Inaug.-Diss.--Köln. / Vita. Bibliography: p. 139-143.

This thesis examines the quotations from Pindar in the orations of Aelius Aristides. Aristides holds an important place among Imperial age writers, exemplifying in their finest the prominent trends of the age of the Second Sophistic: through his Atticistic prose and archaistic tendencies, his impressively erudite grasp of Greek literature of the past and an elevated Isocratean view of the orator's educational and moral duties, all of which are revealed in the abundance of carefully selected passages from the classical literature, Pindar being among his most preferred classical authors. Aristides quotes extensively from Pindar, being one of our most important sources of quotations from the lyric poet, contributing much to our knowledge of Pindar's work otherwise lost. His exemplar antedates the archetype of the Byzantine Mss tradition, giving his testimony ancient authority and offering important insights into the state of the Pindaric text before the selection made in the late second century AD. He not only quotes verbatim expressions or verses from Pindar, but also selects words and paraphrases verses and passages. This thesis shows that he is often working from an original copy of Pindar and that he is also drawing on ancient ύπομνήματα and a variety of other sources. It examines various aspects of Aristides' quotations from classical authors, and the principles and techniques according to which he quotes Pindar. I have also tried to define the nature of the possible sources from which Aristides quotes Pindar: original edition, paraphrase, anthologies, ύπομνήματα, etc. The main body of the thesis takes the form of comparative discussions of Pindaric quotations cited in Aristides' orations. They illustrate Aristides' habits of adapting Pindar's words to both the style and the purpose of his own orations. In those quotations for which we have Mss and papyrological support it is obvious that Aristides often recasts Pindar's text in order to meet some part of his rhetorical agenda or to suit his idiom. He quotes Pindar for ornamental and for argumentative reasons. His frequent allusions to Pindaric odes serve the yearning of the Imperial authors to show true Greek παιδεία, of which Pindar was an indispensable part while the well documented affinity between poetry and epideictic rhetoric is clearly manifested. Aristides' encomiastic and hymnal praises (both verse and prose hymns) are modelled on Pindar's elements of hymnal composition. The thesis aims to show that Pindaric quotations serve not only to improve stylistically and to add to the finesse of Aristides' composition but also in a functional way, as an authoritative aid to the rhetorical arguments at hand, not least among which was the 'apologetic' argument for the value and authenticity of rhetoric as an art against the long standing accusations by its eternal rival, philosophy.

No description available.

No description available.

Pythian 4 is Pindar's grandest ode. It was commissioned along with Pythian 5 to celebrate the chariot victory at Delphi of Arcesilas IV of Cyrene. The lengthy myth of Pythian 4 narrates the tale of Jason and the Argonauts, long established in the Greek mythic tradition. Pindar's treatment of this tradition to create his myth is examined. It reveals much about his aims in writing the ode, in particular in the characterisation of his hero, Jason, and his opponent, Pelias. The poem's structure and the narrative technique employed in the myth are also examined. A remarkable feature of Pythian 4 is its epic flavour. Analysis of Pindar's production of this effect reveals many different devices which would remind his audience of epic, not least a singular concentration of epic language in the ode. The epilogue of Pythian 4 refers to the contemporary political situation in Cyrene. The poet's presentation and use of this material is assessed in the light of his treatment of contemporary allusions elsewhere in the odes. The complex relationship between the two odes for Arcesilas is considered in the light of other double commissions. Pythian 4 contains an unusual plea for an exile, Damophilus. He may have paid for the ode. The unusual features of Pythian 5 are examined: an extraordinary tribute to Arcesilas' charioteer, Carrhotus; vivid and numerous details of the topography of Cyrene and details of religious cult practice there. Pythian 5 also raises the question of the identity of the first person in Pindar. The poet's treatment of Cyrenean history, especially the figure of Battus, the victor's ancestor, who features in the myths of both odes, is also considered.

Thesis--Copenhagen. / At head of title: De recentiorum interpretatione pindarica. "Argumentum": p. [313]-326.

New version of author's dissertation, Universität Erlangen-Nürnberg, Erlangen. / Bibliography: p. xiii-xvi.

Inaug.-Diss.--Frankfurt am Main. / Vita. Bibliography: p. 70-71.

Inaug.-diss.--Leipzig. / "Vorliegende arbeit wurde ... 1936 von der Philologisch-historischen ebteilung der Philosophischen fakuliät der Universität Leipzig als dissertation genehmigt."--Vorwort. Lebenslauf. "Literaturverzeichnis": p. [124].

This professes to be a poetic commentary to the Nemean odes of Pindar. It argues for a re-evaluation of this poet's epinikia as poetry and has taken as its principal focus the stuff that is critically ignored or devalued. Much that Pindar writes is difficult in that it is at once dense and dynamic, obedient to the strictures of a genre and yet never ruled by them. He invites commentary and scholars have for the most part centred their considerable efforts on decoding genius. There is as much literature on the poet and his relatively inaccessible work as there is an absence of poetic appreciation of it. The desire for a system of language, a master decoder of metaphor, imagery and thought processes, and the desire to find unity of thought, for Grundgedanken , for correspondences, structural parallels and polarities is the engine that drives the philologist reading these odes. But Pindar defies system.