Read e-book online Choreia: Pindar and Dance PDF

By William Mullen

ISBN-10: 0691641633

ISBN-13: 9780691641638

This learn unearths that the 3 metrical devices into which such a lot choral odes have been divided check with the disposition in area of the dancers as they recited, with climactic moments of the poetry actualized during the attitudes of the dancers and with definite subject matters reserved for specific sections of the poetic form.

Originally released in 1983.

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Extra resources for Choreia: Pindar and Dance

Sample text

Such powers are concealed in choreia of its essence, for choreia itself comes into being by such a process of fusion. Language must become music and music must become dance. The poet must lead the dancers and the dancers must speak the language of the poet. (4) Here I must apply the bit to my argument. To speak of the collapse of time and the fusion of everything present into everything else is to speak the language of Dionysos, and however powerful it may be, the Pin­ daric ode is not Dionysian.

Accordingly, it is not surprising that again and again he announces his arrival in a cluster of phrases that also celebrate the components of the choreia he is binding together. 1-4). 15-18). 40 More than any other kind of evidence it is these clusters of phrases that compel us to admit that a literal interpretation of the first-person statements is better than a metaphorical one. If circumstances sometimes prevented the poet from actually escorting his ode to its destination, then recourse to the meta­ phorical sense of "the arrival motive" was no doubt possible; but that would be the exception, not the rule.

Some effort therefore is needed to free the original sacred springs from their clog­ ging• The effort must be made if one is to see these springs as specific holy places and to see these places as included in the odes' patterning. 87-91). 74-75). Here again past and future are gathered into the ode's present, and Thebes and Aegina gathered with them. The Theban poet has been a votary of the Muses' springs all his life, right up through the time he drank of them to seek inspiration in composing the words of this ode; now by his presence as leader of the dance he is delivering that sacred "draught" to the athlete; and because this draught (the ode as com- PRESENCE OF THE POET pleted in composition and performance) is only a prelude to both the real \omos and the later immortal existence of the text, the concluding toast is still appropriately made in the future tense.

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Choreia: Pindar and Dance by William Mullen

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