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Journal articles on the topic 'Pythian odes (Pindar)'

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Published: 23 February 2023

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1

Instone, S. "Pindar I: Olympian Odes, Pythian Odes; Pindar II: Nemean Odes, Isthmian Odes, Fragments. W H Race (ed., trans.)." Classical Review 48, no. 2 (February 1, 1998): 264–65. http://dx.doi.org/10.1093/cr/48.2.264.

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2

De Decker, Filip. "The augment use in the five oldest Odes of Pindar." Humanitas, no. 77 (June 28, 2021): 9–24. http://dx.doi.org/10.14195/2183-1718_77_1.

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In this short article I discuss the augment use in Pindar's five oldest Odes (based on the text of the editions by Snell & Maehler' in the Teubner and Race in the Loeb), namely Pythian 10 (498 BC), Pythian 6 (490), Pythian 12 (490), Olympian 14 (488, if correctly dated) and Pythian 7 (486). As the augment use in Pindar has never been studied in detail before and commentaries often do not mention it, I use the observations made for epic Greek as basis, more specifically that the augment is used to refer to foregrounded actions and actions in the recent past, and that it remains absent when actions in a remote or mythical past are related. I start by outlining these observations, then I determine which (un)augmented forms in Pindar are secured by the metre (the transmission of Pindar's Odes has not been unproblematic) and at the end apply the epic observation to the metrically secure forms of these five Odes. My investigation will show that the verb forms referring to the near-deixis (the victor's deeds, his origins and those of his city and the mythical characters with whom he is compared), are augmented, whereas the forms referring to other (mythical) actions remain unaugmented, but, as was the case with epic Greek, there are nevertheless also exceptions.

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3

Instone, S. J. "Pythian 11: did Pindar err?" Classical Quarterly 36, no. 1 (May 1986): 86–94. http://dx.doi.org/10.1017/s0009838800010557.

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Pythian 11 is usually reckoned to be a particularly problematic Pindaric ode. I hope to show that it is not, and in the process make some points which will have a bearing on interpretation of some of Pindar's other odes. Rather than go through the whole poem step by step, I shall concentrate on the main problems and on some particular passages.The most disputed problem is the myth. What is the relevance of the story of Agamemnon's return from Troy, his murder by Clytemnestra, and her murder by Orestes, all of which takes up the central part of the poem? The myth appears even more irrelevant because after telling it Pindar seems to acknowledge that it was a mistake to have told it in the first place. What does he mean by saying (lines 38–40) that he went off course when he told it?The second major problem comes after the myth and again concerns Pindar's apparently veering off suddenly into irrelevance. No sooner has he catalogued the victories of the winner's family than he launches into a denunciation of tyrannies and announces his support of moderation (lines 52–3). Why does he do that?The poem ends, after the social and political comments, with an epode devoted to Castor and Polydeuces, Spartan heroes, and the Theban hero Iolaos. Are they a sign that Pindar puts his hope in an alliance of Thebes with Sparta to win freedom from Athens? And was Pindar in the myth ‘telling us not only what Thrasydaios of Thebes the victor is, but also what he is not: he is not exposed to the kinds of peril that plagued the great house of Atreus?’

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4

Antunes, Leonardo. "O uso da sonoridade nas Odes Píticas de Píndaro." Nuntius Antiquus 5 (June 30, 2010): 44–56. http://dx.doi.org/10.17851/1983-3636.5..44-56.

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In this article, we will attempt to analyse certain aspects of Pindar’s style through the study of a few figures of speech that were used by the poet in the Pythian Odes. We will also strive to understand the way by which those structural elements, mostly tied to sound, interact with the remaining aspects and content of those poems. During that analysis, it will become clear that, when studying a poet of great genius such as Pindar, one must read the text and see it through its own rules and, conversely, not by those commonly applied to similar types of poetry.

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5

Potamiti, Anna. "THE THEME OF HOSPITALITY IN PINDAR'S FOURTH PYTHIAN." Greece and Rome 62, no. 1 (March 25, 2015): 1–11. http://dx.doi.org/10.1017/s0017383514000205.

