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                  <text>Information on female spectators.</text>
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              <text>The letters of Aischines are later forgeries. This letter praises the otherwise unknown Cleocrates by exalting his ancestors, including the female protagonist of this anecdote, whose name is not mentioned by the author.&#13;
&#13;
The same anecdote is also transmitted, though with several minor and major differences, by Pausanias 5.6.7-8, 6.7.2; Scholion to Pindar, Olympian 7.1; Flavius Philostratus, De Gymnastica 17; Claudius Aelianus, Varia Historia 10.1; Plinius Maior, Naturalis Historia 7.133; Valerius Maximus, Facta et Dicta Memorabilia 8.15.12 ext. 4.</text>
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              <text> Now it seems to me necessary to tell you this story, for it is worthy of being heard, even if it does not feature Cleocrates. It is said that an old woman once came into the stadium at Olympia, and she stood with the men and watched the competitors. But when the Hellanodicae confronted her because she had dared to come into the stadium, she answered: “To what other woman has the god granted (the opportunity) to proclaim that she has both a father and three brothers as Olympic champions as well as bringing a son to Olympia?”</text>
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              <text>translation by Alexander Meeus for the Cynisca project</text>
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              <text>δοκεῖ οὖν μοι ἀνάγκη εἶναι διηγήσασθαί σοι τὸ διήγημα τοῦτο· ἄξιον γὰρ ἀκοῦσαι, εἰ καὶ μὴ προσῆκον Κλεοκράτει. λέγεται γὰρ γυνή ποτε πρεσβῦτις Ὀλυμπίασι παρελθοῦσα εἰς τὸ στάδιον ἑστάνει τε ἅμα τοῖς ἀνδράσι καὶ θεᾶσθαι τοὺς ἀγωνιζομένους, ἐπιστάντων δὲ αὐτῇ τῶν Ἑλλανοδικῶν, ὅτι ἐτόλμησε παρελθεῖν εἰς τὸ στάδιον, ἀποκρίνασθαι ‘τίνι γὰρ ἄλλῃ γυναικὶ τοῦτο δέδωκε καυχήσασθαι οὕτως ὁ θεὸς, ὅτι καὶ πατέρα καὶ τρεῖς ἀδελφοὺς Ὀλυμπιονίκας ἔχει καὶ υἱὸν ἐπ᾿ Ὀλύμπια ἄγει;’ </text>
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              <text> Friedrich Franke (ed.), Aeschinis orationes, Leipzig 1887.</text>
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                <text>Pseudo-Aeschines, Epistulae 4.5: Pherenike/ Callipateira breaking the Olympic ban</text>
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                <text>2nd/3rd century CE (?)</text>
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                <text>Pseudo-Aeschines</text>
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        <name>Callipateira</name>
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        <name>Olympia</name>
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        <name>Olympic games</name>
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        <name>Pherenice</name>
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              <text>According to E. Dickey, Ancient Greek Scholarship, Oxford 2007, 39, the old scholia to Pindar have been reliably transmitted from a second-century CE epitome that summarized the extensive Alexandrian commentaries on Pindar. The anecdote is considered part of a quotation of Aristotle, who is cited at the beginning of the scholion; it has been edited amongst the fragments of Aristotle in the edition of V. Rose (Aristotelis qui ferebantur librorum fragmenta, Leipzig 1886) as fr. 569.&#13;
&#13;
The same anecdote is also transmitted, though with several minor and major differences, by Pseudo-Aeschines, Epistulae 4.5; Pausanias, Graeciae Descriptio 5.6.7-8 and 6.7.2; Flavius Philostratus, De Gymnastica 17; Claudius Aelianus, Varia Historia 10.1; Plinius Maior, Naturalis Historia 7.133; Valerius Maximus, Facta et Dicta Memorabilia 8.15.12 ext. 4.</text>
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              <text>His (i.e. Diagoras') daughter, whose name was Callipateira, came to the Olympic Games. She was prevented from being a spectator at the Olympic Games by the Hellanodicae, as she was a woman. But she retorted that she was not like the other women because her father, Diagoras, and her three brothers, Damagetus, Dorieus and Acusilaus, and furthermore the son of her sister, Eucles, and her own son, Peisirodus, were Olympic victors and their statues were in Olympia. The Hellanodicae, then, were pleased to allow her to be a spectator.</text>
