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PINDARUS
Lefevre, Paris. 1825. In-24. Relié. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Mouillures. 36 pages. Texte en grec ancien. Couverture muette. Etiquette de code sur la couverture. Plats frottés. Annotations au dos du 1er plat (ex-libris).. . . . Classification Dewey : 480-Langues helléniques. Grec
Curante Jo. Fr. Boissonade. Classification Dewey : 480-Langues helléniques. Grec
PINDAROU OLUMPIA, PUTHIA, NEMEA, ISTHMIA. Pindari Olympia, Pythia, Nemea, Isthmia.
Leiden (Lugduni Batavorum), Ex officina Plantiniana, Apud Franciscum Raphalengium, 1590.
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 in pencil: '18 april 1961', written by the Flemish linguist Walter Couvreur, 1914-1996, who was an Orientalist, and professor of Indoeuropean linguistics at the University of Gent. It indicates the date of aquisition. The place of acquisition he wrote on the flyleaf at the end: 'Utrecht, Beijers, veiling Wille'. On the front flyleaf an illegible name, and 'J. Wille, 10 febr. 1928'. J. Wille, 1881-1964, was professor of Dutch literature and linguistics and at the same time librarian of the protestant Free University at Amsterdam. His specialty was 18th century Dutch literature, and an excessive buyer of books. His books were auctioned by Beijers at Utrecht on the 23rd, 26-27th april 1961. It was the largest private library ever auctioned by Beijers. (P.J. Buijsters, 'Geschiedenis van de Nederlandse bibliofilie, boek- en prentverzamelaars 1750-2010', Nijmegen, 2010, p.110/11; including a picture of Wille) (Collation: *8, A-P8, Q6 (leaves Q5 & Q6 blank) (Photographs on request)
PINDAROU PERIODOS. Pindari Olympia, Pythia, Nemea, Isthmia. Johannes Benedictus, medicinae doctor, & in Salmuriensi Academia Regia linguae Graecae Professor, ad metri rationem, variorum exemplarium fidem, scholiastae ad verisimiles coniecturas directionem, totum authorem innumeris mendis repurgavit. Metaphrasi recognita, latina paraphrasi addita, poeticis & obscuris phrasibus graeca prosa declaratis; denique adiectis rerum & verborum brevibus & sufficientibus commentariis, arduum eiusdem sensum explanavit. Editio purissma, cum indice locupletissimo.
Saumur, (Salmurii), Ex typis Petri Piededii, 1620.
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: The Greek text is accompanied by a Latin paraphrasis on the left and a Latin translation on the right. Back with 5 raised bands, elaborately gilt & expertly rebacked in antique style (in the 19th century?). 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) (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 the Humanists of the Reformation with pithy statements of moral instruction and wordly advice, which ensured the poet's place in pedagogical circles. Moreover, as a source of proverbial wisdom, Pindar was elevated nearly to the status of biblical Salomon. (...) 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'. (The Classical tradition, Cambridge Mass., 2010, p. 729/30) 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. The French author Voltaire made the witty remark that Pindar wrote verses that no one understood, and everyone had to admire. This Pindar edition of 1620, produced by the scholar Jean Benoist, or Johannes Benedictus, (died 1664) is based on the edition of Wittenberg of 1616 by the German scholar Erasmus Schmi(e)d(t), or Schmidius, 1570-1637, who was the first truly important Pindaric scholar, and according to Dibdin the 'eruditorum Pindari facile princeps'. Benoist was a doctor of medecin, and, it is said, of German origin. He was appointed on the recommandation of the great Greek scholar Isaac Casaubon the King's professor of Greek at the protestant Academy of Saumur. A year before Benoist had published in Saumur an edition of Lucian, also with his Latin translation. His Latin translations leaves however, according to Hutton, much to be desired. (J. Hutton, 'The Greek Anthology in France', Ithaca, N.Y., 1946, p.176/77) The commentary of Benoist on the other hand is excellent, for many philological, historical and mythological problems are explained in a sagacious manner. The text also contains many valuable readings from other earlier works, and there are excerpts of scholia. 'Benedictus contributed 23 emendations, 4 of which are printed and 2 mentioned in the Snell-Maehler Teubner edition on 1980'. (Gerber,D.E., 'Emendations in the Odes of Pindar', in 'Pindar', Entretien sur l'Antiquité Classique XXXI', p. 9) (Provenance: On the boards the gilt coat of arms of John Henry Gurney. This might be John Henry Gurney Sr., 1819-1890, who was an English banker, amateur ornithologist, and Liberal Party politician, or his son John Henry Gurney Jr., 1848-1922, who was an ornithologist. (See for them Wikipedia)) (Collation: a4, e4, A-5I4, 5K2 (minus the blank leaves 2H2 (p. 243/44), minus leaf 3P3 (p. 485/86), and minus leaf 4N3 (p. 653/54); the pagination seems irregular, owing to the removal of these 3 blank leaves)) (Photographs on request)
Pindari carmina. Ex editione Chr. Gottl. Heyne.
