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  • Author or Editor: Adorjáni Zsolt x
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In this paper I scrutinize the origin of the concept of dreams influenced by mens’ daylightexperience. To this end I showcase some texts from Hellenistic literature until English Renaissance which to my mind can be brought into connection with each other in terms of realism of dream-vision. By looking on the common traits one can arrive at the conclusion that the dream-realism is a concept which first became popular in the Hellenism and it was from there that it took its long way through ages.

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In this paper I analyse two Pindaric poems in order to detect similarities in the imagery. The central motifs turn out to be strong optical metaphors that cluster around the extremes of light and darkness. Furthermore, these motifs support the same poetic message in both poems: The notion of victory bringing about harmony and equilibrium in the life of the victor. The artistic expression of this is the equinox in the Second, the new-moon ( synodos ) in the Third Olympian Ode. Therefore, the much controverted question of pythagorean-orphic influence in the Second seems to be futile, since the underlying system does not obey the rules of philosophy, but of poetry. Its meaningfulness is provided not by philosophic concepts, but by poetic vision.

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This paper aims to reexamine the arguments concerning the three main problems of the fragmentary Euripidean tragedy Phaethon , i.e. what character and conflict lies behind Phaethon's excessive reluctance to the marriage; who the mysterious bride is; and finally, what kind of exodos fits in the dramatic context on the basis of the fragmentary textual evidence. In my discussion Goethe's reconstruction is dealt with closely; moreover, the poet's suggestions prove to be valuable not only artistically, but philologically as well. Some personal bias of his treatment nevertheless hints at a new articulation of the Phaethontic character in the Euphorion-episode of FaustII and a general reevaluation of the hybris-drama.

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A homérosi Hermés-himnusz (h.Merc.) befejező részében Hermés és Apollón Zeus parancsára Pylosba sietnek, ahol az ellopott marhák (402) és a levágott állatok maradványai (403) is előkerülnek. Apollón elképed Hermés ereje láttán (406 sk.), és próbára teszi fizikai képességét: ὣς ἄρ᾽ ἔφη καὶ χερσὶ περίστρεφε καρτερὰ δεσμὰ ἄγνου·ταὶ δ᾽ ὑπὸ ποσσὶ κατὰ χϑονὸς αἶψα φύοντο αὐτόϑεν ἐμβολάδην ἐστραμμέναι ἀλλήλῃσι ῥεῖά τε καὶ πάσῃσιν ἐπ᾽ ἀγραύλοισι βόεσσιν Ἑρμέω βουλῇσι κλεψίφρονος∙(409–413)1

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Minden Pindaros-óda szembesít az egység mibenlétével, mely a Pindaros-kutatás talán legfontosabb kérdése. Ám minden költemény más és más módon egységes, s ez igaz a hatodik olympiai ódára is, melyet a költő egyik legnagyszerűbb versének szokás tartani. Jelen tanulmányban megmutatom, hogy az O. 6 egységét a költő (Pindaros) és a jós (Hagésias, a győztes és Iamos, a mondabeli ős) metaforikus párhuzama biztosítja, melynek alapja két, a költőre és a jósra egyaránt jellemző mozzanat: az isteni ihlet és kimondás-kifejezés pillanata. Ezek jelennek meg a jós (Iamos) elhivatásának leírásában (58–70), majd a költő saját tevékenységére reflektáló megnyilatkozásában (82–91), mely a vers legvitatottabb soraiban fogalmazódik meg. E magból sugárzanak szét a költő és a jós tevékenységének metaforái a győzelmi óda egészében.

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This paper scrutinizes a textually controverted passage of the Pindaric corpus. Previous attempts to solve the problem are reviewed and their shortcomings pointed out. The interpunction of Rose (1939) is adopted, yet with a minor conjecture (ἔχει〈ς〉) and a new interpretation of the metaphor ὀφΘαλμός. Beyond the textual improvement my aim is to contribute to the understanding of this very motif of intriguing complexity: the eye of the king.

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