76-537: The Golden Fleece is an element of Greek mythology. Golden Fleece may also refer to: Golden Fleece In Greek mythology , the Golden Fleece ( Ancient Greek : Χρυσόμαλλον δέρας , romanized : Khrysómallon déras , lit. 'Golden-haired pelt') is the fleece of the golden -woolled, winged ram , Chrysomallos , that rescued Phrixus and brought him to Colchis , where Phrixus then sacrificed it to Zeus . Phrixus gave
152-676: A kylix in the Vatican collections. In the kylix painted by Douris, c. 480 –470, Jason is being disgorged from the mouth of the dragon, a detail that does not fit easily into the literary sources; behind the dragon, the fleece hangs from an apple tree. Jason's helper in the Athenian vase-paintings is not Medea — who had a history in Athens as the opponent of Theseus —but Athena . A long time ago, fleeces were considered very important. Several euhemeristic attempts to interpret
228-420: A nymph and the granddaughter of Helios , the sun-god. According to Hyginus , Poseidon carried Theophane to an island where he made her into a ewe so that he could have his way with her among the flocks. There Theophane's other suitors could not distinguish the ram-god and his consort. Nephele's children escaped on the yellow ram over the sea, but Helle fell off and drowned in the strait now named after her,
304-656: 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
380-455: 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
456-402: 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
532-451: 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
608-529: 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
684-507: 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
760-407: 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
836-512: 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
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#1732781107558912-552: 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
988-592: 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
1064-404: 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
1140-517: 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
1216-550: 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,
1292-485: 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
1368-411: 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
1444-484: 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;
1520-570: 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
1596-520: 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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#17327811075581672-413: 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
1748-483: 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
1824-541: 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
1900-579: The Hellespont . The ram spoke to Phrixus, encouraging him, and took the boy safely to Colchis (modern-day south-east coastal region of the Black Sea), on the easternmost shore of the Euxine (Black) Sea . There the ram was sacrificed to gods. In essence, this act returned the ram to the god Poseidon, and the ram became the constellation Aries . Phrixus settled in the house of Aeëtes , son of Helios
1976-455: 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
2052-636: The purple dye murex snail and related species was highly prized in ancient times. Clothing made of cloth dyed with Tyrian purple was a mark of great wealth and high station (hence the phrase "royal purple"). The association of gold with purple is natural and occurs frequently in literature. The following are the chief among the various interpretations of the fleece, with notes on sources and major critical discussions: Pindar Pindar ( / ˈ p ɪ n d ər / ; ‹See Tfd› Greek : Πίνδαρος Pindaros [píndaros] ; Latin : Pindarus ; c. 518 BC – c. 438 BC )
2128-538: The Coats of Arms of City of Kutaisi , the ancient capital city of Colchis. Athamas the founder of Thessaly, but also king of the city of Orchomenus in Boeotia (a region of southeastern Greece ), took the goddess Nephele as his first wife. They had two children, the boy Phrixus (whose name means "curly", as in the texture of the ram's fleece) and the girl Helle . Later Athamas became enamored of and married Ino ,
2204-527: The Golden Fleece "realistically" as reflecting some physical cultural object or alleged historical practice have been made. For example, in the 20th century, some scholars suggested that the story of the Golden Fleece signified the bringing of sheep husbandry to Greece from the east; in other readings, scholars theorized it referred to golden grain, or to the Sun. A more widespread interpretation relates
2280-478: 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
2356-563: 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
Golden Fleece (disambiguation) - Misplaced Pages Continue
2432-412: 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
2508-529: 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
2584-462: 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
2660-513: 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
2736-418: 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
2812-424: The daughter of Cadmus . When Nephele left in anger, drought came upon the land. Ino was jealous of her stepchildren and plotted their deaths; in some versions, she persuaded Athamas that sacrificing Phrixus was the only way to end the drought. Nephele, or her spirit, appeared to the children with a winged ram whose fleece was of gold . The ram had been sired by Poseidon in his primitive ram-form upon Theophane ,
2888-425: 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
2964-401: 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
