pindari olympia pythia von pindarus (6 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Oxonii [Oxford], E Theatro Sheldoniano [Sheldonian Theatre], 1697. Gestoch. Titel, Frontispiz, [18] Bl., 497 S., [46] Bl., 77 S. [1] Bl. Folio. Leder d. Zt. auf 6 Bünden mit Blindpräg. u. weinrotem Rückenschild. Pindar (522-445 v. Chr.). - Erster Druck der ersten in England erschienenen Pindaros-Ausgabe. Zweispaltiger griech.-latein. Paralleltext, einspaltige Kommentare in eleganter Kursivschrift. "Sehr selten. . Die Uebers. ist aus Schmid's Ausg. genommen, so auch das Beste in den Noten. Varr. aus 5 Bodlejan. Mscr., Sudorius lat. Uebers. u. Benedict's Paraphrase sind beigefügt" (Schweiger, 236). - Nicolas Le Sueur (1545-1594), franz. Jurist und Philologe. - Die letzten 77 S. (einer anderen Papiercharge) enth. "Pindari Opera Omnia Viz. Olympia, Pythia, Nemea, & Isthmia / Latino carmina reddita per Nicolaum Sudorium in Curia Parisiensi Inquisitionum Præsidem". - Gedruckt bei Fitz-Herbert Adams. - Auf großem Papier. - Kapitale angeplatzt, Deckel mit Schabspuren; Titel u. Frontispiz mäßig, sonst vereinzelt braun- o. stockfleckig, lagenweise schwacher Wasserrand. S. 275/276 mit Quetschfalte u. unterlegtem Einriss. - Selten!

Hardcover. Zustand: Sehr gut. 4to. (6) lvs., 458 pp., (9) lvs. Repeated printer s device on title and last leaf verso. Contemporary blind-stamped calf (spine new, 2 corners restored), ties new. Second Latin edition on Pindar s poems (first: 1528), the first one with commentary. Only a small portion of the complete works of Pindar (522 or 518 - ca. 440 B.C.), born in the vicinity of Thebes, has been handed down; most of this deals with songs of praise dedicated to the winners of contests at Olympia, Delphi, at Isthmos and in Nemea. These were often written on commission for aristocrats across the entire Greek-speaking world of the time, including Sicily. Pindar's works were highly regarded in the literature of Rome (e.g. Horace) and admired in England (Milton), France (Boileau) and also in Germany, especially amongst the so-called Romantics (e.g. A. v. Platen); contemporary to this many of his works were translated into German (Humboldt, Hölderlin). Johannes Lonicer (c. 1497 - 1569) entered - like Luther - the order of Augustine early in life, studied in Erfurt and Witttenberg and fell, the more he came under the influence of Luther's teachings, more and more into conflict with the official church doctrines. After periods in Esslingen, Freiburg and Straßburg, where he worked for various publishers as copy editor, he was awarded a teaching chair at Marburg, initially for Greek, later theology. The embossing of the binding is identical on both sides: several different individual stamps within a rhombus-shaped grid: fan-like leafwork , a wanderer supporting himself on a staff and lilies; the half fields at the edges are filled with a beetle stamp surrounded by square frame. The stamps of the wanderer and the beetle stamp are barely mentioned in the literature. The binding could have originated in the Rhine or lower Rhine areas. The flyleaf and endpapers are parchment. Title has larger piece missing at the side (recto small amount, verso minimal text loss) which has been reinforced, edge and fold strengthening, one worm hole also repaired. Additionally several handwritten entries on title, two of which indicate church censorship: one that the author had been sentenced but that he had been reinstated; the second mentions Father Paulus Keuth who had corrected the book according to the Index of Forbidden Books (one can see with what skepticism even an innocent work of the Luther supporter Johannes Lonicer was held in catholic circles, a series of whose polemic pamphlets landed in the Index); a third entry (from the 17th century) mentions the Convent of the Birgitten Nunnery in Cologne as owner. Within the title the name of the translator has been thinly underlined and the words "& illustrior" have been crossed out. Front joint broken, last leaf of gathering reinforced. Both endpapers show old library entries. Light browning throughout, some water staining; some rubrication in red and blue. Page 261 has two lines crossed out (in the hand of the "Corrector" named on title page?). VD 16 P 2798; Hoffmann III, 104; Schweiger I, 238; Hieronymus / GG 210; Adams P 1234; BMSTC (German Books) 697.

