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A HISTORICAL READING of PINDAR's OLYMPIAN 1 Ryan REMEMBER YOU ARE MORTAL: A HISTORICAL READING OF PINDAR’S OLYMPIAN 1 Ryan Masato Baldwin A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2021 Approved by: Patricia Rosenmeyer William H. Race Janet Downie ©2021 Ryan Masato Baldwin ALL RIGHTS RESERVED ii ABSTRACT Ryan Masato Baldwin: Remember You Are Mortal: A Historical Reading of Pindar’s Olympian 1 (Under the direction of Patricia Rosenmeyer) The purpose of this thesis is to analyze the historical context of Pindar’s Olympian 1, the myths and adaptations that Pindar utilizes, and the overarching didactic and cautionary lessons meant for Hieron, Pindar’s benefactor. After I establish the historical context, I argue that the poet attempts to warn Hieron about potential revolt through his rendition of the Tantalus myth. In addition, by beginning his ode with a priamel; juxtaposing the actions of Tantalus with those of Pelops; and ending with the hope that Hieron will win a chariot race, Pindar advises Hieron to avoid hubris. Lastly, I claim that Hieron later redeemed himself in the eyes of the poet by analyzing the shift of Pindar’s poetic methods and didactic lessons in Pythian 1, given six years later. Pindar portrays Hieron as a virtuous king who has received—and will continue to receive—glory on account of his international reputation as a harbinger of peace. iii ACKNOLWEDGEMENTS I would like to thank my advisor, Patricia Rosenmeyer, not only for her prompt edits, excellent advice, and for meeting with me so frequently, but also for believing in me and for instilling confidence in me as a scholar and writer. I would also like to thank the rest of my committee, William Race and Janet Downie, for their insightful remarks and expertise in helping me revise and correct my thesis to what it is now. Regarding others who have helped me create this final product, I would like to thank my friends Joshua MacKay, John Martin, and Allen Kendall for their feedback and their questions, in addition to their emotional support throughout this process. I would also like to thank my immediate and extended family for their continual love and support in my endeavors. Lastly, I would like to thank my kids—Lawrence and Amelia—along with my wife Daricka, without whom I could have never come this far. Their laughs and unconditional love have provided me with more strength than they could possibly know. Thank you! iv TABLE OF CONTENTS INTRODUCTION ...........................................................................................................................1 THE HISTORICAL CONTEXT OF PINDAR’S POEM TO HIERON IN 476 BCE .....................................................................................................................5 THE PEOPLE’S DISCONTENT: PINDAR’S MYTHOLOGICAL ADAPTATIONS AND HIS WARNINGS TO HIERON .............................................................12 Impending Revolt: Pindar’s Adaption of the Tantalus Myth .............................................14 Accepting Mortality and Refraining From Hubris: Tantalus, Pelops, and Winning a Chariot Race .................................................................................25 The Opening Priamel and Its Ties to Mortality .................................................................31 HIERON REDEEMED: PINDAR’S PYTHIAN 1 .........................................................................40 CONCLUSION ..............................................................................................................................48 APPENDIX A: MAP OF SICILY, FIFTH CENTURY BCE .......................................................51 BIBLIOGRAPHY ..........................................................................................................................52 v Introduction Pindar’s famous Olympian 1 has fascinated—and continues to fascinate—scholars. Many issues in this ode are hotly debated: the meaning of its beautiful opening line ἄριστον μὲν ὕδωρ (“water is best”); Pindar’s unusual adaptation and use of the Tantalus and Pelops myths; and the curiously anticlimactic conclusion expressing hope that Hieron will someday win a chariot race. Scholars have analyzed Pindar’s ode to Hieron through different lenses, including philology, modern theory, historical background, and intertextuality, many of which have yielded fruitful results. My own approach will be to consider in greater depth how historical events and the topics addressed in the victory ode itself are connected: historical context and epinician content are mutually dependent. The purpose of this paper, therefore, is to analyze the historical context of Pindar’s Olympian 1, the myths and adaptations