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The relevance of Pindaric myth to its literary and historical context is a problem presented by many of Pindar's odes. In the case ofPythian4 it is the plea for the return of Damophilus that has proved difficult to relate to the myth of the Argonautic expedition – so much so, that some scholars have denied that any connection exists between the myth and this part of the ode. Those who seek to establish a correlation between the myth and the plea have, for the most part, considered parallels between the relationship, circumstances, and character traits of Jason and Pelias and those of Arcesilas and Damophilus. The limitations, however, of looking for exact correspondence are generally acknowledged. Carey in particular postulates that Pindar ‘simply presents in the myth a number of themes, any or all of which may be applied to the situation in Cyrene’. It is the contention of this article that the theme of hospitality, as it develops in the myth, is central to understanding the relevance of the myth to the plea for Damophilus.

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6

Pfeijffer, I. "Pindar: Selected Odes: Olympian One, Pythian Nine, Nemeans Two & Three, Isthmian One. S Instone." Classical Review 48, no. 2 (February 1, 1998): 262–63. http://dx.doi.org/10.1093/cr/48.2.262.

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7

Antunes, Leonardo. "O uso da sonoridade nas Odes Píticas de Píndaro." Nuntius Antiquus 5 (June 30, 2010): 44. http://dx.doi.org/10.17851/1983-3636.5.0.44-56.

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<p class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify; line-height: normal; mso-layout-grid-align: none;"><span style="font-family: Times-Roman; font-size: 10.5pt; mso-bidi-font-family: Times-Roman; mso-ansi-language: EN-US;" lang="EN-US">In this article, we will attempt to analyse certain aspects of Pindar’s style through the study of a few figures of speech that were used by the poet in the </span><em><span style="font-family: Times-Italic; font-size: 10.5pt; mso-bidi-font-family: Times-Italic; mso-ansi-language: EN-US;" lang="EN-US">Pythian Odes</span></em><span style="font-family: Times-Roman; font-size: 10.5pt; mso-bidi-font-family: Times-Roman; mso-ansi-language: EN-US;" lang="EN-US">. We will also strive to understand the way by which those structural elements, mostly tied to sound, interact with the remaining aspects and content of those poems. During that analysis, it will become clear that, when studying a poet of great genius such as Pindar, one must read the text and see it through its own rules and, conversely, not by those commonly applied to similar types of poetry.</span></p>

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8

A Journal of Classical Studies, Editors. "ILJA LEONARD PFEIJFFER, Three Aeginetan Odes if Pindar. A Commentary on Nemean V, Nemean III, & Pythian VIII. Rijksuniversiteit Leiden, 4 November 1996. Supervisors: C.M.J. Sicking, C. Carey." Mnemosyne 50, no. 6 (December 27, 1997): 764–66. http://dx.doi.org/10.1163/1568-525x_050_06-18.

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9

Instone, Stephen. "PindarA commentary on the Fourth Pythian Ode of Pindar. By B. K. Braswell. (Texte und Kommentare, 14.) Berlin and New York: de Gruyter, 1988. Pp. xiv + 448. DM 260. - (G. W.) Most The measures of praise: structure and function in Pindar's Second Pythian and Seventh Nemean Odes. (Hypomnemata, 83.) Göttingen: Vandenhoeck & Ruprecht, 1985. Pp. 235. DM 54." Journal of Hellenic Studies 110 (November 1990): 211–14. http://dx.doi.org/10.2307/631751.

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10

Agócs, Peter. "A COMMENTARY ON SELECTED ODES OF PINDAR - E. Krummen Cult, Myth, and Occasion in Pindar's Victory Odes. A Study of Isthmian 4, Pythian 5, Olympian 1, and Olympian 3. English translation by J.G. Howie . (Arca 52.) Pp. x + 346. Prenton: Francis Cairns, 2014 (originally published as Pyrsos Hymnon: festliche Gegenwart und mythisch-rituelle Tradition als Voraussetzung einer Pindarinterpretation, Isthmie 4, Pythie 5, Olympie 1 und 3, 1990). Cased, £75, US$150. ISBN: 978-0-905205-56-4." Classical Review 65, no. 1 (January 14, 2015): 13–15. http://dx.doi.org/10.1017/s0009840x14003035.

