HARPER'S CLASSICAL SERIES

FOB

SCHOOLS AND COLLEGES

UNDER THE EDITORIAL SUPERVISION OF

HENRY

DRISLER, LL.D.

JAY PROFESSOR OF GRKKK IN COLCMBIA COU.KOK

Copyright, 1BSI, by

HARPKR

BEOTHIM

CONTEMPORARY CARICATURE OF ARKK8TLA9

IV.(?)

AS THE MERCHANT-KING.

The picture, in four colors on a whitish ground, the inner surface of a large vase
found at Vulci (published Monument! dell' Institute) I. Tav. xlvii. ; Annali 1833, p. 56),
represents a king, APKEZIAAZ, superintending from his throne under an awning
the activity of five menials in short tunics or aprons, seen busied about a balance,
(ZT)ABMOZ. One is intent upon the weighing of a white, fleecy substance, apparently
wool. The stuffing of a frail with the same merchandise has just been completed by
two others, ZAI*OMAXOZ and IPMO*OPOZ. The king, who is asked in "visible
speech," OPYHQ, to authorize the storing of the bale under ground, joins his overA slave in the backseer, IO*OPTOZ, and the baler in keeping tally of the same.
ground is carrying a bale. The underground storehouse or vault is seen in the
exergue. Two slaves are hurrying to pile their bales on the stack to the right; an
admonition to haste, vulgarly couched in the (Doric) inf. pres., MAEN, issues from the
mouth of the faster runner. The entrance is guarded by a diminutive figure, *YAAKOZ,
wrapped in a tribon. A Cyrenaic fauna enlivens the principal scene with local color;
satirical intention reveals itself in the fantastic, barbarian attire of King Arkesilas,
and in the amusingly un-Caucasian features of master and slaves, no less than in the
absurdity of the subject It is on the unpopularity of the sovereign and his monopolies that the artist has erected the fabric of his fun.
ALTKSO Erauoi*.

PINDAR
THE OLYMPIAN AND PYTHIAN ODES

AN INTRODUCTORY

BY BASIL
PROFK880R OF

ORUK

NEW YORK

ESSAY, NOTES,

L.

AND INDEXES

GILDERSLEEVE

THE JOHNS HOPKINS UNIVERSITY, BALTIMORE

IN

CINCINNATI

CHICAGO

AMEBICAN BOOK COMPANY

Copyright, 1885. by

HARPR &

'

PRINTED

iu.

s,

DROTHBBS.

PREFACE.
THB Text
Odes

of this edition of the

Olympian and Pythian

of Pindar has been constituted according to

my

best

judgment, and that best judgment has excluded all emendaThe Notes owe much to preceding edittions of my own.
ors

it

would be

owe everything.
intended, as the whole book is in-

affectation to say that they

The Introductory Essay

is

much of the earlier part

has been transferred from a series of semi-popular lectures, the
sources of which I could not always indicate with exactness,

tended, for beginners in Pindar, and

even

if it

were worth while.

to the generosity of Dr. J.

The

Metrical

Schemes

are

due

H. HKINRICH SCHMIDT, who kindly

In
placed at my disposal the MS. of his unpublished Pindar.
these schemes the comma indicates regular caesura or diaeresis,

the dot, shifting caesura or diaeresis.

The other

are sufficiently explained in the Introductory Essay.

points
In or-

der to facilitate the rhythmical recitation of the text, I have

indicated the stressed syllables by an inferior dot wherever it

seemed advisable, the simple indication of the KtLXa not being

sufficient, according to my experience with classes in Pindar.
This has added much to the trouble of proof-reading, and I

owe especial thanks to Mr. C. W. E. MILLER, Fellow of the

Johns Hopkins University, for his careful revision of text
and schemes in this regard. My friend and colleague, Professor C. D.

MORRIS, has done

me

the inestimable favor of ex-

PREFACE.

vi

amining the Notes and the Introductory Essay, and the treatment of every ode is 'much indebted to his candid criticism,
sound scholarship, and his refined taste. Mr. GONZALEZ
LODGE, Scholar of the Johns Hopkins University, has lighthis

ened, in thankworthy measure, the task of preparing the Indexes; and Dr. ALFRED EMERSON, Lecturer on Classical Archaeology, has aided

me

in the selection of the illustrations,

most

of which are reproduced from the admirable work of PERCY

"
GARDNER, Types of Greek Coins." Every effort has been

made

to secure typographical accuracy, and in the last stage

of the revision Professor DRISLER'S practised eye and wide
knowledge have been of great service in bringing about such

degree of correctness as this edition presents.

BASIL L. GILDKRBLUVK.
JOHNS HOPKINS UNIVERSITY, BALTIMORE,

January

new

1,

1885.

edition of this

work having been

called for, I have

gladly availed myself of the opportunity thus afforded of correcting a number of slips and oversights. In the search for minor
errors,

which are not

less

vexatious to the scholar because they

owe much to the keen vision of my friend, Professor MILTON W. HUMPHREYS, late of the University of
Texas, now of the University of Virginia, and I desire to exare minute, I

press
their

warmest thanks to proof-readers and compositors

patience and courtesy under a long and heavy strain.

my

for

B. L.G.
JOHNS HOPKINS UNIVERSITY, BALTIMOM,
April

1,

1890.

INTRODUCTORY ESSAY.

THE names of Pindar's parents are variously given. If

follow the prevalent statement, he was the son of Daiphantos;
and his son, in turn, after established Greek usage,
bore the name Daiphantos.
His brother, of uncername, was a mighty hunter, and much given to athletic
sports, and this has suggested the unfailing parallel of Amphion
and Zethos. The names of his mother, Kleodike (or Kleidike),
of his wife, whether Timoxene or Megakleia, his daughters,
Protomache and Eumetis, have an aristocratic ring, for there
were aristocratic names in antiquity as in modern times.
There is no reason for mythologizing Kleodike, Timoxene,
tain

As well allegorize Aristeides, Perikles, DemosMegakleia.

But
thenes, because their names happen to fit their fortunes.
Pindar's aristocratic origin rests on surer foundations, and we
have good reason for calling him an Aigeid (P. 5, 69-71).
Pindmrui
Aigeid.

What

^ gp

the relations were between the

art an Aigeidai

Theban and

a matter of lively discussion.

It is enough for understanding Pindar that it was an ancient
and an honored house, and that Pindar was in every fibre an
aristocrat.

is

This explains his intimacy with

men

of rank, and

his evident connection with the priesthood

the stronghold
of the aristocracy.
To his aristocratic birth, no less than to

his lofty character,

was due his participation

in the

0oVia,

an honor which was peror banquet of the gods at Delphi

petuated in his family and the story that he was a priest of
;

Magna Mater

confirmed by his
not suggested by them.
is

own words

(P. 3, 77-79), if

INTRODUCTORY ESSAY.

viii

Pindar was born at Thebes, the head of Boeotia Boeotia,

a canton hopelessly behind the times, a slow canton, as the
nimble Attics would say, a glorious climate for eels,
BoeotU.
u J
*
v
T
but a bad air for brains.
Large historical views are
,

not always entertained by the cleverest minds, ancient and

modern, transatlantic and cisatlantic and the annals of politics, of literature, of thought, have shown that out of the
;

depths of crass conservatism and proverbial sluggishness

come, not by any miracle, but by the process of accumulated
force,

some of the

powers, of

Modern

finest intelligences,

political,

literary,

and

some of the

especially

greatest

religious

life.

might be invidious, but modern illustrations certainly lie very near.

