Pindare

Summary

Dominique Pagani almost always approaches Pindar through Hölderlin, who translated him and wrote commentaries on his odes1. He returns several times to a fragment on which Hölderlin comments, and draws from it the theme of the fear of truth23. He notes that some of Hölderlin's poems are written in the manner of Pindar's odes4 and recalls that the young seminarians read these odes5. In his sessions on musicosophy and aesthetics, he makes Pindar the figure of the purely lyrical, which he sets against the dramatic, an opposition that goes back to Antiquity67. He also places the lyrical after the epic8. He further cites Pindar as an example of a particular activity carried out within the city9. In connection with Thomas Mann, he compares him with Aragon: Pindar sings the glory of those who fight, whereas Aragon fought himself.

1. 1#5.9 Kafka, “An Imperial Message”29 Jul 2019 · 48:36
2. 2#5 Harnessed to confinitude18 Apr 2020 · 1:19:28
3. 3#12 Nietzsche (right up) against Wagner28 Jan 2021 · 20:43
4. 4Roots or migration? From analytical reverie to current events, from Hölderlin to the war17 Feb 2023 · 18:33
5. 5Hölderlin, poetry and politics19 Mar 2022 · 42:07
6. 6#1 Schubert and the master singers3 Dec 2020 · 4:21
7. 7#10.1 The eternal irony of the community22 Sept 2021 · 10:33
8. 8Hesitation fascinated by hearing and by sight: Siegfried and Perceval12 Dec 2022 · 7:44
9. 9#10.4 From Lascaux to modern music, the permanence of the political stakes in aesthetics3 Nov 2021 · 1:26:35

Summary produced automatically from 12 of the passages below, to be reviewed; the numbers link to the moment in the session.