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              <text>translation by Alexander Meeus for the Cynisca project</text>
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              <text>ἡ θυγάτηρ δὲ τούτου ἦλθεν εἰς τὰ Ὀλύμπια· ᾗ ὄνομα Καλλιπάτειρα. ἐκωλύετο δὲ ὑπὸ τῶν Ἑλλανοδικῶν γυνὴ οὖσα θεωρῆσαι τὰ Ὀλύμπια. ἡ δὲ οὐχ ὁμοία ἔφη εἶναι ταῖς ἄλλαις γυναιξίν· ἔχειν γὰρ καὶ τὸν πατέρα Διαγόραν καὶ τοὺς τρεῖς ἀδελφοὺς Ὀλυμπιονίκας, Δαμάγητον, Δωριέα, Ἀκουσίλαον, καὶ πέμπτον ἀδελφῆς παῖδα Εὐκλέα καὶ αὐτῆς υἱὸν Πεισίρροδον, καὶ τούτων εἰκόνας εἶναι ἐν Ὀλυμπίᾳ. οἱ Ἑλλανοδίκαι δὲ ἡσθέντες συνεχώρησαν αὐτῇ θεωρεῖν.</text>
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              <text>A.B. Drachmann (ed.), Scholia vetera in Pindari carmina, vol. 1, Leipzig 1903.</text>
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                <text>Scholion on Pindar, Olympia 7.1: Pherenike/ Callipateira breaking the Olympic ban</text>
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                <text>2nd century CE (?)</text>
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              <text>He put a stop by special regulations to the disorderly and indiscriminate fashion of viewing the games, through exasperation at the insult to a senator, to whom no one offered a seat in a crowded house at some largely attended games in Puteoli. In consequence of this the senate decreed that, whenever any public show was given anywhere, the first row of seats should be reserved for senators; and at Rome he would not allow the envoys of the free and allied nations to sit in the orchestra, since he was informed that even freedmen were sometimes appointed. He separated the soldiery from the people. He assigned special seats to the married men of the commons, to boys under age their own section and the adjoining one to their preceptors; and he decreed that no one wearing a dark cloak should sit in the middle of the house. He would not allow women to view even the gladiators except from the upper seats, though it had been the custom for men and women to sit together at such shows. Only the Vestal virgins were assigned a place to themselves, opposite the praetor's tribunal. As for the contests of the athletes, he excluded women from them so strictly, that when a contest between a pair of boxers had been called for at the games in honour of his appointment as pontifex maximus, he postponed it until early the following day, making proclamation that it was his desire that women should not come to the theatre before the fifth hour. </text>
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              <text>John C. Rolfe, Suetonius, Lives of the Ceasars, vol. 1, Julius, Augustus, Tiberius, Gaius, Caligula (= Loeb Classical Library; 31), Cambridge, MA/London 1914.</text>
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              <text>Spectandi confusissimum ac solutissimum morem correxit ordinavitque, motus iniuria senatoris, quem Puteolis per celeberrimos ludos consessu frequenti nemo receperat. Facto igitur decreto patrum ut, quotiens quid spectaculi usquam publice ederetur, primus subselliorum ordo vacaret senatoribus, Romae legatos liberarum sociarumque gentium vetuit in orchestra sedere, cum quosdam etiam libertini generis mitti deprendisset. Militem secrevit a populo. Maritis e plebe proprios ordines assignavit, praetextatis cuneum suum, et proximum paedagogis, sanxitque ne quis pullatorum media cavea sederet. Feminis ne gladiatores quidem, quos promiscue spectari sollemne olim erat, nisi ex superiore loco spectare concessit. Solis virginibus Vestalibus locum in theatro separatim et contra praetoris tribunal dedit. Athletarum vero spectaculo muliebre secus omne adeo summovit, ut pontificalibus ludis pugilum par postulatum distulerit in insequentis diei matutinum tempus edixeritque mulieres ante horam quintam venire in theatrum non placere.</text>
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              <text>John C. Rolfe (ed.), Suetonius, Lives of the Ceasars, Julius, Augustus, Tiberius, Gaius, Caligula, vol. 1 (= Loeb Classical Library; 31), Cambridge, MA/London 1914.</text>
