Pindar's First Olympian Ode. The Greek lyric poet Pindar composed odes to celebrate victories at all four Panhellenic Games. Of his fourteen Olympian Odes, glorifying victors at the Ancient Olympic Games, the First was positioned at the beginning of the collection by Aristophanes of Byzantium since it included praise for the games as well as of Pelops, who first competed at Elis (the polis or city-state in which the festival was later staged).[4] It was the most quoted in antiquity[5] and was hailed as the "best of all the odes" by Lucian.[6] Pindar composed the epinikion in honour of his then patron Hieron I, tyrant of Syracuse, whose horse Pherenikos and its jockey were victorious in the single horse race in 476 BC.[1] Poetry[edit] Pelops[edit] Patronage[edit] English translations[edit] See also[edit] References[edit] Further reading[edit] Gerber, Douglas E. (1982).
External links[edit] Epinikion. In addition to epinikia, a victorious athlete might be honored with a statue, as with this charioteer found at Delphi, probably a champion driver at the Pythian Games Origins[edit] An aulist plays music in the background of a boxing match (Attic vase, 510–500 BC) Since the poets most often call their victory songs hymnoi (ὕμνοι), it has been conjectured that hymns for Herakles, honored as the founder of the Olympic Games, were the original model for the athletic epinikion.
Victory odes are also associated with the Dioscuri; Pindar uses the term "Castor-song" (Καστόρειον), and Polydeuces (Pollux), the mortal twin of Castor, was a boxer.[2] Although the best-known epinikia appear to have been composed for a chorus, they may have originally been performed by a soloist. Occasion and performance[edit] The epinikion was performed not at the games, but at the celebration surrounding the champion's return to his hometown or perhaps at the anniversary of his victory.
The epinikion and society[edit] Aeolian mode. History[edit] In 1547, Heinrich Petri published Heinrich Glarean's Dodecachordon in Basel.[5] His premise had as its central idea the existence of twelve diatonic modes rather than eight, including a separate pair of modes each on the finals A and C.[6] Finals on these notes, as well as on B♮, had been recognized in chant theory at least since Hucbald in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. Although scholars for the past three centuries[weasel words] have regarded the modes added by Glarean as the basis of the minor/major division of classical European music, as homophonic music replaced Renaissance polyphony, this is an oversimplification.
Even the key of A minor is as closely related to the old transposed modes 1 and 2 (Dorian and Hypodorian) with finals on A—as well as to mode 3 (Phrygian)—as it is to Glarean's Aeolian.[10] Aeolian harmony[edit] play . Songs that use Aeolian mode[edit] See also[edit] Phorminx. Dorians. They were diverse in way of life and social organization, varying from the populous trade center of the city of Corinth, known for its ornate style in art and architecture, to the isolationist, military state of Sparta.
And yet, all Hellenes knew which localities were Dorian, and which were not. Dorian states at war could more likely, but not always, count on the assistance of other Dorian states. Dorians were distinguished by the Doric Greek dialect and by characteristic social and historical traditions. In the 5th century BC, Dorians and Ionians were the two most politically important Greek ethne, whose ultimate clash resulted in the Peloponnesian War. The degree to which fifth-century Hellenes self-identified as "Ionian" or "Dorian" has itself been disputed. Origin[edit] Accounts vary as to the Dorians' place of origin.
Peloponnesian dialect replacement[edit] The origin of the Dorians is a multifaceted concept. Dorian invasion[edit] Post-migrational distribution of the Dorians[edit] White ground technique. White-ground technique is a style of white ancient Greek pottery and the painting in which figures appear on a white background. It developed in the region of Attica, dated to about 500 BC. It was especially associated with vases made for ritual and funerary use, if only because the painted surface was more fragile than in the other main techniques of black-figure and red-figure vase painting. Nevertheless, a wide range of subjects are depicted. Technique and style[edit] The light slip was probably meant to make the vases appear more valuable, perhaps by eliciting associations with ivory or marble. However, in no case was a vessel's entire surface covered in white slip. It has also been conjectured[2] that this form of painting emerged in order to emulate the more prestigious medium of wall painting, but the thesis has been elusive of proof.
Types[edit] The development of white-ground vase painting took place parallel to that of the black- and red-figure styles. Type I. Type II. Type IV. Lekythos. A lekythos (plural lekythoi) is a type of ancient Greek vessel used for storing oil (Greek λήκυθος), especially olive oil. It has a narrow body and one handle attached to the neck of the vessel, and is thus a narrow type of jug, with no pouring lip; the oinochoe is more like a modern jug. In the "shoulder" and "cylindrical" types which became the most common, especially the latter, the sides of the body are usually vertical by the shoulder, and there is then a sharp change of direction as the neck curves in; the base and lip are normally prominent and flared.
