The intriguing myth of the first temples at Delphi is first attested in Pindar's fragmentary eighth Paean. This text, and Pausanias 10.5.9–13, are the only two sources that actually tell the story of the first temples, while a few others simply mention, en passant, one or more-but not all-of these legendary temples, without setting out to give an account of the myth.

The intriguing myth of the first temples at Delphi is first attested in Pindar's fragmentary eighth Paean. This text, and Pausanias 10.5.9–13, are the only two sources that actually tell the story of the first temples, while a few others simply mention, en passant, one or more-but not all-of these legendary temples, without setting out to give an account of the myth.

Aristotle’s influence on D’Arcy Thompson was praised by Thompson himself and has been recognized by others in various respects, including the aesthetic and normative dimensions of biology, and the multicausal explanation of living forms. This article focuses on the relatedness of organic forms, one of the core problems addressed by both Aristotle’s History of Animals (HA), and the renowned chapter of Thompson’s On Growth and Form (G&F), “On the Theory of Transformations, or the Comparison of Related Forms.” We contend that, (...) far from being an incidental inspiration stemming from Thompson’s classicist background, his translation of HA played a pivotal role in developing his theory of transformations. Furthermore, we argue that Thompson’s interpretation of the Aristotelian method of comparison challenges the prevailing view of Aristotle as the founder of “typological essentialism,” and is a key episode in the revision of this narrative. Thompson understood that the method Aristotle used in HA to compare animal forms is better comprehended as a “method of transformations,” leading to a morphological arrangement of animal diversity, as opposed to a taxonomical classification. Finally, we examine how this approach to the relatedness of forms lay the foundation for a causal understanding of parts and their interconnections. Although Aristotle and Thompson emphasized distinct types of causes, we contend that they both differ in a fundamental sense from the one introduced by Darwin’s theory of natural selection, which was formulated as a solution to the species problem rather than the form problem. We conclude that Thompson’s interpretation of Aristotle’s approach to form comparison has not only impacted contemporary scholarship on Aristotle’s biology, but revitalized a perspective that has regained significance due to the resurgence of the problem of form in evo-devo. (shrink)

Much modern scholarship on Delphic oracles has revolved around the question of authenticity, where authenticity implies it is a fact that there was a consultation of the Delphic oracle, that a response was given and that the account of these events reports the occasion of the consultation and the response verbatim. This article challenges the usefulness and validity of this definition on two grounds. First, there is ample evidence that most Delphic oracles circulated orally for at least a generation before (...) being recorded in writing. Therefore, Delphic oracles should be examined through what we know about orality from Homeric studies. Second, all six hundred or so oracles attributed to Delphi are fulfilled. This observation suggests that Delphic tales are religious testimonia and should be read for what they tell us about the beliefs, though not necessarily the facts and details, of the communities who circulated them. This article, then, both provides an alternate definition of authenticity that takes into account the oral transmission of these tales by communities of believers and comments on the nature of the historical evidence these tales provide. (shrink)

The Homeric influence on two prominent avian images in the parodos of the Agamemnon—the vulture simile and the omen of the eagles and the pregnant hare —has long been noted. In 1979 West suggested that the animal imagery also derived in part from Archilochus’ fable of the fox and the eagle , and his discussion was quickly welcomed and supplemented by Janko's reading of the eagle and snake imagery used by Orestes at Cho. 246–7. Capping this triennium mirabile of critical (...) interest in Aeschylus’ birds of prey, Davies argued that the convincing resemblances between the fable and the Aeschylean passages in West's thesis—the anthropomorphism implied in παίδων and δεγπνον and the concern of Zeus for aggrieved animals —derive more generally from the nature of fable rather than from any one particular tale. Thus we have, according to Davies, an example of Aeschylus ‘exploring the resources and familiar modes of expression of a popular and well-known genre’ and transforming it into ‘the purest and sublimest type of poetry’. (shrink)

The Homeric influence on two prominent avian images in the parodos of the Agamemnon—the vulture simile and the omen of the eagles and the pregnant hare —has long been noted. In 1979 West suggested that the animal imagery also derived in part from Archilochus’ fable of the fox and the eagle, and his discussion was quickly welcomed and supplemented by Janko's reading of the eagle and snake imagery used by Orestes at Cho. 246–7. Capping this triennium mirabile of critical interest (...) in Aeschylus’ birds of prey, Davies argued that the convincing resemblances between the fable and the Aeschylean passages in West's thesis—the anthropomorphism implied in παίδων and δεγπνον and the concern of Zeus for aggrieved animals —derive more generally from the nature of fable rather than from any one particular tale. Thus we have, according to Davies, an example of Aeschylus ‘exploring the resources and familiar modes of expression of a popular and well-known genre’ and transforming it into ‘the purest and sublimest type of poetry’. (shrink)