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                <text>Suetonius, Divus Augustus 44: Augustus regulates spectatorship in the Roman arena</text>
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                <text>ca. 70  - 121 CE </text>
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              <text>He was likewise the first to establish at Rome a quinquennial​ contest in three parts, after the Greek fashion, that is in music,​ gymnastics, and riding, which he called the Neronia; at the same time he dedicated his baths and gymnasium,​ supplying every member of the senatorial and equestrian orders with oil. To preside over​ the whole contest he appointed ex-consuls, chosen by lot, who occupied the seats of the praetors. Then he went down into the orchestra among the senators and accepted the prize for Latin oratory and verse, for which all the most eminent men had contended but which was given to him with their unanimous consent; but when that for lyre-playing was also offered him by the judges, he knelt before it and ordered that it be laid at the feet of Augustus' statue. At the gymnastic contest, which he gave in the Saepta, he shaved his first beard to the accompaniment of a splendid sacrifice of bullocks, put it in a golden box adorned with pearls of great price, and dedicated it in the Capitol. He invited the Vestal virgins also to witness the contests of the athletes,​ because at Olympia the priestesses of Ceres were allowed the same privilege. </text>
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              <text>John C. Rolfe, Suetonius, Lives of the Ceasars, vol. 2, Claudius. Nero. Galba, Otho and Vitellius, Titus, Domitian, Lives of Illustrious Men: Grammarians and Rhetoricans, Poets (Terence. Virgil. Horace. Tibullus. Persius. Lucan). Lives of Pliny the Elder and Passienus Crispus), vol. 2 (= Loeb Classical Library; 38), Cambridge, MA/London 1914.</text>
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              <text>Instituit et quinquennale certamen primus omnium Romae more Graeco triplex, musicum gymnicum equestre, quod appellavit Neronia; dedicatisque thermis atque gymnasio senatui quoque et equiti oleum praebuit. Magistros toto certamini praeposuit consulares sorte, sede praetorum. Deinde in orchestram senatumque descendit et orationis quidem carminisque Latini coronam, de qua honestissimus quisque contenderat, ipsorum consensu concessam sibi recepit, citharae autem a iudicibus ad se delatam adoravit ferrique ad Augusti statuam iussit. Gymnico, quod in Saeptis edebat, inter buthysiae apparatum barbam primam posuit conditamque in auream pyxidem et pretiosissimis margaritis adornatam Capitolio consecravit. Ad athletarum spectaculum invitavit et virgines Vestales, quia Olympiae quoque Cereris sacerdotibus spectare conceditur.</text>
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              <text>John C. Rolfe (ed.), Suetonius , Lives of the Ceasars: Clausius. Nero. Galba, Otho and Vitellius, Titus, Domitian, Lives of Illustrious Men: Grammarians and Rhetoricans, Poets (Terence. Virgil. Horace. Tibullus. Persius. Lucan). Lives of Pliny the Elder and Passienus Crispus), vol. 2 (= Loeb Classical Library; 38), Cambridge, MA/London 1914.</text>
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                <text>Suetonius, Nero 12.3–4: Nero allows the Vestal virgins to attend the Neronia</text>
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                <text>ca. 70  - 121 CE </text>
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        <name>Olympia</name>
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                  <text>Information on female spectators.</text>
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              <text>After the purification, the Athenians for the first time celebrated the Delian games, which were held every four years. There had been in ancient days a great gathering of the Ionians and the neighboring islanders at Delos; whither they brought their wives and children to be present at the Delian games, as the Ionians now frequent the games at Ephesus. Musical and gymnastic contests were held there, and the cities celebrated choral dances. The character of the festival is attested by Homer in the following verses, which are taken from the hymn to Apollo:&#13;