However, there are a number of varieties, and the word seems to have been used even more widely in ancient times than by modern archeologists.[1] They are normally in pottery, but there are also carved stone examples. Lekythoi were especially associated with funerary rites, and with the white ground technique of vase painting, which was too fragile for most items in regular use.
Function[edit] Types[edit] Shoulder lekythos, c. 510. Achilles Painter. The Achilles Painter, was a vase-painter active ca. 470–425 BC. His name vase is an amphora, Vatican 16571, in the Vatican museums depicting Achilles and dated 450–445 BC. An armed and armored Achilles gazes pensively to the right with one hand on his hip.
The other hand holds a spear. On the opposite surface a woman performs libation.[1] J. The Phiale Painter became the Achilles Painter's most prominent student after he assumed the Berlin Painter's workshop. Appraisal[edit] Beazley describes him thus: "He is the great master of the white lekythos. In 1962, Greece issued a stamp featuring the decoration of an Achilles Painter white-ground lekythos.[4] Findspots[edit] Acropolis, AthensCeramicus, AthensCapua, ItalyPisticci, ItalyTaranto, ItalyVulci, ItalySelinis, SicilyEnna, SicilyAtticaEretriaEuboea References[edit] ^ J.H.
Further reading[edit] Andrew J Clark; Maya Elston; Mary Louise Hart (2001). External links[edit] Media related to Achilles Painter at Wikimedia Commons. Mount Helicon. Mount Helicon (Ancient Greek: Ἑλικών; Greek: Ελικώνας) is a mountain in the region of Thespiai in Viotia, Greece,[1] celebrated in Greek mythology. With an altitude of 1,749 metres (5,738 ft), it is located approximately 10 kilometres (6 mi) from the north coast of the Gulf of Corinth. Some researchers[who?] Maintain that Helicon was also the Greek name of mount Rocca Salvatesta in Sicily as a river started from it was called also Helikon.[2][page needed] Greek mythology[edit] Mount Helicon and the Hippocrene spring were considered to be a source of poetic inspiration.
Later in the text, he describes a meeting between himself and the Muses on Mount Helicon, where he had been pasturing sheep when the goddesses presented him with a laurel staff, a symbol of poetic authority.[5] The Helicon thus was an emblem of poetical inspiration. Since the Renaissance[edit] UNESCO site[edit] UNESCO World Heritage site, the monastery of Hosios Loukas is located on Mount Helicon.[14] Modern references[edit] Muses. Inspirational goddesses of literature, science, and the arts In ancient Greek religion and mythology, the Muses (Ancient Greek: Μοῦσαι, romanized: Moûsai, Greek: Μούσες, romanized: Múses) are the inspirational goddesses of literature, science, and the arts. They were considered the source of the knowledge embodied in the poetry, lyric songs, and myths that were related orally for centuries in ancient Greek culture. In modern figurative usage, a muse is a literal person or supernatural force that serves as someone's source of artistic inspiration.
Etymology[edit] The word Muses (Ancient Greek: Μοῦσαι, romanized: Moûsai) perhaps came from the o-grade of the Proto-Indo-European root *men- (the basic meaning of which is 'put in mind' in verb formations with transitive function and 'have in mind' in those with intransitive function), or from root *men- ('to tower, mountain') since all the most important cult-centres of the Muses were on mountains or hills.[3] R. S. P. Number and names[edit] Muses. Inspirational goddesses of literature, science, and the arts In ancient Greek religion and mythology, the Muses (Ancient Greek: Μοῦσαι, Moũsai) are the inspirational goddesses of literature, science, and the arts.
They were considered the source of the knowledge embodied in the poetry, lyric songs, and myths that were related orally for centuries in ancient Greek culture. In current English usage, "muse" can refer in general to a person who inspires an artist, musician, or writer.[1] Etymology[edit] The word "Muses" (Ancient Greek: Μοῦσαι, Moũsai) perhaps came from the o-grade of the Proto-Indo-European root *men- ("to think")[2] or from root *men- ("to tower, mountain") since all the most important cult-centres of the Muses were on mountains or hills.[3] R.
S. P. Number and names[edit] The earliest known records of the Nine Muses are from Boeotia, the homeland of Hesiod. In the first century BC, Diodorus Siculus cited Homer and Hesiod to the contrary, observing: Mythology[edit] Cult[edit] Bird vocalization. Bird vocalization includes both bird calls and bird songs. In non-technical use, bird songs are the bird sounds that are melodious to the human ear. In ornithology and birding, (relatively complex) songs are distinguished by function from (relatively simple) calls. Definition[edit] Wing feathers of a male club-winged manakin, with the modifications noted by P.
