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78-508: Telos has been consistently used in the writings of Aristotle, in which the term, on several occasions, denotes 'goal'. It is considered synonymous to teleute ('end'), particularly in Aristotle's discourse about the plot-structure in Poetics . The philosopher went as far as to say that telos can encompass all forms of human activity. One can say, for instance, that the telos of warfare

156-656: A branch in Thebes, and his reference to 'my ancestors' in Pythian 5 could have been spoken on behalf of both Arcesilas and himself – he may have used this ambivalence to establish a personal link with his patrons. He was possibly the Theban proxenos or consul for Aegina and/or Molossia , as indicated in another of his odes, Nemean 7, in which he glorifies Neoptolemus , a national hero of Aegina and Molossia. According to tradition, Neoptolemus died disgracefully in

234-455: A campaign of smears against him – possibly the poets Simonides and his nephew Bacchylides . Pindar's original treatment of narrative myth, often relating events in reverse chronological order, is said to have been a favourite target for criticism. Simonides was known to charge high fees for his work and Pindar is said to have alluded to this in Isthmian 2 , where he refers to

312-402: A demeaning role. He seems indifferent to the intellectual reforms that were shaping the theology of the times. Thus an eclipse is not a mere physical effect, as contemplated by early thinkers such as Thales , Anaximander and Heraclitus , nor was it even a subject for bold wonder, as it was for an earlier poet, Archilochus ; instead Pindar treated an eclipse as a portent of evil. Gods are

390-539: A different kind of sophistication to poetic. Emanuele Tesauro wrote extensively in his Il Cannocchiale Aristotelico (The Aristotelian Spyglass, 1654), on figure ingeniose and figure metaforiche . During the Romantic era , poetics tended toward expressionism and emphasized the perceiving subject . Twentieth-century poetics returned to the Aristotelian paradigm, followed by trends toward meta-criticality, and

468-451: A festival at Argos . His ashes were taken back home to Thebes by his musically gifted daughters, Eumetis and Protomache. One of Pindar's female relatives claimed that he dictated some verses to her in honour of Persephone after he had been dead for several days. Some of Pindar's verses were inscribed in letters of gold on a temple wall in Lindos , Rhodes. At Delphi, where he had been elected

546-529: A fight with priests at the temple in Delphi over their share of some sacrificial meat. Pindar diplomatically glosses over this and concludes mysteriously with an earnest protestation of innocence – "But shall my heart never admit that I with words none can redeem dishonoured Neoptolemus". Possibly he was responding to anger among Aeginetans and/or Molossians over his portrayal of Neoptolemus in an earlier poem, Paean 6 , which had been commissioned by

624-507: A huge risk, hazarded not in right"), telling the audience that he will not talk of it ("silence is a man's wisest counsel"). The Theban hero Heracles was a favourite subject but in one poem he is depicted as small in order to be compared with a small Theban patron who had won the pankration at the Isthmian Games: a unique example of Pindar's readiness to shape traditional myths to fit the occasion, even if not always flattering to

702-407: A life well-lived. He presents no theory of history apart from the view that Fortune is variable even for the best men, an outlook suited to moderation in success, courage in adversity. Notions of 'good' and 'bad' in human nature were not analysed by him in any depth nor did he arrive at anything like the compassionate ethics of his near contemporary, Simonides of Ceos. His poems are indifferent to

780-512: A maiden song does seem to be different in tone, due however to the fact that it is spoken in the character of a girl: ἐμὲ δὲ πρέπει παρθενήια μὲν φρονεῖν γλώσσᾳ τε λέγεσθαι. emè dè prépei parthenḗia mèn phroneîn glṓssāi te légesthai. I must think maidenly thoughts And utter them with my tongue. Enough of his dithyrambic poetry survives for comparison with that of Bacchylides, who used it for narrative. Pindar's dithyrambs are an exuberant display of religious feeling, capturing

858-581: A person brings something into being that did not exist before." ποίησις itself derives from the Doric word "poiwéō" (ποιέω) which translates, simply, as "to make." In the Western world, the development and evolution of poetics featured three artistic movements concerned with poetical composition: (i) the formalist , (2) the objectivist , and (iii) the Aristotelian . The Republic by Plato represents