Carriere compares Boeotia with
Austria and the Catholic South of Germany at the close of
illustrations

the eighteenth century, with their large contributions to the

If such parallels
general rise of culture in song and music.
are not safe,

it

may be

safe to

adduce one that has

itself

been

paralleled with the story of the Island of the Saints, and to call
attention to the part that the despised province of Cappadocia

played in the history of the Christian Church.

Cappadocian king was a butt in the time of Cicero the Cappadocians
were the laughing-stock of the Greek anthology, and yet there
;

no prouder names in the literary .history of the Church than

names of the Cappadocian fathers, Basil and the Gregories.
But, apart from this, Boeotia has been sadly misjudged.
Pindar, Pelopidas, and Epameinondas were not all, nor yet
tne TTfjtffficipa KWTT^WV Kopdv of the Acharnians. There is no
greater recommendation of the study of Greek lyric poetry
than this
that it enfranchises the reader from Athenian
prejudice and Athenian malice, while Athens herself is not
less dear than before.
Pindar, then, was an aristocrat in a
canton that a modern census-taker might have shaded with
Himself born at Thebes, his
select and special blackness.
are

the

'

may be said that Pindar was a Boeotian only in name,

belonging, as he did, to. the- old pre-Boeotian stock ; but
as he himself accepts the name with the responsibility (Boiwria Je), we
1

Of course

it

not in blood

need go no further.

LIFE OF PINDAR
parents are said to have

come

from an outlying

to the city

northwestern deme, Kynoskephalai, a high

Pindar
of Kynov

IX

hill

overlooking the

swam P Hylike. Of his infancy we know nothing,

The tale that bees distilled honey on his lips is told

over and over of the childhood of poets and philosoNon sine dis animosus infans, we are as ready to bephers.
Of course
lieve to be true of him as of any other great man.
he enjoyed the advantage of an elaborate training. Perhaps

Boeotians trained even more than did the Athenians.

The flute

he learned at home, and it is supposed that at a later period

he enjoyed the instructions of Lasos of Hermione,
the regenerator of the dithyramb although it must
be noted that the Greeks have an innocent weakness for con;

necting as many famous names as possible in the relation of

The statement imposes on nobody. One
teacher and pupil.
goes to school to every great influence. It is only honest to
say, however, that if Pindar studied under Lasos he was either
an ungrateful scholar or underrated his indebtedness to his
master.
Unfortunately the jibbing pupils are sometimes the
best, and the teacher's fairest results are sometimes gained by
the resistance of an active young mind. At all events, Pindar
has very little to say about training in his poems, much about

native

endowment, which was to him,

hereditary.

We

may

as an aristocrat, largely

therefore dismiss Pindar's teachers

It is enough for us to
Skopelinos, Apollodoros, Agathokles.
know or to divine that he was carefully trained, and had to
submit to the rude apprenticeship of genius. First a drill-

master for others, then a composer on his own account, he

His great commissions did not come
to work and wait.

had

he had won a national name.

Goethe has commended,

had done before and others have done since, the
counsel of noble women to all who seek the consummation of
Korinna the story is at least well
art, the caput artis, decere.
until

as others

invented

Pindar's fellow-student, not his teacher,

gave him a graat^UtSgofl* In his first poem, he had

Admonished of this omission by
neglected to insert myths.
Korinna, and remembering that his monitress was herself fa
1*

INTRODUCTORY ESSAY.

X
mous

for her handling of the myth, he crowded his next hymn

with mythological figures
the fragment is still preserved
(II. 1, 2)
whereupon she said, with a smile: "One ought to

sow with the hand, not with the whole sack " (rp x f" ^"^
It is unnecessary to em(nrtipnv aXXa /*>) oXw rw QvXaKtp).
t

phasize the feminine tact of the advice.

Korinna

said to have

is

Attic word.

This, also,

On

another occasion

blamed Pindar for having used an

is not a bad invention.
It accords

with the conservative character of

woman

it

accords with

the story that Korinna won a victory over Pindar by the

familiar charm of her Boeotian dialect as well as by the beauty
of her person, a beauty not lost in the picture at Tanagra,

which represented her

in the act of encircling her

head with

of victory.
Aelian, an utterly untrustworthy scribbler,
adds that Pindar, in the bitterness of his heart, called his suca

fillet

Pindar used the phrase at all, it must

6, 90) was a common exhalf
half
and that the moral
pression
sportive
spiteful,
character of the swine stood higher with the Greeks than it
stands with us.
The swine-woman of Phokylides, who was
cessful rival a swine.

If

be remembered that Botwn'a we (0.

good nor bad, was not the sow of the Old Testament
New. The Greeks were brotherly to the lower animals.

neither

or the

Bull, cow, heifer, cock, ass, dog, were at

the level of the highest poetry.

all

events not beneath

Encouraged, perhaps, by Korinna's success, a younger poetShe was ingloriMyrtis, attempted to cope with Pindar.

ess,

ously defeated, and sharply chidden by Korinna,

i
i
f i
with the sweet inconsistency of her sex.

Pindar was twenty years old when he composed the tenth

in honor of Hippokleas of Thessaly.
This poem, as
Pindar's ear- the firstling of Pindar's genius, has a special interPythian

Hest poem.

y^ j t re qu i res determined criticism to find in

abundant evidence of the crudeness of youth. If Pindar
was twenty years old at the time when he composed the tenth
Date of
Pythian, and the tenth Pythian was written in honhU birth. or of a v j
ctory gai n ed Pyth. 22 (Ol. 69, 3 = 502 B.C.),
Pindar must have been born in 522 B.C. A close contempo'
it

egt

LIFE OF PINDAR.

Xi

rary of Aischylos (born 525 B.C.), Pindar suggests a comparison with the great Athenian ; but no matter how many external resemblances may be found, nay, no matter how many
fine sentiments and exemplary reflections they may have in
1

One question always

common, the inner dissidence remains.
arises when the Mapaduvo^a^riQ and Pindar are compared,
and that is the attitude of the Theban poet during the Persian
Pindar and
the PerBian

war

'

^as Pm<

^ ar

friend of the national cause

it

thorough sympathy with the

party of the Theban nobility to which he belonged

by birth, by training, by temperament, or was he a

has been successful

as

it is

Within the

safe to call a cause after

state there

seems to be no

question that Pindar was a thoroughpaced aristocrat, and those

who think they have noticed greater liberality in the middle of

acknowledge that he became more rigid towards

state his imagination must have been
fired by the splendid achievements of the Hellenes, and his religious sense must have been stirred by the visible working of
He could
the divine power in setting up and putting down.

his life have to

Without the

the close.

not but be proud of the very victories that told against his
own country, and yet there is no note in all his poems that
shows the kinship that reveals itself in Simonides. The story
that the famous fragment in praise of Athens brought upon
him the displeasure of his countrymen, which they manifested

by the imposition of a heavy

fine,

reimbursed twofold by the

this story, with ail its variations, the statue, the

has not escaped the cavils of the critics, and does

Athenians
n-poZfvla,

any case, prove anything more than a generous recognition of the prowess of an alien state, if, after all, anything
Greek could be alien to a man so fully in sympathy with all

not, in

" Both
Aeschylus and Pindar speak of Etna in volcanic eruption. But
Aeschylus thoroughly Greek in this fixes our thought on the scathe
1

Pindar gives a picture of natural grandeur and

lines on the eclipse of the sun [fr. VII. 4] are
But it is not the moral sublimity of Aeschylus. Pindar never
sublime.
He is
rises into the sphere of titanic battle between destiny and will.
always of the earth, even when he is among the gods." JKBB.

done to man's labor.

terror (P.

