Pindar: Pythian Eleven by P. J. Finglass

By P. J. Finglass

Show description

Read or Download Pindar: Pythian Eleven PDF

Best ancient & medieval literature books

The Irish classical self : poets and poor scholars in the eighteenth and nineteenth centuries

The Irish Classical Self' considers the position of classical languages and studying within the building of Irish cultural identities within the eighteenth and 19th centuries, focusing specifically at the "lower ranks" of society. This eighteenth century concept of the "classical self" grew in part out of influential identification narratives built within the 17th century by way of clerics at the eu continent: responding to influential evaluations of the Irish as ignorant barbarians, they released works demonstrating the price and antiquity of indigenous tradition and made conventional annalistic claims in regards to the antiquity of Irish and connections among eire and the biblical and classical global largely recognized.

Extra info for Pindar: Pythian Eleven

Sample text

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.

Download PDF sample

Rated 4.73 of 5 – based on 24 votes