Χάρις in the Epinician Odes of Pindar and Bacchylides
By Chris Eckerman
Scholars generally assume that χάρις, in epinician poetry, has a broad semantic range that includes splendor, glory, charm, favor, ode, grace, gratitude, and service (cf., e.g., Cairns, 2010:passim, Nicholson 2005:passim, MacLachlan 1993:87-123, Kurke 1991:85-239, and the lexicographers: Slater 1969 and Gerber 1984 s.v. χάρις). Some scholars have begun to show, however, that, in Greek literature, χάρις regularly denotes ‘requital,’ the counter-gift offered within a context of reciprocity (e.g. Wagner-Hasel 2013:164-5, Scheid-Tissinier 1994:35-6, 258-9).
Colonial Narrative and the Excision of the Seer: The Disappearance of Melampous in Bacchylides’ Ode 11
By Margaret Foster
Bacchylides’ Imitation of Art and Cult in Ode 17
By Gregory Jones
Wile-loving Aphrodite in archaic poetry
By Elsa Bouchard
In his account of the birth of Aphrodite Hesiod gives the goddess no less than four names, all of which are provided with an ad hoc etymology devised from the mythical context (Th. 195-200). I call these ‘etymologies’ and not simply wordplays because of the explicit metalinguistic vocabulary used in the passage (cf. Gambarara): the act of denomination (κικλήσκουσι) is explicitly mentioned, as well as cause-to-effect relationships between words (οὕνεκ', ὅτι).
Persuasion on Aegina in Pindar's Eighth Nemean
By David Kovacs
Pindar’s Eighth Nemean Ode celebrates the foot-race victory of one Deinias or Deinis of Aegina and also, retrospectively, that of his deceased father Megas in the same event. The most striking part of the ode is a seeming digression by Pindar on the reception his telling of “new things” is likely to provoke. He fears that envious people will attack his poem and cites what befell Ajax in the award of arms.
Rocking the Boat: The Iambic Sappho in the New Sappho Fragment
By David Wright
There are more layers to the new fragment of Sappho recently published by Obbink (2014) than first appear. In this piece, the poem’s speaker refers to a potential homecoming of a man, Charaxos, and to the hope that another male figure, Larichos, “become a man.” Both these figures are believed to be Sappho’s brothers (or the brothers of her persona), based on fragments of Sappho’s own poetry (fr. 5 and 15 V) and attestations from later sources (Hdt. 2.134-35, Strabo 17.808, Athen. 13. 596c).