Oxford (Oxonii), Typis N. Bliss, impensis M. Bliss et R. Bliss, 1808.
16º 2 volumes in 1: (IV), 230,(2 blank);138,(2 blank) p Black morocco 12 cm (Ref: Hoffmann 3,100: 'Schöne Ausgabe'; Schweiger I,236; Brunet 4,660; Graesse 5,295; Ebert 16880; Not in Gerber; Rico, Ensayo de bibliografia Pindarica, p. 3) (Details: Back gilt and with 3 raised bands. Boards with double fillet gilt borders. Within these borders a band of blind-stamped floral motives. Edges of the boards and of the book-block gilt. Gilt inside dentelles. Charming and fine typography. The odes are preceded by explanatory 'argumenta'. There is no Latin translation, nor commentary) (Condition: Wear to the extremes of the binding. Ownership inscription on the front flyleaf) (Note: A quarter of the works of the Greek poet Pindar, ca. 518-438 B.C., 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 enigmatic poetry. Pindar's influence on European literature is great. The great number of editions and translations of Pindar's odes that were printed in the 16th century are an indication of a widespread humanist interest. Pindar was, with the Roman poet Horace, the chief classical model for modern formal lyric poetry. The poets of the Renaissance borrowed first of all thematic material from Pindar. '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) Many of Pindar's maximes and punctuated statements, containing elements of traditional wisdom, were collected in Renaissance anthologies of 'sententiae'. '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. Moreover, as a source of proverbial wisdom, Pindar was elevated nearly to the status of biblical Salomon. (...) 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'. (The Classical tradition, Cambridge Mass., 2010, p.729/30) The German classical scholar Christian Gottlob Heyne, 1729-1812, was, according to Sandys, not an original genius. 'He was a many-sided scholar, who studied and expounded ancient life in all its successive phases, and became the founder of that branch of classical teaching that deals with the study of Realien'. (Sandys 3, p.40) The criticism and exposition of ancient poetry is represented in his still important editions of Tibullus, Vergil, Pindar and the Iliad of Homer. His textual criticism is weak. 'His choice among different readings is guided more by personal preference than by an impartial weighing of the evidence'. (...) The preparation of the metrical part of his Pindar was entirely entrusted to Hermann, then 25 year of age. Heyne's own interest lay, not in the metre, but in the subject-matter of the Odes'. (Idem, ibidem)) (Provenance: On the front flyleaf: 'Louis LeBrun, from his sincere friend W.L., 11 Mars 1859') (Collation: pi2, B-P8, Q4 (leaf Q4 blank); pi2, B-I8, K4 (leaf K4 blank)) (Photographs on request)
Carmina, cum fragmentis recognovit brevique adnotatione critica instruxit C.M. BOWRA. Editio 2a.
Oxf., Clarendon Press, (1968).
Cloth. 19 cm (OCT)
Carmina prolegomenis et commentariis instructa edidit W. Christ.
Leipzig, B.G. Teubner, 1896.
CXXX,466 p. Half cloth. 24 cm (Rebound. Name on the title. Paper slightly yellowing)
The odes. Translated into English verse by Geoffrey S. Conway.
