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1

Pindaric Kleos

100%

Jaszczyński M.

Collectanea Philologica

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2015

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vol. 18

EN

This article discusses the issue of how kleos works in Pindar’s epinician odes. Firstly, it deals with the relationship between Pindaric and epic, and specifically, Homeric kleos. It tries to answer the question why Pindar was rather reluctant to extensively use the “Iliad” and the “Odyssey” in his odes and much preferred the cyclic poems. I am providing a close analysis of the closing line of the “Pythian 3” in view of Homeric concepts of kleos and a poetic formula of kleos aphthiton. Next, I am discussing Pindar’s relationship with earlier lyric poets, mainly on the basis of passages from Ibycus’ 282a (S151) and Simonides’ “The Platea Elegy”, also briefly mentioning Stesichorus. I am trying to display how their understanding of the mechanics of poetic kleos influenced Pindar.

PL

Artykuł porusza kwestię funkcjonowania pojęcia sławy - kleos - w „Odach zwycięskich” Pindara. Pierwszym problemem jest stosunek pomiędzy kleos Pindara a kleos epickim, w szczególności Homeryckim. Staram się odpowiedzieć na pytanie, dlaczego Pindar w bardzo ograniczony sposób korzystał z motywów pochodzących z „Iliady” i „Odysei”, natomiast bardzo często sięgał do poezji cyklicznej. Przeprowadzam dokładną analizę ostatnich wersów trzeciej „Ody Pytyjskiej” w świetle Homeryckiej koncepcji kleos oraz bardzo archaicznej formuły poetyckiej kleos aphthiton. Następnie rozważam relację Pindara z wcześniejszymi poetami lirycznymi, głównie na podstawie fragmentów z Ibykosa 282a (S151), „Elegii Platejskiej” Symonidesa, krótko wspominając Stezychora. Staram się pokazać jak koncepcje kleos w tradycji poetyckiej wpłynęły na Pindara.

2

A Repeated Allusion to Pindar and the Eleusinian Mysteries in Anaxilas’ Comic Fragments?

88%

Danielewicz J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 1

79-83

EN

Anaxilas in fragments 25 and 30 K.-A. deliberately alluded to Pindar’s fragment 137 S.-M. and the mystery references it contains, but at the same time completely redesigned the sense of the Pindaric phrase for a strong comic effect.

3

Nugae Pindaricae

88%

Tibiletti A.

Eirene. Studia Graeca et Latina

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2016

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vol. 52

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issue 1-2

295-316

EN

This paper deals with Pindar’s fragmenta dubia 337, 334 and 335 M., hitherto largely disregarded. A comparison with selected Pindaric loci similes allows us to analyze these fragments in more depth and to place them in their appropriate linguistic and literary contexts. The article concludes with some suggestions about their interpretation.

4

AOIΔIMOI AΘANAI. Pochwała Aten w poezji Pindara

88%

Stuligrosz M.

Collectanea Philologica

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2020

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issue 23

9-22

EN

The prescriptions on how to eulogize the city, provided in 3rd century by Menander Rhetor in his treatise On Epideictic, reflect the encomiastic convention according to which Pindar composed his poetic encomia urbis. Among the topoi that the poet applies to praise Athens one can list the ancient origin of the city, including the identification of its founder, the practiced habits concerning the form of politeia as well as those concerning the professional skills and abilities of the inhabitants, their virtues and deeds in war and in peace. In Pindar’s victory odes, the praise of the city is always subordinated to the praise of an individual victor. Therefore, the poet praises the outstanding individuals, members of aristocratic families, whose values and achievements adorn their city, and who inherited their excellence from heroic ancestors, mythical founders of Athens. In dithyrambic poems, composed for Athenian festivals and performed by kyklioi choroi of men and boys representing the communities of phylai, polis-encomium is a form of self-praise, an expression of 5th century Athenian ideology, which makes citizens proud of their city’s power. Consequently, Pindar focuses on praising Athens’ military prowess and the dominant position which the city achieved in the Greek world, its institutions, its beauty and public buildings.

5

Alētheia in Gorgias of Leontini. An Excerpt from the History of Truth

75%

Leeten L.

Peitho. Examina Antiqua

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2022

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vol. 13

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issue 1

45-64

EN

It is often assumed that the concept of alētheia, or ‘truth’, in Gorgias of Leontini belongs to the art of rhetoric. Along these lines, it is usually understood as an aesthetic concept or even a mere ‘adornment’ of speech. In this paper, it is argued, by contrast, that Gorgianic alētheia is a definable criterion of speech figuring in the practice of moral education. While the ‘truth’ of a logos indeed has to be assessed on aesthetic grounds, the underlying concept of alētheia is predominantly ethical. For Gorgias, speech is ‘true’ when it promotes virtue (aretē) by being expressive of virtue. The principle stated in the opening passage of the Encomium of Helen, that a speaker has ‘to praise what is praiseworthy and to blame what is blameworthy’, explains precisely this understanding of alētheia.

6

Scena dell’incontro tra il poeta e la Musa nel poemetto Urania di Alessandro Manzoni alla luce della tradizione classica. Analisi strutturale

63%

Raczyńska A.

e-Scripta Romanica

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2015

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vol. 2

39-45

EN

The short poem Urania is the last neoclassical work of Alessandro Manzoni, one of the greatest representatives of Italian Romanticism. This paper analyses the chance meeting between Pindar and the Muse Urania. It examines whether this scene is structured in the same way as those in which chance meetings between poets and divinities take place in ancient literature. My analysis is inspired by research conducted by Tomasz Mojsik - a Polish scholar in history and classical philology - on the role of the Muses in Ancient Greek culture.

IT

Il poemetto Urania è l’ultimo lavoro neoclassico di Alessandro Manzoni, uno degli esponenti del Romanticismo italiano. L’obiettivo del mio articolo è l’analisi della scena dell’incontro fra il poeta Pindaro e la Musa Urania. Le mie ricerche mirano a riconoscere le relazioni tra la scena del poemetto e la tradizione classica dell’incontro di un poeta con una divinità ispiratrice. Le mie analisi sono ispirate alle ricerche di Tomasz Mojsik, storico e filologo classico polacco, sul ruolo delle Muse nella cultura della Grecia antica.

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2 Collectanea Philologica

1 Eirene. Studia Graeca et Latina

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1 Danielewicz J.

1 Jaszczyński M.

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1 Raczyńska A.

1 Stuligrosz M.

1 Tibiletti A.

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