By Kyriakos Tsantsanoglou
Ever because the papyrus containing Alcman´s Partheneion was once first released in 1863, classical students have strived to unravel its enigma. This booklet provides a verse-by-verse statement to the textual content with a few new proposals in accordance with an in depth inspection of the papyrus. The Scholia to the Partheneion, the place various new readings are made, significantly elucidate the composition of the refrain, the variety of its individuals, the id of the protagonist ladies, the social context, in addition to questions of functionality. a brand new version of the Partheneion and the Scholia is available on the finish, with a translation of the poem.
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Additional resources for Of Golden Manes and Silvery Faces: The Partheneion 1 of Alcman
6 ἰόντι δὲ ἐκ τοῦ Δρόμου πρὸς ἀνίσχοντα ἥλιον ἀτραπός ἐστιν ἐν δεξιᾶι καὶ Ἀθηνᾶς Ἀξιοποίνου καλουμένης ἱερόν. ὡς γὰρ δὴ ἀμυνόμενος Ἡρακλῆς Ἱπποκόωντα καὶ τοὺς παῖδας μετῆλθε κατ᾽ ἀξίαν ὧν προϋπῆρξεν, ἱερὸν Ἀθηνᾶς ἱδρύεται, Ἀξιοποίνου δὲ ἐπίκλησιν, ὅτι τὰς τιμωρίας οἱ παλαιοὶ τῶν ἀνθρώπων ὠνόμαζον ποινάς. Thus, it is not only in Alcman’s poem that we meet this manifest ambivalence in attitude towards the Hippocoontidae, but also, generally, in the Spartan society, where the heroa of the brothers are found side by side with the monuments commemorating Heracles’ victory.
A sense like the following may be close to the truth, although the size of the supplement at 31 is admittedly rather large: 30 ἀλλ᾽ ἐπιπλάξων] ἔβα· τῶν δ᾽ ἄλλος ἰῶι ἧκεν, ἄλλος δ᾽ αὖτε] μαρμάρωι μυλάκρωι σχετλίως ἔβαλ]λ̣εν. ‘But he went only in order to chastise them (not to kill them). And they started, others shooting with arrows and others ruthlessly dashing sparkling stones’. 37 μύλακρος need not, however, mean ‘millstone’, referring to the large circular stone that is used for grinding grain.
26 Commentary χράω (A in LSJ, III c. ) means ‘to conceive a desire to …’, usually expressing disapproval, as is the case here. Depending on verses 16–17, μή τις ἀνθ]ρώπων ἐς ὠρανὸν ποτήσθω ]ρήτω γαμῆν τὰν Ἀφροδίταν, Gloria Ferrari 2008, 66, concludes that ‘the first three stanzas of the poem dealt in some fashion with the myth of Phaethon, before turning to the slaughter of the Hippocoontids’. Yet, as she rightly observes, Aphrodite is never a victim of the mortals’ erotic yearning, but quite the opposite, ‘Aphrodite is predator, not prey’ (54).