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936-552: A personal dilemma. Nemean 7 in fact is the most controversial and obscure of Pindar's victory odes, and scholars ancient and modern have been ingenious and imaginative in their attempts to explain it, so far with no agreed success. In his first Pythian ode, composed in 470 BC in honour of the Sicilian tyrant Hieron , Pindar celebrated a series of victories by Greeks against foreign invaders: Athenian and Spartan-led victories against Persia at Salamis and Plataea , and victories by

1014-592: A priest of Apollo, the priests exhibited an iron chair on which he used to sit during the festival of the Theoxenia . Every night, while closing the temple doors, they intoned: "Let Pindar the poet go unto the supper of the gods!" Pindar's house in Thebes became one of the city's landmarks. When Alexander the Great demolished Thebes in 335 BC, as punishment for its resistance to Macedonian expansionism, he ordered

1092-404: A prophet, and lesser poets are to him as ravens are to an eagle; the art of such men is as hackneyed as garland-making; his is magical: εἴρειν στεφάνους ἐλαφρόν: ἀναβάλεο: Μοῖσά τοι κολλᾷ χρυσὸν ἔν τε λευκὸν ἐλέφανθ᾽ ἁμᾷ καὶ λείριον ἄνθεμον ποντίας ὑφελοῖσ᾽ ἐέρσας. To plait garlands is easy. Strike up! The Muse Welds together gold and white ivory And the lily-flower snatched from

1170-517: A recent defeat of Athens by Thebes at the Battle of Coronea (447 BC). The poem ends with a prayer for Aegina's freedom, long threatened by Athenian ambitions. Covert criticism of Athens (traditionally located in odes such as Pythian 8, Nemean 8 and Isthmian 7) is now dismissed as highly unlikely, even by scholars who allow some biographical and historical interpretations of the poems. One of his last odes ( Pythian 8 ) indicates that he lived near

1248-550: A request by Pindar for payment of fees owed to himself. His defeats by Corinna were probably invented by ancient commentators to account for the Boeotian sow remark, a phrase moreover that was completely misunderstood by scholiasts, since Pindar was scoffing at a reputation that all Boeotians had for stupidity. His fame as a poet drew Pindar into Greek politics. Athens, the most important city in Greece throughout his poetic career,

1326-485: A shrine to the oracle Alcmaeon and that he stored some of his wealth there. In the same ode he says that he had recently received a prophecy from Alcmaeon during a journey to Delphi ("...he met me and proved the skills of prophecy that all his race inherit") but he does not reveal what the long-dead prophet said to him nor in what form he appeared. The ode was written to commemorate a victory by an athlete from Aegina . Pindar doesn't necessarily mean himself when he uses

1404-411: Is a short biography discovered in 1961 on an Egyptian papyrus dating from at least 200 AD ( P.Oxy .2438). The other four are collections that were not finalized until some 1600 years after his death: Although these sources are based on a much older literary tradition, going as far back as Chamaeleon of Heraclea in the 4th century BC, they are generally viewed with scepticism today: much of the material

1482-484: Is by no means certain that they were all sung by choirs – the use of choirs is testified only by the generally unreliable scholiasts. Scholars at the Library of Alexandria collected his compositions in seventeen books organized according to genre: Of this vast and varied corpus, only the epinikia  – odes written to commemorate athletic victories – survive in complete form;

1560-570: Is clearly fanciful. Scholars both ancient and modern have turned to Pindar's own work – his victory odes in particular – as a source of biographical information: some of the poems touch on historic events and can be accurately dated. The 1962 publication of Elroy Bundy's ground-breaking work Studia Pindarica led to a change in scholarly opinion: the Odes were no longer seen as expressions of Pindar's personal thoughts and feelings, but rather as public statements "dedicated to

1638-520: Is largely unread among the general public. Pindar was the first Greek poet to reflect on the nature of poetry and on the poet's role. His poetry illustrates the beliefs and values of Archaic Greece at the dawn of the Classical period . Like other poets of the Archaic Age, he has a profound sense of the vicissitudes of life, but he also articulates a passionate faith in what men can achieve by

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1716-413: Is not known how commissions were arranged, nor if the poet travelled widely: even when poems include statements like "I have come" it is not certain that this was meant literally. Uncomplimentary references to Bacchylides and Simonides were found by scholiasts but there is no reason to accept their interpretation of the odes. In fact, some scholars have interpreted the allusions to fees in Isthmian 2 as

