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Aegina: Contexts for Choral Lyric PoetryMyth, History, and Identity in the Fifth Century BC$
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David Fearn

Print publication date: 2010

Print ISBN-13: 9780199546510

Published to Oxford Scholarship Online: January 2011

DOI: 10.1093/acprof:oso/9780199546510.001.0001

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The Trojan War, Theoxenia, and Aegina in Pindar's Paean 6 and the Aphaia Sculptures

The Trojan War, Theoxenia, and Aegina in Pindar's Paean 6 and the Aphaia Sculptures

Chapter:
(p.323) 9 The Trojan War, Theoxenia, and Aegina in Pindar's Paean 6 and the Aphaia Sculptures
Source:
Aegina: Contexts for Choral Lyric Poetry
Author(s):

Guy Hedreen

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199546510.003.0010

This chapter discusses Pindar's Paean 6 and its mythology in the light of contemporary art, especially sculpture. The Aphaia pediments and Pindar's poem enhance Aegina's heroes, while engaging with the mythology of the fall of Troy. The Aphaia pediments rethink the pictorial conventions of the last night of Troy, and put the pairing of pediments of equal scale to good semantic use to suggest that the first Trojan War was at least as significant as the famous second campaign. With Paean 6 there was no denying Apollo's involvement in the deaths of Achilles and Neoptolemos; but by emphasizing Apollo's interest in Troy as a motivation for his actions, it was possible to avoid mention of the ugliest deeds attributed to those two heroes. Pindar also tightened the links between the Trojan War, the Delphic Theoxenia, and the Aeginetan cult of Zeus Hellanios, through emphasis on the pious Aeginetan culture-hero Aiakos.

Keywords:   Trojan War, Apollo, sculpture, Aphaia pediments, Aiakos, Theoxenia, Pindar, Paean 6, Delphi

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