3040-412: 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
3116-453: 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
Golden Fleece (disambiguation) - Misplaced Pages Continue
3192-466: The fleece to King Aeëtes who kept it in a sacred grove, whence Jason and the Argonauts stole it with the help of Medea , Aeëtes' daughter. The fleece is a symbol of authority and kingship. In the historical account, the hero Jason and his crew of Argonauts set out on a quest for the fleece by order of King Pelias in order to place Jason rightfully on the throne of Iolcus in Thessaly . Through
3268-399: The gold was shaken or combed out. Alternatively, the fleeces would be used on washing tables in alluvial mining of gold or on washing tables at deep gold mines . Judging by the very early gold objects from a range of cultures, washing for gold is a very old human activity. Strabo describes the way in which gold could be washed: It is said that in their country gold is carried down by
3344-436: 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
3420-483: The help of Medea , they acquire the Golden Fleece. The story is of great antiquity and was current in the time of Homer (eighth century BC). It survives in various forms, among which the details vary. Nowadays, the heraldic variations of the Golden Fleece are featured frequently in Georgia , especially for Coats of Arms and Flags associated with Western Georgian (Historical Colchis) municipalities and cities, including
3496-408: 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,
3572-473: 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
3648-404: 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
3724-415: The mountain torrents, and that the barbarians obtain it by means of perforated troughs and fleecy skins, and that this is the origin of the myth of the golden fleece—unless they call them Iberians , by the same name as the western Iberians , from the gold mines in both countries. Another interpretation is based on the references in some versions to purple or purple-dyed cloth. The purple dye extracted from
3800-471: The myth of the fleece to a method of washing gold from streams, which was well attested (but only from c. 5th century BC ) in the region of Georgia to the east of the Black Sea. Sheep fleeces, sometimes stretched over a wooden frame, would be submerged in the stream, and gold flecks borne down from upstream placer deposits would collect in them. The fleeces would be hung in trees to dry before
3876-431: 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
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#17327811075583952-437: 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,
4028-483: 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
4104-401: 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
4180-475: 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
4256-427: 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
4332-596: 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
4408-450: The quest for the Golden Fleece in his Fourth Pythian Ode (written in 462 BC), though the fleece is not in the foreground. When Aeëtes challenges Jason to yoke the fire-breathing bulls, the fleece is the prize: "Let the King do this, the captain of the ship! Let him do this, I say, and have for his own the immortal coverlet, the fleece, glowing with matted skeins of gold". In later versions of
4484-493: 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
4560-512: 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
4636-408: 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
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#17327811075584712-466: 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
4788-535: 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
4864-479: 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
4940-404: 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
5016-531: The story, the ram is said to have been the offspring of the sea god Poseidon and Themisto (less often, Nephele or Theophane ). The classic telling is the Argonautica of Apollonius of Rhodes , composed in the mid-third century BC Alexandria , recasting early sources that have not survived. Another, much less-known Argonautica, using the same body of myth, was composed in Latin by Valerius Flaccus during
5092-511: The sun god. He hung the Golden Fleece preserved from the ram on an oak in a grove sacred to Ares , the god of war and one of the Twelve Olympians . The fleece was guarded by a never-sleeping dragon with teeth that could become soldiers when planted in the ground. The dragon was at the foot of the tree on which the fleece was placed. In some versions of the story, Jason attempts to put the guard serpent to sleep. Pindar employed
5168-551: The time of Vespasian . Where the written sources fail, through accidents of history, sometimes the continuity of a mythic tradition can be found among the vase-painters. The story of the Golden Fleece appeared to have little resonance for Athenians of the Classic age, for only two representations of it on Attic-painted wares of the fifth century have been identified: a krater at the Metropolitan Museum of Art and
5244-569: 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
5320-806: 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
5396-421: 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
5472-612: 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
5548-510: 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
5624-498: 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
5700-419: 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
5776-590: 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
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