“The Isolation of Amphiaraos,” argues that Pindar generates tensions between Amphiaraos’ contemporary status as a Theban oracle and his identity as the noble Argive seer portrayed in epic and tragedy, in order to establish Amphiaraos as a site of contestation between modes of human and divine exaltation. In Nemean 9, Pindar contrasts Amphiaraos as underdetermined oracle with two figures defined by types of immortality also potentially available to the victor: Adrastos, who enjoys immortality in cult and Hektor, who enjoys poetic immortality in epic song. In Pythian 8, Pindar localizes this modeling more explicitly in the exaltation of epinician praise by first setting up Amphiaraos as a disoriented oracular voice, removed from the reciprocal systems of epinician exaltation, then reestablishing his right to participate in those systems by assimilating him to the contemporary model of the Aiginetan pater laudandi, thus reorienting him to his humanity.

Chapters 2 analyses the carpe diem motif in Horace and pays particular attention to wine and calendars. In doing so, the chapter shows how Horace’s lyric is distinct from any lyric poem that was written in archaic Greece. Rich Romans possessed thousands of wine amphorae, and consular dates marked the age of each amphora. The chapter argues that this made wine storage places into huge drinkable calendars, in which the oldest wines were stored at the back, and the younger wines at the front. Every time Horace mentions vintage wines, he accesses this calendar. Time is expressed through wine: opening an old wine creates a moment of present enjoyment, which cannot be repeated. Yet, through vintage wines Horace also brings moments of the past to the present. The chapter combines close readings of some of Horace’s poems with research into epigraphical sources, and ultimately advances our understanding of Roman calendars and fasti.

“Herakles Looks Back at the World,” argues that in Isthmian 4 and Nemeans 3 and 4 Pindar deploys Herakles’ biography as a framework for theological modeling by foregrounding the apotheosis as a salient feature of Herakles’ epinician identity. The motif of the pillars of Herakles informs the significance of the apotheosis, characterizing Herakles’ unparalleled passage from mortality to immortality as a break within the arc of his life, rather than as a reward analogous to the praise and exaltation enjoyed by the victor. This modeling emphasizes that the victor’s epinician exaltation belongs to the world of human experience, defined by mortality, a world that Herakles leaves behind with his apotheosis. The chapter emphasizes how Pindar’s theological modeling plays on the tensions and congruencies that develop between the depictions of Herakles within an ode and those already in play in the local landscape, demonstrating the distinct resonances evoked by the matrix of pillars and apotheosis at Thebes (Isth. 4) and at Aigina (Nems. 3 and 4).

“Exaltation at Akragas: Herakles, the Dioskouroi, and Theron,” argues that in Olympian 3 Pindar’s theological modeling brings Herakles and the Dioskouroi together with the victor, Theron, tyrant of Akragas, ininto an intricate network of divine and mortal relationships. Theron’s place within this network, as established and celebrated by the ode, praises him for his exceptional privilege and his corresponding achievement in bathing his city in piety and exaltation. This is a differently flavored theology of mortality, cut to the needs of one of the most powerful men of the Greek world, but it ultimately articulates the same distinction between Theron’s mortality and the immortality of his patrons that is modeled elsewhere in the epinician corpus by demonstrating that his privileged closeness to Herakles and the Dioskouroi is only exceptional, and thus meaningful, in light of his mortality.

The Epilogue includes a new interpretation of a late antique poem by Pentadius. The Epilogue also summarises the findings of the book.

The concluding chapter, “An Invitation,” exhorts readers to further theological readings of Pindar’s victory songs and of lyric poetry more broadly. Nemean 6 is analyzed as an example of the susceptibility of Pindar’s victor songs to theological readings, even when the boundary-blurring figures whose identities challenge the categories of mortality and immortality are absent.

Chapter 1 does the work of conventional introduction to De Excidio by surveying everything we know about the text, from date, authorship, and provenance to manuscript witnesses, sources, and reception history, including a critical discussion that clarifies the relationship between De Excidio and its main source, Flavius Josephus’ Jewish War (written in Greek around 75 CE). Chapter 1 also lays out a framework for the rest of the study by explaining Roman exemplarity as a rhetorical discourse especially familiar within scripted character speeches by historians in the Greco-Roman world.

Chapter 9 surveys the biblical exempla that appear in the most example-packed section of the work, the speeches made by the narrative character Josephus before the walls of Jerusalem to his Jewish comrades (De Excidio 5.15–16). This chapter most clearly illustrates Pseudo-Hegesippus’ hermeneutical ingenuity and intensive use of biblical exempla, while also showing how he infused the examples he drew from the Jewish Scriptures (the Christian Old Testament) with not only Roman but also overtly Christian ideology.

The Introduction frames the study as an argument about the use of biblical figures within the narrative of On the Destruction of Jerusalem (De Excidio Hierosolymitano). Bay maintains that a survey of the scriptural characters that appear in this text suggest that these remembered heroes were an important tool for how Pseudo-Hegesippus conceived of and communicated late Second Temple period Jewish history from a late antique Christian perspective. This chapter also recommends the Old Testament exempla of On the Destruction of Jerusalem as a good place to start literarily for approaching and understanding the background, aims, and inner logic of this text. Bay further explains how the biblical exempla of Pseudo-Hegesippus often appear within speeches placed into the mouths of historical characters in the narrative, a typical literary feature of ancient historiography. Finally, the Introduction helps situate this study within the history of scholarship – not only within the little work done on Pseudo-Hegesippus, but also in the context of various scholarly discussions in Classics, biblical studies, early Christianity, Jewish-Christian relations, and late antique literature.

Chapter 4 shows how Pseudo-Hegesippus participates in the common ancient Mediterranean historiographical discourse of national decline. In De Excidio 5.2, the author juxtaposes five biblical figures (Moses, Aaron, David, Joshua, Elisha) of the Hebrew past to the first-century Jews of his narrative in a way that exposes the relative lack of virtue, faith, and strength among the “latter-day Jews.”

Chapter 3 explores how Pseudo-Hegesippus uses the figure of the patriarch Abraham, along with several other biblical heroes, to drive a variegated discourse of Jewish ethnography throughout De Excidio. By zeroing in on two passages where Abraham and other Bible figures are used to talk about “what the Jews are like” (i.e., ethnic stereotyping), Pseudo-Hegesippus shows himself familiar with ancient ethnographic conventions and uses ethnography to present various pictures of the Jewish national character in the mouths of both Roman and Jewish narrative characters.