   At other times, Phoebus, Delos is dearest to thy heart,&#13;
   Where are gathered together the Ionians in flowing robes,&#13;
   With their wives and children in thy street:&#13;
   There do they delight thee with boxing and dancing and song,&#13;
   Making mention of thy name when they gather at the assembly.&#13;
And that there were musical contests which attracted competitors is implied in the following words of the same hymn. After commemorating the Delian dance of women, Homer ends their praises with these lines, in which he alludes to himself:&#13;
    And now may Apollo and Artemis be gracious,&#13;
    And to all of you, maidens, I say farewell.&#13;
    Yet remember me when I am gone;&#13;
    And if some other toiling pilgrim among the sons of men&#13;
    Comes and asks: O maidens,&#13;
    Who is the sweetest minstrel of all who wander hither,&#13;
    And in whom do you delight most?&#13;
    Make answer with one voice, in gentle words,&#13;
    The blind old man of Chios' rocky isle.</text>
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              <text>Benjamin Jowett, Thucydides translated into English: with introduction, marginal analysis, notes and indices, vol. 1, Oxford 1881.</text>
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              <text>ἦν δέ ποτε καὶ τὸ πάλαι μεγάλη ξύνοδος ἐς τὴν Δῆλον τῶν Ἰώνων τε καὶ περικτιόνων νησιωτῶν: ξύν τε γὰρ γυναιξὶ καὶ παισὶν ἐθεώρουν, ὥσπερ νῦν ἐς τὰ Ἐφέσια Ἴωνες, καὶ ἀγὼν ἐποιεῖτο αὐτόθι καὶ γυμνικὸς καὶ μουσικός, χορούς τε ἀνῆγον αἱ πόλεις. δηλοῖ δὲ μάλιστα Ὅμηρος ὅτι τοιαῦτα ἦν ἐν τοῖς ἔπεσι τοῖσδε, ἅ ἐστιν ἐκ προοιμίου Ἀπόλλωνος:&#13;
   ἀλλ᾽ ὅτε Δήλῳ, Φοῖβε, μάλιστά γε θυμὸν ἐτέρφθης,&#13;
   ἔνθα τοι ἑλκεχίτωνες Ἰάονες ἠγερέθονται&#13;
   σὺν σφοῖσιν τεκέεσσι γυναιξί τε σὴν ἐς ἀγυιάν:&#13;
   ἔνθα σε πυγμαχίῃ τε καὶ ὀρχηστυῖ καὶ ἀοιδῇ&#13;
   μνησάμενοι τέρπουσιν, ὅταν καθέσωσιν ἀγῶνα.&#13;
ὅτι δὲ καὶ μουσικῆς ἀγὼν ἦν καὶ ἀγωνιούμενοι ἐφοίτων ἐν τοῖσδε αὖ δηλοῖ, ἅ ἐστιν ἐκ τοῦ αὐτοῦ προοιμίου: τὸν γὰρ Δηλιακὸν χορὸν τῶν γυναικῶν ὑμνήσας ἐτελεύτα τοῦ ἐπαίνου ἐς τάδε τὰ ἔπη, ἐν οἷς καὶ ἑαυτοῦ ἐπεμνήσθη:&#13;
   ἀλλ᾽ ἄγεθ᾽, ἱλήκοι μὲν Ἀπόλλων Ἀρτέμιδι ξύν,&#13;
   χαίρετε δ᾽ ὑμεῖς πᾶσαι. ἐμεῖο δὲ καὶ μετόπισθε&#13;
   μνήσασθ᾽, ὁππότε κέν τις ἐπιχθονίων ἀνθρώπων&#13;
   ἐνθάδ᾽ ἀνείρηται ταλαπείριος ἄλλος ἐπελθών:&#13;
   ‘ὦ κοῦραι, τίς δ᾽ ὔμμιν ἀνὴρ ἥδιστος ἀοιδῶν&#13;
   ἐνθάδε πωλεῖται, καὶ τέῳ τέρπεσθε μάλιστα;’&#13;
   ὑμεῖς δ᾽ εὖ μάλα πᾶσαι ὑποκρίνασθαι ἀφήμως:&#13;
  ‘τυφλὸς ἀνήρ, οἰκεῖ δὲ Χίῳ ἔνι παιπαλοέσσῃ.’</text>
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              <text>Henricus Stuart Jones (ed.), Thucydidis Historiae, vol. 2, Books 5-8 (= Oxford Classical Texts), Oxford 1942.</text>
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              <text>Hornblower, S. (2010), Thucydides, the Panionian Festival, and the Ephesia, in: id., Thucydidean Themes, Oxford, 170-181 (online edition 2015: &lt;a href="https://doi.org/10.1093/acprof:osobl/9780199562336.003.0010"&gt;https://doi.org/10.1093/acprof:osobl/9780199562336.003.0010&lt;/a&gt;).</text>
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                <text>Thucydides, Historiae 3.104.3–5: spectators at the Delian games and a festival in Ephesus</text>
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                <text>460/455 - circa 400 BCE</text>
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                  <text>Information on female spectators.</text>
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              <text>The same anecdote is also transmitted, though with several minor and major differences, by Pseudo-Aeschines, Epistulae 4.5; Pausanias, Graeciae Descriptio 5.6.7-8 and 6.7.2; Scholion on Pindar, Olympia 7.1; Flavius Philostratus, De Gymnastica 17; Claudius Aelianus, Varia Historia 10.1; Plinius Maior, Naturalis Historia 7.133.</text>
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              <text>It was likewise not an ordinary distinction that was granted to Berenice, as she alone among all the women was allowed to attend the gymnastic festival when she brought her son Eucles to the Olympic games to take part in the contest. She was born from a father who was an Olympic victor, and by her side were her brothers who had won the same crown.</text>
