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Van Den Groenendaal, Wim (2006) Selbstdarstellung in Pindar's and Bacchylides' Epinician Odes Composed for Sicilian Laudandi

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Van Den Groenendaal, Wim (2006) Selbstdarstellung in Pindar's and Bacchylides' Epinician Odes Composed for Sicilian Laudandi Van den Groenendaal, Wim (2006) Selbstdarstellung in Pindar's and Bacchylides' epinician odes composed for Sicilian laudandi. PhD thesis http://theses.gla.ac.uk/3249/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] SELBSTDARSTELLUNG IN PINDAR'S AND BACCHYLIDES' EPINICIAN ODES COMPOSED FOR SICILIAN LAUDAND/. Wim van den Groenendaal Dissertation submitted for the degree of Doctor of Philosophy, at the University of Glasgow - Department of Classics, Faculty of Arts. July 2006. © Wim van den Groenendaal, July 2006. Abstract. An epinician ode is not only praise for a laudandus but also a form of civic discourse in which the laudandus conducts a debate inviting the audience to make a judgement. This enquiry investigates how the eighteen epinician odes composed by Pindar and Bacchylides for Sicilian /audandi accommodate the political and social aspirations of the patrons commissioning them. It also investigates how rhetoric contributes to the fulfilment of the encomiastic purpose in those odes. This enquiry situates the epinician odes in their proper historical context. It contrasts its findings with those of others. It concludes that in odes composed for laudandiother than tyrants the purpose of the debate is more often than not to counter suspicions which fellow citizens may harbour against the laudandus. However, the /audandi concerned appear to have been problematic already before they entered Panhellenic competition, and not, as some scholars think, because of their newly acquired status as Panhellenic victor. In particular, Pindar's fifth and sixth Olympian odes are poems in which the suspicions of others are apparently countered as a matter of urgency. At the other end of the spectrum is Pindar's first Nemean ode, arguably an ode composed for an unproblematic laudandus. This enquiry concludes that the presence of strategies of inclusion or exclusion is not determined by the status of the /audandus It further concludes that odes composed for tyrants do not necessarily reflect a Herrschaftssystem. rather elements of Pol/sideologie are often used in these odes in the debate with the audience. Hence the variety of patron message employed in epinician odes is much greater than has hitherto been thought. Finally, this enquiry makes some observations on the development of odes composed for the Sicilian 2 tyrants over time and links the observations with historical circumstances surrounding the Deinomenid and Emmenid tyrannies. 3 Acknowledgements. I would like to thank Prof. Douglas Cairns from the School of History and Classics in the University of Edinburgh for his supervision, advice and constructive criticism on the draft chapters over the course of this PhD. My thanks also go to Mr. J. G Howie who provided me with many an opportunity to explore my ideas on Pindar and Bacchylides. Thanks are also due to staff of the Department of Classics in the University of Glasgow. Finally, and most importantly, I would like to thank my wife Jil McMeekin who not only diligently read and commented on much of the work but also has given me constant encouragement and support throughout my studies. 4 TABLE OF CONTENTS. CHAPTER ONE-INTRODUCTION. -----------------------------1O 1.1 Aims 10 and objectives . -------------------------------------------------------------- --------------- 1.2 Research questions. ------------------------------------------------------------------------------12 14 1.3 Research context. -------------------- ----------- 16 1.4 Research methods- ----------------------- --------------------------------------------------- ----- 28 Note on conventions- ------------------------------------------------------------------------------- 29 2.1 Pindar's second Pythian ode for Hieron of Syracuse. -------- - 30 2.1.1 Introduction. ----------------------------------------------------------------------------------- 31 2.1.2 Occasion and circumstances of the first performance of the ode. ---------- ----- 34 2.1.3 The patron message in the ode. ---------------------------- ------------------- -------- 35 2.1.3.1 Hieron's claims on Syracuse. -------------------------------------------------------- 36 2.1.4 Praise for Hieron. -_---------------------------------- --------------- -------------------- 2.1.5 The Ixion Myth. --------------- ------------------------------------_--------------------------40 2.1.6 Further praise for Hieron. 