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PINDARUS. - Pindari Olympia, Pythia, Nemea, Isthmia. Caeterorum octo Lyricorum carmina, Alcaei, Anacreontis, Sapphus, Bacchylidis, Stesichori, Simonidis, Ibyci, Alcmanis, nonnulla etiam aliorum. Omnia Graece & Latine. Pindari interpretatio nova est, eaque...
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| Schrijver: | PINDARUS. |
|---|---|
| Titel: | Pindari Olympia, Pythia, Nemea, Isthmia. Caeterorum octo Lyricorum carmina, Alcaei, Anacreontis, Sapphus, Bacchylidis, Stesichori, Simonidis, Ibyci, Alcmanis, nonnulla etiam aliorum. Omnia Graece & Latine. Pindari interpretatio nova est, eaque... |
| ISBN: | |
| Uitgever: | Antwerp (Antverpiae), Ex officina Christophori Plantini, 1567. |
| Bijzonderheid: | |
| Prijs: | € 320,00 |
| Meer info | 16mo. 270,(2 blank) p. Calf 12 cm (Ref: STCV 12922192; Hoffmann 3,98: 'Diese seltene und nette Ausg. ist corr. mit demselben Titel w.d. Ausg. von 1560 abgedr.'; Brunet 4,659: 'Cette édition, réputée très correcte, est plus rare que celles d'Estienne, dont elle est une copie'; Dibdin 2,287/88; Moss 2,410; Graesse 5,294; Ebert 16856; Speeckaert 380 (2056 I); Voet 2056 I; USTC 411361) (Details: This is volume 1 of a two volume set. This first volume contains the Greek text and Latin translation of Pindar only. 17th century binding. Back gilt and with four raised bands. Plantin's woodcut printer's mark on the title) (Condition: Volume one only; the 2nd volume with the other poets mentioned on the title, Alcaeus, Anacreon, Sappho, Bacchylides, Stesichorus, Simonides, Ibycus, Alcman, is lacking. Back & upper board skillfully repaired antique style. Small hole in the front flyleaf. Title somewhat thumbed. Some small, old ink annotations and stripes. Paper slightly yellowing. Upper margin of 80 pages faintly waterstained) (Note: This Greek and Latin edition contains the poems of Pindar. It is a reissue of the Pindar edition of 1560 published in Paris by the French printer/scholar Robert Estienne, who made also the Latin translation. The text of the title of 1560 and 1567 is exactly the same. § A quarter of the works of the Greek poet Pindar, ca. 518-438 B.C., his four books of 'epinicia', named after the Great Games, the Olympian, Pythian, Nemean and Isthmian, survive. Pindar wrote eulogistic hymns to celebrate a victory in athletics, boxing and horse racing. Praised in a magnificent way are the victor, his family, the native city. 'Each ode draws from a variety of historical, cultural, and mythological sources. The highly allusive manner by which this material is presented is complemented by an equally rich repertoire of metrical patterns from epic, Doric, and Aeolic systems'. (The Classical tradition, Cambridge Mass., 2010, p. 729) 'Extended similes and difficult metaphors, intricate syntax and rapid narration, far-reaching digressions and bold disruptions' result in grandiose, but also obscure, enigmatic and sometimes seemingly awkward poetry. Already in antiquity the comic playwright Aristophanes presented in the 'Aves' Pindaric poetry as foolish, pretentious and embarrassing. The Hellenistic poets Callimachus and Theocritus wrote poetry under his influence. The Roman poet Horace thought him grandiose and sublime. § Pindar's influence on European literature is great. The great number of editions in Greek, and Latin translations of Pindar's odes that were printed in the 16th century are an indication of a continuous and widespread humanist interest. Pindar was, with the Roman poet Horace, the chief classical model for modern formal lyric poetry. The lyric poets of the Renaissance borrowed first of all thematic material from Pindar. It brought a nobler and graver spirit. 'They enriched their language on the model of Pindar's and Horace's odes, taking it farther away from plain prose and from conventional folk-song phraseology. And in their eagerness to rival the classics, they made their own lyrics more dignified, less colloquial and song-like (...) more ceremonial and hymn-like'. (G. Highet, 'The classical tradition, Oxford 1978, p. 230) The 'loudest and boldest answer to the challenge of Pindar's style and reputation came from France', beginning with Pierre de Ronsard, born 1524. Ronsard wanted to be the French Pindar, introducing the Pindaric ode into the vernacular literature of France. He, together with his poetic friends 'were the energy and the material, of the group of poets who rebelled against the traditional standards of French poetry and proclaimed revolution in ideals and techniques. They called themselves the 'Pléiade', after the group of seven stars which join their light into a single glow'. (Highet, p. 231) Their work amounted to a closer synthesis between French and Greco-Latin literature, and was the annunciation of a new trend in French, and European literature. § Many of Pindar's gnomic maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae', for example in Erasmus's Adagia. Already the first full Latin translation of Pindar (1528) indexed all the gnomes according to moral lessons. 'The sententious Pindar (...) provided the Humanists of the Reformation with pithy statements of moral instruction and wordly advice, which ensured the poet's place in pedagogical circles. Moreover, as a source of proverbial wisdom, Pindar was elevated nearly to the status of biblical Salomon. (...) The sheer variety of Pindarically influenced traditions -the political ode and the personal, the religious hymn and the song of genius, the freely aimless and the rigorously concise- all serve as a testament not only to Pindar's versatility, but also to his rich potential to inspire'. (The Classical tradition, Cambridge Mass., 2010, p. 729/30) For Filelfo, Pontano, Cowley and Dryden Pindar was a model for political encomium, and there are quite a number of imitators of Pindar in European literature. The French author Voltaire made the witty remark that Pindar wrote verses that no one understood, and everyone had to admire. § Pindarics, a kind of pindaric verse, or rather what poets thought what pindaric verse was like, is a term to indicate a genre of amorph and irregular odes which was much en vogue in England at the end of the 17th and the beginning of the 18th century) (Collation: a-r8 (leaf r8 blank)) (Photographs on request) |
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Elk boek kan binnen 14 dagen na ontvangst teruggezonden worden, in dezelfde staat als waarin het werd verstuurd en op dezelfde manier verpakt en verzonden. Retourzendingen dienen voldoende gefrankeerd te zijn.
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