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              <text>translation by Alexander Meeus for the Cynisca project</text>
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            <elementText elementTextId="686">
              <text>Berenices quoque non vulgaris honos, cui soli omnium feminarum gymnico spectaculo interesse permissum est, cum ad Olympia filium Euclea certamen ingressurum adduxisset, olympionice patre genita, fratribus eandem palmam adsecutis latera eius cingentibus. </text>
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              <text>Karl Friedrich Kempf (ed.), Valerius Maximus, Factorum et Dictorum Memorabilium, Libri Novem, Leipzig 1888.</text>
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                <text>Valerius Maximus, Facta et Dicta Memorabilia 8.15.12 ext. 4: Pherenike/ Callipateira breaking the Olympic ban</text>
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                <text>early 1st century CE</text>
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        <name>contest</name>
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        <name>Olympic festival</name>
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        <name>Pherenice</name>
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              <text>I have mentioned somewhere earlier on how on the occasion of the festival at Olympia , the flies absent themselves of their own free will and, so to speak, depart along with the women to the opposite bank of the Alpheius. And in the island of Leucas there is a high promontory on which a temple of Apollo has been built, and worshippers style him Apollo of Actium. Now when the festival is about to be held there in which they make the Leap in honour of the god, men sacrifice an ox to the flies, and when the latter have sated themselves with the blood they disappear. Yes, but they are bribed to depart, whereas the flies at Pisa need no bribe. So the latter are superior because they do what is required out of reverence for the god and not for a reward.</text>
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          <name>Translation used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1111">
              <text>Alwyn F. Scholfield, Aelian, On Animals, vol. 1: Books 1-5 (= Loeb Classical Library; 446), London 1958.</text>
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            <elementText elementTextId="1112">
              <text>ἄνω που λέλεκταί μοι τὰς μυίας τὰς ἐν Ὀλυμπίᾳ τῇ τῆς πανηγύρεως ἐπιδημίᾳ ἑκούσας ἀφίστασθαι καὶ ὡς ἂν εἴποι τις μετὰ τῶν γυναικῶν ἐπὶ τὴν ἀντιπέρας ὄχθην τοῦ Ἀλφειοῦ ἀπιέναι. ἐν δὲ τῇ Λευκάδι ἄκρα μέν ἐστιν ὑψηλή, νεὼς δὲ Ἀπόλλωνι ἵδρυται, καὶ Ἄκτιόν γε αὐτὸν οἱ τιμῶντες ὀνομάζουσιν. οὐκοῦν τῆς πανηγύρεως ἐπιδημεῖν μελλούσης, καθ᾽ ἣν καὶ τὸ πήδημα πηδῶσι τῷ θεῷ, θύουσι βοῦν ταῖς μυίαις, αἳ δὲ ἐμπλησθεῖσαι τοῦ αἵματος ἀφανίζονται. δεκασθεῖσαι μὲν οὖν ἀπαλλάττονται αὗται, αἱ δὲ Πισαῖαι ἀδέκαστοι. κρείττους ἄρα ἐκεῖναι, αἰδοῖ τοῦ θεοῦ, ἀλλὰ μὴ μισθοῦ τὰ δέοντα πράττουσαι</text>
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              <text>Rudolf Hercher (ed.), Claudii Aeliani de natura animalium libri xvii, varia historia, epistolae, fragmenta, vol. 1, Leipzig 1864.</text>
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                <text>Claudius Aelianus, De Natura Animalium 11.8: ban of women from the Olympic Games </text>
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                <text>2nd/3rd century CE</text>
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            <description>The nature or genre of the resource</description>
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                <text>Natural history</text>
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        </elementContainer>
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    </elementSetContainer>
    <tagContainer>
      <tag tagId="21">
        <name>Olympia</name>
      </tag>
      <tag tagId="39">
        <name>Olympic games</name>
      </tag>
    </tagContainer>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Spectators</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="1764">