1794-465: Is now part of the modern analysis of social media platforms as intelligent social machines . Action theory also makes essential use of teleological vocabulary. From Donald Davidson 's perspective, an action is just something an agent does with an intention  – i.e., looking forward to some end to be achieved by the action. Action is considered just a step that is necessary to fulfill human telos, as it leads to habits. According to

1872-480: Is one of the first extant philosophical treatise to attempt a rigorous taxonomy of literature. The work was lost to the Western world for a long time. It was available in the Middle Ages and early Renaissance only through a Latin translation of an Arabic commentary written by Averroes and translated by Hermannus Alemannus in 1256. The accurate Greek - Latin translation made by William of Moerbeke in 1278

1950-432: Is too sketchy to allow us to understand the full nature of this innovation). Although he probably spoke Boeotian Greek , he composed in a literary language that tended to rely more on the Doric dialect than his rival Bacchylides , but less insistently than Alcman . There is an admixture of other dialects, especially Aeolic and epic forms, and an occasional use of some Boeotian words. He composed 'choral' songs yet it

2028-541: Is variously given as Daiphantus, Pagondas or Scopelinus, and his mother's name was Cleodice. It is told that in his youth, or possibly infancy, bees built a honeycomb in his mouth and this was the reason he became a poet of honey-like verses. (An identical fate has been ascribed to other poets of the archaic period.) Pindar was about twenty years old in 498 BC when he was commissioned by the ruling family in Thessaly to compose his first victory ode ( Pythian 10 ). He studied

2106-466: Is victory, or the telos of business is the creation of wealth . Within this conceptualization, there are telos that are subordinate to other telos , as all activities have their own, respective goals. For Aristotle, these subordinate telos can become the means to achieve more fundamental telos . Through this concept, for instance, the philosopher underscored the importance of politics and that all other fields are subservient to it. He explained that

2184-455: The Marxist perspective , historical change is dictated by socio-economic structures (or "laws"), which are simultaneously preconditions and limitations of the realization of the telos of the class struggle . Poetics Poetics is the study or theory of poetry , specifically the study or theory of device, structure, form, type, and effect with regards to poetry, though usage of

2262-455: The Muses inspired Homer with relevant information and with the language to express it, Pindar seems to receive only their inspiration: his role is to shape that inspiration with his own wisdom and skill. Like his patrons, whom he immortalizes in verse, he owes his success to hard work as well as to innate gifts; though he hires himself out, he has a vocation. The Muses are to him as an oracle is to

2340-508: The epic . Aristotle also critically revised Plato's interpretation of mimesis which Aristotle believed represented a natural human instinct for imitation, an instinct which could be found at the core of all poetry. Modern poetics developed in Renaissance Italy . The need to interpret ancient literary texts in the light of Christianity , to appraise and assess the narratives of Dante , Petrarch , and Boccaccio , contributed to

2418-417: The telos of the blacksmith is the production of a sword, while that of the swordsman's, which uses the weapon as a tool, is to kill or incapacitate an enemy. On the other hand, the telos of these occupations are merely part of the purpose of a ruler, who must oversee the direction and well-being of a state. Moreover, it can be understood as the "supreme end of man's endeavour". Telos is associated with

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2496-467: The Aristotelian conceptualization outlined in the Nicomachean Ethics , where the eidos  – the soul of the maker – was treated as the arche of the thing made ( ergon ). In this analogy, the telos constitutes the arche but in a certain degree not at the disposition of techne . The notion of purpose, or telos, has formed the foundation of cybernetics , and

2574-478: The Muse as "a hireling journeyman". He appeared in many poetry competitions and was defeated five times by his compatriot, the poet Corinna , in revenge of which he called her Boeotian sow in one of his odes ( Olympian 6. 89f.). It was assumed by ancient sources that Pindar's odes were performed by a chorus, but this has been challenged by some modern scholars, who argue that the odes were in fact performed solo. It

2652-563: The Olympian Games. The establishment of these athletic and musical festivals was among the greatest achievements of the Greek aristocracies. Even in the 5th century BC, when there was an increased tendency towards professionalism, they were predominantly aristocratic assemblies, reflecting the expense and leisure needed to attend such events either as a competitor or spectator. Attendance was an opportunity for display and self-promotion, and

2730-412: The Sicilian prince, Thrasybulus, nephew of Theron of Acragas . Thrasybulus had driven the winning chariot; and he and Pindar were to form a lasting friendship, paving the way for his subsequent visit to Sicily. Pindar seems to have used his odes to advance his, and his friends', personal interests. In 462 BC he composed two odes in honour of Arcesilas, king of Cyrene , ( Pythians 4 and 5 ), pleading for

