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Introduction

Published online by Cambridge University Press:  04 July 2014

Apostolos N. Athanassakis*
Affiliation:
University of California, Santa Barbara
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Extract

What we know of this poetry is woefully inadequate; nor can we ascribe this condition to the paucity of our texts; were a hundred odes to be unearthed tomorrow, we should proceed to assign their contents to the same complacent categories that are the badges of our present ignorance. In dealing with Pindar, misconceptions are the rule: the odes do not have a linear unity; the transitions are abrupt; the poet devotes much time to his personal preoccupations, triumphs and embarrassments, as well as to irrelevancies of other kinds. These myths have arisen from a failure to understand the conventional aspects of choral communication.

(Elroy L. Bundy on Pindar, Studio Pindarica I)

Type
Introduction
Copyright
Copyright © Aureal Publications 1992

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References

1. Burn, A. R., The World of Hesiod (London 1936, New York 1966), 86; also 36, 73, 80.Google Scholar

2. Ridgeway, William, The Early Age of Greece vol. 1 (Cambridge 1901), 406Google Scholar, and vol. 2 (Cambridge 1931), xxi and 354.

3. It is interesting to note that A. H. Rose’s view that ‘the Works and Days is in its intention a manual of practical farming and good morality’ was more generous: Primitive Culture in Greece (London 1925), 137Google Scholar.

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12. See esp. ibid., 43.

13. Nagy, Gregory, ‘Hesiod’, in Luce, T. (ed.), Ancient Greek Authors (New York 1982), 43–73Google Scholar, esp. 44 and 45.

14. ibid., 67.

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17. This handsome and popular dictionary was translated from the German of Oskar Seyfert by Henry Nettleship and J.E. Sandys (London 1899). Starting with 1891 it had been published in Germany four times before this translation appeared.

18. The Oxford Companion to Classical Literature, compiled by Sir Paul Harvey (Oxford 1984) s.v. ‘Hesiod’.

19. Martin, Richard P., The Language of the Heroes: Speech and Performance in the Iliad (Ithaca and London 1989).Google Scholar