... and represented by other segments of society, then and now. METHODS Pindar's Third Pythian Ode from the first quarter of the 5th century BCE was investigated with reference to other classical sources to understand the contemporary portrayal of ancient physicians. RESULTS The Greek hero Asclepius is often...

... by Aeschylus (and possibly Phrynichus). Sicily was a major destination for all poets at this time (including Simonides and Pindar) largely because of the patronage of the tyrants of Syracuse and Acragas. It is no surprise that Aeschylus also made the journey west. Finally, it shows why the Aetnaeae...

... interpretation. Gone is the evocative music of the noun-and-epithet phrases in favour of adjectival predication. A section on ‘Prosodic Agreement’ showcases accentual rhyme in the strophic systems of Pindar’s Olympian 1 and three heuristic principles for the choreographic analysis of lyric verse...

...This chapter presents a synthesis of discussions in the preceding chapters. It argues that classical scholarship has generally sought to evaluate Bacchylides negatively by placing him side by side with Pindar and aestheticizing the poetry and separating it from the contexts in which...

...The central claim advanced in this chapter is that significant connections between rhythm and semantic content form an important and under-examined stylistic feature of Pindar’s dactylo-epitrite epincians. In particular, the chapter focuses on passages in which sonic and rhythmical features express...

...The introduction situates this work within scholarship and outlines an approach to some larger issues including literature, literary history, canons, periodization, and historical contexts. It then broaches the question of how Pindaric epinician related to its public and offers a preview...

... of Pindaric epinician as simultaneously an utterance forming part of a transitory revel and an enduring artefact. Isthmian 4 highlights a paradox central to Pindaric epinician: the poem succeeds in its original setting by promising to transcend it. One understands this ode best...

...This chapter examines the interplay between first performance and subsequent reception in fifth-century lyric and especially in Pindar’s epinicians. It describes how poems trace their own travels from unrepeatable event to perpetuated artefact and draws conclusions about the shape of the literary...

...This chapter explores the beginnings of epinician in history and as represented in Pindar’s odes. We may enrich our understanding of his victory odes by investigating how he presents the past of his genre and situates himself within contemporary practices. Section 1 investigates the historical...

...Chapter VII discusses epinician as a living social practice in Pindar’s day. By assembling clues from across his corpus one can see further into a cultural and literary context which shapes the meaning of many passages and indeed the significance of Pindar’s authorial project as a whole. The texts...

...This work is concerned with Pindar and archaic Greek literary culture. Part One discusses Pindar’s relationship to his audiences. It demonstrates how his victory odes address an audience present at their premiere performance and also a broader secondary audience throughout space and time. I argue...

... “dissolution” of an entire fatherland. At the extreme, however, the language of Aetna’s flames is unspeakable. For beneath Aetna lies Zeus’ last Titanic rival, the fire-breathing Typhon, who has a hundred heads and at least as many tongues, as Hölderlin knew from Hesiod and Pindar. The pure possibility...

...) by Coleridge, Godwin, Thelwall, Peter Pindar (John Wolcot), James Gillray, Thomas Beddoes, and others. Despite this loud public outcry, the Gagging Acts received Royal Assent on 18 December 1795. The “deathlike silence” that Coleridge shuddered to predict in his assessment of the repressive measures did indeed...

...This chapter evaluates two renowned poets: one, Archilochus, who lived in the early Archaic age of Greece, and the other, Pindar, who lived at its close and on into the time we call Classical. Their audiences and their modes of performance may have differed, but the two poets spoke the same...

... that reinforced the popular impact of this art form. Solon and other politicians used music, while Pindar and other poets introduced political motifs into performances of their works. In Power’s view, the generally accepted notion that early Greece was a “song culture”—differing in this respect from ancient...

...This chapter argues that Pindar’s Paean 9 creates a complex relationship between enunciative and performative situations. This complexity is pragmatic, but is also informed by the poem’s intertextuality, its construction of voice, and its self-consciousness about its status...

... and lyric authors (Sappho, Alcaeus, Pindar), the volume includes treatments of the relationship between lyric and the Homeric Hymns. Building on the renewed concern with the aesthetic in the study of Greek lyric and beyond, Textual Events re-examines the relationship...

... knowledge local Miletus Onchestos Strymon River Teneric Plain Thrace agriculture Dirke River Herakles Kadmeia Kadmos Melia River Alexander the Great Persian War Plataia Anthedon Koroneia Pindar Plutarch Polybios vegetarianism Dietler Michael identity of place Nikias of Megara pottery...

...In The Life-Giving, the last of the nine Pindar Fragments Hölderlin translated between 1803 and 1805, the myth of the Centaurs as wild, brutal creatures is transfigured into what appears to be a straightforward narrative of the movement of rivers, symbolizing the ritual foundation...

...This chapter reveals what happens when a seer is included in a foundation and the poetic maneuvers required to effect this incorporation. I consider both the broader historical and political significance of Pindar’s description of the seer Hagesias in Olympian 6...