2808-582: The art of lyric poetry in Athens, where his tutor was Lasos of Hermione , and he is also said to have received some helpful criticism from Corinna . The early to middle years of Pindar's career coincided with the Greco-Persian Wars during the reigns of Darius and Xerxes . This period included the first Persian invasion of Greece , which ended at the Battle of Marathon in 490 BC, and the second Persian invasion of Greece (480-479 BC). During

2886-462: The authorities in Thebes to fine him 5,000 drachmae, to which the Athenians are said to have responded with a gift of 10,000 drachmae. According to another account, the Athenians even made him their proxenus or consul in Thebes. His association with the fabulously rich Hieron was another source of annoyance at home. It was probably in response to Theban sensitivities over this issue that he denounced

2964-513: The chamber of the scarlet-clothed Hours is opened And the nectareous flowers usher in the fragrant spring, Then are scattered, then, on the immortal ground The lovely petals of violets; roses are wound in our hair; Loudly echo the voices of songs to the flutes, And choirs step in procession to dark-ribboned Semele . Almost all Pindar's victory odes are celebrations of triumphs gained by competitors in Panhellenic festivals such as

3042-418: The clan important enough to deserve mention ( Histories IV.147). Membership of this clan possibly contributed to Pindar's success as a poet, and it informed his political views, which are marked by a conservative preference for oligarchic governments of the Doric kind. Pindar might not actually claim to be an Aegeid since his 'I' statements do not necessarily refer to himself. The Aegeid clan did however have

3120-527: The concept called techne , which is the rational method involved in producing an object or accomplishing a goal or objective. In the Theuth/Thamus myth, for instance, the section covering techne referred to telos and techne together. The two methods are, however, not mutually exclusive in principle. These are demonstrated in the cases of writing and seeing, as explained by Martin Heidegger :

3198-500: The development of complex discourses on literary theory . Thanks first of all to Giovanni Boccaccio's Genealogia Deorum Gentilium (1360), the literate elite gained a rich understanding of metaphorical and figurative tropes . Giorgio Valla 's 1498 Latin translation of Aristotle's text (the first to be published) was included with the 1508 Aldine printing of the Greek original as part of an anthology of Rhetores graeci . There followed an ever-expanding corpus of texts on poetics in

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3276-425: The disinclination of the multitude for elegant learning". Some scholars in the modern age also found his poetry perplexing, at least until the 1896 discovery of some poems by his rival Bacchylides ; comparisons of their work showed that many of Pindar's idiosyncrasies are typical of archaic genres rather than of only the poet himself. His poetry, while admired by critics, still challenges the casual reader and his work

3354-401: The embodiment of power, uncompromisingly proud of their nature and violent in defense of their privileges. There is some rationalization of religious belief, but it is within a tradition at least as old as Hesiod , where abstractions are personified, such as "Truth the daughter of Zeus". Sometimes the wording suggests a belief in 'God' rather than 'a god' (e.g. "What is God? Everything"), but

3432-779: The establishment of a contemporary theory of poetics. Eastern poetics developed lyric poetry , rather than the representational mimetic poetry of the Western world. My program then was named "Theory of Literary Forms" — a title that I supposed to be less ambiguous for minds a little distant from this specialty, if it is one, than its (for me) synonym Poetics. T. V. F. Brogan (1993). Preminger, Alex; Brogan, T. V. F. (eds.). The New Princeton encyclopedia of poetry and poetics . Princeton, N.J: Princeton University Press. ISBN   0691021236 . Pindar Pindar ( / ˈ p ɪ n d ər / ; ‹See Tfd› Greek : Πίνδαρος Pindaros [píndaros] ; Latin : Pindarus ; c.  518 BC  – c.  438 BC )

3510-412: The finest breeds of men resulted from divine passions: "For Pindar a mortal woman who is loved by a god is an outstanding lesson in divine favours handsomely bestowed". Being descendants of divine unions with privileged mortals, mythical heroes are an intermediate group between gods and men, and they are sympathetic to human ambitions. Thus, for example, Pindar not only invokes Zeus for help on behalf of

3588-491: The first major Western work to treat the theory of poetry. In Book III Plato defines poetry as a type of narrative which takes one of three forms: the "simple," the "imitative" ( mimetic ), or any mix of the two. In Book X, Plato argues that poetry is too many degrees removed from the ideal form to be anything other than deceptive and, therefore, dangerous. Only capable of producing these ineffectual copies of copies, poets had no place in his utopic city. Aristotle's Poetics