                  <text>Information on female spectators.</text>
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          <name>Translation</name>
          <description/>
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              <text>The women saw your many victories at the seasonal rites of Pallas, and each silently prayed that you could be her dear husband, Telesicrates, or her son; and in the Attic Olympia too, and in the contests of deep-bosomed Mother Earth, and in all your local games. But while I am quenching my thirst for song, someone exacts an unpaid debt from me, to awake again the ancient glory of his ancestors as well: for the sake of a Libyan woman they went to the city of Irasa, as suitors of the very famous daughter of Antaeus with the beautiful hair. Many excellent kinsmen sought her, and many strangers too, since her beauty was marvellous. They wanted to pluck the flowering fruit of golden-crowned Youth. But her father, cultivating for his daughter a more renowned marriage, heard how Danaus once in Argos had found for his forty-eight daughters, before noon overtook them, a very swift marriage. For right away he stood the whole band of suitors at the end of a course, and told them to decide with a footrace which of the heroes, who came to be bridegrooms, would take which bride. The Libyan too made such an offer in joining his daughter with a husband. He placed her at the goal, when he had arrayed her as the crowning prize, and in their midst he announced that that man should lead her to his home, whoever was the first to leap forward and touch her robes. There Alexidamus, when he had sped to the front of the swift race, took the noble girl's hand in his hand and led her through the crowd of Nomad horsemen. They cast on that man many leaves and garlands, and before he had received many wings for his victories.</text>
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        <element elementId="192">
          <name>Translation used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1121">
              <text>Diane Arnson Svarlien, Odes of Pindar, 1990.</text>
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          <description>Any textual data included in the document</description>
          <elementTextContainer>
            <elementText elementTextId="1122">
              <text>πλεῖστα νικάσαντά σε καὶ τελεταῖς ὡρίαις ἐν Παλλάδος εἶδον ἄφωνοί θ᾽ ὡς ἕκασται φίλτατον παρθενικαὶ πόσιν ἢ υἱὸν εὔχοντ᾽, ὦ Τελεσίκρατες, ἔμμεν, ἐν Ὀλυμπίοισί τε καὶ βαθυκόλπου Γᾶς ἀέθλοις ἔν τε καὶ πᾶσιν ἐπιχωρίοις. ἐμὲ δ᾽ ὦν τις ἀοιδᾶν δίψαν ἀκειόμενον πράσσει χρέος αὖτις ἐγεῖραι καὶ παλαιὰν δόξαν ἑῶν προγόνων: οἷοι Λιβύσσας ἀμφὶ γυναικὸς ἔβαν Ἴρασα πρὸς πόλιν, Ἀνταίου μετὰ καλλίκομον μναστῆρες ἀγακλέα κούραν: τὰν μάλα πολλοὶ ἀριστῆες ἀνδρῶν αἴτεον σύγγονοι, πολλοὶ δὲ καὶ ξείνων. ἐπεὶ θαητὸν εἶδος ἔπλετο: χρυσοστεφάνου δέ οἱ Ἥβας καρπὸν ἀνθήσαντ᾽ ἀποδρέψαι ἔθελον. πατὴρ δὲ θυγατρὶ φυτεύων κλεινότερον γάμον, ἄκουσεν Δαναόν ποτ᾽ ἐν Ἄργει οἷον εὗρεν τεσσαράκοντα καὶ ὀκτὼ παρθένοισι, πρὶν μέσον ἆμαρ ἑλεῖν, ὠκύτατον γάμον. ἔστασεν γὰρ ἅπαντα χορὸν ἐν τέρμασιν αὐτίκ᾽ ἀγῶνος: σὺν δ᾽ ἀέθλοις ἐκέλευσεν διακρῖναι ποδῶν, ἅντινα σχήσοι τις ἡρώων, ὅσοι γαμβροί σφιν ἦλθον. οὕτω δ᾽ ἐδίδου Λίβυς ἁρμόζων κόρᾳ νυμφίον ἄνδρα: ποτὶ γραμμᾷ μὲν αὐτὰν στᾶσε κοσμήσαις τέλος ἔμμεν ἄκρον, εἶπε δ᾽ ἐν μέσσοις ἀπάγεσθαι, ὃς ἂν πρῶτος θορὼν ἀμφί οἱ ψαύσειε πέπλοις. ἔνθ᾽ Ἀλεξίδαμος, ἐπεὶ φύγε λαιψηρὸν δρόμον, παρθένον κεδνὰν χερὶ χειρὸς ἑλὼν  ἆγεν ἱππευτᾶν Νομάδων δι᾽ ὅμιλον. πολλὰ μὲν κεῖνοι δίκον φύλλ᾽ ἔπι καὶ στεφάνους: πολλὰ δὲ πρόσθεν πτερὰ δέξατο νικᾶν.</text>
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        </element>
        <element elementId="193">
          <name>Edition used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1123">
              <text>John Sandys (ed.), The Odes of Pindar including the Principal Fragments (= Loeb Classical Library; 56), London 1915.</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1115">
                <text>Pindarus, Pythian  9.97–125: the effect of athletic success on female spectators (?)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1116">
                <text>Pindarus</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1117">
                <text>518 - after 446 BCE</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1118">
