This study attempts a fully contextualized reading of the praise poetry written by Pindar for Hieron of Syracuse in the 470s B.C. It argues that the songs composed by Pindar for the Sicilian tyrant were part of an extensive cultural programme that included athletic competition, coinage, architecture, sanctuary dedication, city foundation, and much more.

This groundbreaking book attempts a fully contextualized reading of the poetry written by Pindar for Hieron of Syracuse in the 470s BC. It argues that the victory odes and other occasional songs composed by Pindar for the Sicilian tyrant were part of an extensive cultural program that included athletic competition, coinage, architecture, sanctuary dedication, city foundation, and much more. In the tumultuous years following the Persian invasion of Greece in 480, elite Greek leaders and their cities struggled to capitalize on the Greek victory and to define themselves as free peoples who triumphed over the threat of Persian monarchy. Pindar's victory odes are an important contribution to Hieron's goal of panhellenic pre-eminence, redescribing contemporary tyranny as an instantiation of golden-age kingship and consonant with best Greek tradition. In a delicate process of cultural legitimation, the poet's praise deploys athletic victories as a signs of more general preeminence. Three initial chapters set the stage by presenting the history and culture of Syracuse under the Deinomenid tyrants, exploring issues of performance and patronage, and juxtaposing Hieron to rival Greek leaders on the mainland. Subsequent chapters examine in turn all Pindar's preserved poetry for Hieron and members of his court, and contextualizes this poetry by comparing it to the songs written for Hieron by Pindar's poetic contemporary, Bacchylides. These odes develop a specifically "tyrannical" mythology in which a hero from the past enjoys unusual closeness with the gods, only to bring ruin on him or herself by failing to manage this closeness appropriately. Such negative exemplars counterbalance Hieron's good fortune and present the dangers against which he must (and does) protect himself by regal virtue. The readings that emerge are marked by exceptional integration of literary interpretation with the political/historical context.

In this volume, tragedy in antiquity is examined synoptically, from its misty origins in archaic Greece, through its central position in the civic life of ancient Athens and its performances across the Greek-speaking world, to its new and very different instantiations in Republican and Imperial Roman contexts. Lively, original essays by eminent scholars trace the shifting dramatic forms, performance environments, and social meanings of tragedy as it was repeatedly reinvented. Tragedy was consistently seen as the most serious of all dramatic genres; these essays trace a sequence of different visions of what the most serious kind of dramatic story might be, and the most appropriate ways of telling those stories on stage. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual, and myth; politics of city and nation; society and family, and gender and sexuality.

Myth, Locality, and Identity argues that Pindar engages in a striking, innovative style of mythmaking that represents and shapes Sicilian identities in his epinician odes for Sicilian victors in the fifth century BCE. While Sicily has been thought to be lacking in local traditions for Pindar to celebrate, Lewis argues that the Sicilian odes offer examples of the formation of local traditions: the monster Typho whom Zeus defeated to become king of the gods, for example, now lives beneath Mt. Aitna; Persephone receives the island of Sicily as a gift from Zeus; and the Peloponnesian river Alpheos travels to Syracuse in pursuit of the local spring nymph Arethusa. By weaving regional and Panhellenic myth into the local landscape, as the book shows, Pindar infuses physical places with meaning and thereby contextualizes people, cities, and their rulers within a wider Greek framework. During this time period, Greek Sicily experienced a unique set of political circumstances: the inhabitants were continuously being displaced, cities were founded and resettled, and political leaders rose and fell from power in rapid succession. This book offers the first sustained analysis of myth in Pindar's odes for Sicilian victors across the island that accounts for their shared context. The nodes of myth and place that Pindar fuses in this poetry reinforce and develop a sense of place and community for citizens locally; at the same time, they raise the profile of physical sites and the cities attached to them for larger audiences across the Greek world. In addition to providing new readings of Pindaric odes and offering a model for the formation of Sicilian identities in the first half of the fifth century, the book contributes new insights into current debates on the relationship between myth and place in classical literature.

A groundbreaking study of the interaction of poetry, performance, and the built environment in ancient Greece. Winner of the PROSE Award for Best Book in Classics by the Association of American Publishers In this volume, Richard Neer and Leslie Kurke develop a new, integrated approach to classical Greece: a "lyric archaeology" that combines literary and art-historical analysis with archaeological and epigraphic materials. At the heart of the book is the great poet Pindar of Thebes, best known for his magnificent odes in honor of victors at the Olympic Games and other competitions. Unlike the quintessentially personal genre of modern lyric, these poems were destined for public performance by choruses of dancing men. Neer and Kurke go further to show that they were also site-specific: as the dancers moved through the space of a city or a sanctuary, their song would refer to local monuments and landmarks. Part of Pindar's brief, they argue, was to weave words and bodies into elaborate tapestries of myth and geography and, in so doing, to re-imagine the very fabric of the city-state. Pindar's poems, in short, were tools for making sense of space. Recent scholarship has tended to isolate poetry, art, and archaeology. But Neer and Kurke show that these distinctions are artificial. Poems, statues, bronzes, tombs, boundary stones, roadways, beacons, and buildings worked together as a "suite" of technologies for organizing landscapes, cityscapes, and territories. Studying these technologies in tandem reveals the procedures and criteria by which the Greeks understood relations of nearness and distance, "here" and "there"—and how these ways of inhabiting space were essentially political. Rooted in close readings of individual poems, buildings, and works of art, Pindar, Song, and Space ranges from Athens to Libya, Sicily to Rhodes, to provide a revelatory new understanding of the world the Greeks built—and a new model for studying the ancient world.

Demonstrates the theological power of Pindar's victory songs by interpreting them within their contemporary religious landscapes.

The Hellenistic period was an era of literary canons, of privileged texts and collections. One of the most stable of these consisted of the nine (rarely ten) lyric poets: whether the selection was based on poetic quality, popularity, or the availability of texts in the Library of Alexandria, the Lyric Canon offers a valuable and revealing window on the reception and survival of lyric in antiquity. This volume explores the complexities inherent in the process by which lyric poetry was canonized, and discusses questions connected with the textual transmission and preservation of lyric poems from the archaic period through to the Hellenistic era. It firstly contextualizes lyric poetry geographically, and then focuses on a broad range of sources that played a critical role in the survival of lyric poetry - in particular, comedy, Plato, Aristotle's Peripatetic school, and the Hellenistic scholars - to discuss the reception of the nine canonical lyric poets and their work. By exploring the ways in which fifth- and fourth-century sources interpreted lyric material, and the role they played both in the scholarly work of the Alexandrians and in the creation of what we conventionally call the Hellenistic Lyric Canon, it elucidates what can be defined as the prevailing pattern in the transmission of lyric poetry, as well as the place of Bacchylides as a puzzling exception to this norm. The overall discussion conclusively demonstrates that the canonizing process of the lyric poets was already at work from the fifth century BC and that it is reflected both in the evaluation of lyric by fourth-century thinkers and in the activities of the Hellenistic scholars in the Library of Alexandria.