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11

Grethlein, Jonas. "Divine, Human and Poetic Time in Pindar, Pythian 9." Mnemosyne 64, no. 3 (2011): 383–409. http://dx.doi.org/10.1163/156852511x505097.

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AbstractThis paper argues that Pythian 9, hailed for its romantic charm, also throws into relief an aspect that is widely assumed to be absent from it, specifically the gap between men and gods. That is, differences between the praise for Telesicrates and the Apollo and Alexidamus myths indicate that the swiftness even of a Pythian victor does not compare with the immediacy with which gods realize their desires. Furthermore, a narratological reading, elucidating the ‘content of the form’, suggests that the ode’s temporal organization, particularly the aspects of order and duration, underscores the discrepancy between divine and human times.

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12

Giannachi, Francesco G. "Glosse d’epoca paleologa alle odi di Pindaro. Due casi di studio: Pyth. I–IV e Ol. XII." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 41, no. 1 (December 20, 2019): 155–93. http://dx.doi.org/10.1163/17246172-40010014.

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Abstract The paper deals with the linguistic typology and the manuscript tradition of the interlinear glosses to the Pindaric victory odes, and demonstrates that some glosses to Pindar’s Pythian odes (1–4) can be ascribed to Magister.

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13

Robbins, E., and Glenn W. Most. "The Measures of Praise: Structure and Function in Pindar's Second Pythian and Seventh Nemean Odes." Phoenix 44, no. 3 (1990): 276. http://dx.doi.org/10.2307/1088937.

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14

Pfeijffer, Ilja Leonard. "The date of Pindar's fifthNemeanand Bacchylides' thirteenth ode." Classical Quarterly 45, no. 2 (December 1995): 318–32. http://dx.doi.org/10.1017/s0009838800043421.

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Just about every odd year in the early fifth century B.C. has been proposed as the date of the Nemean victory of Pytheas from Aegina, celebrated in Pindar's FifthNemeanand Bacchylides' thirteenth ode. Scholars have attempted to date both odes with the help ofIsthmian6 and 5, which celebrate victories of a member of the same family and the latter of which at 48ff. refers to Salamis as a recent event. Various interpretations of the victory catalogues inI.6 and 5 have led to various dates forN.5 and B. 13. The fullest analysis of the material is that by Severyns, who argues thatN.5 and B. 13 must be at least seven years earlier than I. 5. In his conclusion (pp. 50–51), however, he still suggests three possible dates forN.5 and B. 13: 487, 489, and 485 B.C., in what he considers to be the order of likelihood.

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15

Rawles, Richard. "(E.) Krummen Cult, Myth, and Occasion in Pindar's Victory Odes: A Study of Isthmian 4, Pythian 5, Olympian 1, and Olympian 3 (English translation by J.G. Howie). Prenton: Francis Cairns, 2014. Pp. x + 346. £75. 9780905205564." Journal of Hellenic Studies 136 (2016): 191–92. http://dx.doi.org/10.1017/s0075426916000185.

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16

Norman, Max. "Genealogies of τέχνη." Mnemosyne, November 2, 2022, 1–23. http://dx.doi.org/10.1163/1568525x-bja10133.

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Abstract Although Pindar’s craft imagery has long been appreciated, scholars have paid relatively little attention to technê in particular, focusing instead on the apparently more elevated, and more Pindaric, sophia. Concentrating on the odes that narrate the origins of specific technai (Pythian 12, Olympian 7, Olympian 13), this paper questions the dichotomy between technical and ethical knowledge in Pindar. Far from dismissing technê as mere banausic craft, as his critics often do, Pindar consistently presents it as a means of promoting civic and even cosmic order. I conclude with a discussion of Pythian 3, where Pindar makes explicit the metapoetics implicit in the previous poems and figures his own activity as a sort of technê. In this light, Pindaric sophia, as the practice of technê within ethical limits, emerges as a relationship of the individual to the cosmos.

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