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Apollinism
Apollinism
Apollinism
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Myths Revisited
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The aim of this paper is to determine the degree of influence that the Apollonian
universe – myths, cults, traditions of every kind – has exerted on the composition
of Pindaric odes for a winner in the Pythian Games. It has been observed that
some important traits, belonging to the realm of Apollo, permeate the Pindaric
odes as a whole, as is the case with oracles and prophecy!1. Nonetheless, it lacks a
precise and systematic analysis of the different features that could be motivated by
the nature of the Delphic sanctuary, where the victory takes place. To reach our
objective, it will be necessary to combine some of the achievements of the differ-
ent pragmatic and contextual methods used so far, with a specific observation and
evaluation of the religious and mythical features interspersed in the Pythian odes.
In the first part of the paper I will follow a chronological order in the analysis of
those odes that are unquestionably Pythian, highlighting what could be deemed
as ‘Apollonian’ in each of them. In the second part, I will discuss those odes that,
despite their classification by the transmission as Pythian, their grouping appears
as a problematic one. In the third and last part of the paper, I will try to group the
main features and to extract some general conclusions.
11
12
13
18 Cf. also Ol. 6.1, Pyth. 7.3 and fr. 194.1. The position is at the beginning of the ode. For these images see
Bernard (1963); Bernardini (1967); and Steiner (1986) 52-65.
19 Not only architecture, but also sculpture: see Nem. 5.1 ss.
20 ll. 14-18: ^C%/ 5U J@]8<J20 V0 +,(,@i / J,*@- *%i, j@,8OW2'"%, +2/0C0 *% 9%0%_ /"]92/8/ (0,*`0 /
%?52P20 k@$,*/ 0G+,0 / Z@/8,G,/8/0 V0 J*'D,16 !J,99%"%1.
21 In the middle of the ode, as a transition to the myth, is placed the precept of Chiron concerning the
honours dues to Zeus and fathers (ll. 19-27).
22 ll. 47-55: 0]l 5U J"2S*20 m9%/,/ m5/+20 2?(L YJH@2J"20 nW,0 5@HJ<0, / 82^G,0 5L V0 $'D218/ &/%@G5<0 /
*G0 *L, o"H"/D(20, m@D%/6Qp6QqJJ/E0QV8]5<0, $C", r5]0*/ 0]l, &28%/5E0, J@28HD%*,/. / 9"'+%1, 5U ^@s0
/+,- 8'$J]*,/8/0 B$/"%10 /$%"/88E0 !$%GW%*,/ *@h*.0 J]020.
23 A clear scheme of this genealogy can be found in Gentili 555. Interesting remarks on the relationship of
the ode to its historical and political circumstances in Athanassaki (2011).
24 l. 3/4 +@hJ15tQ!2/5E0uQSee above, n. 17.
25 On the legend and sequence of temples see Sourvinou-Inwood (1979), Suárez de la Torre (2002).
26 If the ode was performed in 486, then it coincides with the exile of Megacles, ostracized in 487.
27 For a recent and clear-cut discussion of the date, see Finglass (2007).
14
28 Important commentaries: Young (1-26), Bernardini (1995: 647-70) and Finglass (2007).
29 Olivieri 165-171; Kowalzig 371-389.
30 Schachter (1981-94) I. 59; Olivieri 202-215; the main source is Pausanias 9.23.6.
31 Fr. 29.1 S-M.
32 Fr. 52k 34-43 S-M.
33 Probably the eclipse of 463 BC.
34 ll. 41-43.
35 Fr. 52g 4 S-M.
36 V0 !^0%,16 !@2O@,/8/ &'"C5, / 0/+`0 PH02' vC+<026 w@H8*,.
37 On this ‘political’ version see Finglass 86. For Homer, and later Sophocles, the palace of Agamemnon
was in Mycenae; for Aeschylus and Euripides it laid in Argos. However, the lyric poets place it in Lace-
daemon (Stesich. fr. 216 PMGF, Sim. fr. 549 PMG).