1, 20).

The

INTRODUCTORY ESSAY.

xii

that

made Greece what

it

was.

For

in the sense that

he loved

Greece, that he felt the ties of blood, of speech, above all,

the ties of religion, Pindar was Panhellenic.
The pressure of
the barbarian that drew those ties tighter for Greece generalall

ly,

drew them tighter for him

also

but

how ?

We

are in dan-

ger of losing our historical perspective by making Pindar feel

If he had, he
the same stir in the same way as Aischylos.
would not have been a true Theban and if he had not been
;

a true Theban, he would not have been a true Greek.

man whose love for his country knows no local root, is a

The
man

poor abstraction ; and it is no

went honestly with his state in the
It was no treason to Medize before there was a
struggle.
and
the Greece that came out of the Persian war was a
Greece,
different
very
thing from the cantons that ranged themselves
on this side and on that of a quarrel which, we may be sure,
bore another aspect to those who stood aloof from it than it
wears in the eyes of moderns, who have all learned to be Hel-

whose love for

his country is a

discredit to Pindar that he

lenic patriots.
historical vision.

little experience of a losing side

might aid
That Pindar should have had an intense ad-

miration of the New Greece, should have felt the impulse of the
grand period that followed Salamis and Plataia, should have
appreciated the woe that would have come on Greece had the
Persians been successful, and should have seen the finger of

God

in the new evolution of Hellas

all this is not
incompatwith an attitude during the Persian war that those who
see the end and do not understand the beginning may not
ible

consider respectable.
The life of a lyric poet was usually a life of travel. Arion
is the
type of a wanderer, Ibykos and Simonides journeyed
__

Trarelg.

far and wide, and although we must not suppose

that Pindar went whithersoever his song went, he

was not a home-keeping man. His long sojourn in Sicily is

beyond a doubt. Aigina must have been to him a second
home. Journeys to Olympia, to Delphi, to Nemea, are cerIf he studied under Lasos, he must have studied at
tain.
Athens, and it is likely that he was familiar with many parts

LIFE OF PINDAR.

xiii

went as far north as Macedon, as far south

Everywhere he was received with respect, with
veneration.
Myths were woven about him as about
few poets, even in myth-loving Greece. Not only
did the princes of earth treat him as their peer, but the
gods showed him distinguished honor. The Delphic priests,
as we have seen, invited him to the Sto&Vm as a guest of the
divinities, and, more than this, Pan himself sang a poem of
Pindar's, and Pindar returned thanks for the honor in the
of Greece, that he

as

Kyrene.

Of a piece with this story is

parthenion beginning i Ilav.
the other that Pindar had a vision of a walking statue of
Magna Mater, and it is needless to say that Magna Mater,
Pan, and the rest are all combinations from various allusions
poems. Unworthy of critical examination as they are,
such stories are not to be passed by in silence, because they
reflect the esteem in which the poet was held.
in his

The death of Pindar, as well as his life, was a fruitful theme.

The poet prayed for that which was best for man. The god,
Ammon, or Apollo, sent him death on the lap of his favorite
according to one legend, in the theatre at Argos,
His bones, howaccording to another, in the gymnasium.
was
or
it Demeter?
ever, rested in Thebes.
Persephone

Theoxenos,

Deth

of
Pindar.

appeared to him in vision, and reproached him with

no having celebrated her in song, her alone of all
j.

the deities, and she prophesied at the same time that he would
soon make up for his shortcomings when he should be with
"
her.
In less than ten days Pindar had gone to
the black-

walled house of Phersephona" (0. 14, 20), daughter of Demeter.

After his death he appeared in vision to an aged kinswoman,

and repeated a poem on Persephone, which she wrote down after

she awoke, as Coleridge did Kubla Khan, and thus preserved
it

The time of Pindar's death is very uncercommonly supposed that he lived to an

r
othadvanced age. Some make him die at eighty
*

for after-times.
.

Time of
Pindar's
death.

tain.

'

ers see
six.

It is

no proof of

One prudent

soul,

his having

with wise reserve,

gone beyond sixtysays he did not live

to see the outbreak of the Peloponnesian war.

The

latest

poem

INTRODUCTORY ESSAY.

XIV
that
is

we can

date certainly

often assigned to

450

is

O. 4 (Ol. 82, 452

B.C.),

but P. 8

B.C.

Sundry apophthegms are attributed to Pindar.

them show the aloofness, so to speak, of his

Most of
character.

"
What is sharper than a saw ? Calumny." " What
w j]t thou sacrifice to the Delphic god ? A paean."
"Why dost thou, who canst not sing, write songs? The
shipbuilders make rudders but know not how to steer."
Apophthegms.

"Simonides has gone to the courts of the Sicilian tyrants.

Why hast thou no desire to do the same? I wish to live for
These expressions at least repromyself, not for others."
duce the temper of the man as conceived by antiquity. Such
personage could never have made himself
Admired he was without stint, often
loved by a wide circle.
a self-contained

The

without true insight.

manifested in

many

ways.

reverence paid his genius was

all is the
story that

Familiar to

when Thebes was pillaged and destroyed

soldiery, the house of Pindar was spared

by the Macedonian
by the. express order of Alexander the Great, whose ancestor he had celebrated
in

song

(fr.

'

VIII. 3).

The poems on which

Pindar's fame chiefly rests are the

eVm'icm, or Songs of Victory, composed in celebration of sucWORKS cesses gained at the great national games. It is

poems constituted only one phase

of his work, but they are the most important, the
most characteristic, of all. Else they had not alone survived
entire.
They were more popular than the others, says Eustatrue that these

because they addressed themselves more to human interests, the myths were fewer, and the obscurity was less.
But these reasons, which are strange to us now, do not account
thios,

for the survival.

That which embodies the

truest, inliest life

of a people comes down, the rest perishes and passes over into
new forms. Antique epos, antique tragedy, the Old Attic
1

"

The great Emathian conqueror bid spare

The house of Pindarus when temple and tow'r

Went

to the ground."

MILTON.

PINDAR'S WORKS.

XV

comedy, the iiriviieia. of Pindar for these there is no Avatar,

and they live on and yet it would not be doing justice to
the rare genius of Pindar to judge him by the iiri>>iKia alone,
and fortunately the fragments of the other poems that remain
;

are long

to justify a characteristic, or at all events

vindicate his versatility.
The Pindar of

enough
to

long enough

dpfjvoQ, vir6p\T)[jia, aKoXiov, is the

now

mood

his

is

Pindar of the

sweeter, tenderer,
sportive, than in the eiriviKta.

But a rapid enumeration must

now

tVtWicta,

brighter and

suffice here.

The Pindaric

fragments are arranged under the following heads:

the fundamental notion of which is
Fragments,

wjxvoi.

