The question asked by this thesis is twofold: first, what is the relevance and purpose of the generic prominence of the motif of παρθενία in the Greek novels of the first centuries A.D., and secondly, what is the broader significance of female virginity in ancient Greek literature. In order to answer this double question, the first part of the thesis examines in detail a number of literary texts from Early Greek Literature in which the theme of παρθενία is a central concern. Thus, a close reading of Homer’s Odyssey reveals the crucial role played by παρθενία in mapping imaginary spaces such as Scheria. A close reading of Sappho sheds light on the sense of continuation that exists between a girl’s premarital stage and her wedding and marriage, which will prompt a definition of Greek marriage as “the symbolic preservation of παρθενία.” In contrast, by focusing on unsuccessful, distorted weddings and marriages, Greek tragedy nonetheless upholds the necessity of a smooth, unbroken transition between virginity and the wedded state in order that a successful marriage be possible. The chapter on Aeschylus’ Suppliants focuses on the incomprehensibility of the concept of παρθενία from a non-Greek point of view, that of the pre-Greek daughters of Danaus and their suitors. The second half of the thesis moves forward five centuries and examines the generic relevance of παρθενία in the Greek novels. Most of these novels (including fragments) are interested in this theme, which appears to be associated with the double affiliation of the novels to fictional literature (generically in verse) and referential literature (generically in prose). Moreover, these novels stress the continuity between the premarital stage and marriage, as the discordant accounts of Lycaenion and the main narrator at the end of Longus’ novel about the effect of the wedding on the παρθένος imply. The final chapters devoted to Longus, Achilles Tatius, and Heliodorus highlight the complex connections between the virginity of the female protagonist, the descriptions of nature or created objects, the interest in the text as artifact and the auctorial distancing.

The question asked by this thesis is twofold: first, what is the relevance and purpose of the generic prominence of the motif of παρθενία in the Greek novels of the first centuries A.D., and secondly, what is the broader significance of female virginity in ancient Greek literature. In order to answer this double question, the first part of the thesis examines in detail a number of literary texts from Early Greek Literature in which the theme of παρθενία is a central concern. Thus, a close reading of Homer’s Odyssey reveals the crucial role played by παρθενία in mapping imaginary spaces such as Scheria. A close reading of Sappho sheds light on the sense of continuation that exists between a girl’s premarital stage and her wedding and marriage, which will prompt a definition of Greek marriage as “the symbolic preservation of παρθενία.” In contrast, by focusing on unsuccessful, distorted weddings and marriages, Greek tragedy nonetheless upholds the necessity of a smooth, unbroken transition between virginity and the wedded state in order that a successful marriage be possible. The chapter on Aeschylus’ Suppliants focuses on the incomprehensibility of the concept of παρθενία from a non-Greek point of view, that of the pre-Greek daughters of Danaus and their suitors. The second half of the thesis moves forward five centuries and examines the generic relevance of παρθενία in the Greek novels. Most of these novels (including fragments) are interested in this theme, which appears to be associated with the double affiliation of the novels to fictional literature (generically in verse) and referential literature (generically in prose). Moreover, these novels stress the continuity between the premarital stage and marriage, as the discordant accounts of Lycaenion and the main narrator at the end of Longus’ novel about the effect of the wedding on the παρθένος imply. The final chapters devoted to Longus, Achilles Tatius, and Heliodorus highlight the complex connections between the virginity of the female protagonist, the descriptions of nature or created objects, the interest in the text as artifact and the auctorial distancing.

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.

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.