Blog Post #5

For the past weeks we have thoroughly read and analyzed between lines of the victory odes – epinikion – by reading Bacchylides and Pindar’s complex yet skillfully written poems. Also, as I am paraphrasing the words and notes that were discussed in class, we have come to a conclusion that victory odes usually contain a form of choral lyric. Moreover, it “was composed and performed” at the celebration of a victory in the Pan-hellic games such as Olympian, Phythian, Nemean, and Isthmian. Both Bachhylides and Pindar incorporates identical form of introduction to each odes such as beginning with victor’s name, “son of” someone, their origin, and one of events in the Pan-hellic games that they have participated. Furthermore, throughout strophes, antistrophe, and epodes, the victors continuously praise and calls upon the God’s muses. The examples of this are the followings: 

Ode 2: “for Argeios son of Pantheidas, from Keos, victor in boys’ boxing at the Isthmain games”

Ode 3: “for Hieron son of Deinomenes, from Syracuse, victor in the chariot race at the Olympic games”

Ode 6: “for Lachon son of Aristomenes, from Keos, victor in the stade race at the Olympian games”

It is valid that victory odes are form of a typical genre in Bacchylides and Pindar; however, poets carefully touches on the topic of immortality and how political and class values were within Greek culture. Meanwhile Bacchylides stresses more on victor’s triumph in games, it seems like Pindar is able to handle diverse theme and topics such as immorality.  

Immortality

Ode 13, Epode 2

Since then, beside the altar of Zeus who rules

            supreme,

the flowers of glory-laden Victory have

       caused golden fame

to flourish in the sight of many

       for a few men throughout

their lifetimes; and when death’s

       dark cloud conceals them, there remains

renown undying for a thing well done

       as their unfailing portion.

           

First, I would like to draw your attention to Ode 13 by Bacchylides which specifically shows the ability for poetry to confer immortality through prestige way. Based on the previous annotation and blog post of Ode 13, this epode 2 is constructively divided into two different ideas: fame and death. While fame is depicted infinite as “to flourish in the sight of many for a few men throughout their lifetimes,” death is seen finite because “when death’s dark cloud conceals them, there remains renown … for a thing well done.” This particular section from Ode 13 considers the traditional Greek idea that the gods appreciate the victors from the athletic game and even if the person who challenged to be in the game dies, he would live on glory eternally.

Similar to the ode from Bacchylides, Pindar’s Nemean 5 consists similar content as well. Pindar wrote this poem for the family named Lampon (father of Pytheas) and it also “celebrates a victory in the pankration.” Although Pindar “commissioned Bacchylides to produce a second epinician (victory ode),” Pindar’s work has allusion to other poems, makes the poem extremely diverse alternating different themes constantly, and tries to speak to everyone. Also, Pindar is aware of that he is a renown poet among others during that period of time and “show-off” his skills in the poem as well. For instance,

Nemean 5, Strophe 2

But if prosperity or strength of hand or iron war

   is se as theme for praise, prepare the ground,

and from this spot I’ll leap

   great lengths: impulsive nimbleness is in my knees,

and eagles wing their way beyond the sea.

In this certain excerpt from strophe 2, Pindar shows his skill of writing poem stressing physically such as “impulsive nimbleness in … knees” and further uses imagery like “eagles wing … way beyond the sea.” Moreover, his skill can be seen in Olympian 1 that the Muse gave Pindar “the mightiest” skill of the writing among all the poets.