The fragment

but

more

1.

of the vpvog that called forth the

counsel of Korinna suggests a

The Doric name

2.

iraiovts.

2. Uatdvet.
irXe'oc in every line.
(naidi'mriaiw*') shows a Doric origin, and

the rhythms were Dorian (rerayueVn KOI awdtputv

The theme is either

Moi/ffa, says Plutarch).
Pindar's paeans are mainly on
or thanksgiving.
Apollo, to whom, with his sister Artemis, the paean originally
was exclusively addressed. The paean seldom had orchestic
petition

accompaniment, and so forms a contrast to 3. 'Y7ropx'7Amra

in which the dancing is prominent, and in
3. vrropxTmaTa.
which there is a close correlation between the
theme and the orchestic movement. The greatest master of
this mimetic composition was Simonides of Keos, avroc avrov
The hyporchemata were more secular than the
Kparioros.
and
paean,
represented the exuberant joy of the festival.
Pindar composed a hyporchema in honor of Hieron, of which
we have fragments and famous is the passage also from the
.

hyporchemata touching the

/o

eclipse of the sun.

4.

Of

wpoo-oSta,

processional songs with flute accompaniment,

Pindar composed two books, the most consid*
r

erable fragment of which was prepared for a TTO/ITT?/ to Delos,

5. Tlapdtvia, with flute
the others for a TTO/XTT^ to Delphi.

accompaniment in the Dorian mood for choruses of virgins in honor of gods, as Apollo or Pan,
the fragments of Pindar; or of men, as Hieron (P. 2, 19).
.,

in

INTRODUCTORY ESSAY.

xvi

In a
laudatory poems in the widest sense.
narrower sense they are songs sung at the Dorian

6. *Ey(w/iia are

KW/IOC in

honor of distinguished men, and eviwould often be difficult to tell an iirtvtKiov from an
7. Uapoivia, or "drinking-songs," of which the
iyicufuor.
1
7. irapoivia,
ffcdXta, or rather inroXid, were sung hy individ(ncoXici.
ua i s a t banquets.
The name is puzzling, and
has been variously explained in ancient and in modern times ;
dently

it

"

"

of the trKoXiov being referred now to the

which
the song was passed on from singer to
zigzag way
singer, now to the character of the rhythm. Engelbrecht, the
most recent investigator, maintains that it was a generic name

the

obliquity
in

for the lighter Aiolian (Terpandrian) composition in contradistinction to the gravity of the epic.
As developed in litera-

ture the skolia were brief, pithy songs, almost epigrammatic.

The themes were love, wine, the philosophy of life, the stirring

Clement of Alexandreia compares them

scenes of history.

The most faoddly, but not ineffectively, with the psalms.

mous of all the Greek oKoXia is that of Kallistratos in honor
of Harmodios and Aristogeiton, the slayers of Hipparchos
Bockh thinks that Pindar
(tV fjivprov K\U& TO fr'^og <pop//<rw).

developed the <TKo\i6t> and put it into a choral form, the chorus
dancing while the singer was singing. All which is much

The fragments that we have are dactylo-epitrite.

disputed.*
One of them is referred to in the introduction to O. 13.
The dithyramb

a half-dozen etymologies
h
De
yen
ea
absurder
than the other
>
nright
gi
8 0u
ufio
is a hymn to lakchos (Bakchos), the
mystic god,
whose more mundane side is expressed by the name Dionysos.
8.

It is

(St0upa/i/3oe)

a fragment of one of Pindar's dithyrambs that preserves

memorable encomium of Athens :

to us the

2 rat \nrapai KOI lo<rr(<pavot <eat aot'dt/iot,

'EXXador tpfia-fia, K\ewai '\6avai, Saifjioviov irro\it6pov.
1

See A. G. ENGELBRECHT,

EMOKLBBICHT,

1.

c. p.

96.

De Scoliorum

Poesi, Vienna, 1882, p. 20

PINDAR'S THEME.
9.

xvii

Yet one more department must be mentioned

Piiidar attained the highest excellence.

touched tenderer chords

.

one

in

which

Simonides, his rival,

in the dprjvoz, or

"

lament," and the

of Danae's lullaby to Perseus,

the noble tribute to those who died at Thermopylai,

fragment that

tells

among the most precious remains of Greek poetry. But

Pindar's Opfjvoi struck a higher key, and at the sound of his
music the gates of the world beyond roll back. The poet

are

becomes a hierophant.
III.

A song of victory

as old as victory itself, and only younger

"
The unrenowned ivthan strife, the father of all things."
KTtt>
Pi spoken of by Pindar, chanted his
THEME. ^ofjia-^ag
is

^f

own

Old songs of vicepinikion before the flood.

Epinikion. tor
f am iij ar to us from the Bible
are
Miriam's
y
"
chorals
of
the
that
Saul
Deborah's
virgins
song,
sang
song,
The

hath slain his thousands, but David his ten thousands."

dar himself mentions the old /ue'Xoe of Archilochos, a

Pin-

hymn

on the heroes of the games, Herakles and lolaos, the n/reXXa

"
See the conquering hero comes, which was
the
victor's friends in default of any special epinichanted by
No one who has read the close of the Acharnians of
kion.
1 '

Ka\\iviKOf, the

Aristophanes is likely to forget it.

There were singers of epinikia before Simonides and Pindar,
but we shall pass over the obscure predecessors of these two
princes of Hellenic song, to whom the full artistic development of the lyric chorus was peculiarly due, pausing only to
point out to the beginner in Pindar, who is ordinarily more
familiar with the tragic chorus than with any other, the fundamental difference between tragic and lyric. The tragic chorus
has been called the ideal spectator, the spectator who represents the people. It is the conscience, the heart of the people.
In the best days of the drama the chorus follows every turn
Lyric
chorus,

of the action, heightens every effect of joy or sorrow

by j{ S sympathy, rebukes every violation of the sa-

cred law by indignant protest or earnest appeal to the powers

INTRODUCTORY ESSAY.

xviii

If the coryphaeus or head man speaks, he speaks as

the representative of the whole.
But in Pindar the chorus is the mouthpiece of the poet,
and does not represent the people except so far as Pindar,
Mouthpieo* through the chorus, expresses the thought of the

above.

of the poet.

Q ree

]j S

an(j reflects their nationality.

In the tragic

men and young maidens, hardy mariners and capbut under all the dramatic protive women are introduced
prieties of expression, we see the beating of the Greek heart,
chorus old

we hear the sound of the Greek voice. In Pindar's epinikion

we never forget Pindar.
The victories in honor of which these epinikia were composed gave rise to general rejoicing in the cantons of the vicand a numerous chorus was trained to celebrate duly
This public character brought with it
the solemn festivity.
a grander scale, a more ample sweep, and the epiniScope of the
Epinikion. ^.^ took a wider
It is not limited to one
scope.
tors,

narrow

line of thought,

one narrow channel of

feeling.

