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Aegina: Contexts for Choral Lyric PoetryMyth, History, and Identity in the Fifth Century BC$
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David Fearn

Print publication date: 2010

Print ISBN-13: 9780199546510

Published to Oxford Scholarship Online: January 2011

DOI: 10.1093/acprof:oso/9780199546510.001.0001

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Aeginetan Odes, Reperformance, and Pindaric Intertextuality

Aeginetan Odes, Reperformance, and Pindaric Intertextuality

Chapter:
(p.227) 6 Aeginetan Odes, Reperformance, and Pindaric Intertextuality
Source:
Aegina: Contexts for Choral Lyric Poetry
Author(s):

Andrew Morrison

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199546510.003.0007

This chapter investigates the different performances (including reperformances) and audiences of Pindar's Aeginetan odes, one of the two main clusters of Pindaric odes for victors from one locale (the other being Pindar's fifteen odes for Sicilian victors), and the possibility in the case of Aeginetan compositions that a substantial proportion of the audience for one ode might have heard another ode. A good case for audience overlap are the three Pindaric and one Bacchylidean odes for the victories of the sons of Lampon (Nemean 5, Bacchylides 13, Isthmian 6, Isthmian 5). Cross-references between these four odes are discussed, and it is suggested that Nemean 5 and Bacchylides 13, both composed for the same victory of Pytheas, were designed by their respective poets with some awareness of the other's ode. This has important consequences for the way we should read intertextual echoes between odes, and for our view of ‘conventional’ material in epinician poetry.

Keywords:   Pindar, Bacchylides, Aeginetan odes, audiences, performance and reperformance, Pytheas, intertextuality

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