3666-453: The first person singular. Many of his 'I' statements are generic, indicating somebody engaged in the role of a singer i.e. a 'bardic' I. Other 'I' statements articulate values typical of the audience, and some are spoken on behalf of the subjects celebrated in the poems. The 'I' that received the prophecy in Pythian 8 therefore might have been the athlete from Aegina, not Pindar. In that case

3744-449: The former is considered a form of techne , as the end product lies beyond ( para ) the activity of producing; whereas, in seeing, there is no remainder outside of or beyond the activity itself at the moment it is accomplished. Aristotle, for his part, simply designated sophia (also referred to as the arete or excellence of philosophical reflection) as the consummation or the final cause ( telos ) of techne . Heidegger attempted to explain

3822-436: The grace of the gods, most famously expressed in the conclusion to one of his Victory Odes : Creatures of a day! What is anyone? What is anyone not? A dream of a shadow Is our mortal being. But when there comes to men A gleam of splendour given of heaven, Then rests on them a light of glory And blessed are their days. ( Pythian 8 ) Five ancient sources contain all the recorded details of Pindar's life. One of them

3900-408: The house be left intact out of gratitude for verses praising his ancestor, Alexander I of Macedon . Pindar's values and beliefs have been inferred from his poetry. No other ancient Greek poet has left so many comments about the nature of his art. He justified and exalted choral poetry at a time when society was turning away from it. It "... had for two centuries reflected and shaped the sentiments,

3978-473: The implications are not given full expression and the poems are not examples of monotheism . Nor do they vocalize a belief in Fate as the background to the gods, unlike the plays of Aeschylus for example. Pindar subjects both fortune and fate to divine will (e.g. "child of Zeus ... Fortune"). He selects and revises traditional myths so as not to diminish the dignity and majesty of the gods. Such revisionism

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4056-404: The island of Aegina but also its national heroes Aeacus , Peleus and Telamon . Unlike the gods, however, heroes can be judged according to ordinary human standards and they are sometimes shown in the poems to demean themselves. Even in that case, they receive special consideration. Thus Pindar refers obliquely to the murder of Phocus by his brothers Peleus and Telamon ("I am shy of speaking of

4134-691: The later fifteenth century and throughout the sixteenth, a phenomenon that began in Italy and spread to Spain , England , and France . Among the most important Renaissance works on poetics are Marco Girolamo Vida 's De arte poetica (1527) and Gian Giorgio Trissino 's La Poetica (1529, expanded edition 1563). By the early decades of the sixteenth century, vernacular versions of Aristotle's Poetics appeared, culminating in Lodovico Castelvetro 's Italian editions of 1570 and 1576. Luis de Góngora (1561–1627) and Baltasar Gracián (1601–58) brought

4212-431: The mythical hero. A hero's status is not diminished by an occasional blemish but rests on a summary view of his heroic exploits. Some of his patrons claimed divine descent, such as Diagoras of Rhodes , but Pindar makes all men akin to gods if they realize their full potential: their innate gifts are divinely bestowed, and even then success still depends on the gods' active favour. In honouring such men, therefore, Pindar

4290-437: The nymph from a third party, in this case the centaur Chiron . Chiron however affirms the god's omniscience with an elegant compliment, as if Apollo had only pretended to be ignorant: "You, Sire, who know the appointed end of all, and all paths..." Apollo's abduction of the nymph is not presented as a shameful act. Pindar's gods are above such ethical issues and it is not for men to judge them by ordinary human standards. Indeed,

4368-483: The ordinary mass of people. They are dismissed with phrases such as "the brute multitude" ( Pythian Ode 2.87). Nor are the poems concerned with the fate of rich and powerful men once they lose their wealth and social status (compared for example with the bitter and disillusioned poems of Theognis of Megara ). They are more interested in what successful men do with their good fortune: success brings obligations, and religious and artistic activities need patrons. Whereas

4446-401: The outlook, and the convictions of the Greek aristocracies ... and Pindar spoke up for it with passionate assurance". His poetry is a meeting ground for gods, heroes and men – even the dead are spoken of as participants: "Deep in the earth their heart listens". His view of the gods is traditional but more self-consistent than Homer 's and more reverent. He never depicts gods in