There

joy in the epinikion, wise and thoughtful counsel, the

uplifting of the heart in prayer, the inspiration of a fervent

is festal

patriotism
ter.

all

these,

That character

but none of them constitutes its characto be sought in the name itself.
The

is

lifts the temporary victory to the high level of the

eternal prevalence of the beautiful and the good over the foul
and the base, the victor is transfigured into a glorious person-

epinikion

of his race, and the present is reflected, magnified,

illuminated in the mirror of the mythic past.
Pindar rises
to the height of his great argument.
Theban of the Theification

bans, an Aigeid, a Kadmeian he is, and continues to be, but

the games were a pledge and a prophecy of unity, and in the

From the summit

epinikia Pindar is national, is Panhellenic.
of Parnassos he sweeps with impartial eye the horizon that
bounds Greek habitation. Far in the west lies Sicily, "the
rich," with
ism of the

"
city,"

"

the renowned, the mighty

Syracuse,
"
sacred pale of warrior Ares,"
of heroes and

"

of horses clad in iron, foster-mother divine," and the

Akragas, abode of splendor, most beauti-

fair-built citadel of

PINDAR'S THEME.

xj x

ful among the cities of men,

abiding-place of Persephone,"
and Kamarina, watered by the Hipparis, with its " storied
forest of stedfast dwellings," and Himera with its hot
springs,
haunted by the nymphs, and Aitna, "all the
year long the
nurse of biting snow."
He looks across the firth to
to
Italy,

the land of the Epizephyrian Lokrians, and from his

height
"
bedews the city of brave men with honey." Then,
turning
"
the lovely third stock of the
southward, he descries Libya,
mainland," where "Queen Kyrene" "unfolds her bloom."
Eastward then to Rhodes, " child of Aphrodite and bride of
"
the sun," to Tenedos,
resonant with lute and song."
Now
home to Greece and Argos, " city of Danaos and the fifty

maidens with resplendent thrones," "the dwelling of Hera,"

"
meet residence for gods, all lighted up with valorous deeds."
Long does his gaze linger on Aigina, no eyesore to him, however it may be to the Peiraieus.
One fourth of the epinikia
have for their heroes residents of that famous island which
Pindar loved with all the love of kindred. "Nor far from
"
"
her lot," this city of justice," this island
that had reached unto the valorous deeds of the Aiakidai,"
"her fame perfect from the beginning," "the hospitable
the Charites

fell

Yet he is not blind to the merits

one
knows by heart the words that
Every
In the dithyramb Athens
great reward.

Doric island of Aigina."

of Aigina's foe.
earned him the
is

"

'EAAactoc

tpeifffia,

K\eiral 'Afldvai

in the

epinikia she

is

His glance takes

the fairest prelude for founding songs."

"
with rapid sweep Lakedaimon and Thessaly.
If Lakedaimon is prosperous, Thessaly is happy the race of one, even
Nearer he comes, now to "famed"
Herakles, ruleth both."
to
now
Orchomenos
by the waters of Kephissos, land
Opus,
in

of steeds, dwelling-place of the Charites, and then his eye

rests in brooding love on Thebes, the theme of his earliest
"
Thebes of the seven gates, mother mine, Thebes of the
song,
golden shield."
It is evident, then, that the
all

theme was no narrow one, that

that was best, highest, most consecrated,

Hellenism in Pindar had ample scope.

all

And

the essential

now, even to

INTRODUCTORY ESSAY.

xx

who know nothing of Pindar, except by the hearing of

the ear, the great games of Greece have been brought nearer
by the recent excavations at Olympia, and the brilliant scene
those

The games.

of the

festival is

Olympian

more

vivid than ever to

We

the imagination.
see the troops of pilgrims
and the hosts of traffickers wending their way to the banks
of the Alpheios, the rhetorician conning his speech, the poet
his roll of verse, the painter nursing his picture, all
Few landscapes so faseeking gold or glory at the festival.
miliar now as the plain of Pisa, with its sacred river and his

hugging

mischievous brother, Kladeos. The fancy can clothe the Altis

again with the olive, and raise sunny Kronion to its pristine
height,

and crown

it

with the shrine to which

it

owes

its

We see

again temples and treasure-houses, the flashing

feet of the runners, the whirlwind rush of the chariots, the

name.

darting of the race-horses, the resolute faces of the men who

ran in armor, the gleaming flight of the javelins, the tough persistence of the wrestlers, each striving to put off on his antago-

The scene is lighted up by the midmonth moon, and the revolving Horai seem to have brought
back the music of the past to which they danced more than
two thousand years ago. Everything that has been brought to
light in Olympia has brought with it new light for the scene,
The Hermes of Praxiteles is henceforth for
for the games.
nist the foulness of defeat.

us the impersonation of the youthful athlete, whose

physical prowess has not made him forget tenderness and reverence.
The Nike of Paionios revives for us the
Oljnnpia.

fills her robe

quickStadion, the oldest of all the
games, most characteristic of all, as it symbolized Greek nimbleness of wit, Greek simplicity of taste, pentathlon, pancra-

resistless

rush of victory

the breeze that

ens the blood in our veins.

with horses,

tion, the chariot race, the race

more

real to us for statue

and

mingle in the eager crowds, we

we too become

vase,

feel the

all

these

become

disk and tablet.

We

tremulous excitement,

passionate partisans, and swell the volume of

masters of style have pictured to us the Olymbut these things belong to masters of style, and no
pic games,
cheers.

Many

PINDAR'S THEME.
futile rivalry will

XX1

be attempted here with what has helped so

many to a clearer image of the great scene. Yet, after all that
has been said by word-painter and by archaeologist, the poet
must give the poet's meaning to the whole. Reconstruct
and we shall better understand Pindar. With all
but
after the reconstruction we shall need the
my
poet's
light as much as ever, if not more.
It is only in accordance with the principle of the organic
unity of Hellenism that the acme of Greek lyric art should
have embodied the acme of Greek festal life. The great

Greek

life

heart

games of Greece are

as thoroughly characteristic of her na-

which was the expression of

tionality as the choral poetry

them and the crown of them. Choruses we find everywhere,

games we find everywhere, but despite all recent advance in
athleticism, the Greek games were superior in plastic beauty
to their modern analogues, as superior as were the Greek
choruses to the rude dance and the ruder song of May-pole
and vintage. The point of departure may have been the
same, but the Greeks alone arrived.
The origin of the great games of Greece
in of

games,
Delphic
uences.

^ e re

is

to be sought in

Greece, and the influence of Delphi,

was felt in
centre of the religious life of the people,
ligi

every regulation that controlled these famous con>pjie t j mes o f t ] ie performance were in the

testg

hands of the

priests, the cycle

was a religious as well as an

astronomical cycle.
Eight years, the great year of expiation,
the great Avica/3ac, the hecatomb of months, the period of the
to Delphi, was subdivided into shorter
great Trop.irfi from Tempe
of the games.
periods for the performance
The contests themselves may have come over from Asia,
as Thukydides says, but a marked point of difference was the

absence of intrinsically valuable prizes, which so astonished the attendants of Xerxes. At other games
were bestowed, and lists are given in Pindar,
value
of
prizes
but at the great games the prize was a simple wreath. It is
1

This section follows CCRTIUS closely.

INTRODUCTORY ESSAY.

xx ii

abundant honor awaited the victor at home, special

and other im*
munities and privileges, but the honor was the main thing,
and though it was not dearly bought, for the two great
true that

seats at festivals, free table in the prytaneion,

so

many
historians, Herodotos and Thukydides, unlike in
to mention the agonistic achievements
things, never forget
of the characters that cross their pages,
though the honor
was not dearly bought, it was bought not only with toil,
but with money, whether in training for the contest, or in
outlay for horse and chariot, or in the celebration of the
victory.

