Download Commentary on Pindar: Olympian 9 (Hermes - Einzelschriften) by Douglas E. Gerber PDF

By Douglas E. Gerber

Olympian 9 celebrates the wrestling victory in 468 of Epharmostus of Opous. even if one in all PindarAes longer odes, it has acquired much less scholarly realization than others of similar dimension. the current statement fills this hole. a good portion of the ode is dedicated to EpharmostusAe earlier victories and an appendix analyses how victory catalogues are taken care of in different places via Pindar in addition to by way of Bacchylides and agonistic epigrams. "There are 1000 issues to treasure the following; info are a steep direction and require an excessive amount of dialogue to provide a feeling of the total. IAell placed it easily: Gerber makes tough scholarship glance effortless. The clever will shop up opposed to destiny need." Classical global

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Extra resources for Commentary on Pindar: Olympian 9 (Hermes - Einzelschriften)

Sample text

When Petronius goes to Nero to ask him to give Lygia to Vinicius, he sits beside Nero, who is reclining on a couch, and although other courtiers are present, the conversation appears intimate. 14 In the novel, this meeting with Nero is very briefly summarized (27, at the beginning of Chapter 4), so that our first view of Nero in this film is at the banquet; but it was evidently easier to show this action than to risk confusing the audience or to slow the film with more intertitles. Petronius’ antagonism with Tigellinus is introduced only after the fire in the discussion of possible scapegoats, when Petronius urges Nero to have the courage to declare himself the arsonist, so the film raises concern about his fate only near its end.

If Vinicius does not hear Peter preach before his attack on Lygia, there is no need to explain the slow working of what he hears. The fall of Nero is already prepared during the arena scenes. The film’s characteristic technique is cutting between contrasting scenes, and the changes offer a reason to move from the arena to Petronius’ house and back again. The various changes also give Petronius a more active and positive role. Similarly, while there are various reasons for the changes in the 1951 version, narrative simplicity is clearly among them.

The film removes Petronius’ snobbery and loathing for the smell and dirt of the common people but emphasizes Nero’s disgust for them so it is appropriate that he looks down on them from high above. In the first hour of the very long 1951 film, though, we never see Nero when Petronius is not present. Almost every remark of Nero’s is followed by a response from Petronius, and it is clear that the ironic flattery of Petronius is the only mechanism that keeps Nero under any rational control. We finally see Nero without Petronius when he contemplates his model of the new Rome in the company of the architect; he expresses his nervousness about how Petronius will react to his vision.

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