that Pindar utilizes, and the overarching didactic and cautionary lessons meant for Hieron as the primary recipient of the ode. Nigel Nicholson writes, “A New Historicist would assume the presence of conflict, and assume that the various representations were responding to, and trying to win, that conflict. The moment a text takes the time to present something as uncontroversial is surely precisely when it is controversial.”1 I hope to show that Pindar was indeed aware of the events and controversy that occurred in Sicily in 476 BCE and that he structured his ode to warn Hieron about how his political and military endeavors were negatively impacting his people. To show this, I will explain—through a 1 Nigel Nicholson, “Pindar, History, and Historicism,” Classical Philology 102, no. 2 (2007): 227. 1 summary of historical events—how the people in Sicily experienced a power struggle between rulers, endured the suppression of popular revolts, and suffered forced displacement—events all performed by Hieron—in the year of the first performance of Pindar’s ode. After establishing the historical context surrounding Olympian 1, I argue that the poet attempts to warn Hieron about possible revolt from his people through his rendition of the Tantalus myth. In addition, by beginning his ode with a priamel about water, gold, and the Olympic games; adapting the myths of Tantalus and Pelops and juxtaposing their actions; and ending his ode with the hope that Hieron will one day win a chariot race, Pindar reminds Hieron of his mortality. The poet advises him to seek mortal glory in a manner similar to Pelops—winning a chariot race and winning the favor of his people—rather than glorifying himself through his own destructive policies—such as depopulating the city of Catana to establish Aetna for his own glory at the expense of his own people whom he displaced. Lastly, I hope to show that Hieron redeemed himself in the eyes of the poet by briefly analyzing the shift of Pindar’s poetic methods and didactic lessons in Pythian 1, given six years later. By comparing Hierons’ accomplishments with Zeus’, explicitly describing historical events, and alluding to Olympian 1, Pindar portrays Hieron not as someone greedy for glory at the expense of his own subjects, but as a virtuous king who has received— and will continue to receive—glory on account of his presence on the international stage as a harbinger of peace. Pindar’s Olympian 1, which I will summarize briefly here, was performed in 476 BCE for Hieron, tyrant of Syracuse in Sicily who was the victor in the keles—the single-horse race. The keles, however, was not a particularly prestigious event, especially compared to the other horse races such as the tethrippon—the chariot race.2 William Race argues convincingly that the ode 2 William H. Race, trans., Pindar: Olympian Odes, Pythian Odes (CamBridge, Harvard University Press, 1997): 44. 2 begins with a priamel (lines 1-7), which will be analyzed later in the paper.3 After the priamel and Pindar’s praise of Hieron and his horse Pherenicus (8-24), the poet focuses on the story of Pelops (25-51), albeit a different story from the Homeric tradition.4 Rather than describing the dismembered Pelops being served to the gods and the subsequent events in the house of Tantalus—an account which Pindar attributes to embellished storytelling (28a-29)—Pindar describes how Pelops was born with an ivory shoulder, was taken by lovestruck Poseidon to Olympus, and sent back to Earth because of Tantalus’ stealing and distributing of godly ambrosia to his friends. Tantalus’ punishment (52-64) is also different from the Homeric tradition: in Pindar, he stands with a rock hanging over his head, a change that will be more fully analyzed later. Pindar then resumes the story of Pelops and how he, after being sent back to Earth, married Hippodameia after he defeated her father Oenomaus in a chariot race with the help of Poseidon, who gifted him a golden chariot and winged horses (65-87). After Pindar briefly describes Pelops’ children, his burial in Olympia, and his lasting fame (88-105), the poet closes his ode by praising Hieron and expressing a hope that the tyrant will one day win a chariot victory and that he will be able to celebrate it with him (106-116). Because scholars are uncertain whether Pindar incorporated historical events into his odes, little has been written about the historical context and its effect on our understanding of Pindar’s first Olympian ode. In his 1982 commentary, Gordon Kirkwood argues that we can never know to what extent Pindar meant to compare the myths in Olympian 1 with Hieron.5 Both 3 William H. Race, “Pindar’s ‘Best is Water’: Best of What?” Greek, Roman,
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