athenian Old Comedy, 195, 196, 254 vases in, 233 communitas and, 196 Androsiren Painter, 274n10 paratragedy/comic contrafact, 196 anonymous bystander. See spectator-narratee symposion and, 196 anonymous spectator. See spectator-narratee verbal parody, 196 Antilochos, 21–22, 24, 94, 96, 269n19, 269n23, 270n24, Athenian elite 270n26 experience of courtship, 175–176

328

SUBJECT INDEX

ideal generic, 54–56 on Judgment of Paris, 290n42 paradigm for, 129, 150 on kalos signatures, 87–88 parody of status, 258–262 on Memnon, 23, 269n19 role as spectator-narratee, 88 on mythical paradigm joined with mortals, 25, 143, and status, 157, 178. See also symposion; youth, elite 145 Athenion, 88–89, 162 on red-figure cup in work of Euphronios, British Athens and Attica Museum, E 46, 106 Acropolis, 127 on repetition, 7 Agora on tag kalos, 292n60 civic ritual and aition at, 123–126 Beazley indexes as findspot, 48, 233, 234, 303n10, 303n11, 303n7 of attributions, 7 kalos graffiti at, 127 of kalos-inscriptions, 238, 239, 304n43, private house symposion pottery at, 237 305n43 round dining rooms at, 305n51 behavior Dema House, 234 contrast by gender, 33–34, 131 Kerameikos, 235–236 male, 106, 134–135, 148–149, 168 Stoa Poikile, 127 modest, 153 athletic paradigm, 153 parody of correct, 243–244, 258–262 athletics Bellerophon and Chimaera, 96–100 discus, 219 Bellerophon Painter, polyscenic narration in work of, gymnasium scene, 219–221 96–100, 103 jumpers, 219–220 beloved. See eromenos link with military victory, 149–150, 205 Berard,´ C., 13 Panathenaic prize amphora, 122, 233–234, 235, Berlin Painter, 89, 227–230 275n34, 276n34 bilingual vases, 34, 273n71 and pederasty, 219–221 Boston amphora, Museum of Fine Arts 01.8037, 35 and victory, 122, 149–150 closed composition on Palermo eye-cup, 34–35 Attica (findspot), 41, 127 coupling different traits of Herakles on, 30, 31, Dema House, 233 171–172 author influence of Exekias on, 32–33 constructed, 66, 67, 278n47 joining different conceptual perspectives on, 37, Implied, 66, 68, 278n47 171 real, 68, 203, 261 Munich amphora, Staatliche Antikensammlungen second self, 66 und Glyptothek 2301, 35–37 author-artist, constructed, 66–67, 68, 249–260, 261, point of view on, 252. See also Andokides/ 262, 278n47 Lysippides Painters Axippos, 115 blazon, 271n40 Boardman, J., 71, 270n30, 270n34, 271n34, 272n50, Bakhtin, M., 298n9 272n51, 273n51, 285n60, 285n62, 286n62, Bal, Meike, 29–30, 37 286n63, 288n14 barbiton, 190, 201, 227 Boedeker, D., 308n89 Barthes, R., 12, 14 Boeotian shield, 26, 32, 270n34, 271n34 Batrachos, 220 Booth, W., 278n47 Beard, M., 265n4 Bothmer, D. von, 33, 165, 169, 269n13, 273n59, beauty contest, as all-male jocular, in symposiom, 256 285n55, 285n62, 286n62, 294n98, 295n11 Beazley, J. D., 269n13, 302n16 boundary-crossing, as parody, 65 on Achilles, 25, 27 Bouzyges, 123 Class and Group nomenclature of, 41 Bowditch, L. P., 13, 267n44 on creating paradigm, 7 Bremmer, J., 306n70, 308n100 on deheroization, 144, 290n42 Bremond, C., 295n6 on figures almost but not quite divine, 294n98 bride-acquisition paradigm, 137–145, 146 on Horse-head amphora, 44, 274n11 Brijder, H. A. G., 44, 54, 57, 200, 276n3, 276n4, 276n8, on identification of fallen figure, 24 286n73, 287n73, 289n27, 293n83 on inscriptions, 220 Bron, C., 265n4

329

SUBJECT INDEX

Bronze Age art, 6–7 Chilon, 159–160, 293n87 comparison in, 6–7, 8 Chilos, 159–160 linking device in, 6 Chion (?), 87–88 pictorial simile in, 6 chorus, 162–164, 257, 258, 294n93 repetition in, 6 function of, 234 Thera frescoes, 6 City of Images (Bron & Lissarrague), 13, 265n4 Burgon Siana, Painter of, 123 civic ritual, and aition, 122–127 Burnyeat, M., 69 Cohen, B., 32, 272n51, 273n51 bystander. See spectator-narratee cohesion lexical, 132 Cahill, N., 233, 303n10, 303n11 visual, 6, 18, 267n44 Cahn, H., 123, 127, 287n84 cohesive conjunction, 266n19 Cairns, D., 153, 305n55 collocative devices, 16, 51, 54, 58 Calydonian Boar, 47 column-krater, 100, 143–144 Carey, C., 308n91 Comedy, Old, 195, 196 Carpenter, T., 8, 273n69, 288n12 coming of age ritual, 167–168 case study coming of age scene, 166–167 Berlin Painter, red-figure amphora Berlin 2160, composition 227–230 closed, 25, 34–35, 267n47 Epiktetos, red-figure cup London E 38, 44, 216–219 containment, 267n47 Epiktetos, red-figure krater Arezzo 1465, 223–227 directional, 267n47 Kleophrades, red-figure stamnos, Philadelphia fillers, 8, 55–56 University Museum L, 221–223 open, 24, 30, 270n31 Oltos, red-figure psykter New York M.M.A. static, 267n47 10.210.18, 219–221 symmetry, 25, 267n47 Psiax, black-figure neck-amphora Copenhagen 112, by theme, 8, 272n50 85, 212–215 conceptual point of view, 172 Cassandra, 173, 291n51 containment, 267n47 centaur fight, parody of, 200 context, of vase centrifugal composition, 267n47 domestic, 233, 303n7 Ceramicus Painter, 274n10 funerary, 232, 279n80, 302n3, 303n13, 303n3, Chachrylion, 76–77 304n22, 304n27, 304n29, 304n30 Chairestratos, 119 sanctuary and votive, 232 character sympotic (see symposion) facets of, 172, 173–175, 252 Cooper, F., 305n51 literary evidence for, 173 couches, dining, 35–37, 233, 239–240 point of view role in analyzing, 252 courtship traits of, 30, 171–172, 173–191 heterosexual, 175–176 character-creation, and plot, 295n6 homosexual, 58–60, 175 Chares, 153 C-Painter, circle of, 53–54, 132–134, 276n7, 290n35, chariot 290n39 fight with, 122, 129, 131, 135, 149–150 Cratinus, 298n8 harnessing, 20–21, 76 Critoboulos, 253, 254 heroic scene linked with mortal scene, 25 Csapo, E., 117, 208, 272n47 “man in chariot” scene, 25 cup in procession, 295n14, 296n14 band, race, 122 depicted in scene, 35, 37, 71, 75, 119, 201, 217–218, chariot, as iconographical subject 243–244 harnessing, 20–21, 76 function of, 245–246 military, 178, 270n30, 288n14 idealized symposion on, 243–244 nonmilitary, 178 Komast-dancer, 44–46, 47, 274n14 race, 122 kylix, 117–119, 188, 190–191, 286n66, 307n72 Chatman, S., 14, 21, 66, 68, 89, 172, 278n47, 295n6 Little Masters (see Little Masters cup) Cheiron, 249–250 mastoid, 176

