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My thesis then provides a text and commentary for each fragment. For the papyrological fragments, my text is based upon a first-hand examination of the original papyri, which has allowed me to edit the fragments based on what has actually survived from Ibycus and his commentators. I have produced my own translation for the fragments. My commentary then provides a short introduction to each fragment, which provides an overview of the poem and a consideration of its metre, genre and occasion. This is followed by notes paying special attention to Ibycus' choice of vocabulary, style and subject matter. Throughout my commentary, I have given particular consideration to Ibycus' use of myth and the way that his poems combine different elements of narrative, emotional expression and praise.

Time is assigned a central place in Pindar's 'Epinicians'. The overriding concern of encomiastic poetry is to confer immortality on the victor's name, his family and city, and Pindar constantly emphasizes the need to transcend the fragmented and transient human chronos and inscribe the athletic victory on the complete and eternal chronos of the gods. In addition to this, however, Pindar also seeks to transform the performance per se into a unique experience for his audience; on the one hand, his song unveils and manifests the divine plan that lies behind the phenomenological contingency of human temporality, on the other, it serves to collapse past, present, and future thus transforming the performative 'here and now' into an 'eternal present'. The thesis examines the means by which both the metaphorical 'immortalization' of the laudandus and the collapse of the three temporal dimensions are achieved, taking a close look at the various 'times' we come across in Pindar's poetic oeuvre: cosmic, human, historical, narrative, generic, prophetic and performance time. How does Pindar represent chronos? What is the place of 'human temporality' in relation to 'superior' modes of existence? What is Pindar's vision of history? How does he reconstruct the past and why? What temporality does his narrative serve to set up and how does this relate to his view of time and the temporality of the lyric genre? How do prophecies work in the Epinicians? How does the performance affect the audience's experience of time? These are some of the questions that this thesis will attempt to explore and discuss. As will become clear, throughout his poetry Pindar is concerned not only to underline his poetry's role in the preservation and dissemination of a victor's kleos but also to present himself as a maître du temps.

The thesis comprises an investigation of three aspects of sentence structure in Classical Greek (henceforth CG) dramatic poetry: order of the main sentence elements (subject, verb, and object) within the clause, the emphatic position at the start of the clause, and the structure of inter-clausal linking. It is argued that these three features, usually considered separately, are interdependent, and that intra-clausal word order is directly related to the structure of compound and complex sentences. The discussion undertakes a systematic survey of subject, verb, and object order in a corpus of texts, proposes an explanation for the observed order, and develops a model which explains how prominence within the clause is exploited in clause linking to produce the complement structures observed in Homeric and tragic complementation.