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  • Cited by 11
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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    D'Angour, Armand 2015. A Companion to Ancient Aesthetics.

    Hardie, Alex 2015. A DITHYRAMB FOR AUGUSTUS: HORACE, ODES 4.2. The Classical Quarterly, Vol. 65, Issue. 01, p. 253.

    Mossman, Judith 2013. A Companion to Plutarch.

    Phillips, Tom 2013. EPINICIAN VARIATIONS: MUSIC AND TEXT IN PINDAR, PYTHIANS 2 AND 12. The Classical Quarterly, Vol. 63, Issue. 01, p. 37.

    2013. The Encyclopedia of Greek Tragedy.

    2013. The Encyclopedia of Greek Tragedy.

    2013. Pindar's Pythian 11 and theOresteia. Classical Antiquity, Vol. 32, Issue. 1, p. 101.

    2012. Mousikoi Agonesand the Conceptualization of Genre in Ancient Greece. Classical Antiquity, Vol. 31, Issue. 1, p. 92.

    Steiner, Deborah 2011. Dancing with the Stars :Choreiain the Third Stasimon of Euripides’Helen. Classical Philology, Vol. 106, Issue. 4, p. 299.

    Sheldon, John S. 2003. Iranian Evidence for Pindar's ‘Spurious San’?. Antichthon, Vol. 37, p. 52.

    D'ANGOUR, ARMAND J. 1999. ARCHINUS, EUCLEIDES AND THE REFORM OF THE ATHENIAN ALPHABET. Bulletin of the Institute of Classical Studies, Vol. 43, Issue. 1, p. 109.


How the dithyramb got its shape*

  • Armand D'angour (a1)
  • DOI:
  • Published online: 01 February 2009

Pindar's Dithyramb 2opens with a reference to the historical development of the genre it exemplifies, the celebrated circular chorus of classical Greece. The first two lines were long known from various citations, notably in Athenaeus, whose sources included the fourth-century authors Heraclides of Pontus and Aristotle's pupil Clearchus of Soli. The third line appears, only partly legible, on a papyrus fragment published in 1919, which preserves some thirty lines of the dithyramb including most of the first antistrophe (thereby guaranteeing the metre for some reconstruction of the first strophe).

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