Seit 1923 erscheinen in der Sammlung Tusculum maßgebende Editionen griechischer und lateinischer Werke mit deutscher Übersetzung. Die Originaltexte werden zudem eingeleitet und umfassend kommentiert; nach der neuen Konzeption bieten schließlich thematische Essays tiefere Einblicke in das Werk, seinen historischen Kontext und sein Nachleben. Die hohe wissenschaftliche Qualität der Ausgaben, gepaart mit dem leserfreundlichen Sprachstil der Einführungs- und Kommentarteile, macht jeden Tusculum-Band zu einer fundamentalen Lektüre nicht nur für Studierende, die sich zum ersten Mal einem antiken Autor nähern, und für Wissenschaftler, (...) die spezifische Aspekte eines Werkes vertiefen möchten, sondern für alle, die sich durch vertrauenswürdige Übersetzungen einen Zugang zur Antiken Welt verschaffen wollen. In der Reihe wurden bisher über 270 Titel publiziert, alle erhältlich als Buch und eBook. Dadruch werden bislang vergriffene Titel und Raritäten wieder vollständig verfügbar gemacht. Zusätzlich zu der Buchreihe erscheint bei De Gruyter zum 90-jährigen Jubiläum das eBook-PaketTusculum Online, eine digitale Sammlung aller von 1923 bis 2013 erschienenen Titel -eine gebührende Würdigung eines wichtigen Stücks deutscher Verlagsgeschichte. Mehr Informationen rund um Tusculum erhalten Sie unter: www.degruyter.com/tusculum. (shrink)

Pindar, geboren 522/518 v. Chr. bei Theben, hat Chorlyrik überwiegend religiösen Inhalts geschrieben: Hymnen, Paiane und Dithyramben, aber auch Mädchenlieder, Tanzlieder und Trauergesänge. Vollständig erhalten geblieben sind die vier Bücher Siegeslieder, die den strengen Stil mythischer Dichtung mit der Sprache der sportlichen Wettkämpfe verbinden. Mit dieser Verschränkung von aktuellem Anlass, mythischem Hintergrund, überlieferter Lebensweisheit und poetologischer Reflexion werden Spannungsbögen entworfen, die in der antiken wie in der modernen Lyrik einzigartig sind. Bereits in hellenistischer Zeit galt Pindar als der Lyriker schlechthin. (...) Nicht anders sahen ihn die Römer, wobei Horaz in seiner Ode 4,2 warnt, der Versuch, Pindar nachzuahmen, könne leicht wie der Flug des Ikaros mit einer Bruchlandung enden. In Deutschland beginnt die Wirkungsgeschichte mit Klopstock, reicht über Hölderlin und die Dichter des Sturm und Drang, wie den jungen Goethe, hin zu Nietzsche und den George-Kreis. Auch in der Lyrik Ezra Pounds sind Nachklänge der Oden Pindars unverkennbar. Die vorliegende Ausgabe der Siegeslieder bietet neben dem griechischen Text eine Übersetzung, deren Präzision es dem Kenner des Griechischen ermöglicht, sich in den Urtext einzulesen. Pindars Bildwelt wird exakt reproduziert, gewissermaßen "dokumentiert", in einer rhythmisierten Prosa, die eigenständig neben früheren Pindar-Verdeutschungen steht. Die sprachliche Struktur des Originals wird in ihrer harten Fügung bewahrt und nicht einer Umsetzung in das Gewohnte geopfert. Zugleich wird eine Annäherung an eine unserer Zeit gemäße Sprachform erreicht, die dem literarisch Interessierten den Zugang zu Pindar entschließt. Eingehende Analyse zur Deutung und zur Wirkungsgeschichte können zu einem vertieften Verständnis führen. (shrink)

Graikiškas tekstas parengtas pagal: Pindar, Vol. 1: Olympian Odes, Pythian Odes (Loeb Classical Library 56); Vol. 2: Nemean Odes, Isthmian Odes, Fragments (Loeb Classical Library 485), edited and translated by William H. Race, Cambridge, MA, London: Harvard University Press, 1997. -/- Iš sen. graikų kalbos vertė filosofinio teksto vertimo seminaro dalyviai: Vytautas Ališauskas, Viktoras Bachmetjevas, Paulius Garbačiauskas, Elzė Sigutė Mikalonytė, Jonas Skarulskis, Julita Slipkauskaitė, Gendvilė Svirskaitė ir Gintarė Vaičiulytė Mokslinis redaktorius Paulius Garbačiauskas.

