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in the 520s BC. Simonides was the first professional poet known to write odes in honor of victorious athletes at the games; in antiquity, he was also notorious for being the first poet to charge a fee for his services. The
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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 odes celebrate runners,
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to the passage gives a quotation. The performance of these songs seems to have led in the 6th century BC to aristocratic commissions for more elaborate numbers.
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praised the victorious athlete as an ideal representative of the community and of the aristocratic class, linking his achievements with those of local
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of
Bacchylides were formerly considered lost and were known only from quotations in other authors, until the discovery in the late 19th century of a
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connected to the victor's family or birthplace. The
Pindaric ode has a metrical structure rivaled in its complexity only by the
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appear to have been composed for a chorus, they may have originally been performed by a soloist. Pindar says that a
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Fuhrer, T. (1993), "Callimachus' Epinician Poems", in M.A. Harder; R.F. Regtuit; G.C. Wakker (eds.),
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330:. The odes were performed by a chorus that sang and danced to the musical accompaniment of the
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127:, commissioned for and performed at the celebration of an athletic victory in the
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623:
Kurke, Leslie. "The
Strangeness of 'Song Culture': Archaic Greek Poetry". In
530:, "Intimations of Immortality: Fame and Tradition from Homer to Pindar", in
455:
Leslie Kurke, "The
Strangeness of 'Song Culture': Archaic Greek Poetry", in
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Apollo's lyre: Greek Music and Music Theory in
Antiquity and the Middle Ages
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and sometimes in honor of a victory in war. Major poets in the genre are
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as "a performance hired to mark the place of an individual within his
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containing fifteen of his odes. Pindar's four surviving books of
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203:), and Polydeuces (Pollux), the mortal twin of Castor, was a
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616:. Edited by Douglas E. Gerber. Brill, 1997. Limited preview
642:. Hildesheim, Weidmann, 2009 (Nikephoros. Beihefte, 17).
562:, Hellenistica Groningana, vol. I, pp. 79–97,
532:
The Poet's Voice: Essays on
Poetics and Greek Literature
354:, "is a curious and somewhat paradoxical form of art".
605:. University of Nebraska Press, 2000, pp. 135–141
318:, and is usually composed in a triadic form comprising
437:, edited by Douglas E. Gerber (Brill, 1997), p. 245.
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Since the poets most often call their victory songs
547:Kurke, "The Strangeness of 'Song Culture'", p. 64.
420:. University of Nebraska Press, 2000, pp. 135–141
631:. Oxford University Press, 2001. Limited preview
159:plays music in the background of a boxing match (
233:, surviving only in fragments, were composed by
378:. But the athlete was also admonished against
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485:Mathiesen, "Epinikion and encomium", p. 136.
193:. Victory odes are also associated with the
534:(Cambridge University Press, 1991), p. 130
512:First-Person Fictions: Pindar's Poetic 'I'
189:, were the original model for the athletic
446:Robbins, "Public Poetry", pp. 242 and 244.
253:, called one of "the great monuments of
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459:(Oxford University Press, 2001), p. 64
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514:(Oxford University Press, 1991), p. 1
472:Robbins, "Public Poetry", pp. 244–246
197:; Pindar uses the term "Castor-song" (
389:A later contributor to the genre was
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614:A Companion to the Greek Lyric Poets
612:Robbins, Emmet. "Public Poetry". In
435:A Companion to the Greek Lyric Poets
46:, probably a champion driver at the
640:Epinikien und ihr Aufführungsrahmen
433:Emmet Robbins, "Public Poetry", in
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603:in Antiquity and the Middle Ages
185:, honored as the founder of the
177:), it has been conjectured that
123:most often took the form of a
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625:Literature in the Greek World
457:Literature in the Greek World
306:; Pindar usually narrates or
638:Neumann-Hartmann, Arlette.
222:was sung at Olympia, and a
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494:Mathiesen, "Epinikion and
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382:, "not to seek to become
350:"The victory ode", notes
286:Occasion and performance
210:Although the best-known
316:chorus of Greek tragedy
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656:Ancient Olympic Games
581:Selected bibliography
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666:Ancient Greek poetry
587:Mathiesen, Thomas J.
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358:has described the
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96:, "victory") is a
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671:Occasional poetry
661:Panhellenic Games
508:Mary R. Lefkowitz
412:, "Epinikion and
310:elaborately to a
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129:Panhellenic Games
102:occasional poetry
16:(Redirected from
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597:Greek Music
560:Callimachus
391:Callimachus
376:cult heroes
346:and society
324:antistrophe
304:charioteers
255:Greek lyric
220:Archilochus
137:Bacchylides
18:Victory ode
650:Categories
397:References
247:manuscript
200:Καστόρειον
161:Attic vase
90:, "on", +
556:Cf. e.g.
372:epinikion
360:epinikion
344:epinikion
300:wrestlers
292:epinikion
224:scholiast
191:epinikion
133:Simonides
121:epinikion
83:ἐπινίκιον
62:epinicion
56:epinikion
591:encomium
496:encomium
414:encomium
332:phorminx
279:phorminx
263:Isthmian
251:epinikia
240:epinikia
231:epinikia
212:epinikia
195:Dioscuri
183:Heracles
110:victory
75:epinicia
71:epinikia
39:epinikia
370:". The
320:strophe
308:alludes
259:Pythian
244:papyrus
147:Origins
106:English
86:, from
633:online
618:online
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516:online
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380:hubris
364:Pindar
326:, and
267:Nemean
265:, and
169:hymnoi
157:aulist
141:Pindar
139:, and
119:, the
44:Delphi
336:aulos
328:epode
216:lyric
205:boxer
179:hymns
174:ὕμνοι
115:. In
108:as a
98:genre
79:Greek
599:and
564:ISBN
384:Zeus
368:city
342:The
312:myth
290:The
181:for
93:nikê
88:epi-
53:The
386:".
334:or
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155:An
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