330

SUBJECT INDEX

pendant-semicircle, 41–42 Eleusinian procession (Antimenes Painter), 269n14 Siana (see Siana cup) ellipsis definition, 18–20 daggers. See inlaid daggers double, 23 dance, 12–13, 95, 160–161, 188–190, 296n20 in narratology, 18–20 parody of, 254, 260, 261 and phased and causally linked phased narration, ritual, 123, 257 112, 119 dancers, jumping, 1–3, 171 role in parody, 200 Deinaira, 137–138, 139, 200, 289n31 in work of Amasis Painter, 112 Dekhioi (?), 205 in work of Cassandra Painter, 173 Delos, 257–258 in work of Exekias, 18–20, 22–23, 31–32 Dema House, 234 in work of Lysippides and Andokides Painters, 35 Demeter ritual, 123 entropy, 10–11 Demetrios (inscription), 210 importance in message-delivery, 11 democracy, 288n15 Epainetos, 220 democratic process ephebe, 127 parody of, 253–254, 256 Epiktetos as subject of imagery, 256 case study on red-figure cup London E 44, 216–219 democratic reform, 260, 298n16 case study on red-figure krater Arezzo 1465, 223–227 Demostratos, 153 combination of image/text in work of, 71 Denoyelle, 300n62 interconnection of fields in work of, 306n56 departure scene link between mythical and mortal, 160–161 with chariot, 25, 112, 131, 150, 213 multiauthored cup in work of, 80 on foot, 117, 178, 271n35, 294n98 and Paidikos, 80 with hoplites, 25, 131, 148–165 parody in work of, 198, 200–201 desire, as topic of poetry, 186, 296n29 phased and causally linked phased narration in dice-players, 8, 273n67 work of, 112–115 Dikaios Painter, 203–205 placement of signatures in work of, 76 Dionysiac point of view in work of, 178–181, 252 cult scene, 157, 158–159, 160–161, 162–164, 165, repetition in work of, 49–51 293n83, 293n85 sympotic entertainment and, 155 dithyramb, 162 Epitimos Painter, 198 Dionysus, 119–121, 273n69, 290n35, 290n39 epoiesen, parody of, 194, 198, 262 with Ariadne, 139, 143, 176 erastes, 58–60, 65, 153 with Oinopion, 162–164, 167–168, 294n93 Ergotimos, 75, 76 symposia and, 238 Eriphyle, 213 and youth ritual,4 168, 169–170 eromenos, 58–60, 153, 175, 248 with youths, 167–170 eromenos/erastes, 58–60, 65 Dioskouri, 106 Erothemis, 126 Diplyon oinochoe, 246 erotic scenes, 155, 186, 208, 239, 289n27 Diplyon shield, 270n34, 271n34 Ethiopians, 22–24, 269n16, 270n26, 272n49 discourse-time, 8, 21, 60, 100, 110, 112 Etruria (findspot) Dixis, 88 adaptation of Athenian pottery for, 232, 234–235, dokimasia, 127, 287n84, 287n90 236 Donlan, W., 262 Attic pottery exported to, 267n42, 304n21 Dorotheos, 219, 220 import of Athenian pottery to, 232, 304n21, 304n22, double-take, 33, 83, 161 304n32 Douris, 190–191, 245 symposia, 236 Dover, K., 65–66, 88–89, 299n43 use of Athenian vases, 235–236 duplication, definition of, 15 Eubulus, 69 Eucherios, 76 Eaverly, M., 287n88, 287n90 Euergides Painter, 300n57 Egyptian symposion, 216–219 manner of, 80 elegy, 248, 308n89 Euphiletos, 85, 89, 162

331

SUBJECT INDEX

Euphronios, 1–4, 76–77, 155, 293n80 parody in work of, 18, 74, 75, 194, 196 intermingling between mortal and heroic, 292n79, polyscenic narration in work of, 96 293n79 repeated imagery on two sides of vessel in work of, Louvre neck-amphora by, 210–211, 286n65, 287n94 18–20 nonsense in work of, 226 repeated syntax in work of, 25 parody in work of, 210–211 repetition/narration on, 94 perceptual point of view in works of, 252, 253 shield devices in work of, 271n40 point of view in work of, 183–186 signature of, 18, 73 repeated labels in work of, 89 synonymy in work of, 22, 23–24, 25–26, 31–32 repetition in work of, 5 syntax in work of, 270n31 reversed images in work of, 1–4 temporal sequence in work of, 270n31 sympotic entertainment and, 155 two scenes linked by common protagonist in work Euripides, 70, 131 of, 30–31 parody of, 197 use of space/time in work of, 20–21 Eurymedon vase, 299n43 visual perspective in work of, 171 Euthybolos, 154 workshop of, 32, 34. See also Andokides/Lysippides Euthymides, 1–4, 89, 207–208, 260 Painters Boston pelike, Museum of Fine Arts 1973.88 export and trade of vases, 232, 267n42, 304n21, 304n22, elements of metadiscourse on, 52–53 304n32 inscriptions on, 66–67, 84 Eye-cup metadiscourse on, written inscriptions as, 52–53, as Type, 41, 49–51 64 visual perspective on, 171 Fehr, B., 254, 255 constructed selves of, 67 Ferrari Pinney, G., 273n63, 288n15 heroic paradigm on, 153, 292n60 fight, with chariot, 122, 129, 131, 135, 149–150 inscriptions in work of, 88–89 foot race, 62 mortals as paradigms in work of, 153–154 formula nonsense in work of, 205–206 verbal, 9–10, 210–211 parody in work of, 201, 205–206 visual, 5, 9–10, 19–20, 129–130 repeated labels in work of, 89 framing. See spectator-narratee repetition in work of, 5 framing ornament, 4, 51 reversed images in work of, 1–4 frieze, 18, 43–46, 274n10 Exekias, 16, 18–31, 32 Froning, H., 7–8, 20, 21, 268n54, 272n48, 273n67, antonymy in work of, 31–32 282n6, 282n7 avoidance of repetition in work of, 272n49 funerary vessels, 232, 234, 235, 279n80, 302n3, on amphora Berlin 1720, 25–26, 29 303n13, 303n3, 304n22, 304n27, 304n29, on neck-amphora Berlin 1718, 25–26, 28 304n30 causal linked narrative in work of, 24–25 cohesive repetition in work of, 24 Gavrilov, A., 69, 70 constructed selves of, 67 gender equity, 176 ellipsis in work of, 18–20, 22–23, 31–32 gender relations, 175–176 exact repetition in work of, 29–30, 271n41, 272n41 Genette, G., 21, 100 extension of scene onto two fields in work of, genre scenes on vases, 14–15 270n31 Ghiron-Bestagne, P., 294n93 homonymy in work of, 27–28 Gigantomachy, 81–83, 100 inscriptions in work of, 279n8, 280n8 Gill, D., 232, 303n4 kalos inscription in work of, 84 Glaukytes, 79 linking devices in work of, 24–25, 30–31, 112–115, Glaux-skyphos, 29, 47–51 271n35, 272n50 Glenos, 88 mythical narrative linked through repetition in Goldhill, S., 194, 195, 196 work of, 21–24 Gombrich, E. H., 12 nonsense inscription in work of, 194, 196 Gorgon Painter, 44, 274n10, 274n11 paradigm in work of, 129, 150 graffiti. See inscriptions, graffiti parallelism in work of, 26–27 Green, J., 234