Early noted, early emphasized, was another difference beThe human form, as some-

tween Greek games and Oriental.

its perfection, was displayed in all

and
to the eye of day, as to the
strength
beauty
eye of the god. The Oriental games bore the mark
of their bloody origin in self-mutilation.
Under Dorian inhis
the
Ionian
and brought
even
robes
fluence,
dropped
trailing
a living sacrifice to his deity, the fresh bloom of young man-

thing sacred in

games and

its

'

hood, the rich efflorescence of the gifts of fortune.

"

these festivals the greatest was the Olympian, the sun

in the void ether," that makes the lesser lights pale into noth-

Of

oiympian
**"***

ingness, the fire

night,

The establishment

iancy.

that shines in

the blackness of

and makes night look blacker by

of

marks the union of the Doric

it,

its brill-

or the re-establishment of

island of Pelops,

and

it

it,

speed-

The first recorded victory is

ily rose to national importance.
that of Koroibos (crradiy vnaiaao), 776 B.C.
The Olympian
games were celebrated at the end of every four years, beginning, according to the older view, with the first full moon following the first new moon after the summer solstice, according
to the recent investigations of Unger, with the second full moon

a ^ter

Pythian

Nemean^

^ e ^H

or revival of the
to 582

16 -

The Pythian

festival, celebrated in

the third year of each Olympiad, was revived and put

on a firmer footing in 586 B.C., and the establishment

B.C.,

and

Nemean is assigned to 573

it is

B.C.,

of the Isthmian

no mere coincidence that the

rise

of this

PINDAR'S THEME.
new
fall

belongs to the same century that witnessed the down-

life

of the ambitious houses that had acquired despotic

Corinth and Sikyon.

There were games all over Greece

in

xxiii

of such

lists

as are unrolled in O. 13

power

one sometimes wearies

but these four were of

all of them
Amphiktyonic, all
under
"'of the*"**
Delphic, under Apollinic inflngame.
A sacred truce was proclaimed to guarantee
ence.
the safety of pilgrims to the games, and a heavy fine was imposed on any armed body that should cross the border of Elis
In this peace of God the opposing elein the sacred month.
ments of Greek nationality met and were reconciled. The
impulsive Ionian was attuned to the steadier rhythm of the
Dorian, and as Greek birth was required of all competitors,
the games prepared the way for a Panhellenism which was no
And yet, despite this Panhellenic
sooner found than lost.
character, the games did not entirely lose the local stamp.
The Pythian games, for instance, were especially famous for
their musical contests, the Isthmian gave the most ample opportunity for commercial exchange.
Two moral elements, already indicated, enter into the games.

national significance,

Nations!

more or

are

They

Troves

Sairdva

GSS

T<

by homely names, toil and

re.
They are moral

called

pense, Trovof

Sairava

ments because they involve

obtain"

may

is

not merely an

ele-

self-sacrifice, submis-

sion to authority, devotion to the public weal.

ye

ex-

"

So run that

illustration, it is

a lesson.

Whether it be fleetness of foot or swiftness of horse, it

mands the renunciation of self-will, and the glory is, after

deall,

not the winner's, but the god's, for the beauty that shone forth
on the stadion, the wealth that glittered in the festal display,
The games themselves are
Honor paid came alike from God.
the gods,
jjgjj m h onor O f the gods, the Olympian and Nemean of Zeus, the Pythian of Apollo, the Isthmian of PoseiTheir praise is often the burden of the song, and the
don.
1

0.

5, 15.

If,

however, that

is

not accepted as Pindaric, we have L 1,

I. 5 (6), 10,
Sawdvf re x a P (l t

42, dfupoTtpov Sairdvaif re cot jrovoif:

fat irovy
.

INTRODUCTORY ESSAY.

xxiv

poems

which they are not magnified

in

may

be counted on

one hand.

The

great national heroes of Greece share in the honor.

Herakles

hardly less vividly present to our

is

mind

Olympian games than Zeus himself. Indeed

the Herakles of Pindar might well claim a separate chapter.
And as the games are a part of the worship of the gods, so
victory is a token of their favor, and the epinikion becomes a
at the

of thanksgiving to the god, an exaltation of the deity

some favorite hero. The god, the hero, is often the

hymn
or of

centre of
it

some myth that occupies the bulk of the poem, and

may seem

ing, that

at the first glance,

perhaps after repeated read-

mere caprice had dictated the choice of

this or that

myth rather than another, but closer study seldom fails to reveal a deeper meaning in the selection.
The myth is often
a parallel, often a prototype.
Then the scene of the victory
is sacred.
Its beauties and its fortunes are unfailing sources

We

f song.
learn how Pelops of yore won the
cnar i o t-race against Oinomaos, we learn how Herakles planted the Altis with trees, and brought the olive from

Scene of
the Tictory.

the distant land that

Not

lies

behind the

blast of shrill Boreas.

Country and city

are often blended with goddess or heroine whose history of
tr ^ a ' anc^ trmra P n prefigures the trial and
triumph
less

favored

is

the land of the victor.

City of the
Tictor.

O f the victor.

Then the

carried the poet

history of the house often

up to the higher levels of poetry,

,
.,
,
,,
for the house was not unfrequently an old heroic
line going back into the mythic past.
The epinikion is thus
lifted up above the mere occasional poem, and we can well
understand how such a crown of glory as a Pindaric ode
would be carefully preserved and brought forth on each recurrence of the festal day.
Such a poem has often for its
theme a grand tradition, traditional hospitality, traditional
freedom from v/3/c>ie, that arch-crime against the life of a
Greek state, traditional victories. Even when the fortunes of
History of
his house.

'

V. MKNGHINI, Ercole nei oanti di Pindaro.

Milano, 1879.

PINDAR'S THEME.
a house have been chequered,

human

gained in

comes

to its

vived in the
self

with

all

what

is

XXV
lost

in brilliancy

if

The line disowned of Fortune

The glory of the grandsire is rerights again.
third generation.
Then there is the victory itinterest.

the splendor that attends

it

the sacrifices, the

processions, the banquets, the songs and, not least, the songs,
for Pindar magnifies his calling, and large space is given to
;

the praise of poetry.

From
kion,

enumeration of the elements of the epiniappear that the range is not narrow. There is

this rapid

it will

scope enough for the highest work, as high as the brazen

heaven not to be climbed of men, deep as the hell in which

"yon people" bear toil and anguish not to be looked at with

mortal eye, broad as the family, the house, the race, mankind.
And yet the poetry of Pindar does not lose itself in generali-

He

compares his song to a bee that hastes from flower

He compares his song to a
His song does
ship, but the ship has a freight and a port.
not fly on and on like a bird of passage.
Its flight is the
flight of an eagle, to which it has so often been likened, cirties.

to flower, but the bee has a hive.

cling the heavens, it is true, stirring the ether, but there is a

point on which the eye is bent, a mark, as he says, at which
the arrow is aimed.
The victory is not forgotten. The epiis what its name
Not a set piece of poetic
implies.
fire-works, nor yet, as many would make it out to be, a sermon
It is a song of praise.
But all extravagance of
in rhythm.

nikion

eulogy

is

repressed by the dread of Nemesis, by that law of

Balance which kept the Greek in awe of presump-

The Epinition* song tion.

of praise.

