Frontmatter
Note on Translations and Conventions
List of Abbreviations
Precis
Part One: Pindar's Audiences
Introduction to Part One
I. Secondary Audiences
I.1. Knowledge of first performance
I.2. Knowledge of external realities
I.2.A. Public matters
I.2.B. Individual circumstances
I.2.C. Mythology
I.3. Difficult pleasures
I.4. Orality and writing
II. Vital Light in Isthmian 4
III. Event and Artefact: From Performance to Permanence
III.1. Isthmian 2.43 8
III.2. Olympian 10.91 6
III.3. Bacchylides 13.220 31
III.4. Pindar fr. 52o
III.5. Nemean 3.76 84
III.6. Bacchylides 3.90 8
III.7. Conclusions
IV. The Poetics of Permanence
IV.1. Time travel and tradition: Pythian 1
IV.2. The victor's perspective: Nemean 4
IV.3. Epinician lessons: Pythian 6
IV.4. Epic analogues: Pythian 3
IV.5. Epigrammatic interactions: Nemean 5
IV.6. Interwoven perspectives: Nemean 7 and Paean 6
V. Genre and Tradition
V.1. Genre
V.1.A. Occasions and audiences in cultic poetry
V.1.B. Permanence outside epinician
V.1.B.i. Paean 7b
V.1.B.ii. Dithyramb 2 (fr. 70b)
V.1.C. Conclusions: rhetoric and reality
V.2. Tradition
V.2.A. Alcman and Stesichorus
V.2.B. Alcaeus and Sappho
V.2.C. Ibycus and Anacreon
V.2.D. Common considerations
V.2.E. Conclusions: development and continuity
V.3. Coda
Part Two: Pindar and the Traditions of Lyric
Introduction to Part Two
VI. The Epinician Past
VI.1. Epinician origins in history: athletics, Ibycus, Simonides
VI.2. Epinician origins in epinician: from revel to literature
VI.2.A. Nemean 8
VI.2.B. Olympian 10
VI.3. The flowers of new poems: Olympian 9
VII. The Epinician Present
VII.1. Generic references
VII.2. The poet's career
VII.3. Patrons and communities
VII.4. Other eulogists
VII.5. Epinician revels
VII.6. Nemean 6
VII.7. Conclusions
VIII. The Lyric Past
VIII.1. Lyric history
VIII.2. Generic enrichment
VIII.2.A. Pythian 2
VIII.2.B. Pythian 1
VIII.2.C. Isthmian 2
VIII.3. Conclusions
Epilogue
Endmatter
Bibliography
1. Texts
2. Works cited
Index