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For the PINDAR military bunker in London, please see the PINDAR section of Military citadels under London
Ancient Greek poet Pindar, marble Roman copy of Greek fifth century BC original - Palazzo Nuovo
Pindar (pronounced /ˈpɪndɚ/) (or Pindarus, Greek: Πίνδαρος) (probably born 522 BC in Cynoscephalae, a village in Boeotia; died 443 BC in Argos), was a Greek lyric poet.
Of the canonical nine lyric poets of ancient Greece, Pindar is the one whose work is best preserved, and some critics since antiquity have regarded him as the greatest.Quintilian 10.1.61; cf. Pseudo-Longinus 33.5.
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Pindar was born at Cynoscephalae, a village in Boeotia. He was the son of Daiphantus and Cleodice. The traditions of his family have left their impression on his poetry, and are not without importance for a correct estimate of his relation to his contemporaries. The clan of the Aegidae–tracing their line from the hero Aegeus–belonged to the Cadmean element of Thebes, i.e., to the elder nobility whose supposed date went back to the days of the founder Cadmus.
Pindar was married to Megacleia. They had two daughters, Eumetis and Protomache, and a son, Daiphantus. Pindar is said to have died at Argos, at the age of seventy-nine, in 443 BC.
Employing himself by writing choral works, poetry in praise of notable personages, events, and princes, his house in Thebes was spared by Alexander the Great in recognition of the complimentary works he composed about and for his ancestor, king Alexander I of Macedon.
Pindar composed choral songs of several types. According to a Late Antique biographer, these works were grouped into seventeen books by scholars at the Library of Alexandria. They were, by genre:M.M. Willcock: Pindar: Victory Odes (p. 3). Cambridge UP, 1995.
Of this vast and varied corpus, only the epinician odes—poems written to commemorate athletic victories—survive in complete form; the rest are known to us only by quotations in other ancient authors or papyrus scraps unearthed in Egypt.
An Athenian comic playwright, Eupolis, is said to have remarked that the poems of Pindar "are already reduced to silence by the disinclination of the multitude for elegant learning"Noted in Deipnosophistae, epitome of book I. and it may be suggested that in modern times, too, Pindar is more respected than read.
The victory odes were composed for aristocratic victors in the four most prominent athletic festivals in early Classical Greece: the Olympian, Pythian, Isthmian, and Nemean Games. Rich and allusive in style, they are packed with dense parallels among the athletic victor, his illustrious ancestors, and the myths of deities and heroes underlying the athletic festival. But "Pindar\'s power does not lie in the pedigrees of ... athletes, ... or the misbehavior of minor deities. It lies in a splendour of phrase and imagery that suggests the gold and purple of a sunset sky."Lucas, F. L.. Greek Poetry for Everyman. Macmillan Company, New York, p. 262. Two of Pindar\'s most famous victory odes are Olympian 1 and Pythian 1.
In keeping with the Theban pedagogic tradition, a good part of his poetry touches on pederastic themes. Among these are his Olympian Odes I and IX, as well as his encomium to the eromenos Theoxenus (fragment 123 Snell-Maehler), a skolion thought to have been dedicated to Pindar\'s own beloved, but now believed to have been commissioned by Theoxenus\' lover. (Hubbard, Thomas K. Pindar, Theoxenus, and the Homoerotic Eye)1.85-1.87 Pindar. Homosexuality in Greece and Rome: a sourcebook of basic documents in translation. Retrieved on 2006-05-20.
Pindar is to be conceived, then, as standing within the circle of those families for whom the heroic myths were domestic records. He had a personal link with the cultural memories which everywhere, were most cherished by Dorians, no less than with those which appealed to those of "Cadmean" or of Achaean stock. And the wide ramifications of the Aegidae throughout Hellas rendered it peculiarly fitting that a member of that illustrious clan should celebrate the glories of many cities in verse which was truly, as panhellenic as the Olympian Games.
Pindar is said to have received lessons in aulos-playing from one Scopelinus at Thebes, and afterward, to have studied at Athens under the musicians Apollodorus (or Agathocles) and Lasus of Hermione. Several passages in Pindar\'s extant odes glance at the long technical development of Greek lyric poetry before his time and, at the various elements of art which the lyricist was required to temper into a harmonious whole. The facts that stand out from these meagre traditions are that Pindar was precocious, meticulous, and laborious. Preparatory labour of a somewhat severe and complex kind was, indeed, indispensable for the Greek lyric poet of that age.
Modern editors (e.g. Snell and Maehler in their Teubner edition), have assigned dates, securely or tentatively, to Pindar\'s victory odes, based on ancient sources and other grounds (doubt is indicated by a question mark immediately following the number of an ode in the list below). The result is a fairly clear chronological outline of Pindar\'s career as an epinician poet:
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| Nine Lyric Poets | Ancient Greek Literature |
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| Alcman | Sappho | Alcaeus | Anacreon | Stesichorus | Ibycus | Simonides | Pindar | Bacchylides |
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