The

victor may
* see his image transfigured
form of hero, or even god only he is reminded that he is of the earth. M) ^areve Zeuc
Sometimes the praise is veiled with the myth, but
.

into the

ytvioQcn..

when it is direct, it is delicate. The victor's garland, he says,

demands the song, but the song is not such a trumpet-blast as
would blow the garland
That
tor's head as well.

off the victor's head, if

is

modern eulogy.

Of

not the
course

be said that Pindar's eulogy was eulogy to order, but

2

vic-

it will
it

was

INTRODUCTORY ESSAY.

xxvi

not falsehood with a cunning makeweight of good advice.

itself where eulogy is earned.
To whiten

The eulogy spends

Hieron

is

easier than to blacken Pindar.

The

excellence of

the victors in the athletic contest, of men like Diagoras, of

boys like Agesidamos, the liberality of Theron, of Hieron, of
Arkesilas in the chariot-race, are assuredly fit themes for praise.
prosperity of the victor and his house, as a sign of God's

The

might well deserve the commendation of the poet.

But Pindar was too high a character to make deliberate merchandise of falsehood, and while it runs counter to common-

favor,

sense to suppose that he availed himself of his commission to

read the high and mighty tyrants of Greece lectures on their
moral defects, he is too much a reflection of the Apollo, who

With all his faults, Hieron

his master, to meddle with lies.
was a Doric prince of whom Dorians needed not to be ashamed,
but there is reserve enough in Pindar's praise of a man like
Hieron to make us feel the contrast when he comes to Theron.
Unfortunately, Pindar is not expected to have humor, and the
"the hireling Muse" and "the silvered countenance"
jest of
has done him
be it "of Terpsichore" or "of songs" (I. 2, 7)
harm with critics of narrow vision.
is

estimates of Pindar's poetry, it is important to remem ber that he belonged to the aristocracy of
Pind rs
relations to
Greece, that his poems were composed for the arisIn

all

tocracy, and that he spoke of them and to them

as their peer.
No man of the people is praised in his poems.
It is the purest fancy that Thrasydaios (P. 11) was other than

man

of the highest birth.

Now men

qf aristocratic habits

are scrupulously polite to persons of inferior position with

whom they may be brought into social contact. Among their

own set
his own

their

manners are

And

less reserved.

Pindar was

in

when he was among

these Olympian and Pythian

victors, and there was a strain of familiar banter in his poems
that would not have been tolerated or tolerable in any orset

It is not likely that he

dinary man.
Psaumis's gray hair (0. 4).
If he did,

made an
it

would

allusion
pass.

to

It is

undeniable that he made a harmless jest at the insignificant

PINDAR'S THOUGHT.

xxv jj

appearance of his townsman Melissos (I. 3). When he hints

at envy and feud, he has the tone of one who knows all the

and when he sorrows, he sorrows as one

has carried the body of a friend to the tomb.
If we
had memoires pour servir, Pindar's reserves, his enigmas, his
aristocratic intimacies might be forgiven.
As it is, those who
secrets of a coterie,

who

cannot amuse themselves by reconstructing the scandalous

chronicle of the fifth century, often end by hating a poet
whose personality for love or hate is stamped deep on all his
works.

IV.

Men who

themselves owed everything to form have been

found to maintain that translation conveys the essential, and

^a ^Q

highest survives the process of transmisany considerable loss. Far less dan"
the paradox of Moriz llaupt,
Do not translate
*

THOUGHT

sion without

gerous

is

the death of understanding.

The first stage is
to learn to translate the second to see that translation is imtranslation

is

'

In the transfer to a foreign language the word

possible."
loses its atmosphere, its associations, its vitality.
The angle
at which it meets the mental vision is often changed, the
is lost.
The further one penetrates
into the life of a language, the harder does translation become ; and so we often have the result that the version of the

rhythm of the sentence

is better than that of the

experienced scholar,
because the latter tries to express too much, and hence falls
into paraphrase and sheer cumbrousness.
The true vision of

young student

a work of literary art is to be gained by the study of the

original, and by that alone. And this holds even as to the ethic

To put

Pindar's thoughts, his views of life,

often to sacrifice the delicate point on
which the whole moral turns. If this is true of the single

value of poetry.
into other words,

is

word, the single sentence, it holds with still more force of the
attempt to form an image of the poet's world of thought and
feeling by the simple process of cataloguing translations of
1

See H. NETTLKSHIP, Maurice Haupt, a Lecture,

p. 18.

INTRODUCTORY ESSAY.

xxviii

most striking thoughts under certain rubrics. This has

been done by various scholars, notably by Bippart and by
1
With their help one can give ode and verse for
Buchholz.
Pindar's attitude towards the beliefs of his time, for his views
his

of the gods and heroes, of human destiny, of politics, prac2

and speculative, of Pindar's relations to persons.
One

tical

can give ode and verse for Pindar's belief in blood, in genius,
for his contempt of the groundlings, for his tenets of art, of
if, indeed, we dare break up the antique
three are merged.
But the methodical
channels in which Pindar's poetical vein is thus made to run

life,

of government,

unity in which

all

The stream
give no notion of the play of the poet's genius.
that escapes from the waste-pipe of a fountain gives no notion of the rise and fall and swirl and spray and rainbow
of the volume of water that rejoices to return the
The catechism has its uses,
sportive touch of the sunlight.

glitter

but

it is

no space in this essay

show how much
teach us of what Pindar believed

not the Bible, and as there

for a Pindaric catechism,

it

the study of a few odes will

must

is

suffice to

concerning God, and what duty he thought God required of

man. True, to the great question, " What is God ?" Pindar
has no answer in any of his odes he is as silent as Simonides.
But when we ask, " Are there more gods than one ?" the
answer comes speedily from the first Olympian, " There be
;

gods many and lords many."

and some see in

Zeus dominates
this, as

officially (v. 10),

in the use of

0edc

and

elsewhere, a tendency to the monotheistic

idea, but Poseidon (vv. 40, 73, 75), who held the Peloponnesos in his embrace, rules the myth.
are reminded of

We

Kronos

(v.

10)

Aphrodite

is

not forgotten

(v.

the great powers behind the throne, Klotho

nothing of the unfailing Muses (v. 112).

75), nor one of

to say
26),

(v.

We

are in the fa-

BIPPART, Pindar's Leben, Weltanschauung, und Kunst, Jena, 1848.

sittliche Weltanschauung des Pindaros und Aeschylos,

BUCHHOLZ, Die
Leipzig, 1869.

A. CROISET, Pindare, pp. 162-291, has treated these matters in the

right spirit, because he lias kept the setting for the most part.
II

PINDAR'S THOUGHT.

xxix

Greek divinities. The poet's attitude towards

that of his people, and a study of all the odes
would only confirm the impression of the first. Nearly every
ode is full of gods. Not one of the shining forms of the
miliar world of

the gods

is

lacking, not even Hestia, who has a large

Pindar's world of the gods is an organized
state, won by the victory of Zeus over the Titanic brood.
In the first Olympian, as in all the Olympians, Zeus rules se-

great divinities

is

space in N. 11.

renely.

It is true that his throne, Aitna, rests

hundred-headed Typhoeus (O.

