This paper aims to
reexamine the arguments concerning the three main problems of the fragmentary
, 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
and a general
reevaluation of the hybris-drama.
. 5. 56–58 is one of the few highly controversial cruxes in Pindar, though it may be an interpretative and not a textual one. The kernel of the ambiguity is in the expression ὄπιζ ἐλπὶδων. After examining the various interpretations my paper analyses the concept underlying the rare and quaint word ὄπιζ from Homer on, which turns out to be a strong visual metaphor in Pindar as well. My reading of the passage:
nec labor ingens occaecatus est, nec tot sumptus, qui aciem spei excitaverunt
is examined within the context of the poem, and the relevance of the keen visual metaphor prevalent in Pindar’s whole poetry is elucidated.
The paper deals with some parts of the first, seventh, eighth and ninth book of the
that focus either on Pompey or Caesar. The aim of the analysis of these passages is to show that Lucan alluded to Latin as well as Greek poets in order to place the characters of his heroes in a wider literary and mythical context.
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 (
) 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.
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.
This paper attempts to solve a difficult textual problem in Pindar (N. 5. 43). Although the manuscripts concerning this verse are unanimous, editors tend to correct the passage. I, on the other hand, argue in favour of preserving the tradition in the sense: immo nuper delectat Neptunum ad gentem Pelei cognatam etiam nunc transgressum materterus tuus, Pythea. Implications of the suggested new interpretation are presented.
Eustathios, the illustrious scholar and clergyman of the 12th century AD, wrote a commentary to Pindar’s epinician odes, from which only the proem survives. Eustathios treatment of the lyric poet, his ideas and criteria of literary criticism have not been re-assessed since Kambylis’ interpretation and text edition (1991). The aim of this paper is to supply this re-evaluation. Besides, a new Homeric allusion and some evidence for Eustathios’ productive imitation of Pindar’s style are dealt with.
Every Pindaric ode poses the question of literary unity, which is the main issue of Pindaric scholarship. But every ode presents a specific form of unity, and so does the Sixth Olympian, one of Pindar’s most accomplished poems, whose ways of achieving unity are the chief concern of this paper. I argue that unity in O. 6 comes about by dint of a metaphoric parallel between the poet (Pindar) and the prophet (Hagesias, the victor, and Iamos, the mythic protagonist). This parallel is based on two significant moments, which are typical of both the prophet and the poet: the moment of inspiration and that of the utterance (of the oracle viz. poem). The same moments are brought to the fore in vv. 58–70 concerning the prophet Iamos, then in vv. 82–91 (the main stumbling block in the interpretation of the poem) concerning the poet Pindar. From this core metaphors of prophetic-poetic activity permeate the whole epinician ode.
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.