Bacchylides: Politics, Performance, Poetic Tradition by David Fearn

By David Fearn

Bacchylides: Politics, functionality, Poetic Tradition combines shut literary research of Bacchylides' poetry with certain dialogue of the valuable function poetry performed in quite a few differing political contexts all through Greece within the early 5th century BC. In Bacchylides' compliment poetry, David Fearn argues, the poet manipulates a variety of past Greek literature not just to raise the prestige of his filthy rich buyers, but additionally to impress considered the character of political energy and aristocratic society. New mild is additionally shed on Bacchylides' Dithyrambs, via exact dialogue of the facts for the kuklios khoros ('circular chorus') and its relation to quite a few diversified non secular gala's, specifically inside democratic Athens. The hyperlinks created among literary matters and cultural contexts reinvigorate those underappreciated poems and demonstrate their crucial value for the self-definition of political groups.

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447–8: α τ µατα δ’ α τα δεσµα` διελ θη ποδ ν | κλ δε τ’ αν καν θ ρετρ’ ανευ θνητ χερ . θα µα- cognates provide the key terms there used by Euripides generally to describe the miraculous abilities and transformations of its characters when under the influence of this god: see also 248, 667, 693, 716, 1063; as Seaford (1996) 186 notes ad loc. Bacch. 443–8, there may also be something of Dionysos ‘The Liberator’ here. 42 Bacchylides fr. 20B 43 That a Dionysiac influence may be felt at this stage is corroborated by other details in the poem.

Quaest. conv. 715a, discussed below. 28 As van Groningen does, on the grounds that Pindar’s piece is the more metaphorical and therefore superior. Cf. ’ 29 See van Groningen (1960b) 100. He does, however, produce a useful phrase-byphrase comparison of the two poems. 30 In a rather different context, see Hinds (1998) 34–47 for the problems associated with a conception of the nature of topoi as supposedly inert and fixed, and a sophisticated attempt to get beyond this. Bacchylides fr. 20B 39 diction used to express the dispatch of the poem to its patron does not set up parallels with the images in the later parts of the text: Ω Θρασ βουλ’, ρατα˜ν χηµ’ αοιδα˜ν | το τ 〈τοι〉 π µπω introduces a familiar ‘chariot of song’ metaphor, but the text later deploys a rather different seafaring image in lines 6–8.

Badian (1994) 117. 14 Hdt. 1: ο δ Ελληνε πε τε απ κατο τ ν Ισθµ ν, βουλε οντο πρ τα` λεχθ ντα ξ λεξα´νδρου . . 15 All of this is all the more noteworthy if Robertson (1976) is right that Herodotos’ account of the Greek withdrawal from Tempe is not historically accurate. 16 Hdt. 34 as follows, with Badian (1994) 117–18, noting the emphasis (here underlined): Βοιωτ ν δ πα˜ν τ πλ θο µ διζε, τα` δ π λι α τ ν ανδρε Μακεδ νε διατεταγµ νοι σ ζον, π λεξα´νδρου αποπεµφθ ντε . σ ζον δ τ δε, δ λον βουλ µενοι ποι ειν Ξ ρξ τι τα` Μ δων Βοιωτο φρον οιεν.

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