332

SUBJECT INDEX

griphos (riddle-net), 273n64, 308n103 as statue, 183–186, 210 Group E synonymous with Theseus/Minotaur, 221–223 inscriptions in work of, 150 and Theseus, 221–223 perspective in work of, 176–178 trip to Olympus, 24, 25, 30–31, 273n69 phased and causally linked phased narration in with unusual attributes, 135 work of, 110–112 Hermes, 35–37, 139–143, 144–145, 165–167, 175, 176, redundancy in work of, 290n46, 291n46 227–230 repetition in works of, 60–62 hero simile in work of, 166 early parody of, 200 temporal sequencing in work of, 112 and elite world view in symposion, 257, 258 unified narration in work of, 100 hero fight, 148–149 Group of the Dresden Lekanis, 274n10 heroic paradigm, 146–153 intermingling between mortal and heroic, 292n79, Halliday, M. A. K., 267n44 293n79 Hannestad, L., 304n27 labors of, as cyclical narration subject, 95, 282n8 harnessing scene, 18–21, 76, 112. see also chariot linked with mortal to create synonymy, 25–26 Hasan, R., 267n44 mocking in symposion, 255 Heath, M., 308n91 as negative paradigm, 7, 144, 290n42 Hector, Ransom of, 110–112, 115–117, 297n2 as paradigm for elite male, 8, 32, 135, 150, 289n30 Hedreen, G., 195, 268n54, 273n69, 284n42, 285n48 placement of hero figure, 10, 266n34, 266n35, Hegesiboulos Painter, 306n70 267n35 Heidelberg Painter, 276n3, 276n4, 276n8 repetition of name of, 9 and elite status, 157 and synonymy, 25–26, 134–135, 148–165, 291n56 influence of, 58–62 Herodotus, 70, 293n87 perspective in work of, 175–176 heroization, 144 repetition in work of, 53 hetaira, 176, 293n92, 294n92 sexual pursuit in work of, 289n27 parody of, 206–210, 244 simile in work of, 165–166 Hipparchos, 155, 201, 210, 285n62, 286n62 spectators as metadiscourse in work of, 53–54, 58 Hippasos, 115 synonymy in work of, 134–135 Hippias, 285n62, 286n62 Helen, 109–112, 115, 251–252, 284n33 Hippodamos, 190 recovery by Menelaos, 109–110, 167–168 Hippokleides, 254–255 Henderson, Jeffrey, 297n35 Hippolytos, 115 Henle, J., 285n47 Hoffman, H., 232, 302n3, 303n3 Hephaistos, 254, 286n69 Homer, as referent for inscription, 246, 247, return of, 100 307n82 Herakles Homeric epic and Amazon, 32, 135, 183–186, 223–227 proper names in nominative in, 9 with Apollo, in tripod struggle, 32–33, 203 repetition in, 8–10, 251–252 and Busiris, 216–219 Homeric Hymn to Apollo, 257 character traits of, 30, 171–172, 173 Homeric paradigm. See paideia and Deinaira, 137–138, 139, 200, 289n31 homonymy, 27–28, 268n58 driving bull to sacrifice, 37 hoplite, 271n40 and Geryon, 32, 100–103 Athena as paradigmatic warrior for, 132–134 and heroic-to-mortal parallel, 134–135 collaboration with Scythians, 181–183 introduction at Olympus (apotheosis), 30–31, departure scene, 25, 131, 148–165 35–37, 94 shield device, 28–29 and Kerberos, 30–31, 94, 272n46 synonymy between, and heroes, 131, 135, 166, and Kyknos, 87–88, 154 291n56 and Lion, 32, 58–62, 68, 119, 148–149, 165, 290n44, Hoppin, E., 281n24 291n52 horseback, figure on, 33–34, 47, 62, 87, 104, 122, 150, and Nessos, 137–138, 200, 255, 256 154, 284n33 as paradigm, 25, 130, 154 Horse-head amphora. See amphora, Horse head parody of, 256 horse race, 122, 287n89

333

SUBJECT INDEX

Hubbard, T., 221 Euthybolos, 154 hunt Euthymides, 89, 207–208, 260 boar, generic, 77–79, 122 Glenos, 88 Calydonian boar, 47 Hippasos, 115 deer, 150 Kallipides, 4 lion, 6–7 Khorithon, 226 single fight vs. group hunt, 79 Kleainetos, 220 Hurwit, J., 270n34, 271n34 Klymenos, 153 Hutcheon, L., 194–195, 297n3, 298n15 Leagros, 4, 66–67, 208 hydria Lysis, 226 function of, 89, 206–210 Nestor, 247 paradigm on, 150 Orsimenes, 154, 205–206 reversals on, 206–210 Palos (?), 205 in scene, 109–110, 256 Pentathlos, 154, 205–206 use in symposion, 237–238, 239 Phayllos, 205–206 hypothekai (Hesiodic), 249, 308n97 Smikros, 183–185, 210, 260 Smikythion, 4 iconography, analysis of, as method, 41, 48–49, 157, Smikythos, 220 232, 233–234, 235, 247 Sosias, 68, 89, 153, 155 Ilioupersis, 109–110 Sotinos, 153 Immerwahr, H., 292n59, 292n77, 292n79, 293n79 Teisis, 89, 224, 226–227 on inscriptions, 155, 220, 244, 296n24, 297n35, Thorikion, 154, 205–206 299n39, 306n67, 309n117 Tlempolemos, 210 on interpuncts, 300n62 Xinis, 226. See also kalos inscriptions, names in on mock inscription, 75 inscription, on vase on nonsense, 18, 226 authorship of, 65–66 on parody, 200, 297n35 categories of, 65 on pederastic characteristic of school scenes, constructed author-artist of written, 66–67, 68, 297n39 249–260, 261, 262, 278n47 on signature of artist Sosias, 292n76, 292n78 continued from side A to side B, 75–77 on song inscription, 296n29 continued from side A to side B with added words, import/export, of Athenian pottery, 232, 304n21, 77, 81 304n22, 304n32 conversations, 77, 79–80, 81, 83–84, 85 index (narrative function), 181 creating comments as if spectator-narratee, 77, information theory, 10–12 88–89 inlaid daggers, Mycenae, Shaft Grave A, 6–7, 8 function of, 74, 92–93 inscriptions, names on vases generic, 66 Aineas, 4 graffiti, 68, 88, 127, 210–211, 278n58, 278n61, Alketes, 220 300n61 Anchippos, 150 on grave monuments, 69, 127 Antilochos, 21–22 greetings, 58, 64–65, 77, 79–80, 81, 83, 106, 153, 181, Antimenes, 220 257 Antiphanes, 219, 220 Homer as referent for, 246, 247, 307n82 Athenion, 162 Implied Author of, 66, 278n47 Axippos, 115 Implied Reader of, 67, 267n42 Batrachos, 220 incised, 160–161, 181 Chares, 153 intended viewer of, 67–68 Dekhioi (?), 205 labels, 21–22, 52, 80, 153, 161 Demetrios, 210 absence of, 28 Demostratos, 153 and cyclical narration, 104–106, 108 Dixis, 88 on figures in mythical narrative, Dorotheos, 219, 220 and kalos inscription, 4, 83–84 Epainetos, 220 on komos figure, 81 Euphiletos, 85, 89, 162 and mortals as paradigms, 154

