With Pindar, this space acquires the orderly precision of a violet-plaited wreath.

It is well known that Pindar’s poems were occasional- composed on commission for specific performance settings.

Early 5thC.BC

Pindar provides a rich phenomenology of viewing, an insider’s perspective on the embodied experience of moving through a built environment amidst statues, buildings, and other monuments

Pindar makes constant reference to precious objects and products of craft, both real and metaphorical: he differs, in this regard, from his contemporary Bacchylides

• The poem’s thematic of space works to similar effect, insofar as the orderly, orbital movement around the agora establishes cogent relations of space and time between disparate elements of urban fabric. Zeus, Dionysus, the Horai, Apollo Pythios, The Twelve Gods, all relate meaningfully like so many points in a constellation. Athens as we have seen, a haphazard array of shrines, public spaces, and private dwellings. Politics, here, was visible in and as competing systems of order- in and as the tyranny’s locator regime of rural hermes and civic altar, and the democracy’s corresponding displacement of the agora.

3rd Century BC

Leader of Apollonian Geography

Librarian In Alexandria Before Eratosthenes

Wrote the Epic Argonautica in 4 Books

Hippocratic Corpus (3rd C, Hellenistic times, a collection attributed to him)

Second half of the 5th C. BC

380BC

the order and character of the just, city-state, and the just man.

Hailing from a wealthy family, he lived in Miletus, then under Persian rule in the satrapy of Lydia.[2] He was active during the time of the Greco-Persian Wars. After having travelled extensively, he settled in his native city, where he occupied a high position, and devoted his time to the composition of geographical and historical works.

1st Proper Geographical Treatises

Periodos ges was written in two books, the first on Europe, the second on Asia, in which he included Africa. The book is a comprehensive work on geography beginning at the Straits of Gibraltar and going clockwise ending at the Atlantic coast of Morocco following the coast of the Mediterranean and Black Sea.

Besides his written works, Hecataeus is also credited with improving the map of Anaximander, which he saw as a disc encircled by Oceanus.

first astronomer to consider the Sun as a huge mass

Hecataeus is the first known Greek historian[5] and was one of the first classical writers to mention the Celtic people.

500BC

He was probably the first of the logographers to attempt a serious prose history and to employ critical method to distinguish myth from historical fact, though he accepts Homer and other poets as trustworthy authorities. Herodotus, though he once at least contradicts his statements, is indebted to Hecataeus for the concept of a prose history.

Periodos ges, "Journey round the Earth" or "World Survey") and Γενεαλογίαι (Genealogiai) or the Ἱστορία (Historia).

Euripides' Bacchae 405BC

Euripides' Suppliants 423BC

Euripides' Antigone

Euripides' Heracles 416BC

Sophocles' Oedipus at Colonus 401BC

Aeschylus' Oedipus 467BC

Euripides' Trojan Women

Enemy of Athens

6-5th.c BC

hymns give prominence to the particularity of a divinity’s link with a localized worshipping group, and this tendency allows for contextually nuanced interpretation of the uses for which a hymn deploys spatial terms

Hymnic narrators resemble the epic narrator in that they do not mention their name or provide biographical details. Unlike him, however, they occasionally refer to their own space, in the introductory or closing parts of the hymns.

They were also, we contend, situational: mutually implicated with particular landscapes, buildings, and material artefacts.

7th-5thc.BC

Hymn to Apollo and Eleusis in the Hymn to Demeter

The god’s spatial frame, now and/or in an inset narrative of the past, is placed in an explicit relationship with that of the performers and audience, most frequently by a summons to attend the site of performance or by a mention that the god has in the past been active there. It is worth underlining two principal, complementary techniques that recur

hymnic narrators are not very interested in setting the stage at all: thus the underworld to which Persephone is abducted, the palace of Celeus at Eleusis, which receives Demeter, or the ‘high-roofed steading’ near the river Alpheus, where Apollo’s stolen cattle is hidden, are barely described. Conversely, sometimes places are described which have no obvious relation to the action at all but are of religious importance,

Olympus has a special (symbolic) meaning: arriving there, usually straight a er being born, means becoming part of the divine family and being acknowledged as a god, and this festive moment is o en commemorated.

while the Hymn to Demeter alludes to the foundation myths of the Eleusinian Mysteries, it was probably not performed during them.

Gods also travel a great deal in the hymns. Whereas in the Homeric epics their movements are always closely related to the action of the mortal characters, in the hymns they voyage for their own sake and with their own goals in mind.

Euripides' Trojan Women: 430BC

Euripides' Hecuba: 415BC

Euripides' Trojan Women: 415BC

Euripides' Hecuba: 425BC

405BC

423BC

Poem is likened and contrasted to that of the divine artefacts and proto cartographic map

Fashioning of Achilles' shield

Aristotle hinted by putting an animal in his landscape, they admit movement and animation within the visual frame. At, is extreme, however, the immortal point of view is limitless and difficult for humans to grasp, whether those humans are characters within the poem, the epic poet who recites from memory, or the audience who listens and attempts to see the plot in their mind. Thus, Aristotle insists on his eusynoptic landscape or object being of a size that cannot exceed the capacity of the human eye, and also, by the extension, the limits of human memory.

• Aristotle’s reading of Homer from this standpoint enables him to reconfigure the divine way of seeing that is suggested by the invocation to the Muses and the description of the Shield. His emphasis on a human version of the eusynoptic sets the term for a successful narrative form, since the limits that he places on the plot contrast with the endless properties of immortal space and time.

Crucial book before Achilles re-enters the battle (18)

Eusynoptos view of the world

both the immortal point of view and the epic figure of ekphrasis present a global, synoptic overview, a fantastic illusion of the whole

The god’s spatial frame, now and/or in an inset narrative of the past, is placed in an explicit relationship with that of the performers and audience

Measurement of Earth + Geography

3rd C. BC

Before Apollonius of Rhodes

Librarian in Alexandria (contemporary of Apollonius of Rhodes)