In extratropical Eurasia and the Americas almost all song is produced by male birds; however in the tropics and to a greater extent the desert belts of Australia and Africa it is more typical for females to sing as much as males. Anatomy and physiology[edit] Function[edit] Communication through bird calls can be between individuals of the same species or even across species. Individual birds may be sensitive enough to identify each other through their calls. Many birds engage in duet calls. Some birds are excellent vocal mimics. Learning[edit] Timeline for song learning in different species. Neuroanatomy[edit] Recording[edit] Greek lyric. Greek lyric is the body of lyric poetry written in dialects of Ancient Greek. It is primarily associated with the early 7th to the early 5th centuries BC, sometimes called the "Lyric Age of Greece",[1] but continued to be written into the Hellenistic and Imperial periods.
Background[edit] Lyric is one of three broad categories of poetry in classical antiquity, along with drama and epic, according to the scheme of the "natural forms of poetry" developed by Goethe in the early nineteenth century. (Drama is considered a form of poetry here because both tragedy and comedy were written in verse in ancient Greece.)[2] Culturally, Greek lyric is the product of the political, social and intellectual milieu of the Greek polis ("city-state").[3] Much of Greek lyric is occasional poetry, composed for public or private performance by a soloist or chorus to mark particular occasions.
Meters[edit] There are two main divisions within the meters of ancient Greek poetry: lyric and non-lyric meters. Pindar. Ancient Greek lyric poet from Thebes Pindar (; Greek: Πίνδαρος Pindaros, pronounced [píndaros]; Latin: Pindarus; c. 518 – 438 BC) was an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved. Quintilian wrote, "Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable.
Pindar was the first Greek poet to reflect on the nature of poetry and on the poet's role.[5] Like other poets of the Archaic Age, he has a profound sense of the vicissitudes of life, but he also articulates a passionate faith in what men can achieve by the grace of the gods, most famously expressed in the conclusion to one of his Victory Odes:[6] Creatures of a day! Biography[edit] Sources[edit] Life[edit] Infancy to adulthood[edit] Ode. An ode (from Ancient Greek: ᾠδή, romanized: ōdḗ) is a type of lyrical stanza. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally.
A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also exist. Greek odes were originally poetic pieces performed with musical accompaniment. As time passed on, they gradually became known as personal lyrical compositions whether sung (with or without musical instruments) or merely recited (always with accompaniment). The primary instruments used were the aulos and the lyre (the latter was the most revered instrument to the ancient Greeks).
English ode[edit] The lyrics can be on various themes. There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. Victory. The Latinate English-language word victory (from the 14th century) replaced the Old English equivalent term sige (cognate with Gothic sigis, Old High German sigu and Sieg in modern German), a frequent element in Germanic names (as in Sigibert, Sigurd etc.), cognate to Celtic sego- and Sanskrit sahas. [citation needed] The universal sign for victory[edit] "The age-old ” V sign” comes in two formats: one with the palm faced outwards, and one with the palm inwards. In the United States, the two hand signals mean the same thing – “victory,”[1] Paulo Coehlo[edit] Paulo Coelho in the Manuscript Found in Accra suggested victory and defeat are first fought in the knowing of love, the pain thereof is a source of future victory and are of honour and joy, it is suggested that the aged are mature with love and pain, knowing both is like knowing victory: “Defeat is for the valiant.
Religion[edit] See also[edit] References[edit] External links[edit] Victory: Definition, Idea and Phenomenon. Panhellenic Games. Ancient Olympic Games. Aristophanes of Byzantium. Pelops. Elis. Polis. Lucian. Epinikion. Patronage. Hiero I of Syracuse. Tyrant. Syracuse, Sicily. Pherenikos. Ancient Olympic Games. Priamel. Chiastic structure. Arete. Sophia. Eupolis. Greek mythology. Pelops. Pisa, Greece.
Tantalus. Thyestes. Atreus. Greek hero cult. Peloponnese. Reciprocity. Demeter. Persephone. Poseidon. Complaisance. Paphos. Aphrodite. Oenomaus. Hippodamia. Zeus. Oenomaus. Pelops. Pediment. Temple of Zeus, Olympia. Parian marble. Pausanias. Pisa, Greece. Elis. Homo Necans. Walter Burkert. Sacrifice. Olympia, Greece. Zeus. Stadium at Olympia. Pelops. Alfeios. Philostratus. Stadion. Ancient Olympic Games. Quadriga. Etiology. Maurice Bowra. King. Twelve Olympians. Hiero I of Syracuse. Encomium. Homer. Epithets in Homer.
Xenia. Phorminx. Chariot racing. Hubris. Pindar and Anacreon/Pindar/Olympic Odes/1. Odes of Pindar. Bacchylides. Bacchylides. Atreus. Greek hero cult. Nine Lyric Poets. Kleos. Papyrus Oxyrhynchus 222. Pindar, Olympian, Olympian 1 For Hieron of Syracuse Single Horse Race 476 B. C. Perseus Project. Music and Image in Classical Athens - Sheramy Bundrick. John H. Oakley, The Achilles Painter, White Ground: Middle Phase. Scholia vetera in Pindari carmina .. Bibliotheca Teubneriana. Olympia, Greece.