334

SUBJECT INDEX

nonsensical, 77 kalos inscriptions and phased and causally linked phased author of, 65–66 narration, 117 divided on two sides of cup, 85–86 repeated, 89 ei kalos, 223, 244 repeated, to show importance of subject, 9 function of, 72 for sphinxes, 77–79 generic, 66, 85 Lykos, 126–127 graffiti, 127 as metadiscourse, 64–68 orthograde/retrograde, 83–84, 85 mock, 75 labels, 4 on monument, 71 pais kalos, 186 naming spectator-narratees, 87–88 repeated, 83–86, 162 nonsense, 18, 75, 83, 194, 196, 201–203, 205, 259–261, authorship of images, 84 292n69 in work of Euphronios, 85 obscene, 88, 162, 189 in work of Exekias, 84 orthograde-retrograde, 4, 83–84, 85, 186 in work of Oltos, 85, 87–88 parodic, 74, 81–83, 88–89, 162 in work of Triptolemos Painter, 85 placement of, 126–127, 153, 190, 203–205 kalos inscriptions, name in on public buildings/place, 71, 127, 184 Chairestratos, 119 reading, 68–73, 197–198 Chilon, 159–160 repeated, 75, 89 Chilos, 159–160 repeated kalos, 83–86 Chion (?), 87–88 signatures, 83–84, 104, 200 Erothemis, 126 continued from side A to side B, 75–77 Hipparchos, 155, 201, 210 divided, 212, 216 Hippodamos, 190 with greeting, 296n19 Krates, 85–86 iambic trimeter, 73 Leagros, 4, 52–53, 85, 186 incised, 160–161, 181 Lykos, 126–127 including patronymic, 153 Memnon, 85 kalos, 87–88 Onetorides, 84 and nonsense inscription, 18, 75, 198 Philiades, 224 parody and, 255–256 Sostratos, 153 phased, causally linked narration and, 114, 119 Stesias, 150 phatic, 58, 64–65 Xenon, 224, 226–227 placement of, 76, 189, 190, 198, 201 Karouzou, S., 234, 303n13 repeated, 207–208, 210 Kerameikos, 235–236 self-parody/-ridicule and, 201–203, 255–256, 260 “kernel” of plot, 8, 104, 109–110, 122, of Sosias, 292n76, 292n78 266n20 See also inscription, name on vase; reader; Keuls, E., 297n2, 298n16 reading, in antiquity khaire, 84, 153, 244, 292n77 interpuncts, 296n24 Khorithon, 226 Iolaos, 68, 102–103, 148–165 Kilmer, M., 65 Iphikles, 102–104 Kleainetos, 220 Iros, 254 Kleisthenes, 260, 298n16 Italy (findspot), 48, 231 Kleitias, 75, 76 Ithaca (findspot), 247 Kleophon Painter, 304n20 Kleophrades Painter, 124–126 Jakobson, R., 277n25, 277n26 case study on red-figure stamnos, Philadelphia Johansen, K., 281n41 University Museum L 64.185, 221–223 Johnson, F., 48 kalos inscription in work of, 124–126 juxtaposed images, 265n4 kleos (acoustic renown), 71–72 Klymenos, 153 Kaeser, B., 48 Knauer, E., 294n93 Kahane, 9–10, 266n29 Knittlmeyer, B., 288n15 Kallipides, 4 Knox, B., 69

335

SUBJECT INDEX

kolax, 254 Leagros, 4, 52–53, 66–67, 85, 186, 208 komast, 44, 159–161 lebes gamikos, function of, 234 character analysis of, 225–227 Lefkandi (findspot), Komast-dancer Lefkowitz, M., 308n91 cup, 44–47, 274n14 lekanis characteristics of, 44 depicted in scene, 87 characteristics of figure on, 44–46 mythical paradigm joined with mortals on lid, repetition on, 144–145, 148–165 skyphoi, 46 parody on lid, 200 as social inferior, 255 varying expected formula through repetition on, 7 Komast-Group, 275n22 lekythos, function of, 233–234, 235–236 column-krater, 47 Leto with Tityos, 153 lekanis, 46–47 lettered cup, 69 tripod-kothon, 47 Levine, D., 253, 308n88 komos, 44, 57, 81 Lewis, J., 253, 308n103 Dionysiac, 238 lexical item, 6, 13–14 mortal with Dionysiac revel, 158–159, linked generic events, 119–121, 122, 293n85 160–161 linking device paradigm for celebration of, 154–155 and athletic/military victory, 149–150, 205 and parody, 225–227 in Bronze Age art, 6 performance of odes in, 248 and hero/mortal, 25, 129–130, 245–250 satyric, 162, 181 kalos inscription as, 85 and symposion, 155, 236–237, 244 and mythical/mortal, 143–144, 159–161 kottabos repeated spectator, 138 depicted in scene, 208, 244 repeated syntax as, 154 meaning of, 208 repetition as, 21–24, 112–114, 115, 117–119, 129–130, as sympotic entertainment, 186 155, 244, 267n47 krater repetition of main figure as, 32–33, 115–117 calyx-krater, 160–161 synonymy as, 25 case study on Euphronios’, red-figure krater, two scenes/common protagonist as, 30–31 Arezzo 1465, 223–227 in work of Exekias, 24–25, 30–31, 112–115, 271n35, column-krater, 143–144 272n50. See also narration, phased, and phased cyclic narration on, 115–117 causally linked function of, 71, 201 Linos, 102–104 Komast-Group column-krater, 47 lion fight link between mythical and mortal on, 143–144, generic, 60–62, 134–135, 165–166 160–161 and Herakles, 32, 58–62, 68, 119, 148–149, 165, paradigm on, 143–144, 155 290n44, 291n52 phased and causally linked phased narration on, Lissarrague, F., 72, 218, 237, 240–243, 265n4, 297n42, 115–117 299n43, 300n62, 301n13, 306n56 repeated labels on, 89 Little Masters cup, 67, 84 in symposion, 238 parody on, 198, 259 temporal sequencing on, 117 repeated inscriptions on, 75 visual hook on, 292n75 extending over two sides on, 75–77 volute-krater, 115–117, 238 on two different fields of, 207 krateriskos, function of, 234 unified narration on, 97–100 Krates, 85–86 Lonsdale, S., 257 Kurke, L., 249, 308n91, 308n95, 308n97 Loudon, M., 271n35 loutrophoros, function of, 233–234 labels. See inscriptions, labels; inscriptions, on vases, lover. See erastes labels Lowenstam, S., 8–9, 266n24, 266n27, 266n29 Labov, W., 56 Lydos, 58–60, 100, 109–110, 115, 122, 137–138, 139, 143, language, visual, 12, 18–20 238, 291n47 Leach, E., 11–12 Lydos, circle of, 81–83, 144–145, 198, 247