38 But it could be an epithet, “Pythian victor”.
15
39 See Chamoux (1953) pour l’histoire de la dynastie et les circonstances précises de chacune des odes
Cyréneennes (Pyth., 4, 5, 9).
40 On this ode see Stéfos (42-58), Felson (1978), Suárez (1984), Calame (99-116).The Theban lines are
79-89, and include the praise of Heracles, Iolaos and Iphicles. They have been the subject of much
discussion and some scholars have even proposed that the ode had been composed for a performance in
Thebes, what seems to me innecessary.
41 For the importance of genealogical references in Pindar see Suárez de la Torre (2006).
42 ll. 69-70: x0, +,""G8*,0 J]"/0 / !$^HJ%/ +"%/0C0 *L !H("2/6.
43 ll. 71-75: +,G 0'0 V0 &'(`0G 0/0 !9,(Ha Z,@0%/C5, / 'q.6 %=(,"%1 8'0H$/P% *ODa, T0(, 0/+C8,/6 !0H^,0%
Z'@C0,0, k 0/0 %?^@<0 5HP%*,/, /+,""/9O0,/+/ JC*@a /5]P,0 q$%@*;0 !9,9]0*L !J. y%"^`0.
44 These aspects are connected to the ‘ephebic’ aspect of Apollo’s traditions and social values in Greek
society in general and Dorian in particular.
16
45 Pyth. 1. 1-2, 4J]""<026 +,- b2J"2+C$<0/8O05/+20 \2/8E0 +*H,020. Race (1997: 213, n. 1) notes that a
more accurate translation could be “possession that speaks on their behalf ”, because the usual meaning
of 8305/+26Qis “advocate”. But the weight here lays on the link that the lyre creates between Apollo and
the Muses; do not forget that Apollo is \2/8,9:*,6 (fr. 94c, recalled by Cingano [1995: 328]).
46 Pyth. 1. 12, !$^G *% v,*2G5, 82^Ga W,('+]"J<0 *% \2/8E0.
47 39-40, vO+/% +,- yC"2' !0C88<0 z21W%, &,@0,882S *% +@C0,0 Z,8*,"G,0 ^/"H<0,/ V(%"R8,/6 *,S*,
0]l */(H$%0 %?,05@]0 *% DM@,0.
48 ll. 50-55.
49 97-98, 2=5H 0/0 ^]@$/99%6 YJ<@]^/,/ +2/0<0G,0 /$,"(,+;0 J,G5<0 NC@2/8/ 5H+20*,/.
50 The particularities are in its unusual length, in the narrative structure and features of the myth, and in the
inclusion of an unexpected plea for a friend – Damophilos – who perhaps commissioned the ode. Very
important the commentary by Braswell (1988). For the organization of the narratives see Calame 67-98.
17
51 Suárez (1990).
52 Pyth.4. 4-8, T0(, J2*U D@'8H<0 y/.6 ,bh*`0 JC@%5@26, /2=+ !J25C$2' 4J]""<026 *'D]0*26, qH@%, /
D@A8% 2b+/8*A@, {C**20 +,@J2^]@2' v/WO,6, q%@;0 / 0E820 |6 }5h "/J~0 +*G88%/%0 %=C@$,*20 / J]"/0
V0 !@9%00]%0*/ $,8*i, “where long ago the priestess who sits beside the golden / eagles of Zeus proh-
esied when Apollo was not away that Battos would be the colonizer of fruit-bearing Lybia”.
53 Pyth. 4. 13-56.
54 Pyth. 4. 59-62. • $C+,@ 'qU &2"'$0C8*2', 8U 5L V0 *2O*l "]9l / D@h8$.6 €@(<8%0 $%"G88,6 y%"^G526
,=*2$C*l +%"C5l /k 8% D,G@%/0 V6 *@-6 ,=5C8,/8, J%J@<$H020 / W,8/"HL m$^,0%0 Z'@C0a, 5'8(@]2'
^<0E6 !0,+@/0]$%020 J2/0; *G6 T8*,/ J@.6 (%`0, “O blessed son of Polymnastos, it was you /whom the
oracle, in accordance with that speech, exalted through the spontaneous cry of the Delphic Bee,/ who
thrice bade you hail and revealed you to be/the destined King of Cyrene”.