4524-529: The poems for some biographical purposes is considered acceptable once more. πολλὰ γὰρ πολλᾷ λέλεκται: νεαρὰ δ᾽ ἐξευ- ρόντα δόμεν βασάνῳ ἐς ἔλεγχον, ἅπας κίνδυνος. Story is vast in range: new ways to find and test upon the touchstone, Here danger lies. Pindar was born circa 518 BC (the 65th Olympiad ) in Cynoscephalae , a village in Boeotia , not far from Thebes . His father's name

4602-427: The priests at Delphi and which depicted the hero's death in traditional terms, as divine retribution for his crimes. Some doubt this biographical interpretation of Nemean 7 since it is largely based on marginal comments by scholiasts and Pindaric scholiasts are often unreliable. The fact that Pindar gave different versions of the myth may simply reflect the needs of different genres, and does not necessarily indicate

4680-596: The prophecy must have been about his performance at the Pythian Games, and the property stored at the shrine was just a votive offering. Nothing is recorded about Pindar's wife and son except their names, Megacleia and Daiphantus. About ten days before he died, the goddess Persephone appeared to him and complained that she was the only divinity to whom he had never composed a hymn. She said he would come to her soon and compose one then. Pindar lived to about eighty years of age. He died around 438 BC while attending

4758-493: The rest survive only by quotations in other ancient authors or from papyrus scraps unearthed in Egypt . Even in fragmentary form however, they reveal the same complexity of thought and language that are found in the victory odes. Dionysius of Halicarnassus singled out Pindar's work as an outstanding example of austere style ( αὐστηρὰ ἁρμονία ) but he noted its absence in the maiden songs or parthenia . One surviving fragment of

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4836-512: The return from exile of a friend, Demophilus. In the latter ode Pindar proudly mentions his own ancestry, which he shared with the king, as an Aegeid or descendant of Aegeus , the legendary king of Athens. The clan was influential in many parts of the Greek world, having intermarried with ruling families in Thebes, in Lacedaemonia , and in cities that claimed Lacedaemonian descent, such as Cyrene and Thera . The historian Herodotus considered

4914-408: The rule of tyrants (i.e. rulers like Hieron) in an ode composed shortly after a visit to Hieron's sumptuous court in 476–75 BC ( Pythian 11 ). Pindar's actual phrasing in Pythian 11 was "I deplore the lot of tyrants" and though this was traditionally interpreted as an apology for his dealings with Sicilian tyrants like Hieron, an alternative date for the ode has led some scholars to conclude that it

4992-466: The sea's dew. Pindar's strongly individual genius is apparent in all his extant compositions but, unlike Simonides and Stesichorus for example, he created no new lyrical genres. He was however innovative in his use of the genres he inherited – for example, in one of his victory odes ( Olympian 3), he announces his invention of a new type of musical accompaniment, combining lyre, flute and human voice (though our knowledge of Greek music

5070-535: The seaboard of Asia Minor, north to Macedonia and Abdera ( Paean 2 ) and south to Cyrene on the African coast. Other poets at the same venues vied with him for the favours of patrons. His poetry sometimes reflects this rivalry. For example, Olympian 2 and Pythian 2 , composed in honour of the Sicilian tyrants Theron and Hieron following his visit to their courts in 476–75 BC, refer respectively to ravens and an ape , apparently signifying rivals who were engaged in

5148-479: The second invasion, when Pindar was almost forty years old, Thebes was occupied by Xerxes' general, Mardonius , who with many Theban aristocrats subsequently perished at the Battle of Plataea . It is possible that Pindar spent much of this time at Aegina . His choice of residence during the earlier invasion in 490 BC is not known, but he was able to attend the Pythian Games of that year, where he first met

5226-404: The single purpose of eulogizing men and communities." It has been claimed that biographical interpretations of the poems are due to a "fatal conjunction" of historicism and Romanticism. In other words, we know almost nothing about Pindar's life based on either traditional sources or his own poems. However, the pendulum of intellectual fashion has begun to change direction again, and cautious use of

5304-415: The term can also refer to literature broadly. Poetics is distinguished from hermeneutics by its focus on the synthesis of non-semantic elements in a text rather than its semantic interpretation. Most literary criticism combines poetics and hermeneutics in a single analysis; however, one or the other may predominate given the text and the aims of the one doing the reading. Generally speaking, poetics in

