Pindar. Ancients in Action. By ANNE PIPPIN BURNETT. London: Bristol
Classical Press, 2008. Pp. 175. Paper, $23.00. ISBN 978–185–399711–2.
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CJ Forum Online 2010.03.02
Anne Pippin Burnett’s Pindar is part of the series “Ancients in
Action” from Bristol University Press, whose goal, according to the
Press’ statement, is to “introduce(s) major figures of the ancient
world to the modern general reader, including the essentials of each
subject’s life, works, and significance for later western
civilization.” This book does not fulfill these goals, and indeed Pindar
resists such a neat summing up. Instead, B. has produced a general
description of epinician poetry, followed by copious translation and
commentary, which is much closer to what a “modern general reader”
needs.
In Chapter 1, “Praise for a Victorious Athlete,” B. offers a
description of the epinician poem remarkable for the variety of views of
Pindar included. She follows Bundy by stating that the essential task is to
recite the name of the victor, his significant relatives and the locations
where he or his relatives won this and other prizes. But B. departs from
the formalists when she attempts to recreate the occasion of the poems,
following Carne-Ross and asserting that the second task was to evoke the
divine quality that attends athletic victory and is enlarged by the use of
myth to include the entire community. The discussion of Pindar’s myth
takes up a third of this chapter and is covertly stressed through the
choice of passages to translate in the chapters that follow. What is
missing is reference to Pindar’s style, which is for many the main reason
he continues to be read. B. approaches this topic through her translation,
which—despite a tendency to simplify and generalize Pindar’s
language—is the strongest part of the book. The chapters that follow
consist largely of summary, translation and commentary. The commentary is
problematic, raising large issues in such a brief and simple form that it
is often confusing.
The songs for young men are the topic of Chapter 2, and B. centers her
account on Pythian 10, Nemeans 7, 3 and 8, and Isthmians 6 and 8 (in that
order). B. (who has written a book on this topic) [[1]] finds a few themes
peculiar to these songs, the main ones being the trainers, female
divinities and personal beauty. B. translates all of Pythian 10, and in her
commentary she suggests that the central myth, Perseus visiting the
Hyperboreans, is linked to the present occasion, in that both scenes are
festive. This is one example of B.’s attempts in the commentary to relate
the myths to the honorees of the poems, and in this case the link is
consistent with Chapter 1: myth expands on the religious feeling that
attends athletic victory. The remark that this myth is “a parallel
world” (p. 45) also hearkens back to that chapter. B. occasionally
oversimplifies in her commentary, an example being her claim that the
account of Achilles in Isthmian 8 is a “supremely positive definition of
mortality” (p. 58). B. ends this chapter by translating most of Nemean 8,
presumably because it includes the story of Odysseus’ slander of Ajax and
Ajax’s suicide, although B. does not herself say as much.
Chapter 3 is titled “Celebrations for Men” and treats Pythian 9,
Olympians 9 and 7, Isthmian 1 and Olympian 6. Olympian 7 is translated in
its entirety, with occasional breaks for explanatory notes. In these notes
B. adopts a view not found in her first chapter. She observes in her
commentary that Telemachus’ arrival in Rhodes, Zeus’ gift of Rhodes to
Helios, and the Rhodians’ flawed sacrifice to Helios all involve
mistakes, which is an uncontroversial remark; but she then explains that
this long poem about “mortal error and weakness” is designed to draw
envy away from the famous athlete being honored, Diagoras of Rhodes. The
reasoning behind this view is unclear. Not all the mistakes are mortal, and
no evidence is offered for the existence of any envy or the need to deflect
it. B. assumes that the poems have a political function, which contradicts
her explanation of the role of myth in Chapter 1.
The main part of Chapter 4, “Celebrations for Rulers,” is devoted to
translations of ten poems: Olympians 3 and 2; Pythian 6; Olympian 1;
Pythians 1, 2 and 3; Nemean 1; and Pythians 5 and 4. This chapter is nearly
as long as Chapters 2 and 3 combined, and is the heart of the book. These
poems include direct and indirect references to contemporary events, and B.
again assumes that they have an instrumental purpose. Here, for instance,
is her comment on Olympian 1’s story of Tantalus: “To the courtiers
gathered at the table … the ode says this: (if you try to share in
Hieron’s glory) … your punishment will be, like that of Tantalus,
painful and never-ending” (p. 125). B. makes a similar suggestion about
the myth of Ixion in Pythian 2: “the listeners … would understand …
any attempt to disturb the settled order of things would bring a perpetual
bondage” (p. 132). B’s extremely simple historical reading can be read
as evidence against such an approach. On the other hand, her comments on
imagery are often interesting when she is not treating the poems as mere
political documents. For instance, when B. translates all of Olympian 3
with her usual clarity and energy, in her commentary she sees a parallel
between Heracles bringing the olive tree to Olympia and Theron bringing the
olive crown to Acragas. B. translates over half of Olympian 2, including
lines 53–100 (the end), because of the poem’s unique account of the
afterlife. This is one case where she explains her choice of passages.
B. ends Chapter 4 with an account of Pythian 4, of which she translates
only 102 of 299 lines, but her treatment of the poem, a mix of translation,
summary and commentary, extends over 12 pages of text. There is a good
story to be told here, and B. tells it well. At the end of the account, she
translates the poet’s direct appeal to Arkesilas (278 ff.), and her verse
vividly describes the life the young exile longs to live in his homeland
(292–7):
“…With his
cup of misfortune now drained, he prays that he may sometime see
home once again, frequently drinking with friends at the well of Apollo,
heart given over to pleasures of youth, or in tranquility
raising his elegant lyre among citizen singers, offering
pain to no man, himself without grief.”
These anapestic lines, a meter B. often uses, give the English verse some
feel of the original aeolic and dactylo-epitritic meters. A key test of a
translation is how it reads, and these translations pass that test.
A book of this sort must deliver a sense of the author to a “general
reader” approaching Greek literature through translation. B.’s chapter
on epinician offers a fair representation of scholarly thinking about
Pindar, whereas the commentary that follows is overly condensed and
frequently at odds with the general chapter. The quality of the
translations, however, will determine whether the modern reader is able to
connect with the ancient author. Although these translations sometimes fail
to convey Pindar’s admittedly difficult style, they remain the strongest
part of this book.
MICHAEL SHAW
The University of Kansas
[[1]] Pindar’s songs for young athletes of Aigina. (Oxford and New York,
2005).
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