336

SUBJECT INDEX

Lykos, 126–127 Morgan, L., 6, 13 Lykos inscription, 126–127 Morris, Ian, 305n51 Lysippides Painter. See Andokides/Lysippides Painters mortals/divinities intermingling, 164–170, 292n79, Lysis, 226 293n79 and blurring of characteristics, 165–170 Mackie, H., 277n24 and coming of age ritual, 167–168 Makay, E. A., 266n23, 268n9, 269n9 and identifying attributes of divinities, 166–167 Malibu Painter, 188–190, 286n73, 287n73 and paradigm, 164–165 Malinowski, B., 277n25, 277n26 and penguin-women, 165, 293n92, 294n92, 294n94 mantled figure and single repeated spectator, 165–166 woman, 109–110, 139–143, 175–176, 213, 269n13 Murray, O., 237 youth, 165–166, 173–175 music, 297n42 Marinatos, N., 6–7, 266n19 music/dance scene, 54, 217–218 marketing ploy, pairing red- and black-figure as, 34 analysis of musician/dancer, 188–190 Markoe, G., 266n19 cultural meanings of, 12–13 marriage repeated imagery in, 4 bride-acquisition paradigm, 137–145, 146 music scene vase shape for, 234. See also courtship parody of sympotic music, 201–203 Memnon, 22–23, 85, 96, 115–117, 269n19, 270n26, school, 102–104 272n49 in symposion, 244 Menelaos, 167–168, 269n19 myth and ritual, 157–164 metadiscourse elite status in, 157 phatic function of, 58 mythical/mortal link in, 130–131, 159–161 repeated spectators as metadiscourse, 53–62. See temporal sequence in, 158–159. See also aition also inscription metadiscursive directive, 58–60, 64, 84, 85, 223 narratee. See spectator-narratee metal vessel, for symposion, 232, 233, 302n3, narration 303n3 casually linked, 117–119 metanarrative sign, 58 civic ritual and aition in visual, 122–126, 127 metis (cunning intelligence), 253 continuous, 7–8, 20, 95, 107 military activity, 149–150, 188 defining, 282n3, 282n6 epic, 112–115 difference from phased narration, 283n11, fight with chariot, 122, 129, 131, 135, 149–150 283n12 warrior continuous phased, 30–31 arming, 33–34, 270n34, 271n34 cyclical, 30–31, 95, 104–108, 282n7 departing, 178, 271n35, 294n98 hero labors as subject for, 95, 282n8 fighting, 34–35, 135 and labels, 104–106, 108 youth, elite symposion as subject of, 106, 108 arming, 115, 205 in work of Berlin Painter, 107–108 military activity, 178–181, 188. See also Achilles in work of Euphronios, 107, 109–119 Miller, M., 117, 208, 268n54, 272n47 in work of Lysippides Painter, 33 Mills, S., 293n81 in work of Onesimos, 106–107 Milne, 285n53 episodic, 95–96 mimesis, in Greek sculpture, 288n12 evaluation of, 56 Mnesthios of Euboea, 70 generic story-telling as visual narration, 96 mockery and kernel, 8, 122, 266n20 of foreign accent of Scythian, 255, 299n44 linked generic events as visual narration, 119–122 of hero in symposion, 255 monoscenic, 95, 286n66 of Judgment of Paris in symposion, 255 phased, 96, 283n11, 283n12 mock inscriptions, 75 phased, and phased causally linked, 109–115, 119 monoscenic narration (Situationsbild), 286n66 and artist signature, 114, 119 without repetition, 95 and continuous narration, 110 Moore, M., 269n13, 269n23, 270n24 and ellipsis, 112, 119 Morgan, C., 304n20, 304n21, 308n91 and inscription, 114, 115, 117

337

SUBJECT INDEX

narration (cont.) Niceratus, 248, 256 and repetition, 115 Nikosthenic amphora, 304n32 on Siana cup, 121–122 nonsense inscription. See inscription, nonsense and symposion, 121–122 nymphs, 160–161 and temporal linkage, 109–110 with satyrs, 119, 143, 158–160 and temporal sequencing, 112, 117 polyscenic Oakley, J., 269n13, 303n10 interdependency in, 95–96 Odysseus, 9, 117–119, 251–252, 253, 254 phased narration as, 96 oinochoe, 158 unified narration as, 96–100, 103, 104, 302n26 depicted in scene, 50, 71, 154, 158, 160–161, 181, 201, progressive, 95–96 217–219, 260 serial, 95–96 Dipylon, 246, 247 Situationsbild, 95, 286n66 Geometric, 246 synoptic composition as visual narration, 95 paideutic use of, 247 unified, 95–96, 100–103, 302n26 and parody, 218–219 as visual narration, 96–100, 104 repeated, as visual link, 160–161 without repetition in two different fields, as visual use for, 234, 246 narration, 95. See also narrative; narratology Oinopion, 162–164, 294n93 narrative Oltos, 85, 154, 159–160, 257, 281n29, 281n32, 299n39, characteristics of verbal, 268n57 301n13 definition of, 14–15, 267n49 case study on red-figure psykter, New York M.M.A. generic story-telling and, 96 10.210.18, 216–221 metanarrative signs and, 64 Olympus, apotheosis of Herakles, 30–31, 35–37, 94 props in Athenian vases and, 268n54 Olynthus (findspot), 233, 234, 240–243, 303n10 setting elements in Athenian vases and, 268n54 Onesimos, 123–127, 188, 243–244 types of, 268n54 Onetorides, 84 narrative configuration, 267n47 onlooker. See spectator-narratee narratology, 6, 7–8, 13–15 open composition. See composition, open ellipsis in, 18–20 Orsimenes, 154, 205–206 language codes to identity meanings in, 12–13 Osborne, R., 153, 227–230, 305n55 lexical items and, 13–14 syntax and, 14, 267n47 paideia text as unit for analyzing definition of, 13–14 as acculturation, 245–246 neck-amphora definition of, 245 Achilles/Memnon on, 272n49 facets of school, 245 case study on Psiax black-figure neck-amphora, Homeric paradigm, in classroom, 245–246 Copenhagen, 85, 212–215 symposion as locus for, 246–247 ellipsis on, 18–20 vase as tool for, 245–246, 247 homonymy on, 27–28 Paidikos, 80, 83, 296n19 parody on, 210–211 Painter of Birth of Athena, 89 perspective on, 171, 176–178, 183–186 Painter of Burgon Sianas, 200, 289n31 redundancy on, 290n46, 291n46 Painter of Louvre F 6, 143–144 repetition on, 60–62 pais kalos, 186 simile on, 166 palaestra, scene of, 186 unified narration on, 100 Palamedes, 273n67 Neer, R., 261, 302n32 Palos (?), 205 Neils, J., 106, 155, 273n67 Panathenaic amphora. See amphora, Panathenaic Nemea, round dining room at, 305n51 panel amphora, 166–168, 288n18, 288n21 Nessos, 137–138, 200, 255, 256 Panther Painter, 274n10 Nestor, 247, 249 paradigm, 132–157 Nestor Cup, 247, 307n82 Athena as paradigmatic warrior for hoplites, 132–134 Nettos Painter, 44, 274n12 athletic, 149–150, 153 Nevett, L., 303n8 bride-selection, 137–146