55 See the commentary of Giannini 448-449.
56 Pyth. 4. 72-73, (H8^,*20 •0 &%"G,0 / VP !9,'`0 ‚b2"/5E0 (,0H$%0 D%G@%88/0 ƒ W2'",16 !+0C$J*2/6.
57 Pyth. 4. 74-78, •"(% 5H 2q +@']%0 J'+/0i $C0*%'$, ('$i,/ J;@ $H820 N$^,".0 %=5H05@2/2 „h(U0
$,*H@26 /*.0 $202+@RJ/5, JC0*<6 V0 ^'",+_ 8D%(H$%0 $%9C"a,/ %…*tQ †0Q ,bJ%/0`0Q !J.Q 8*,($`0Q V6Q
%=5%>%"20Q[D(f0,Q$f"‡Q+"%/*E6Qˆ,2"+2S‰Q[[QP%1026Q,X*tQ•0Q!8*f6u
58 Pyth. 4. 86-94. See that Tityos belong to Parnassian mythology. Otos, Ephialtes and Tityos were killed
by the gods for having tried to rape goddesses –Leto in the case of Tityos.
18
59 The terms of this solution – herds, cattle and land property for Pelias, and political power as sole ruler
for Jason- are identical to those suggested by Jocasta in the Stesichorean fragment 222B Davies to rec-
oncile Eteocles and Polynices. See a comprehensive analysis of this text in Morenilla-Bañuls (1991).
60 For this dream typology see Gil (103-130).
61 Pyth. 4. 159-163, +H"%*,/ 9;@ Œ;0 ‹'D;0 +2$GP,/ /z@GP26 V"(]0*,6 J@.6 ‚bR*, (,"C$2'6,/ 5H@$, *% +@/2S
W,(O$,""20 m9%/0,/ *i J2*L V+ J]0*2' 8,M(h /T+ *% $,*@'/E6 !(H<0 W%"H<0. /*,S*C $2/ (,'$,8*.6
•0%/@26 b~0 ^<0%1. On the sense of the expression “to bring back his soul” –a motive not found other-
wise-, see Giannini (1995) ad loc.
62 Pyth. 4. 163-164, $%$C0*%'$,/ 5L VJ- Z,8*,"Ga, /%b $%*C"",*]0 */. +,- |6 *CD26 N*@O0%/ $% *%OD%/0 0,-
J2$JC0, “I have inquired of the oracle at Kastalia / if some expedition must be made, and it orders me to
provide conveyance by ship as soon as possible”.
63 A good discussion of this passage can be found in Cannatà-Fera 155, Braswell 255-256 and Giannini
(475).
64 Fr.56 Cannatà-Fera.
65 The paternity of Apollo was accepted by Asclepiades of Tragillus (FGrHist 12. F 6a).
66 The schol. ad Pyth. 4, 313ª (II p.139 Dr.) makes a parallel with Hes. Th. 94 ss. But see Braswell 256.
67 “E venne il citarista / padre dei canti per virtù d’Apollo / Orfeo molto lodato”.
68 To complicate things we can underline the fact that the prepositionQVP means not necessarily “son of ”,
19
but only “descent of ”. However, as far as I know, there is no genealogy of Orpheus that could reinforce
this interpretation.
69 On this diviner see López Ruiz (2009).
70 P.4. 190-191, +,G „C 2q $C0*/6 N@0GD%88/ +,- +"C@2/8/ (%2J@2JH<0 q%@216 / \]‹26 m$W,8% 8*@,*.0
J@]^@<0, “Then the ser Mopsos, prophesying for them by means of birds and sacred lots, gladly sent
the host on board”.
