Download Choreia: Pindar and Dance by William Mullen PDF

By William Mullen

This learn finds that the 3 metrical devices into which so much choral odes have been divided check with the disposition in house of the dancers as they recited, with climactic moments of the poetry actualized in the course of the attitudes of the dancers and with sure 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

But in fact one finds this verb associated with the noun \omos several times and in each instance the spatial implications are different— a warning to anyone who thinks he can slip through Pindar's passages of "conventional diction" quickly. 6-9) Zeus is also asked to welcome the kpmos for a victor in Kamarina and now the prayer is specifically addressed to the Zeus that holds the heights of nearby Aetna. 18-20) Apollo is said to have welcomed the victor "from Kirrha, crowned with the flowers of Parnassos and with a Dorian \dmos"; the far-darting god seems to be smiling on the victor both in the original procession and crowning at the sacred site of the games and then again on his return home to Aegina.

In Sophocles the unity of poet, dancer, and musician reaches its a\me among dramatists, the moment of perfec­ tion just before the flower withers. ) (3) In Pindar the unity of poet, dancer, and musician reaches its perfection among choral poets, and that means among poets who under optimal conditions were present as leaders, in propria persona, of the choruses for which they devised the words and music and choreography alike. That Pindar had the requisite skills the testimonia suggest many times over.

27 The task at hand is to find out whether the "vague confusion" we experience was necessarily also experienced by the original audiences, or whether for them the notes struck by the "I" might have been ren­ dered clear and resonant by realities of performance. " It is com­ pounded by language asserting that the Muses and the Graces, too, are present in the festal procession as it arrives at the public dancing space; that in fact they have deigned to attend the fortunes of the poem from its very first inception in the poet's meditations right through to the culmination of its danced ritual in the crowning of the victor by his peers.

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