338

SUBJECT INDEX

and chariot scene, 131 ellipsis role in, 200 definition, 129 of epoiesen, 18, 75, 83, 194, 198, 262 double paradigm, 291n52 of Euripides, 197 effect on scene selection, 130–131 and Herakles, 200, 256 hero and mortal parallel, 135 of hetaira in symposion, 206–210, 244 hero as negative paradigm, 7, 144, 290n42 identifying, 196–200 heroic and contemporaneous scene drawn into inscriptions as, 74, 81–83, 162, 198 synonymy, 148–165 and irony, 195 heroic paradigm for elite male, 150 of Judgment of Paris, 200 heroic paradigm for mortal activity, 7 later visual/verbal parodies, 200–211 heroic-to-mortal parallel, 134–135 of oinochoe, 218–219 link between military and athletic victory, 149–150 in Old Comedy, 195, 196 mortal athlete and divinity, 153 paratragedy/comic contrafact, 196 mortals as, 153–154 of pederastic behavior, 208, 221 mortals/divinities intermingling, 164–165 and perspective, 196 mythical/non-mythical scene, 144–145 Pioneer verbal/visual, 261 mythical paradigm for mortal activity, 129 purpose of, 196 mythical paradigm for mortals/pederasty/ repeated imagery or words not necessary for, symposion, 154–157 194–195 negative, 153, 216–219 satyr as parody of reader, 69 observing hero fight as, 148–149 satyr as parody of youth, 201 paradigmatic compression into single scene, in satyr play, 68, 195, 196 290n46, 291n46 of school scene, 210 paradigmatic extension, 129–130 and signatures, 201–203, 255–256, 259, 260 related comparisons, 129, 157–170 of social hierarchy, 254 for reluctant eromenos, 248 of Socrates, 253 repeated spectator-narratee and, 137–138 and symposion, 196 and synonymy, 132–135, 153 in symposion, 218–219, 253–255, 256, 258–262 and syntactical repetition, 129–130, 132 of sympotic music, 201–203 in text, 150, 153 of Theseus and Minotaur, 200–201 Zeus/Ganymede as paradigm for erastes/eromenos, verbal, 196 248 vs. satire, 195 paradigmatic (connotative), 12 in work of Epiktetos, 198, 200–201 parallel texts, 79–80, 134–135 in work of Euphronios, 210–211 parasitos, 254 in work of Euthymides, 201, 205–206 Paris, Judgment of, 139–143, 144–145, 146, 200, 247, in work of Exekias, 18, 74, 75, 194, 196 255 in work of Pioneers, 259, 298n16 parody parthenoi, 289n27 in Athenian comic productions, 195–196 passive point of view. See point of view (perspective) in author-artist persona, 259–260 Patroklos, 24 of behavior, 206–210 death of, 24 boundary-crossing as, 65 fight over body, 24, 25, 110–115 of centaur fight, 200 identification of, 24, 269n23, 270n24 and comedies, 195 pederastic discourse, 84, 85, 154 and communitas, 196 pederasty, 53, 64, 85 of correct behavior, 243–244, 258–262 and athletics, 219–221 of dance, 254, 260, 261 and paradigm, 154, 157 definition of, 194–195 parody of, 208, 221 of democratic process, 253–254, 256 pederastic model for activity of reading, 69, 70, 71, of Dikhioi and Palos, 203–205, 299n38 72, 260, 278n54, 278n58, 278n61 early, of hero, 200 in school scenes, 297n39 early, verbal, 198 Peirce, S., 268n9, 269n9 of elite status, 258–262 Peisistratos, 272n46

339

SUBJECT INDEX

Peleus and Thetis, 271n35 coupling two different traits/typical activities, pelike 171–172 anonymous spectator-narratee on, 89 coupling two points of view, 183–186 antonymy on, 16 and elite adult courtship, 175–176 banausic scenes on, 303n14 and generic characters, 172 and constructed self of artist, 67 passive, 172 cyclical narration on, 107–108 perceptual point of view, 18, 172, 178, 252, 253 function of, 234, 303n14 role in character analysis, 252–253 inscriptions on, 66–67, 84 during sixth century, 173–176 kalos inscription on, 4, 207 during sixth century, Group E workshop, 176–178 label on, 108 and social role of elite youth, 173–175 metadiscourse on, written inscriptions as, 52–53, transferred interest, 172 64 of two different viewers of different sides of vase, 181 repetition-with-difference on, 74 verbal record in inscription, 183–186 symposion on, 108 Poseidon, 165, 285n56 visual perspective on, 171 Poseidon, stable of, 60, 112 pendant-semicircle skyphoi, 41–42 Powell, B., 246 penguin-women, 139, 165, 293n92, 294n92, 294n94. Priam, 109–110, 112, 251–252, 272n49, 285n48 See also spectator Prince, G., 14, 64, 267n49, 287n79 Pentathlos, 154, 205–206 Princeton Painter, 7–8 Penthesileia Painter, 10, 266n34, 266n35, 267n35, prize vessel, 234, 235, 238, 246, 247 270n26, 272n49 prolepsis (extending discourse time), 213, 218 perceptual point of view, 18, 172, 178, 252, 253. See also Propp, V., 295n6 point of view (perspective) Protesilaos, 273n67 Perithoos, 104–105 provenance. See individual findspot Perizoma Group, 304n32 Psiax, 76, 117, 181–183 perspective. See point of view (perspective) case study on black-figure neck-amphora phatic language, 77, 79–80 Copenhagen 212, 85, 212–215 bystander function as phatic, 58, 64–65, 87–88, psykter 277n25, 277n26 case study on Oltos red-figure psykter, New York greetings as, 58, 64–65 M.M.A. 10.210.18, 219–221 written inscriptions as, 64–65 paradigm on, 153, 154 Phayllos (athlete), 153, 154, 205–206 public event, Old Comedy/satyr play as, 196 Philiades, 224 Philippos (in Xenophon’s Symposium), 254, 260, Raab, I., 200, 290n42 261 race Phintias, 89, 153, 206–210 chariot, generic, 122 Phorbas, 104–105 foot, 62 Pindar, 131, 308n95 horse, generic, 122, 287n89 Pioneers, 67, 76 Race, W., 308n91 intra-workshop parody in work of, 298n16 Ransom of Hector, 110–112, 115–117, 297n2 parody in work of, 259, 260 Raubitschek, A., 287n89 repetition-with-difference in work of, 74 reader verbal/visual parody in work of, 261 Implied, 67, 68, 267n42 Pistoxenos Painter, 119 intended, 67, 68, 72, 73, 223 Pithekoussai (findspot), 247 real, 68–73, 223 Plato, 70, 250, 251, 256 reading, in antiquity, 68–73 point of view (perspective) aloud, 69–70, 197–198, 240 active, 172 pederastic model for, 69, 70, 71, 72, 260, 278n54, analyzing perspective, 176 278n58, 278n61 and character traits, 173–191 silent, 69–70, 71 and character traits of Athena, 173–175 Recovery of Helen, 109–112, 167–168 conceptual, 172 red-figure, as general technique, 34, 273n71 conceptual/perceptual, 18, 172, 188, 252, 253 red-figure pottery, findspot, 303n10, 303n9

