Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 60-63). Also available via the World Wide Web.

Although Pindar’s victory songs, or epinikia, were commissioned and performed to celebrate athletic victories, they present persistent reflections on the narrow limits of human prosperity, the inexorable cycle of success and failure, and the impossibility of appropriating any aspect of a godly nature. The present work provides a close reading of the Pythian series to illustrate how Pindar uses prayer, myth and gnomai to secure the moral and psychological reintegration of the athletic victor back into his close-knit community upon his homecoming (νόστος). As a re-integration rite, the challenging and dark elements of mortal limitation and failure are read as prophylactic statements against the destructive effects of hybris (ὕβρις). The Odes rest upon an archaic cosmology of reciprocal and harmonious exchange between humans themselves and between humans and the gods which is captured by the principle of charis or grace (χάρις). Ὕβρις is a breach of this reciprocity and the antithesis of χάρις since it is the unilateral claim of property, prestige, or privilege as well as the transgression against the divine dispensation which governs the cosmos (κόσμος). Modern psychological research shows how such concern for, and such precaution against, ὕβρις may be prudent given that victory fosters a drive for dominance. / Graduate / 0294 / gebeauva@uvic.ca

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Thesis (Ph. D.)--Harvard University, 1976. / Includes bibliographical references.

This thesis examines the reception of Pindar's epinicians in the Hellenistic period, and specifically the role played by the book in shaping readerly experience.

This dissertation examines the surviving remains of the two books of Pindar’s Prosodia. The introduction falls into four parts. The first is concerned with gathering the evidence for the books, through a review of their ancient testimonia (Chapter 1) and of the indirect and direct transmission of their fragments (Chapter 2); the second is concerned with the prosodion as a poetic genre, with some introductory remarks (Chapter 3) followed by an investigation of the collected evidence for the notion of prosodion in describing poetic texts (Chapter 4) and in later scholarship and generic theory (Chapter 5); the third combines the results of the first two into an analysis of the surviving fragments of Pindar’s Prosodia and an inquiry on the generic principles that shaped the collection (Chapter 6); the fourth consists of a descriptive catalogue of the papyrus manuscripts that contribute to the text of Pindar’s Prosodia (Chapter 7). The critical text of the eighteen main fragments and groups of fragments is followed by an introduction and line-by-line commentary to six of them, nos. 1, 2, 3, 5, *6, and *7 (= fr. 89 Snell-Maehler and ‘Paeans’ 14, 15, 6.123-183, 17, and 18).

O presente estudo descreve e caracteriza três dos gêneros poéticos que, segundo a tradição, teriam sido praticados por Píndaro: o hiporquema, o partênio e o prosódio. Essa descrição foi realizada, principalmente, a partir do estudo dos testemunhos dos autores antigos, da análise dos fragmentos remanescentes desses gêneros e da discussão do conhecimento acumulado pela crítica moderna com relação ao tema. Buscou-se identificar o que é cada um desses gêneros, suas origens, as diferenças e semelhanças com relação aos demais gêneros mélicos, sua funçao, finalidade, ocasião na qual eram executados e os principais autores que os praticaram. Além disso, foi realizado um comentário detalhado de cada um dos fragmentos pindáricos supérstites classificados nesses gêneros, destacando questões relacionadas com as dimensões poética, histórica, mítica, lexical, da tradição textual, gramatical e métrica, buscando, quando possível, uma interpretação ao mesmo tempo pormenorizada e completa de cada fragmento. Adicionalmente, discutiu-se a classificação, pelas fontes antigas, desses fragmentos nos gêneros estudados. Por fim, foi realizada uma tradução dessas odes para o português. / This study describes and characterizes three of poetic genres which, according to tradition, had been practiced by Pindar: hyporchemata, parthenia and prosodia. The description was mainly carried out from the study of the testimonies of ancient authors, from the analysis of the remaining fragments of these genres and from the discussion of knowledge accumulated by modern criticism on the issue. We sought to define what each of these genres, its origin, its basic characteristics, differences and similarities with respect to the other melic genres, purpose, occasion for which were made, the situation in which they were executed and the main authors who practiced them. In addition, we performed a detailed comment of pindaric fragments classified in these genres, highlighting issues related to the poetic, historical, mythical, lexical, textual and metrics dimensions, seeking to interpret each fragment. Additionally, it was discussed the classification, by ancient sources and the modern editors, of these fragments in the genres studied. Finally, we performed a translation of these odes to the Portuguese.

Este trabalho consiste em um estudo métrico e rítmico das Odes Píticas de Píndaro, bem como uma tradução desses mesmos poemas com o objetivo de reproduzir os aspectos métricos e rítmicos identificados durante o estudo. Trata-se, portanto, de uma abordagem que privilegia não o sentido, como se faz de costume no âmbito acadêmico, mas, sim, alguns elementos formais bem específicos (o metro e o ritmo), os quais são caros ao tema central da tese que defendemos: a da unidade rítmica nos epinícios aqui estudados. / This work is comprised of a metrical and rhythmical study of Pindar\'s Pythian Odes, as well as a translation of said poems with a view to reproduce the metrical and rhythmical aspects that were identified during the study. Hence, this approach focuses not on the meaning of the poems, as it is usually done in the academy, but on specific formal elements (meter and rhythm) that are dear to this thesis\' central theme: the rhythmic unity of these victory odes.

No presente trabalho são analisadas as citações de Píndaro (e menções ao poeta) supérstites em Platão. O estudo dessas citações é uma das chaves para a compreensão da relação do filósofo com a poesia. Os principais diálogos, nos quais são encontradas as referências ao poeta, são a República, o Mênon e o Górgias. A utilização de um texto em um contexto diferente já é uma interpretação daquele texto. Os versos pindáricos são analisados no contexto do diálogo, a fim de ser compreendida a função específica da citação e a interpretação que o filósofo apresenta do texto poético. / The present work analyses the quotes from Pindar (and references to the poet) that survive in Plato. The study of these quotations is one of the keys to understanding the relationship of the philosopher with the poetry. The main dialogues in which the references to the poet are found are the Republic, Meno and Gorgias. The use of a text in a different context is already an interpretation of that text. The verses of Pindar are analysed in the context of the dialogue, so that the specific function of the quotation and the philosopher\'s interpretation of the poetic text may be understood.

No presente trabalho são analisadas as citações de Píndaro (e menções ao poeta) supérstites em Platão. O estudo dessas citações é uma das chaves para a compreensão da relação do filósofo com a poesia. Os principais diálogos, nos quais são encontradas as referências ao poeta, são a República, o Mênon e o Górgias. A utilização de um texto em um contexto diferente já é uma interpretação daquele texto. Os versos pindáricos são analisados no contexto do diálogo, a fim de ser compreendida a função específica da citação e a interpretação que o filósofo apresenta do texto poético. / The present work analyses the quotes from Pindar (and references to the poet) that survive in Plato. The study of these quotations is one of the keys to understanding the relationship of the philosopher with the poetry. The main dialogues in which the references to the poet are found are the Republic, Meno and Gorgias. The use of a text in a different context is already an interpretation of that text. The verses of Pindar are analysed in the context of the dialogue, so that the specific function of the quotation and the philosopher\'s interpretation of the poetic text may be understood.