Bibliography Alexiou, M. 1974. The Ritual Lament in Greek Tradition. Cambridge. Allen, T. W., ed. 1912. Homeri Opera V (Hymns, Cycle, fragments, etc.). Oxford. ———. 1924. Homer: The Origins and the Transmission. Oxford. Allen, W. S. 1973. Accent and Rhythm. Prosodic Features of Latin and Greek: A Study in Theory and Reconstruction. Cambridge. … Read more
Appendix: A Comparative Survey of Pindar’s Meters §1. In what follows, I offer a diachronic study of the two major types of meter inherited by Pindar, the so-called Aeolic and the dactylo-epitrite. My goal is to show the affinities between these meters in Greek song and the three major types of meter in Greek poetry, namely, the dactylic hexameter, the elegiac distich, and the iambic trimeter. Read more
14. Pindar’s Homer §1. As a lyric poet who flourished in an age when emerging patterns of individual power within the Greek polis had already established corresponding patterns of individualism, marking the poet as well as the poet’s powerful patrons, Pindar was an author. [1] As a figure who served to connect the heroic past with the present, he was a master… Read more
13. The Genesis of Athenian State Theater and the Survival of Pindar’s Poetry §1. In the roughly defined chronological span of 650 to 450 B.C. covering the era of the nine canonical lyric poets, [1] Pindar is not only the latest but also the best known for what we have been calling occasional poetry and song. Close behind him are his near… Read more
12. Authority and Authorship in the Lyric Tradition §1. Having compared the authority of Pindar’s traditions in song with the authority of traditions in poetry and prose, we are ready to consider the actual medium of Pindaric song as a key to understanding the concept of authorship in lyric poetry. So far we have concentrated on the epinician tradition represented by Pindar. But now we must situate… Read more
11. The Ainos as Song or Speech: Pindar and Herodotus III §1. On the level of content, we have seen some striking similarities between Pindaric song and Herodotean prose in conveying a moral message about the realities of wealth, power, and prestige. The actual tradition of such a moral message can be summed up in one word, ainos, a premier term of self-reference in the epinician medium… Read more
10. The Charms of Tyranny: Pindar and Herodotus II §1. The paradigm of the tyrant in Herodotus is clearly a negative concept, serving as a foil for the moral message of historiā. Yet in the case of the archetypal tyrant figure, Croesus the Lydian, the perspective is not exclusively negative. There are positive sides to the traditional concept of Croesus the Tyrant, and the balancing of his… Read more
9. The Authority of Historiā and the Sign of the Hero §1. The juridical aspect of Herodotean narrative—that it can establish who is aitios ‘responsible’ for the ultimate struggle between Hellenes and Persians—is articulated already in the prooemium of the Histories, in that the purpose of the entire narrative is said to be an inquiry into the aitiā ‘cause’ of that struggle. [1]… Read more
8. The Authoritative Speech of Prose, Poetry, and Song: Pindar and Herodotus I §1. The historiā ‘inquiry’ of Herodotus, like the ainos of epinician poets like Pindar, claims to extend from the epic of heroes. Like the ainos of Pindar, the historiā of Herodotus is a form of discourse that claims the authority to possess and control the epic of heroes. I propose to support these assertions… Read more
7. Pindar and Homer, Athlete and Hero §1. Having observed how epic and the ainos of praise poetry can converge as well as diverge, we have begun to appreciate how the convergent kleos of Pindar’s epinician lyric poetry may momentarily collapse the distinction between hero and victorious athlete. Perhaps the clearest example that we have seen so far is Nemean 9.39–42, where the kleos of the hero… Read more