340

SUBJECT INDEX

redundancy religious, 123, 234 definition of, 15 social relationships in, 157 to insure clarity, 11–12, 25, 100, 103–119, temporal relationships in, 123 159–160 temporal sequence in, 158–159, 200 in work of the Lysippides Painter, 34 youth, 167–168, 294n104 reduplicate, definition of, 15 Robb, K., 246, 247, 306n69, 307n72 reiteration, 22, 25, 132 Robert, Carl, 95 related comparisons. See paradigm Robertson, M., 1, 52, 265n4, 272n51, repeated antitheses, 9 273n51 repetition Rotroff, S., 303n10 in Bronze Age art, 6 runner(s), 62 as creating cohesion, 13, 18, 20–21, 267n44 Rutherford, I., 308n89 as creating text, 13–14 definition of, 15 Sappho, 186 duplication as, 15 Sarpedon, death of, 115 exact Sarpedon krater by Euphronios, New York, MMA definition of, 35 1972. 115, 245–256 differences in meanings of, 37, 40–41 satellite, narrative function of. See narrative in work of Exekias, 29–30, 37, 271n41, 272n41 satyrs, 49–51, 88–89 in work of Glaukytes and Archikles, 77 making wine, 119–121, 239 in work of Lysippides and Andokides Painters, with nymphs, 119, 143, 158–160 37 as parody of reader, 69 exact/slight variation in, 37 as parody of youth, 201 functions of, 8, 13 and perspective, 178 information theory and, 10–12 pouring wine, 238 interpretive value of, 4–5 satyr-performance, 195, 196 levels of, 5 satyrs, named as means to define character, 9–10 Oiphon, 88, 162–164, 168 as means to express poetic theme, 9 Oreimachos, 227–230 on more than one field on single vase, 5 Orochares, 227–230 redundancy as, 15 Sty . . . sis, 189 reduplication as, 15 Terpaulos, 189 of setting element, 123–126 scenie divider, tree as, 284n38 in single field, 5 Schauenburg, K., 299n43 of theme, 6, 9 Schefold, K., 24, 218, 273n69, 273n71, 301n13 to underscore creation of paradigm, 7 Scheibler, I., 49, 131, 169–170, 234, 238, 247, 276n35, variation of expected formula, 7 288n12, 291n47 verbatim, 15. See also Types Schenkeveld, D., 70 repetition-with-difference, 24, 74, 135–170 school, scene of, 190–191, 206–210 return of Hephaistos, 100 scripta continua, 69–70 Reusser, C., 235, 236 Scythian, 34–35, 273n63 Rhodes (findspot), 41–46, 47 archer, 181–183, 205 Richter, G., 302n16 clothing of, 26–27 riddle-net, 273n64 feminized depiction of, 205, 299n43 riders, on horseback, 33–34, 47, 62, 87, 104, 122, 150, with hoplite, 181–183 154, 284n33 speech of, 205, 255, 299n44 rider (subject), 60, 109–110, 122, 123 use of nonsense with image of, 205–206, ritual 292n69 civic, 122–127 self-deprecation, 67–68 coming of age, 167–168 self-promotion, 67–68 components of, in symposion, 236–237 self-ridicule, 201–203 dichotomies in, 257–258 semantic value, of formal repetitions, 9 and myth, 157–164 semiotics, 6, 12–13 performance as, 123 Semodides of Amorgos, 131, 306n70

341

SUBJECT INDEX

setting elements, 123–126, 268n54 social status, 256–262 Seven Against Thebes, 150, 213–215, 271n40 Socrates, 196–200, 253–254, 308n105, 309n105 sexual conquest/pursuit, 104–106, 289n27 parody of, 253 Shapiro, H. A., 102–103, 122, 143, 272n46, 284n43, Solon, 276n35, 293n87 285n47, 290n35, 290n39, 302n26, 303n14 Sophilos, 65, 132 shield Sophokles, 131 Boeotian, 26, 32, 110, 270n34, 271n34 Sosias, 68, 89, 153, 155 Diplyon, 270n34, 271n34 Sosias, identity of, 155, 292n77, 292n78 round, 26, 32, 34, 102, 110, 114, 115, 150, 188, 223–224, Sostratos, 153 271n35 Sotades, 304n20 white, 178 Sotinos, 153 shield device spectator of Athena, 134 creating comments of, 88–89 to denote similarity, 213, 271n40 function of, 74 eagle as, 25, 26, 28–29 naming, 87–88 as identification aid, 34, 35, 114, 121, 213 in picture, 8, 57 as index, 181 and related comparisons, 148–149 kantharos as, 223–224 repeated, as metadiscourse, 53–54, 57–58, 62 panther head as, 28–29 single repeated, 165–166 tripod as, 149–150 unnamed, 162 Siana cup spectator, anonymous. See spectator-narratee linked generic events on, 121–122 spectator-narratee mortals/divinities intermingling on, 165, 294n94 anonymous, 57–58, 60–62, 64–65, 68, 112 paradigm on, 132–135, 289n30 anonymous, as metadiscourse, 53 parody on, 256 anonymous bystander, 58, 64–65, 87–88, 135–170, perspective on, 173–175 277n25, 277n26 phased, causally linked narration on, 121–122 as anonymous participant, 291n51 repetition/meaning on, 53 definition, 56 sexual pursuit on, 289n27 as formulaic, 54 simile on, 165–166 as framing figure, 4–5, 57, 58–60, 165, 166–168, 223, social role of elite youth on, 173–175 276n7 synonymous imagery on, 134–135 gender disparity in, 57 signature, artist/potter. See inscriptions, on vases, phatic function of, 58, 64–65, 87–88, 277n25, signatures 277n26 simile, 6, 165–166, 266n19 purpose of, 57–58 Simon, E., 112, 291n50 stock figure as, 8, 288n12 Simonides, 131, 248 Spence, I. G., 287n84 Sinos, R., 25, 131, 269n13, 270n30, 288n14 sphinx, 41–46, 47, 77–79, 132, 276n7 Situationsbild (monoscenic narration), 95, 286n66 Spivey, N., 304n22 skyphos stamnos by Kleophrades, Philadelphia University depicted in scene, 181, 198, 201 Museum L 64.185, case study on, 221–223 function of, 198, 201 Stansbury-O’Donnell, M., 14–15, 129–130, 267n47, Glaux, 29, 47–51 268n54, 282n3, 286n63 Komast, 46 Steiner, D., 278n64, 279n64 pendant-semicircle, 41–42 Steiner, W., 14, 268n57 unified narration on, 102–104 Steisichorus, 131 Slater, N., 72, 240 stereotypical image, 30 Small, J., 236, 304n29, 304n30 Stesias, 150 Smikros, 183–185, 188–190, 201–203, 210, 260 Stewart, A., 288n12 Smikythion, 4 Stissi, V., 235 Smikythos, 220 Stoa Poikile, 127 Smith, A., 299n43 stock figures. See spectator-narratee, stock figure as Snodgrass, A., 71–72, 268n54, 271n40 story, Chatman’s definition, 96