71 P. 4. 200-202, +C@'P% 5L ,=*216 // V$W,"%10 +MJ,/8/ *%@,8+]J26 r5%G,6 V0GJ*<0 V"JG5,6 / %b@%8G, 5L
YJ%DM@h8%0 *,D%/E0 V+ J,",$E0 m+2@26, “The seer bade them // fall to the oars, as he expressed cheer-
ful expectations. From under their swift hands the rowing proceeded tirelessly”.
72 Cf. supra.
73 Pyth. 4. 258-261, T0(%0 (i.e., from Thera) 5L ?$$/ v,*2G5,6 TJ2@%0 v/WO,6 J%5G20 /8K0 (%`0 */$,16
N^H""%/0, D@'82(@]02' / 5/,0H$%/0 (%120 Z'@C0,6 / N@(]W2'"20 $A*/0 V^%'@2$H02/6, “And from there
the son of Leto gave your family the plain of Libya / to make prosper through honors coming from the
gods, and the divine city of golden-throned Kyrene to govern”.
74 Pyth. 4. 293-296, !""L %?D%*,/ 2="2$H0,0 02S820 5/,0*"R8,/6 J2*U / 2Ž+20 b5%10, VJL 4J]""<0]6 *%
+@C0a 8'$J28G,6 V^HJ<0 /('$.0 V+5]8(,/ J@.6 nW,0 J2""C+/6, T0 *% 82^216 /5,/5,"H,0 ^]@$/99,
W,8*Cc<0 J2"G*,/6 •8'DGa (/9H$%0.
75 See Krummen 98-154.
76 Pyth. 5. 23.
77 Pyth. 5. 30-42. As Giannini 523 rightly observes, the +'J,@>88/020Q $:",(@20 (39-40) alludes to the
20
beams of the roof, from which the offering was hanging, and the expression *:9%gQ&,@0,88>lQ(41) is a
synecdoche for the “temple”.
78 HHAp. 538 ss.
79 P. 5. 57-59, +%10]0 9% +,- W,@O+2$J2/ /"H20*%6 J%@- 5%G$,*/ ^O920, /9"`88,0 VJ%G 8^/0 !JH0%/+%0
YJ%@J20*G,0 /B 5L !@D,9H*,6 T5<+L 4J]""<0 /(A@,6 ,b0i ^]Wl, •^@, $s *,$Ga Z'@C0,6 !*%"s6
9H02/*2 $,0*%O$,8/0.
80 P. 5. 63-69, p +,- W,@%/E0 0]8<0 / !+H8$,*L m05@%88/ +,- 9'0,/P- 0H$%/, /J]@%0 *% +G(,@/0, 5G5<8G *% /
\218,0 2•6 †0 V(H"‡, !J]"%$20 !9,9~0 /V6 J@,JG5,6 %=02$G,0, /$'D]0 *L !$^HJ%/ $,0*Rg20.
81 P. 5. 69-75.
82 P. 5. 77-81.
83 P. 5. 82-93.
84 P. 5. 93.
85 P. 5. 103-107, *.0 V0 !2/5_ 0H<0 / J@HJ%/ D@'8C2@, z21W20 !JO%/0, // TD20*, &'(<0](%0 / *. +,""G0/+20
"'*R@/20 5,J,0E0 /$H"26 D,@G%0.
86 See, for instance, the summary of this question in Burnett 225-227.
21
87 Exhaustive analysis and commentary by Pfeijffer 423-602. See now the interesting remarks concerning
the purpose of the ode in Athanassaki (2011).
88 D’Alessio-Ferrari (1988), Rutherford (1997; 2001: 298-338), Hedreen (2011). See also Suárez de la Torre
(1997).
89 1.6.2.
