The Bird that Became a Cleonymus-Tree: Pindar’s Olympian 12.13-6 and Aristophanes’ Birds 1473-81

in Mnemosyne
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The Bird that Became a Cleonymus-Tree: Pindar’s Olympian 12.13-6 and Aristophanes’ Birds 1473-81

in Mnemosyne

References

BarrettW.S. Pindar’s Twelfth Olympian and the Fall of the Deinomenidai JHS 1973 93 23 35

BarrettW.S. WestM.L. Greek Lyric Tragedy and Textual Criticism 2007 Oxford

BorthwickE.K. Zoologica Pindarica CQ 1976 26 198 205

DeganiE. BremerJ.M.HandleyE.W. Aristofane e la tradizione dell’invettiva personale in Grecia Aristophane 1993 Vandoeuvres/Geneva 1 37

DoverK.J. Aristophanes: Clouds 1968 Oxford

DunbarN. Aristophanes: Birds 1995 Oxford

GerberD.E. Euterpe 1970 Amsterdam

GildersleeveB.L. Pindar: The Olympian and Pythian Odes 1881 New York/Cincinnati/Chicago

GowA.S.F. Theocritus 1952 Cambridge

GriffithR.D. Leaves in Pindar Eranos 1999 97 54 58

HeadlamW.KnoxA.D. Herodas: The Mimes and Fragments 1922 Cambridge

HubbardT. MackieC.J. The Dissemination of Epinician Lyric Oral Performance and Its Context 2004 Leiden 71 93

JurenkaH. Humor bei Pindar WS 1896 18 91 98

MeiggsR.LewisD.M. A Selection of Greek Historical Inscriptions 1988 Oxford 2

MoultonC. Aristophanic Poetry 1981 Göttingen

NisetichF.J. The Leaves of Triumph and Mortality: Transformation of a Traditional Image in Pindar’s Olympian 12 TAPhA 1977 107 235 264

OlsonS.D. Aristophanes: Peace 1998 Oxford

ParkerL.P.E. The Songs of Aristophanes 1997 Oxford

RogersB.B. The Birds of Aristophanes 1906 London

RogersB.B. The Knights of Aristophanes 1910 London

SlaterW. J. Lexicon to Pindar 1969 Berlin

StanfordW.B. Greek Metaphor 1936 Oxford

SteinerD. The Crown of Song: Metaphor in Pindar 1986 London

StoreyI.C. The ‘Blameless Shield’ of Kleonymos RhM 1989 132 247261

TaillardatJ. Les images d’Aristophane: études de langue et de style 1965 Paris

ThompsonD.W. Glossary of Greek Birds 1936 Oxford 2

VerdeniusW.J. Commentaries on Pindar 1987 vol. 1 Leiden

WhitmanC.H. Aristophanes and the Comic Hero 1964 Cambridge, MA

10)

Cf. Steiner 1986108. In reference to this passage Stanford (1936 24) speaks of “a kaleidoscopic effect” to Pindar’s imagery and Verdenius (1987 100) of “the mosaic character” of his style.

12)

Whitman 1964145quoted with approval by Moulton (1981 32). Av. 1473-81 seem a rare case of end-rhyme used deliberately for effect (cf. ἀεὶ / . . . συκοφαντεῖ / . . . φυλλορροεῖ).

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