42 53 2.2 Bacchylides' fifth ode for Hieron of Syracuse. -------- ------------___----- __--------- - 53 2.2.1 Introduction. ---- ----------------- ------- ------ ----------- ----------- ----___------------- ---- 2.2.2 Occasion and circumstances of the first performance of the ode.----------- ----- 55 2.2.3 Praise for Hieron. 56 61 2.2.4 The myth - Heracles' KATABAFIF. ----_____-_______-__________________________-_ 65 2.2.5 Gnomae (sententiae) in the ode. --------------------------------------------------------- 2.3 Pindar's first Olympian for Hieron Syracuse 69 ode of .---------------------------------- ----- 69 2.3.1 Introduction. ------------------------------------- -------------- ----------- ---------- ------- 2.3.2 Occasion and circumstances of the first performance of the ode. --------------- 76 2.3.3 Praise for the laudandus. _____77 2.4 Bacchylides' fourth ode and Pindar's first Pythian ode for Hieron of Syracuse. ---- 86 2.4.1 Introduction - Occasion and circumstances of the first performance of the ode. 86 ------ -------------------- ------- --------- ------------- -------------- ------------------------------------ 89 2.4.2 Patron message in the odes. ----------------------------------- 5 2.4.3 Bacchylides' fourth ode for Hieron. 91 2.4.3.1 Praise for Hieron in Bacchylides' fourth ode-------------------------------- ------ 95 98 2.4.4 Pindar's first Pythian ode. ----------------------------------------------------------------- 2.4.4.1 Praise for the laudandus in the proem of the first Pythian ode. ----------- 100 103 2.4.4.2 Further praise for Hieron. -------------------______-___-_-___--_-______________ 2.4.4.3 The Dorian foundation 107 myth . ------__---------- _----- ------- _----- _------- __ 110 2.4.4.4 Panhellenic battles and praise for Hieron. ------------------------------------- 112 2.4.4.5 The final section of praise in the ode. --------___-------------- _------ -_------ 114 2.4.4.6 The type of immortality promised to the laudandus. ------------------- - 117 2.5 Bacchylides' third ode for Hieron of Syracuse. ---- ----------- ----------- _--------------- 117 2.5.1 Introduction. ------------------------------------------------------------------------------ 2.5.2 Occasion and circumstances of the first performance of the ode. -------------- 121 121 2.5.3 Praise for the laudandus and patron message. ---------_-----------_-----------_ 124 2.5.4 The mythical sections - Croesus and Admetus. ------------------ ---------------- 130 2.6 Pindar's third Pythian ode for Hieron.-------------_--------- _---- ------- ---------- __- 131 2.6.1 Introduction and patron message. ----------------------- ------------------- ---------- 2.6.2 Occasion and circumstances of the first performance of the ode.--- ---- 134 137 2.6.3 Praise for the Iaudandus.----------------------- ------------------ ---- -------- ----------- ASSOCIATES. 143 CHAPTER THREE - THREE ODES COMPOSED FOR HIERON'S 143 3.1 Pindar's first and ninth Nemean odes for Chromius of Aetna. --------------M_____ 144 3.1.1 Introduction. --_-------------------------__--------- ----- ------- ---------- ------- 3.1.2 Occasion and circumstances of the first performance of the odes. ------------ 145 3.1.3 Political discourse in the ninth Nemean ode, serving the interests of the 147 Iaudandus. ----------------------- ---------------------------------------------------------- ------- 3.1.4 Praise for the laudandus in the ninth Nemean ode--------- --_________M_-____149 3.1.4.1 Praise for Aetna. 150 --------- 152 3.1.4.2 The myth in the ninth Nemean ode. ----------------------- _------------ ------ _ 3.1.4.3 Praise for the laudandus 153 . ----________________-________- -- - ----- 157 3.1.5 Praise for the laudandus and Sicily in the first Nemean ode. -------------------- 3.1.5.1 Praise for Sicily. ------ _-__-------- _ 159 160 3.1.5.2 Praise for the laudandus. --------------------------------- 164 3.2 Pindar's sixth Olympian ode for Hagesias of Syracuse. ---------------_________ 164 3.2.1 Introduction. ----------------------------------------------------------------------------- 6 3.2.2 Occasion and circumstances of the first performance of the ode. -------------- 165 3.2.3 Hagesias' prosopography and consequences for the patron message of the 166 laudandus in the ode. ------------------------------------------------------------------------ ---- 3.2.4 The two mythical sections in Pindar's sixth Olympian ode. 171 171 3.2.4.1 The Adrastus myth ------------------------- ------------------------------------------ 174 3.2.4.2 The lamus myth. ----------------------------------__--------------------------------
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