Diss.--Freiburg i. d. Schweiz, 1910.

Diss.--Freiburg i. d. Schweiz, 1910.

Thesis (doctoral)--University of Leipzig. / Vita.

Este trabalho apresenta uma tradução, seguida de comentários, das seis odes de Baquílides que chegaram aos dias atuais agrupadas sob o rótulo de ditirambos, embora essa classificação seja hoje objeto de debate. O estudo dos poemas tem como foco a sua linguagem, sobretudo a abundante ocorrência de epítetos que nela se nota, traço já reconhecidamente característico na obra de Baquílides. Procura-se por meio da observação detalhada de tais termos delinear traços peculiares do estilo do poeta, os quais contribuem para conferir, no mínimo, unidade estilística a um corpus díspar do ponto de vista da estrutura de cada ode. A partir do mesmo processo, pretende-se ainda analisar o modo como os epítetos em Baquílides dialogam com aqueles das demais tradições poéticas gregas, principalmente os da épica homérica. São considerados, enfim, também como ponto de contato com as tradições aparentemente privilegiadas pelo poeta, o tratamento que ele dispensa aos mitos gregos e as escolhas por ele feitas nesse sentido, questões que podem colaborar para nossa compreensão do gênero poético ao qual seus supostos ditirambos pertencem, a mélica coral grega. / This work presents a translation, followed by comments, from the six odes of Bacchylides which survived under the label of dithyrambs, although this classification is nowadays a disputed issue. The study of the poems focuses on their language, especially on the abundant occurrence of epithets that can be noted, a characteristic feature usually recognized in the work of Bacchylides. Through a detailed observation of such terms, we aim at outlining peculiar traces of the poet\'s style, which contribute to give, at least, a stylistic unity to a diverse corpus regarding the structure of each ode. Using the same process, we intend also to examine how the epithets in Bacchylides dialogue with the ones from other Greek poetic traditions, especially the ones from Homeric epic. We take under consideration, finally, as a point of contact with the traditions apparently privileged by the poet, the way he treats Greek myths and the choices he makes in this regard, things that may help our understanding of the poetic genre to which his alleged dithyrambs belong, the Greek choral melic.

Este trabalho apresenta uma tradução, seguida de comentários, das seis odes de Baquílides que chegaram aos dias atuais agrupadas sob o rótulo de ditirambos, embora essa classificação seja hoje objeto de debate. O estudo dos poemas tem como foco a sua linguagem, sobretudo a abundante ocorrência de epítetos que nela se nota, traço já reconhecidamente característico na obra de Baquílides. Procura-se por meio da observação detalhada de tais termos delinear traços peculiares do estilo do poeta, os quais contribuem para conferir, no mínimo, unidade estilística a um corpus díspar do ponto de vista da estrutura de cada ode. A partir do mesmo processo, pretende-se ainda analisar o modo como os epítetos em Baquílides dialogam com aqueles das demais tradições poéticas gregas, principalmente os da épica homérica. São considerados, enfim, também como ponto de contato com as tradições aparentemente privilegiadas pelo poeta, o tratamento que ele dispensa aos mitos gregos e as escolhas por ele feitas nesse sentido, questões que podem colaborar para nossa compreensão do gênero poético ao qual seus supostos ditirambos pertencem, a mélica coral grega. / This work presents a translation, followed by comments, from the six odes of Bacchylides which survived under the label of dithyrambs, although this classification is nowadays a disputed issue. The study of the poems focuses on their language, especially on the abundant occurrence of epithets that can be noted, a characteristic feature usually recognized in the work of Bacchylides. Through a detailed observation of such terms, we aim at outlining peculiar traces of the poet\'s style, which contribute to give, at least, a stylistic unity to a diverse corpus regarding the structure of each ode. Using the same process, we intend also to examine how the epithets in Bacchylides dialogue with the ones from other Greek poetic traditions, especially the ones from Homeric epic. We take under consideration, finally, as a point of contact with the traditions apparently privileged by the poet, the way he treats Greek myths and the choices he makes in this regard, things that may help our understanding of the poetic genre to which his alleged dithyrambs belong, the Greek choral melic.

This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.