8vo. (XVI),246,(4 blank) p. Vellum. 16 cm (Ref: Hoffmann 3,98; Graesse 5,294; Ebert 16858) (Details: Woodcut printer's mark on the title, it depicts a hand that comes out of a cloud, and draws a circle with a pair of compasses, the motto is: 'Labore et constantia'. Short biography of Pindar by Gyraldus in Latin precedes the Greek text of the epinicia. Greek text only) (Condition: Vellum age-tanned. Some small wormholes in the blank upper corner of the first gathering, smaller pinpoint ones in next six gatherings, nowhere affecting the text. The edges of the lower corner of the first gathering eaten away by some insect) (Note: A quarter of the works of the Greek poet Pindar, ca. 518-438 BC, his four books of 'epinicia', named after the Great Games, the Olympian, Pythian, Nemean and Isthmian, survive. Pindar wrote eulogistic hymns to celebrate a victory in athletics, boxing and horse racing. Praised in a magnificent way are the victor, his family, the native city. 'Each ode draws from a variety of historical, cultural, and mythological sources. The highly allusive manner by which this material is presented is complemented by an equally rich repertoire of metrical patterns from epic, Doric, and Aeolic systems'. (The Classical tradition, Cambridge Mass., 2010, p. 729) 'Extended similes and difficult metaphors, intricate syntax and rapid narration, far-reaching digressions and bold disruptions' result in grandiose, but also obscure, enigmatic and sometimes seemingly awkward poetry. Already in antiquity the comic playwright Aristophanes presented in the 'Aves' Pindaric poetry as foolish, pretentious and embarrassing. The Hellenistic poets Callimachus and Theocritus wrote poetry under his influence. The Roman poet Horace thought him grandiose and sublime. Pindar's influence on European literature is great. The great number of editions in Greek, and Latin translations of Pindar's odes that were printed in the 16th century are an indication of a continuous and widespread humanist interest. Many of Pindar's gnomic maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae', for example in Erasmus's Adagia. Already the first full Latin translation of Pindar (1528) indexed all the gnomes according to moral lessons. 'The sententious Pindar (.) provided the Humanists of the Reformation with pithy statements of moral instruction and wordly advice, which ensured the poet's place in pedagogical circles'. 'The sheer variety of Pindarically influenced traditions -the political ode and the personal, the religious hymn and the song of genius, the freely aimless and the rigorously concise- all serve as a testament not only to Pindar's versatility, but also to his rich potential to inspire'. (Op. cit. p. 730) For Filelfo, Pontano, Cowley, Dryden Pindar was a model for political encomium, and there are quite a number of imitators of Pindar in European literature. Giangiorgio Trissino wrote a tragedy and three canzoni in a form approximating Pindar's practice, Luigi Alamanni modelled his hymns on the Pindaric ode, Ronsard wanted to be the French Pindar, introducing the Pindaric ode into the vernacular literature of France. The French author Voltaire made the witty remark that Pindar wrote verses that no one understood, and everyone had to admire. For Thomas Gray, Goethe and Hölderlin he was a genius. § This Pindar edition of 1590 is based, according to Hoffmann, Graesse & Ebert, on the Greek text of the edition of 1560 produced by the French scholar/printer Henri Estienne (Henricus Stephanus). Stephanus published a second (1566) and third edition (1586), all three containing in addition to the Greek text a Latin translation of the odes, but the 1560 edition is to be preferred, because the Greek text is, according to Dibdin the most correct. Plantin published a reissue of the Greek text of this 1560 edition earlier in 1567. Greek text only) (Provenance: On the front pastedown i.

Zustand: Sehr gut. Folio (33 x 20 cm). Gestochenes Frontispiz, [34], 497, [93], 77, [3] Seiten. *Sehr seltene Oxforder Folio-Ausgabe Ende des 17. Jh. mit lateinischer Übersetzung von Nicholas Sudor, Text in lateinischen und griechischen Lettern in reizvoller großzügiger Typographie. Zweiter Druck der ersten englischen Pindar-Ausgabe (1697), weitgehend identisch mit dieser. - Pindar (latinisiert Pindarus), geb. 522 oder 518 v. Chr. in Kynoskephalai bei Theben; gest. nach 446 v. Chr.) war ein griechischer Dichter und zählt zum Kanon der neun Lyriker. Die Römer, insbesondere Horaz und Quintilian, sahen in Pindars Lyrik den absoluten, nicht mehr erreichbaren Höhepunkt einer der Vergangenheit angehörenden Tradition. Der Humanismus entdeckte Pindar ab dem 16. Jahrhundert von Neuem und machte ihn zum lyrischen Vorbild. 1515 brachte der Kreter Zacharias Kallierges in seiner in Rom neu gegründeten Druckerpresse die erste Pindar-Ausgabe heraus. Bedeutende Nachdichtungen lieferten etwa Pierre de Ronsard und Abraham Cowley. Herder und Goethe leiteten im 18. Jahrhundert seine Rezeption im deutschen Sprachraum ein. - Der Einband leicht angestaubt, Text sauber und frisch. Insgesamt sehr gut erhaltenes Exemplar. el Gewicht in Gramm: 3000 Pergamentband der Zeit mit Rückentitel.

