Bacchylides 16 is a hybrid poem. It sets out to explore the relation of cognate types of choral song, the paean and the dithyramb, in one and the same narrative. To that end, it poses a ritual section, which deals with Apollo's stop by the banks of the river Hebrus on his way back from the Hyperboreans to Delphi, ahead of a mythic section whose thematic spine focusses on the aftermath of Oechalia's sack by Heracles and his marital crisis with (...) Deianeira leading up to his death and deification. My concern, here, lies with the very beginning of the Apolline paeanic section, which lacks a gratifying supplement of the few words missing, so one can get a glimpse of how the poet's voice positions itself with respect to the god's upcoming arrival at Delphi. I understand the first line in the following way :Λοξ]ίου [ἀ]ίο[μεν] ἐπεὶὁλκ]άδ’ ἔπεμψεν ἐμοὶ χρυσέανΠιερ]ίαθεν ἐ[ΰθ]ρονος [Ο]ὐρανία,πολυφ]άτων γέμουσαν ὕμνωνWe sense Loxias ever sinceOurania of the fair throne sent mefrom Pieria a golden cargofraught with much-praised songs.Relying on the way editors read the papyrus, the traces that precede the concluding ἐπεί of the first line suggest that it is occupied by a glyconic. (shrink)

This paper deals with a textual problem in the Io story of Bacchylides 19. My aim is to provide a supplement for line 19.29 that introduces a preliminary state to the way in which Argus has been overpowered by Hermes. The supplement I propose assumes a hapax attested, expanded form of ἐριούνιος for Hermes, εἰριούνιος, and puts forward an etymological explication of the epithet as ‘efficient in words’, ergo a ‘smooth talker’.

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)