Scholarly discussions of Pindar's Olympian 9 normally examine the opening reference to Archilochus' kallinikos hymn, the mythical exemplum of Heracles' theomachy, and the narrative of the foundation of Opus separately. The present study will attempt to examine these references together, as forming a dynamic whole. As will become clear, such an approach can provide a more successful reading of the poem because it accounts better for its constituent parts, better integrates metapoetry and poetry throughout, and offers valuable insights into Pindar's attitude towards previous poetry and tradition in general.
The two wreath-bearing sirens featuring in the sympotic scene on a black-figure Laconian cylix in the Louvre (E667) have been the subject of much discussion and have been interpreted as symbolising either the souls of the symposiasts, or the festivity / erotic ambience of the convivial gathering. As I argue, the function of the sirens in this scene could be elucidated if seen in conjunction with the sirens’ role in Homer.