90 Pindar reminds both, Typhos (see Pyth. 1) killed by Zeus’ thunderbolt, and Porphyrion’s by Apollo’s
arrows. See ll. 17-20: 5$E(%0 5U +%@,'0i /*]P2/8G *L 4J]""<026: p6 %=$%0%1 0]l / ‘%0C@+%/20 T5%+*2
ZG@@,(%0 V8*%^,0<$H020 / 'q.0 J2Ga &,@0,88G5/ y<@/%1 *% +M$l, “… for they were overcome/ by a
thunderbolt and the arrows of Apollo, who graciously / welcomed the son of Xenarkes from Kirrah,
crowned / with Parnassian foliage and with a Doric victory revel”.
91 On Amphiaraos see now Sineux (2007) and Terranova (2013).
92 Pyth. 8, 44-45, ^'_ *. 9%00,120 VJ/J@HJ%/ / V+ J,*H@<0 J,/8- "A$,, “By nature the noble resolve from
fathers / shines forth in their sons”.
93 On the identification of this manteion, see Giannini 573-574.
94 I have altered intentionally the word order of Race’s translation, to reflect the original sequence of the
utterance.
22
Apollonian, but not ‘Pythian’: Pyth. 3 (post 475 BC) for Hieron of Syracuse
This ode has no mention of a victory that could be considered the reason for its
composition. Pindar speaks indeed of a Pythian victory, but not a recent one, as
the adverb π2*: shows!98. If it this allusion what has motivated its inclusion among
23
24
Neither Apollonian nor Pythian?: Pythian 2 (doubtful date)!104, for Hieron of Syracuse.
This is a very particular ode, the least ‘Apollonian’ of all the Pythian odes, if com-
pared with the rest. Despite this first statement, it is necessary to take into ac-
count that there are two brief Apollonian ‘touches’: the affirmation that Cyniras,
the Cypriot priest of Aphrodite, enjoyed the special favour of Apollo!105, and the
gnomic assertion that it is always necessary to know one’s limits and maintain the
due measure!106, in terms quite similar to the Delphic precept “know thyself ”!107.
However, the remaining features of the ode are not only inappropriate in a Pythi-
an ode, but even anti-Apollonian, as my subsequent enumeration of elements will
show. It is then perfectly understandable that since the IVth century BC the clas-
sification of this ode were a controversial issue!108. The Alexandrian grammarians,
the authors of ancient scholia and many scholars have looked for alternative possi-
ble victories or even types of song, instead of a Pythian victory ode. The names of
Nemea, Athens, Olympia, Syracuse, and Thebes!109, are among the candidates, and
some other could be added!110. Yet, I want to emphasize the possibility of seeing in
Pythian 2 not only a simple victory song!111, but also an ode that combines a strong
political intention, aimed to counteract critical opinions against Hieron, with a
claiming of the values of Pindaric praise poetry.
The particular character of this ode can be detected in a series of features
that I will succinctly enumerate now!112. To begin with, whereas there is no specific
mention of the place of victory, there is no doubt that the ode celebrates a victory
with the four-horse chariot, and not an old one – there is no π2*: – nor something
similar – but a very recent one, which motivates this Pindaric composition. The
ode confirms that Hieron has usually the protection and assistance of the goddess
104 See a good summary of the proposals concerning the nature and date of the ode in See a good summary
in Cingano 43-47, who concludes that either 470 (Delphi) or 468 (Olympia) would be the most prob-
able. According to my proposal, the Delphic victory could be discarded.
105 Pyth. 2. 15-18, +%",5H20*/ $U0 !$^- Z/0O@,0 J2""C+/6 / ^E$,/ Z'J@G<0, *.0 B D@'82D,1*, J@2^@]0<6
/V^G"h8L 4J]""<0,// q%@H, +*G"20 4^@25G*,6, “The voices of the Cyprians often celebrate / Kinyras,
whom golden-haired Apollo heartily befriended, // the priestly favorite of Aphrodite”.
106 Pyth. 2. 34, D@s 5U +,*L ,=*.0 ,b%- J,0*.6 B@E0 $H*@20, “One must always measure everything by one’s
own station”.
