By P. J. Finglass
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Extra info for Pindar: Pythian Eleven
I N T RO D U C T I O N (ii) The tripods in the treasury mentioned in lines – are taken to support her case: ‘si tratta della cella pi`u impenetrabile del tempio dove erano conservati i tripodi dedicati dai daphnephoroi’ (() ; cf. Pavese () ‘sono nominati i tripodi che i daphnephoroi dedicavano’, Sevieri () ). (iii) She identifies the Theban heroines with the chorus of the Daphnephoria: ‘le eroine non sono altro che la proiezione mitica di queste ragazze che intoneranno il loro canto in onore di Apollo, del daphnephoros e della sua famiglia’ (() ; cf.
Her account is thus a conflation of the two sources, although she does not point this out in so many words. See further Schachter () –, Anastase () –. Grenfell and Hunt () , , suggested that fr. (Paean = D Rutherford) and fr. l (Paean = A– Rutherford) were written for the Daphnephoria, but there are no good grounds for this in either case (cf. Rutherford ( ) and –). I N T RO D U C T I O N (ii) The tripods in the treasury mentioned in lines – are taken to support her case: ‘si tratta della cella pi`u impenetrabile del tempio dove erano conservati i tripodi dedicati dai daphnephoroi’ (() ; cf.
Cf. () , where he is still more sceptical). (iii) The alleged connexion between the group of heroines of the early part of the ode and the daphnephoric chorus is arbitrary. They have nothing in common beyond the fact that both consist of a plurality of singing females: for example, nothing suggests that the heroines are to be imagined as carrying suppliant branches. (iv) It is not licit to argue from other, foreign, festivals as to the time of day at which the Theban Daphnephoria was performed.