342

SUBJECT INDEX

story-time, 22, 83, 84, 100 vase shape evidence structural linguistics, 11–12 as intended use-setting for Athenian pottery, “Stysippos,” 297n35 237–239 Sutton, R., 269n13 of shape not directly sympotic, 231–236 Svenbro, J., on pederastic model for activity of vases in sympotic space, 239–245 reading, 69, 70, 71, 72, 260, 278n54, 278n58, sympotic dialogue, 155 278n61 sympotic discourse, 80, 83, 86 symmetry, 25, 267n47 sympotic ethos, 77, 248 symposion synonymy archaeological evidence for use of pottery in, between contemporary hoplites and heroes, 291n56 232–233 defining, 132 components of, 236–237, 243–244 and hero scene, 134–135, 148–165, 291n56 definition of, 16, 236–237 relationship to antonymy, 223 didactic poetry in, 306n70, 308n100 without repetition in two different fields, 95 drinking positions in, 305n52 in works of Exekias, 22, 23–24, 25, 31–32 Egyptian, 216–219 syntagmatic, 12 elite introcompetition in, 255 syntax, 46, 47 as elite social institution in Athens, 236–245 definition, 14 elite world view in, 256–262 and narratology, 14, 267n47 equipment for, 176 repeated, 25, 129–130, 132 in Etruria, 236 and temporal sequence, 270n31. See also ellipsis facets of sympotic activity, 186, 216–218 gods/heroes/elites in, 257, 258 Teisis, 89, 224, 226–227 greetings employing language typical of, 77 Telemachos, 9 idealized, 243–244 Telemonian Ajax, 27–28 as image on vase, 155 temporal difference, 35 literary evidence temporal sequencing, 14, 270n26 for jokes/parody in, 253–255, 256 and phased, causally linked narration, 112, 117 for paradigm in, 247–250 in ritual, 158–159, 200 for point of view/character in, 252 in work of Andokides/Lysippides Painters, 32–33, 35 for visual images in, 240 in work of Exekias, 270n31 as locus for paideia, 155–157, 245–247, 307n72, in work of Group E, 112 307n73 text mocking heroic prototypes in, 255 definition, 13 oral inscription reading in, 240 vase as, 13–14 parody in, 218–219, 253–255, 258–262 Thera frescoes, 6 parody of sympotic activity, 255 Theseus pederastic component of, 84, 221–223, 238 and Amphitrite, 106–107 point of view from reclining symposiast, 239–240 and Ariadne, 106, 139 on Siana cup, 256 and Athena, 106–107 social purpose for reading vases, 245–256 deeds on cycle cup, 104–107, 115 social role of enculturation, 245 as embodiment of best qualities of nation, 293n81 special-use pottery without primary function in, and Helen, 104–106 233–234, 245 and Klymenos, 153 type of vessel used in, 302n3, 303n3, 303n4 and Minotaur, 60, 77–79, 83, 89, 107–108, 148–149, as use-context for parodic vases, 196 154–155, 200–201, 221–223, 255, 291n47, 291n51 as use-setting for Athenian pottery, 236–245 paradigmatic relationship with Herakles, 221–223 vase evidence and Prokrustes, 106–107 for citation of ancestral models in, 246–247 and Skiron, 89, 106–108 for jokes/parody in, 255–256 Thetis, 25, 109–110, 117 for point of view/character analysis in, 252–253 Thomas, R., 69, 71, 247, 278n58, 278n61 for use of pottery in, 233 Thorikion, 154, 205–206 vase ornaments integrated in setting, 240–243 Thrasyboulos, 249–250

343

SUBJECT INDEX

Thucydides, 255, 308n105, 309n105 votive vessel, 232 time compression, 23 Vulci (Etruscan findspot), 235, 304n27 Tityos with Leto, 153 Tlempolemos, 210 warrior Tomachevski, B., 295n6 arming, 33–34, 270n34, 271n34 Torone (findspot), 233 fighting, 34–35, 135 trade, of Athenian pottery with Etruria, 232, 267n42, departing, 178, 271n35, 294n98 304n21, 304n22, 304n32 Webster, T. B. L., 130–131, 232 tragedy, 196, 258, 298n9 wedding, 247. See also marriage transferred interest (passive point of view), 172 Weitzmann, K., 282n7, 286n66 tree, as scene divider, 284n38 Wickhoff, F., 95, 282n6 tripod, 130, 149–150, 203 Wollheim, R., 57 Triptolemos Painter, 162–164, 299n43 women-only scenes, 239 Troilos, 110–112 Woodford, S., 271n35 Trojan War, 21–24, 96, 115, 117–119, 181–183. See also wrestler(s), 153–154 Achilles Turner, Victor, 196 Xenon, 224, 226–227 Types, 5, 16, 41–42 Xenophon, 245–246, 250, 251, 255, 256 Dark Age pendent-semicircle skyphoi, Xinis, 226 41–42 Glaux-skyphos, 29, 47–51 youth Horse-head amphora, 42–44, 274n11 arming, 115, 205 Komast dancer, 44–46, 275n22 bathing, 190 coming of age, 247 Veii (Etruscan site), 235 elite (see also paideia) verbatim repetition, definition of, 15 and civic ritual, 123–127 Vetta, M., 236–237 engaged in athletic activity,. 122, 186, 219–221 Vickers, M., 232, 303n4 military activity of, 178–181, 188 victory, athletic, 122, 149–150 paradigm for, 148–149, 153–155, 205, 291n51, viewer of vase 291n52, 293n81, 294n104 intended, 68, 71 and pederasty, 186, 219–221 real, 68 school-boy experience, 190–191 visual dissonance/congruence, 268n9, social purpose for vase reading in symposia, 269n9 245–246, 247 visual hook, 292n75 social role of, 173–175 visual language, 12, 18–20 sympotic life experience of, 178–181 visual narration. See narration typical/ideal Athenian youth, 131, 137–138, 288n12 visual simile, 129 votive offering, 287n89 Zeus, 79–80, 165, 166–167

344

INDEX OF ANCIENT SOURCES ᇻᇼᇽ

Achaeus of Eretria: 69 Eubulus: 69 Omphale Euripides: 70, 131, 197 No. 33: 278n57 Hippolytus 856: 70, 279n68 No. 33: 76 Aelian, Varia Historia: 196–197 Herodotus, Histories Aeschylus, Seven Against Thebes, I.234–125: 70 375ff: 271n40 VI.128: 254–255 Aithiopis: 24, 96, 269n21, 270n26 VIII.22: 70 Alcaeus: 306n70 Hesiod, Cheiron Hypothekai: 245–250 Alexis: 69 Homer Antiphanes, fragment 85 K: 308n100 Iliad: 9 Aristophanes I.11: 251 Clouds: 196 I.94: 251 Knights 115: 70, 279n68 I.151: 257 Thesmophorizeusae 1001–1225: 299n44 I.194–214: 252 Aristotle: 173 II.146–176: 257 Poetics II.182–206: 257 VI.1449b–50b: 295n5 II.186: 251 XV: 295n5 II.199: 251 Athenaeus: 68 II.218–219: 251–252 Deipnosophistae II.265: 251 XI.465–467: 278n56 II.279: 251 XI.498 E: 278n57 III.161–244: 251–252 XI.466 F: 278n57 III.218–219: 251–252 VI.297–311: 252 Bacchylides: 25 IX.502: 57 17. 11–14: 258 XI.601–805: 307n82 124–132: 258 XI. 631–7: 307n83 694–700: 258 XIII.45: 112 703: 258 XVI.501: 115 773–788: 258 XVI.591: 115 XVI.625: 115 Cratinus: 298n8 XXII.294: 291n50

345

INDEX OF ANCIENT SOURCES

Homer (cont.) 219C5: 253 Odyssey: 9 221E: 240, 253–254 VIII.248–249: 246 Plutarch, Alcibiades, 16.1–2: 271n40 VIII.382: 246 XVIII.8–107: 254 Sappho: 186 Homeric Hymn to Apollo fragment 36: 296n29 I.151: 257 Simonides: 131, 306n70 II.146–76: 257 Sophocles, Ajax II.182–206: 257 694–700: 258 703: 258 Pindar Steisichorus: 131 Olympian 9.47: 243–244 Theognidae 10.1–3: 70 11–14: 258 Pythian 27–38: 308n100 1.23–28: 249 773–88: 258 1.24–27: 249 Theognis 1.27: 249 1129: 244 1.36: 249 1231–1234: 248 1.50–54: 249 1283–1294: 248 6: 308n91 1345–1350: 248 Plato 1029–1036: 253 Laws 665a: 309n119 Xenophon, Symposium Phaedo 175E: 253–254 97c: 70 II.22: 254, 299n29 98c: 70 IV.2: 254 Protagoras 326A: 307n73 IV.6: 248, 256, 260 Symposium IV.20: 253 175E: 255 IV.21: 240 177d6: 253 V.2: 254 177e5: 253 V.8: 254 193A: 240, 253–254 V.9: 254 215B: 240, 253–254 216D: 240, 253–254

346