                <text>Victory Ode</text>
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        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="152">
        <name>Attic Olympia</name>
      </tag>
      <tag tagId="19">
        <name>Delphi</name>
      </tag>
      <tag tagId="118">
        <name>Pythian games</name>
      </tag>
      <tag tagId="151">
        <name>Telesicrates</name>
      </tag>
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  <item itemId="120" public="1" featured="0">
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        <elementSet elementSetId="1">
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="735">
                  <text>Spectators</text>
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              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1764">
                  <text>Information on female spectators.</text>
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              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
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    <itemType itemTypeId="1">
      <name>Text</name>
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      <elementContainer>
        <element elementId="190">
          <name>Source Type</name>
          <description>Physical type of source</description>
          <elementTextContainer>
            <elementText elementTextId="1128">
              <text>Literary source</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="191">
          <name>Translation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1129">
              <text>The steps that lead up to the prothysis from either side are made of stone, but those leading from the prothysis to the upper part of the altar are, like the altar itself, composed of ashes. The ascent to the prothysis may be made by maidens, and likewise by women, when they are not shut out from Olympia, but men only can ascend from the prothysis to the highest part of the altar. Even when the festival is not being held, sacrifice is offered to Zeus by private individuals and daily by the Eleans.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="192">
          <name>Translation used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1130">
              <text>William H. S. Jones/ Henry A. Ormerod, Pausanias, Description of Greece (= Loeb Classical Library; 188), London 1918.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="1">
          <name>Text</name>
          <description>Any textual data included in the document</description>
          <elementTextContainer>
            <elementText elementTextId="1131">
              <text>ἀναβασμοὶ δὲ ἐς μὲν τὴν πρόθυσιν ἀνάγουσιν ἐξ ἑκατέρας τῆς πλευρᾶς λίθου πεποιημένοι: τὸ δὲ ἀπὸ τῆς προθύσεως ἐς τὸ ἄνω τοῦ βωμοῦ τέφρας παρέχεται καὶ ἀναβασμούς. ἄχρι μὲν δὴ τῆς προθύσεως ἔστιν ἀναβῆναι καὶ παρθένοις καὶ ὡσαύτως γυναιξίν, ἐπειδὰν τῆς Ὀλυμπίας μὴ ἐξείργωνται: ἀπὸ τούτου δὲ ἐς τὸ ἀνωτάτω τοῦ βωμοῦ μόνοις ἔστιν ἀνδράσιν ἀνελθεῖν. θύεται δὲ τῷ Διὶ καὶ ἄνευ τῆς πανηγύρεως ὑπό τε ἰδιωτῶν καὶ ἀνὰ πᾶσαν ἡμέραν ὑπὸ Ἠλείων.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="193">
          <name>Edition used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1132">
              <text>Frederick Spiro (ed.), Pausaniae Graeciae Descriptio, vol. 2, Leipzig 1903. </text>
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          </elementTextContainer>
        </element>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1124">
                <text>Pausanias, Graeciae Descriptio 5.13.10: ban of women from the Olympic Games </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1125">
                <text>Pausanias</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1126">
                <text>mid 2nd century CE</text>
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            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="1127">
                <text>Travel writing </text>
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          </element>
        </elementContainer>
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    <tagContainer>
      <tag tagId="21">
        <name>Olympia</name>
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      <tag tagId="39">