This line has long been a crux in the interpretation of Pindar, and there is still no consensus on its syntax or meaning. The conclusions reached by Stefan Radt , 148–74) and Richard Stoneman , 65–70) in the most recent studies of the problem are in all respects at variance. The cardinal difficulty of0 the line is the sense of , which must be elucidated before one can attempt to disentangle the syntax. I believe that previous commentators have overlooked or (...) misapplied crucial parallel passages because of their preconceptions about the nature of the metaphor here. (shrink)

Pindar's victory songs teem with divinity. By exploring them within the lived religious landscapes of the fifth century BCE, Hanne Eisenfeld demonstrates that they are in fact engaged in theological work. Focusing on a set of mythical figures whose identities blur the boundaries between mortality and immortality, she newly interprets the value of immortality in the epinician corpus. Pindar's depiction of these figures responds to and shapes contemporary religious experience and revalues mortality as a prerequisite for the glory found in (...) victory. The book combines close reading and philological analysis with religious historical approaches to Pindar's songs and his world. It highlights the inextricability of Greek literature and Greek religion, and models a novel approach to Greek lyric poetry at the intersection of these fields. (shrink)

This paper will be concerned with Pindar's often-discussed innovations in the Pelops-Tantalos myth of the first Olympian, where Pindar explicitly rejects the traditional story of Tantalos' cooking his son Pelops and serving him up to the gods, one of whom inadvertently ate from the cannibalistic dish. Does Pindar really alter traditional features of a story from religious considerations only, as the communis opinio takes him to do? D. C. Young has recently drawn attention to the astonishing formal symmetry of the (...) ode. As to the contents, however, the old charges against Pindar's poetry, inconsistency and irrelevance, still remain. (shrink)

Pindar’s skolion for the Olympic victor Xenophon of Corinth has received considerable attention for its subject rather than its poetic quality. For it celebrates a dedication of prostitutes to Aphrodite which scholars have considered a subject inappropriate for a choral ode. So they detected traces of a tension between the poet and Xenophon within the text. In this article it is argued that, quite the reverse, Pindar is drawing a parallel between himself and the victor and his family. If we (...) reconsider the pragmatic aspects of the skolion, its relation to Olympian 13 and the context Athenaeus provides for the fragment, we are able to see that Pindar links sport, ritual and politics, thereby serving Xenophon’s ambitions as well as his own. By practising conspicuous consumption Xenophon aims at detaching himself from Corinth’s egalitarian aristocracy, and at the same time the poet promotes himself in the literary field as a poetic innovator and authority. So, both transgress expectations and boundaries. (shrink)

This paper argues that: (a) the transmitted text of Pind. Nem. 3.35–6 ποντίαν Θέτιν κατέμαρψεν | ἐγκονητί (‘[Peleus] caught the sea-nymph Thetis quickly’) is not the original text of Pindar; (b) ἐγκονητί does not fit the context, is not an attested Greek word and should be eliminated from dictionaries of ancient Greek; (c) Byzantine etymological works, followed by many modern scholars, base their explanations on the late antique form ἀκονητί, which should be eliminated from classical, Hellenistic and imperial texts; (d) (...) the tradition of the Etymologicum Magnum knows the variant ἐγκονιτί (conjectured for Pindar by Bergk) ‘with dust’ (‘with effort’), which seems presupposed by the scholia on Pindar; (e) the form ἐγκονιτί (created on the pattern of ἀκονιτί) is to be preferred in Pindar for reasons of language and content and should be added to the dictionaries of ancient Greek. (shrink)

This note considers a Pindaric crux. It argues that Aristarchus’ ‘solution’ should not have been so readily accepted because the evidence can be interpreted differently, giving more satisfactory sense if ἐϲλ᾽ ὡς rather than ἐϲλούϲ is read for the manuscripts’ ἐϲλόϲ.

This paper will be concerned with Pindar's often-discussed innovations in the Pelops-Tantalos myth of the first Olympian, where Pindar explicitly rejects the traditional story of Tantalos' cooking his son Pelops and serving him up to the gods, one of whom inadvertently ate from the cannibalistic dish. Does Pindar really alter traditional features of a story from religious considerations only, as the communis opinio takes him to do? D. C. Young has recently drawn attention to the astonishing formal symmetry of the (...) ode. As to the contents, however, the old charges against Pindar's poetry, inconsistency and irrelevance, still remain. (shrink)

Pindar's Celedones have raised much controversy over the years. Their identity still remains uncertain, although there have been many attempts from scholars to specify whether the term refers to mythical creatures comparable to the Sirens of Homer or to elaborate life-like statues adorning the gable of a long-lost Delphic temple. In this paper, I wish to argue for a metaphorical reading of the Celedones in Pindar's Paean 8 that resides in the poetic signification of proper names and how they are (...) put into narrative. Drawing intratextual evidence from Olympian 1 and intertextual evidence from early Greek epic, I contend that the Celedones, richly semanticized as they are, become the means by which Pindar deals with the rigours of the song-making process, as he strives to introduce an ambivalent take on the choral praise of Apollo at Delphi, one that rests on the paradox of song exquisiteness and its negative consequences. (shrink)