4to. (XVI),756,(recte 750),(56 index) p. Calf 24 cm (Ref: Gerber p. 5; Rico p. 13; Hoffmann 3,99; Schweiger 1,235; Dibdin 2,288; Moss 2,410: 'a very good and critical edition'; Brunet 4,659; Graesse 5,294; Ebert 16864) (Details: Back with 5 raised bands, elaborately gilt & expertly rebacked in antique style (in the 19th century?). Red morocco shield in the second compartment. Boards with gilt fillet borders, having also 2 double fillet gilt rectangles, and a gilt coat of arms in the center. 19th century marbled endpapers. Woodcut ornament on the title. Edges dyed red) (Condition: Binding worn at the extremes. Edges of the boards chafed. Corners bumped. Leather on the boards crackled. Strip of 1 cm cut from upper margin of the title, and repaired with a new strip. A few old ink marginalia. § The Greek is accompanied on the left by a Latin paraphrasis and a Latin translation on the right.) (Note: A quarter of the works of the Greek poet Pindar, ca. 518-438 B.C., survives, his four books of 'epinicia', named after the Great Games, the Olympian, Pythian, Nemean and Isthmian. Pindar wrote eulogistic hymns to celebrate a victory in athletics, boxing and horse racing. Praised in a magnificent way are the victor, his family, the native city. 'Each ode draws from a variety of historical, cultural, and mythological sources. The highly allusive manner by which this material is presented is complemented by an equally rich repertoire of metrical patterns from epic, Doric, and Aeolic systems'. (The Classical tradition, Cambridge Mass., 2010, p. 729) 'Extended similes and difficult metaphors, intricate syntax and rapid narration, far-reaching digressions and bold disruptions' result in grandiose, but also obscure, enigmatic and sometimes seemingly awkward poetry. Already in antiquity the comic playwright Aristophanes presented in the 'Aves' Pindaric poetry as foolish, pretentious and embarrassing. The Hellenistic poets Callimachus and Theocritus wrote poetry under his influence. The Roman poet Horace thought him grandiose and sublime. § Pindar's influence on European literature is great. The great number of editions in Greek, and Latin translations of Pindar's odes that were printed in the 16th century are an indication of a continuous and widespread humanist interest. Pindar was, with the Roman poet Horace, the chief classical model for modern formal lyric poetry. The lyric poets of the Renaissance borrowed first of all thematic material from Pindar. It brought a nobler and graver spirit. 'They enriched their language on the model of Pindar's and Horace's odes, taking it father away from plain prose and from conventional folk-song phraseology. And in their eagerness to rival the classics, they made their own lyrics more dignified, less colloquial and song-like (.) more ceremonial and hymn-like'. (G. Highet, 'The classical tradition', Oxford 1978, p. 230) The 'loudest and boldest answer to the challenge of Pindar's style and reputation came from France', beginning with Pierre de Ronsard, born 1524. Ronsard wanted to be the French Pindar, introducing the Pindaric ode into the vernacular literature of France. He, together with his poetic friends 'were the energy and the material, of the group of poets who rebelled against the traditional standards of French poetry and proclaimed revolution in ideals and techniques. They called themselves the Pléiade, after the group of seven stars which join their light into a single glow'. (Op. cit. (Highet) p. 231) Their work amounted to a closer synthesis between French and Greco-Latin literature, and was the annunciation of a new trend in French, and European literature. § Many of Pindar's gnomic maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae', for example in Erasmus's Adagia. Already the first full Latin translation of Pindar (1528) indexed all the gnomes according to moral lessons. 'The sententious Pindar (.) provided.