        <name>Olympic games</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="122" public="1" featured="0">
    <collection collectionId="8">
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          <elementContainer>
            <element elementId="50">
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                <elementText elementTextId="735">
                  <text>Spectators</text>
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              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1764">
                  <text>Information on female spectators.</text>
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      </elementSetContainer>
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      <name>Text</name>
      <description>A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.</description>
      <elementContainer>
        <element elementId="190">
          <name>Source Type</name>
          <description>Physical type of source</description>
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            <elementText elementTextId="1154">
              <text>Literary source</text>
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          </elementTextContainer>
        </element>
        <element elementId="191">
          <name>Translation</name>
          <description/>
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            <elementText elementTextId="1155">
              <text>The women watching the Isthmian games</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="192">
          <name>Translation used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1156">
              <text>translation by Alexander Meeus for the Cynisca project</text>
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          </elementTextContainer>
        </element>
        <element elementId="1">
          <name>Text</name>
          <description>Any textual data included in the document</description>
          <elementTextContainer>
            <elementText elementTextId="1157">
              <text>Ταὶ θάμεναι τὰ Ἴσθμια </text>
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          </elementTextContainer>
        </element>
        <element elementId="193">
          <name>Edition used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1158">
              <text>G. Kaibel, Comicorum Graecorum fragmenta, vol. 1.1 (Poetarum Graecorum fragmenta 6.1), Berlin 1899.</text>
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        </element>
        <element elementId="36">
          <name>Bibliography</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1159">
              <text>Hordern, J. H., Sophron's Mimes: Text, Translation, and Commentary, Oxford, 2004.</text>
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          <name>Commentary</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1160">
              <text>An ancient introduction to the 15th Idyll of Theocritus mentions that the poem was inspired by Sophron's mime on the women watching the Isthmian games. Nothing further is known about this particular mime of Sophron’s, and it is uncertain whether it even proves that women were allowed to attend the Isthmian games rather than representing some form of comedic reversal. </text>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="1150">
                <text>Sophron Syracusanus, Mimi, fragment 10 title*: female spectators at the Isthmian games (?)</text>
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          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1151">
                <text>Sophron Syracusanus</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="1152">
                <text>5th century BCE</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="1153">
                <text>Mime</text>
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    <tagContainer>
      <tag tagId="153">
        <name>Isthmia</name>
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      <tag tagId="45">
        <name>Isthmian games</name>
      </tag>
      <tag tagId="40">
        <name>spectators</name>
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    </tagContainer>
  </item>
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