London, J.M. Dent & Sons, (1972).
XXXII,268 p. Paperback. 19 cm
Pindars Dichtungen. Übertr. und erläutert von F. DORNSEIFF. (2. Aufl. An Hand der nachgelassenen Aufzeichnungen F. Dornseiffs bearb. und neu hrsg. von W. Haupt.)
(Lpz.,) Insel Verlag, 1965.
280 p. Cl. 24 cm
The Nemean and Isthmian odes. With notes explanatory and critical, introductions and introductory essays by C.A.M. FENNELL.
Cambr., CUP, 1883.
XXXIII,266 p. Cl. 19 cm (Cover in poor state: some small ink annotations; name and stamp on flyleaf)
The odes of Pindar. Translated by R. LATTIMORE.
Chicago, Univ. of Chicago Press, (1960).
12,170 p. Pb. 20 cm (Cover worn)
The extant odes of Pindar. Translated into English with an introduction and short notes by Ernest Myers.
London, MacMillan, 1908.
23,176 p. Cloth. 20 cm
Oeuvres complètes de Pindare. Traduction française par C. Poyard. Nouvelle édition. Complètement refondue, augmentée d'Anacréon, de Sappho et d'Érinna.
Paris, Garnier Frères, n.d. (eighties?)
VI,309 p. Cloth. 18.5 cm (Rebound. Bookplate of François Paschoud on the front pastedown. Small stamp on the title of Claude Wehrli)
Pindare. Texte établi et traduit par A. PUECH.
Paris, Les Belles Lettres, 1949 - 1959.
4 vols. Wrs. 20 cm (Budé)
The odes, including the principal fragments. With an introduction and an English translation by J. SANDYS.
Cambridge Massachusetts, London, 1961.
Cloth. 17 cm (Loeb) (Pencil in IX & XI; right lower corner of 4 leaves frayed)
Carmina cum fragmentis selectis tertium edidit Otto Schroeder.
Leipzig, B.G. Teubner, 1930.
XII,376 p. Cloth 17 cm (BT) (Name on title)
Carmina cum fragmentis selectis tertium edidit Otto Schroeder.
Leipzig, B.G. Teubner, 1940.
XII,376 p. Cloth 17 cm (BT) (Slightly foxed, pencil marginalia in Ol. I)
Die Dichtungen und Fragmente. Verdeutscht und erläutert von Ludwig Wolde.
Leipzig, Dieterich, (1942)
367 p. Hardbound 18 cm
Carmina cum fragmentis edidit B. SNELL. Editio 4a. Pars prior: epinicia.
Lpz., Tbn., 1964.
X,190 p. Cloth 20 cm (BT)(Some faint pencil)
Carmina cum fragmentis edidit Bruno Snell. Editio 3a. Pars altera: fragmenta, indices.
Leipzig, B.G. Teubner, 1964.
VIII,234 p. Cloth 20 cm (BT, Bibliotheca Teubneriana)
Carmina cum fragmentis edidit Bruno Snell. Editio 3a. Pars altera: fragmenta, indices.
Leipzig, B.G. Teubner, 1964.
VIII,234 p. Cloth. 20 cm (BT, Bibliotheca Teubneriana)
De 4e Pythische Ode. Behelzende het oudste verhaal over den tocht der Argonauten. Vertaald door D. LOENEN.
Amst., Wereldbibliotheek, 1940.
28 p. Wrappers. 22 cm (OiN 296)
Pindare. Tome IV: Isthmiques et fragments. Texte établi et traduit par A. PUECH. 2e édition revue & corrigée.
Paris, Les Belles Lettres, 1952.
Wrs. 20 cm (Budé)
Pindare. Tome III: Néméennes. Texte établi et traduit par A. PUECH.
Paris, Les Belles Lettres, 1952.
Wrs. 20 cm (Budé)
Pindare. Tome III: Néméennes. Texte établi et traduit par A. PUECH.
Paris, Les Belles Lettres, 1958.
Wrs. 20 cm (Budé)