Pindar must have narrated the myth of the birth of Apollo in many poems. We know of at least three, perhaps four versions: his only extant account of the birth itself is in Pa. XII; the latter of the two surviving sections of Pa. VIIb describes the flight of Asteria from Zeus, her transformation into an island and Zeus' desire to have Apollo and Artemis born there; the birth also seems to have been mentioned in the Hymn to Zeus immediately (...) after the address to Delos and the account of Delos being rooted to the sea-bed in fr. 33c–d; finally a source reports that according to Pindar Apollo passed from Delos to Delphi via Tanagra and this would probably have followed an account of the birth, though it could refer to a lost part of Pa. XII or the Hymn to Zeus. These accounts have never been the subject of systematic investigation, which is regrettable, because they make up an important aspect of Pindar's attitude to religion. In this preliminary study I focus on two interrelated aspects: the stance Pindar takes towards the Homeric Hymn to Apollo and the role he attributes to Zeus. (shrink)

Pindar, perhaps more than any other ancient poet, seems to demand from his interpreters declarations of their critical premises. In recent years scholars customarily have made initial acknowledgment to the work of E. R. Bundy, as psychoanalysts must to Freud, before they begin to offer their own modifications to and expansions of his fundamental work. Much contemporary scholarship has concentrated on the identification and classification in the odes of the elements whose function Bundy labelled and explained. But useful as this (...) type of analysis has been for exorcising the demon of biographical interpretation, it has, like all orthodoxies, prevented perception of other equally important truths. It constitutes no radical heterodoxy to try to account for the fact that each individual ode, for all its dependence on common conventions of structure and of content, makes a different impression. Nor is it unreasonable to try to explain what makes Pindar's style and approach distinctive.In my own work I have argued, though perhaps not always convincingly, that language as well as structure contributes to an ode's coherence. Scholars trained in America are more willing to assume that repetition of phrase or theme within a poem has significance, and that metaphors can simultaneously bear more than one connotation. The issues at stake have most recently been delineated by Michael Silk, in his discussion of the effect of metaphor in archaic poetry: ‘By “patent”, I mean effects whose existence is not in doubt, though their character may be disputed; by “latent”, those whose effective significance is so tenuous or marginal that one resents the impression of solidity that even mentioning them produces. Such insensitivity is more common than it should be among American classicists, many of whom have also been influenced by the “New Criticism”…’ As illustration of the erroneous American approach Silk cites Cedric Whitman's description of the thematic relation of fires in theIliad.Silk himself avoids the trap Whitman falls into by considering only ‘patent’ metaphors, and these consistentlyout of context, so that there is no necessity to comment on the existence or non-existence of thematic connections among them. But it is possible—at least logically—to frame the question differently, and to ask whether a metaphor cannot have patent and latent associations at the same time. (shrink)

At Carm. 4.2.17–20 Horace's catalogue of Pindar's poetry reaches his victory odes:siue quos Elea domum reducitpalma caelestis pugilemue equumuedicit et centum potiore signismunere donat; 20The text, transmitted without variants in our manuscripts, means ‘ or tells of those escorted home as gods by the Elean palm-branch, whether boxer or horse, and bestows on them a gift more valuable than a hundred statues’. The two italicized expressions are more difficult than the commentators seem willing to admit. I discuss them separately.

This note questions the transmitted word order at Pind. Ol. 2.100 and proposes a transposition to remove short open vowel at verse end.

Professor H. J. Rose's article in C.Q. xxxiii. 69 f. has advanced the study of this perplexing passage in two important respects. He has observed that, in order to determine the ‘eye’ as metaphorical, ỏΦθαλμός requires a dependent genitive, and he has therefore restored μεαλν πολων to this relation by punctuating as above instead of after πολίων And he is surely equally right in maintaining that this plural genitive must have a plural reference; it must mean ‘of great cities’ and (...) not ‘of Cyrene’. For although there is a figure called pluralis maiestatis, such obscurity in the use of it seems too affected, such ambiguity too perverse; a poem honouring the prince of Cyrene will refer to this famous city in unmistakable terms. (shrink)

Professor H. J. Rose's article in C.Q. xxxiii. 69 f. has advanced the study of this perplexing passage in two important respects. He has observed that, in order to determine the ‘eye’ as metaphorical, ỏΦθαλμός requires a dependent genitive, and he has therefore restored μεαλν πολων to this relation by punctuating as above instead of after πολίων And he is surely equally right in maintaining that this plural genitive must have a plural reference; it must mean ‘of great cities’ and (...) not ‘of Cyrene’. For although there is a figure called pluralis maiestatis, such obscurity in the use of it seems too affected, such ambiguity too perverse; a poem honouring the prince of Cyrene will refer to this famous city in unmistakable terms. (shrink)