Choreia: Pindar and Dance by William Mullen

By William Mullen

This learn finds that the 3 metrical devices into which so much choral odes have been divided discuss with the disposition in house of the dancers as they recited, with climactic moments of the poetry actualized throughout the attitudes of the dancers and with convinced issues reserved for specific sections of the poetic form.

Originally released in 1983.

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Additional info for Choreia: Pindar and Dance

Example text

Often the athlete was only a boy, and one should imagine the effect on the occa­ sion of seeing the great Pindaros arrive and take his place at the ban­ quet. His arrival and presence would be a heady compliment, to be sure, but it would also elevate the athlete's thoughts above mere narcis­ sistic cockiness by casting a spell of reverence on the whole gathering of citizens. Another of Pindar's purposes in asserting his presence as an invited guest is to draw into the circle of the ode tokens of the kind of aristo­ cratic guest-friendship (xenia) that symbolically opens the local occa­ sion to the great world.

10; cf. 9-12). 13-14) ? 38 Such terms are reactions against romantic literalism, which turned the epinicians into source material for biographies based on shaky chronology. Often these travelogues were interwoven with reductions of Pindar's medita­ tions on his art to running installments of the literary feuds which the Alexandrians were the first to project onto his text, and one sympa­ thizes with the desire of recent scholars to transform all such passages from irrelevant outbursts into decorous conventions.

We, however, were not witnesses to the origi­ nal performance; we do not know from experience Pindar's actual whereabouts on each occasion, and so we still must face the question: whenever Pindar says "I have arrived with this ode," is he using a metaphor? This is really two questions. First, how do we know that PRESENCE OF THE POET the "I" is not speaking simply for each member of the local chorus, or for the chorus as a group fused into an identity that can take the firstperson singular? g. 6.

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