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By D. Thomas Benediktson

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2). "15 Page 25 The comparison that opens Olympian 6 is especially famous, and scholars have emphasized that here can be seen Pindar's view of the opening of a poem. " According to C. M. Bowra, Pindar felt that a poem needs a (foundation) like that described in fragment 194, but Bowra also warns against overinterpreting Pindaric structure by using such analogies. 113, Pindar refers to poets as "builders" (); the word is also used at Nem. 4, where, as Bury and Svenbro point out, the word refers to the chorus itself.

As Albin Lesky has noted, Longinus (Subl. 7) also admired Simonides' visuality. H. S. Thayer sees a pictorial quality, with Page 14 emphasis on color, throughout Simonides' poetry and even argues that Plato specifically is thinking of Simonides' visual notion of mimesis * when he criticizes poetry in the Republic and elsewhere. Anne Carson also uses Simonides' style to illuminate the Plutarchan passage, but she sees Simonides in the idealizing tradition extending from Polygnotus to Gorgias: Simonides is able to transcend "to a world beyond 'what is visible to each person,'" even using syntactic Impressionism, in the nineteenthcentury sense.

A more oral, open-air, and political style characterizes works that are to be examined from afar and not to be judged on detail. Homer is the best exponent of this latter style for Horace, but for later authors such as Strabo, Longinus, and perhaps Martial (Ep. 5 Page 8 This distinction is also present in the terms skiagraphia and skenographia *. Trimpi defines the two terms as referring respectively to the political and forensic styles. Agatharchus in the fifth century apparently coined the term skenographia to refer to stage scenery.

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