5382-569: The western Greeks led by Theron of Acragas and Hieron against the Carthaginians and Etruscans at the battles of Himera and Cumae . Such celebrations were not appreciated by his fellow Thebans: they had sided with the Persians and had incurred many losses and privations as a result of their defeat. His praise of Athens with such epithets as bulwark of Hellas ( fragment 76 ) and city of noble name and sunlit splendour (Nemean 5) induced

5460-502: The western tradition emerged out of Ancient Greece . Fragments of Homer and Hesiod represent the earliest Western treatments of poetic theory, followed later by the work of the lyricist Pindar . The term poetics derives from the Ancient Greek ποιητικός poietikos "pertaining to poetry"; also "creative" and "productive". It stems, not surprisingly, from the word for poetry, "poiesis" (ποίησις) meaning "the activity in which

5538-806: The wild spirit of Dionysus and pointing forward to the ecstatic songs of Euripides ' Bacchae . In one of these, dedicated to the Athenians and written to be sung in Spring, he depicts the divine energy of the revitalized world. φοινικοεάνων ὁπότ' οἰχθέντος Ὡρᾶν θαλάμου εὔοδμον ἐπάγοισιν ἔαρ φυτὰ νεκτάρεα. τότε βάλλεται, τότ' ἐπ' ἀμβρόταν χθόν' ἐραταί ἴων φόβαι, ῥόδα τε κόμαισι μείγνυται, ἀχεῖ τ' ὀμφαὶ μελέων σὺν αὐλοῖς οἰχνεῖ τε Σεμέλαν ἑλικάμπυκα χοροί. phoinikoeánōn hopót' oikhthéntos Hōrân thalámou eúodmon epágoisin eár phutà nektárea. tóte bálletai, tót' ep' ambrótan khthón' erataí íōn phóbai, rhóda te kómaisi meígnutai, akheî t' omphaì meléōn sùn auloîs oikhneî te Semélan helikámpuka khoroí. When

5616-421: Was a rival of his home city, Thebes , and also of the island state Aegina , whose leading citizens commissioned about a quarter of his Victory Odes. There is no open condemnation of the Athenians in any of his poems but criticism is implied. For example, the victory ode mentioned above ( Pythian 8 ) describes the downfall of the giants Porphyrion and Typhon and this might be Pindar's way of covertly celebrating

5694-612: Was an Ancient Greek lyric poet from Thebes . Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable." His poems can also, however, seem difficult and even peculiar. The Athenian comic playwright Eupolis once remarked that they "are already reduced to silence by

5772-510: Was conventionally accompanied by music and dance, and Pindar himself wrote the music and choreographed the dances for his victory odes. Sometimes he trained the performers at his home in Thebes, and sometimes he trained them at the venue where they performed. Commissions took him to all parts of the Greek world – to the Panhellenic festivals in mainland Greece (Olympia, Delphi, Corinth and Nemea), westwards to Sicily, eastwards to

5850-498: Was honouring the gods too. His statements about life after death were not self-consistent but that was typical for the times. Traditional ambivalence, as expressed by Homer, had been complicated by a growth of religious sects, such as the Eleusinian mysteries and Pythagoreanism , representing various schemes of rewards and punishments in the next life. However, for the poet, glory and lasting fame were men's greatest assurance of

5928-419: Was in fact a covert reference to the tyrannical behaviour of the Athenians, although this interpretation is ruled out if we accept the earlier note about covert references. According to yet another interpretation Pindar is simply delivering a formulaic warning to the successful athlete to avoid hubris . It is highly unlikely that Pindar ever acted for Athenians as their proxenus or consul in Thebes. Lyric verse

6006-590: Was not unique. Xenophanes had castigated Homer and Hesiod for the misdeeds they ascribed to gods, such as theft, adultery and deception, and Pythagoras had envisioned those two poets being punished in Hades for blasphemy. A subtle example of Pindar's approach can be found in his treatment of the myth of Apollo's rape of the nymph Cyrene . As the god of the Delphic oracle , Apollo is all-knowing, yet in keeping with his anthropomorphic nature he seeks information about

6084-474: Was virtually ignored. The Arabic translation departed widely in vocabulary from the original Poetics and it initiated a misinterpretation of Aristotelian thought that continued through the Middle Ages. The Poetics itemized the salient genres of ancient Greek drama into three categories ( comedy , tragedy , and the satyr play ) while drawing a larger-scale distinction between drama, lyric poetry , and

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