In telling the story of Tereus, Procne, and Philomela , Ovid transformed tragedy—the Tereus of Sophocles1—into epic. The result was a narrative that followed the tragic plot but with a very different presentation. For example, Ovid incorporated into his episode events from the play's prologue, such as the marriage of Procne and Tereus , the birth of Itys , and the voyage of Tereus to Athens . In addition, he brought offstage action into the limelight, including the violation of Philomela (...) , the slaughter of Itys , and the metamorphoses of Tereus and the sisters . Finally, he explicated innermost thoughts, like the lust of Tereus and the rage of Procne — emotions whose external manifestations would have been clear in performance, but whose effects the reader perceives from the inside out. So sequential and immediate a treatment owes much to the shift from one genre to the other. (shrink)

In telling the story of Tereus, Procne, and Philomela, Ovid transformed tragedy—the Tereus of Sophocles1—into epic. The result was a narrative that followed the tragic plot but with a very different presentation. For example, Ovid incorporated into his episode events from the play's prologue, such as the marriage of Procne and Tereus, the birth of Itys, and the voyage of Tereus to Athens. In addition, he brought offstage action into the limelight, including the violation of Philomela, the slaughter of Itys, (...) and the metamorphoses of Tereus and the sisters. Finally, he explicated innermost thoughts, like the lust of Tereus and the rage of Procne — emotions whose external manifestations would have been clear in performance, but whose effects the reader perceives from the inside out. So sequential and immediate a treatment owes much to the shift from one genre to the other. (shrink)

Those who write about early Greek literature often assume that each item in the ancient vocabulary answers to a single concept in the world-view of its users. It seems reasonable to hope that the body of ideas represented by a particular Greek word will frame one's discussion better than any question that could be asked in English: so that a cautious scholar might prefer to discuss the phenomenon called αδς, for example, than to plunge into a study of Greek ideas (...) of ‘honour and shame' irrespective of whether those anthropologists’ labels mark off a single body of ancient ideas. But the question is not merely one of common sense: in recent years, for example, a strategy of extrapolating deep ideas from single words has been deliberately developed by such scholars as Gregory Nagy, who constantly moves back and forth between the semantic patterns of individual words and corresponding thematic patterns found in myths. Here is a recent example from his analysis of Pindar's conception of the unity between athletic victory and mythical heroism: In Pindaric usage εθλος applies equally to the contests of athletes and to the life-and-death ordeals of heroes. We have already seen from the myth of the chariot race of Pelops that the ordeals of heroes on the level of myth correspond aetiologically to the contests of athletes on the level of ritual, in that the myths can motivate the rituals. Now we see that a word like εθλος can collapse the very distinction between the myth and the ritual. (shrink)

Those who write about early Greek literature often assume that each item in the ancient vocabulary answers to a single concept in the world-view of its users. It seems reasonable to hope that the body of ideas represented by a particular Greek word will frame one's discussion better than any question that could be asked in English: so that a cautious scholar might prefer to discuss the phenomenon called αἰδώς, for example, than to plunge into a study of Greek ideas (...) of ‘honour and shame' irrespective of whether those anthropologists’ labels mark off a single body of ancient ideas. But the question is not merely one of common sense: in recent years, for example, a strategy of extrapolating deep ideas from single words has been deliberately developed by such scholars as Gregory Nagy, who constantly moves back and forth between the semantic patterns of individual words and corresponding thematic patterns found in myths. Here is a recent example from his analysis of Pindar's conception of the unity between athletic victory and mythical heroism:In Pindaric usage ἂεθλος applies equally to the contests of athletes and to the life-and-death ordeals of heroes. We have already seen from the myth of the chariot race of Pelops that the ordeals of heroes on the level of myth correspond aetiologically to the contests of athletes on the level of ritual, in that the myths can motivate the rituals. Now we see that a word like ἂεθλος can collapse the very distinction between the myth and the ritual. (shrink)

This article presents a detailed study of an early section of the actual works and days of Hesiod's Works and Days. The treatment consistently eschews obsolete assumptions about this poem, in particular that it reduces to a didactic presentation to the early Greek farmer. A key principle of the method followed is to pay closer attention to the text's relation to epic forms than has been typical among the poem's commentators. The result is to find that a certain literary figure (...) gradually develops in the section discussed. Namely, the plowing nominally covered there stands for the section's portion on the human condition, a condition implicitly compared with that associated with traditional epic. The figure evokes a well-rounded person, aware of the divine and of the world's uncertainties, with a long-term sense of purpose involving good organization of one's life, as opposed to someone engaged in helter-skelter pursuit of transitory activities, perhaps war specifically. With this identification of virtual protagonist established by the end of the section, the ground is prepared for any further development of the figure as that entity's undertakings or adventures in the remainder of the poem. (shrink)