107 It is then possible that these features have contributed to its inclusion among the Pythian odes.
108 Timaeus’ opinion was that it was a sacrificial song. cf. Cingano 43-44.
109 Compare the different opinions in Bowra 410, Grim 8-9, Carey 43-46, Most 60-67, Morrison 95-96.
110 From my point of view, the best candidate is a Theban local festival – Iolaia, Heracleia. It must be taken
into consideration the possibility of locating this victory at the Poseidonian festival of Onchestos, men-
tioned in fr. 94b 46 (a daphnephorikon); on this festival see Schachter (1981-1986, vol. II: 207-221).
111 That there was a concrete victory cannot be disputed: lines 3-6 are clear-cut and incontrovertible, be it
at Thebes or in another place. In this case the description as ‘political epistle’ must be discarded.
112 As I have detailed them in a precedent article (Suárez de la Torre: 1992). I refer to this work for more
precisions. See now Brown (2006).
25
But perhaps the most surprising trait of the poem is the presence of abundant
Archilochean elements, what arises the suspicion that the mention of Archilochus the
blamer in lines 54-56!120, in a clear ‘detachment’ from iambic poetry, is not an iso-
lated element in this poem. Moreover, these Archilochean features are more evident
if we focus on the so-called Cologne Epode (fr. 196A West) and compare it with this
Pythian ode. The parallels I see are, first, in the election of themyth – Ixion –, which
incorporates such themes as the confrontation between father-in-law and son-in-
-law!121, the broken promise or the portrait of Ixion in terms next to those of a lewd
26
122 See the parallel of $2/Df6‰Q"#9026Q+,-QYW@/8*76 of the Archilochean biography with the expression FW@/6Q
%b6Q,=#*,0QYJ%@#^,020
123 Frr. 286-288 W.
124 Pyth. 2. 35-40.
125 Pyth. 2. 83-85 ^>"20Q%XhQ^/"%10•Q[QJ2*-Q5tQVD(@.0Qk*tQVD(@.6QV~0Q"3+2/2Q5>+,0QYJ2(%382$,/‰Q[Q!""tQm""2*%Q
J,*:<0QB5216Q8+2"/,16, “Let me befriend a friend,/ but against an enemy, I shall, as his enemy, run him
down as a wolf does, /stalking now here, now there, on twisting paths”.
126 “I know how to befriend a friend and hate the enemy and curse him (like an) ant”.
127 For instance, metrical anomalies, sometimes conciding with the description of abnormal beings. For
more details I refer to my article of 1992. The particularity of the accumulation of animal parallels has
been analyzed by Bell (1984).
128 Perhaps it is not superfluous to remind that an Archilocheian hymn of victory was sung by a kômos at Olym-
pia (the well-known *70%"",Q+,"">0/+%, fr. 324 W-among the spuria), as Pindar remembers in Ol. 9. 1-4.
27
The research has shown that the way Pindar adapts his Pythian victory songs to
the Apollonian nature of those contests relies on three main resources, which are
the same we find in other odes used to structure and organize the development
of the poem:
The choice of myth. It must be emphasized that ‘myth’ constitutes very often
the ancient history of the founders of the territory and/or the ancestors of the victor.
The parallels and links between the homeland of the victor and the victory.
This aim is attained through different procedures: allusive language, parallels be-
tween cults –mostly Delphi and the local one.
The role of Apollonian attributes or spheres of action, such as divination –
predictions, sanctuaries, diviners- and music.
Additionally, the analysis of Apollonian elements can be applied as a test to
odes unduly grouped in Antiquity as Pythian: Pythian 3 is a fully Apollonian ode,
but it does not commemorate a victory, whereas Pythian 9 is an epinicion, but its
features contradict a Delphic victory.
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5 PREFÁCIO
7 PREFACE
685 THE JUDGMENT BETWEEN HORUS AND SETH AS A PARADIGM FOR THE
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805 NARCISO E LEONARDO NA PERSPETIVA DE FREUD
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815 À PROCURA DE UM FINAL FELIZ, OU A NARRATIVA ADÂMICA REVISITADA POR
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