4, 6),

on the violent

but we do not

feel the

stirrings of the revolted spirit as in P. 1, 15, or in P. 8, 16, for

the Pythians magnify the office of Apollo, who is the Word of

Zeus, the god that bids harmony and measure reign in state

The being of Apollo is much more deeply inwith

the Pythian odes than that of Zeus with the
wrought

and man.

Olympian.
This belief

in the gods, or acceptance of the gods, did not

involve belief in this or that special myth.
The historical

books of the unwritten Bible, so to speak, were open

all manner of
scepticism, as we know from the
annals of the time, as well as from Pindar.
Every one remembers Xenophanes' revolt against the fables of Greek mythology. So, Pindar, in the famous passage, beginning (v. 28)
Mythology.

to

Oavfiara Tro\\a, nat irov n KO.I fipoTwv, KTC., speaks of legends

cunningly set off with glittering falsehoods. He distrusts the
?l

myth, he resolutely refuses to believe it when it jeopards the

honor of God. He who himself invokes Charis for the praise

"
I canof man, dreads her persuasive power in things divine.
not call one of the blessed cannibal." There is a conflict in Pindar's

well

poems on
what

on others. We of this time know

doubt runs through all our literature.

this subject as

this means, for

Only the antique poet is not tortured by his doubts; the

He keeps his tongue from aught
priestly temper conquers.
that would offend the god, and leaves the god himself to rec-

The cultivation
oncile the partial views of his worshippers.
of a religious temper is his resource against scepticism, and
this age has seen many seining examples of critical knowledge

INTRODUCTORY ESSAY.
held in harmless solution by reverence for the divine.
dar's criticism, it must be confessed, is of the crudest.

Pin-

His

interpretation of the story of the cannibalic meal of the gods

is
very much in the vein of the most prosaic school of Greek

mythologists, and not unlike what we find in early rationalistic

In similar straits he simcriticism of the Biblical narrative.

ply cries out, O.

9,

38:

cnro p.oi

\6yov

rouroi/, ord/xa, pl\^ov'

TO ye \otdopfjaai dtovg
t^Qpa crofyia.
Still limiting our vision to the first Olympian,

Eirtl

is

Pindar's view of

human

life,

human

we

ask,

destiny ?"

"What

The Greek

"

wail over our mortality is heard here also.

The immortals
sent Pelops straight back to dwell again among the tribes of
men whose doom is speedy " (v. 65). And banished Pelops

"
As we needs must die,
82)
one
nurse
a
nameless
old
should
age in darkness idly
why
Life is darkness unless it be lighted
sitting, and all in vain ?"
davflv

cries

S"

olaiv

dvayra

(v.

up by victory such as the sunshine of Olympia (v. 97), but

is all.
The light within man is darkness, and the light
that comes from without depends on the favor of God.
God
that

has Hieron's cause at heart

(v.

106), but

God may

fail.

"

If

not speedily" (v. 108), then

This strain is heard
over and over again, the shortness and the sorrows of human

he

fail

Man

is

of

life,

the transitoriness of

its

pleasures, the utter de-

pendence on the will of an envious God. We feel

trouble,
throughout that we are in the atmosphere of Hesiod
rather than in the atmosphere of Homer, and yet Homer is
sadder than either by reason of the contrasting sunshine.

an^ftaf^of

Instead of searching for texts, read the eighth Pythian, the

Ecclesiastes of the odes.
It is true that the first

Olympian would not be the

best

The ode
place to look for Pindar's views of government.
from beginning to end has to do with the summits of things,
But when in another Hieronic ode (P.
not the foundations.
1, 61) he comes to the basis of the state, we find that
Hieron founded Aitna in honor of Zeus, " with godbuilt freedom in the use and wont (vo/iotc) of Hyllid standard."
In these few words we have everything.
We have the dedi-

PINDAR'S THOUGHT.

xxxi

cation to the Supreme, we have liberty based on God's will,

we have a life directed by hereditary usage. The word vois a concession to the times
for Homer knows nothing
fioiQ
of vofiog
but we still feel the " use and wont ;" vopos is not
"
"
"
law to Pindar, it is way." So in his earliest poem he says,

P. 10, 70

W//OU tytpovTt

way was the way

vapor QtaaaXuv, and a high and mighty

of the Thessaliaus.

How

Pindar

felt

when

the spirit of Tranquillity was violated we see by P. 8

the truest
of
the
aristocrat
alarmed
and
his
for
order.
expression
grieved

The next

point suggested by the first Olympian is the repof Pindar as the expounder of Greek
Is Pindar speaking for himself or for his
ethics.

resentative
Pindar an

"FtTreek*
ethics.

position

people

Many

of his thoughts are not his own.

are fragments of the popular Hellenic catethey become remarkable in Pindar partly by the

They

chism, and
of presentation, partly by the evident heartiness with
which he accepts the national creed. So in v. 56, and P. 2, 28,
we find a genealogy which was as popular with the Greeks as

mode

K6- Sin and Death in the Christian system. 'OA/3oc

The prosperity that pro"Arij.
Kopoc
"Y/3pie
ATTJ.
duces pride and fulness of bread culminates in
overweening insolence and outrage, and brings on itself mis"OXBos

pos

"YBpis

That is not Pindar, any more than it

But the genius that
Solon, than it is Theognis, Aischylos.
stamps these commonplaces into artistic form, that gives to
the wisdom of the many the wit of the one, and makes the
doctrine a proverb, this was Pindar's, and Pindar's was the

chief sent from heaven.

is

believing soul that breathed into the dead dogma the breath
of a living and a working faith ; and we call that man great
who thinks and utters the people's thought best.

So

it is

no new doctrine that he teaches when he

insists so

much on

the corollary of the abhorred genealogy just cited

Laws are only symptoms, not
the necessity of self-control.
Whenever crime is
remedies of disease in the body politic.
is rife, that is all, and the /z/jSev ayav, the
on
which
the Greek laid so much stress, points to
aiinfipoiTvi'T),
the moral difficulties of an impulsive race, whose moral har-

rife, legislation

INTRODUCTORY ESSAY.
mony seems

to

be

than moral.

artistic rather

The Greeks

Hermes, of whom comparative

mythologists have made the morning breeze, too
little like Apollo.
The text, then, on which Greek
YVWJWJI SIWKWV,
fiTpa 8e K<U moralists preached longest and loudest, on which
Pindar preached loudest and oftenest, is the need
Pindar cares not whether it be the old, old
of self-control.
This
or
not.
negative gospel is the burden of his morstory
So in the first Olympian, v. 114: p.r)Ktri irairraivf
alizing.
"Be thou not tempted to strain thy gaze to aught
iropffiov.
"
As far as the pillars of Herakles, but no further
beyond."
"
that is not to be approached by wise or unwise
(0. 3, 44).
"
And so in every key, Let him not seek to become a god "
Seek thou not to become
(0. 5, 24), or, if that is not Pindar,
airy, too

were too
,

much

like

-^

'

4 [5], 14).
"The brazen heavens are not to be
(I.
mounted," says the moralist of twenty (P. 10, 27). ptrpu
Karafiatve, says Pindar the aged (P. 8, 78).
Another point also discernible in the first Olympian is the
This Pindar shows in
lofty self consciousness of genius.
His theme is
a M ms poems, and strikingly here.
Self-con-

Zeus"

sciousness.

high, but he is level with his high theme. If higher

A more glorious victory shall restill ascend.

come, he can

The arrow shot has reached the

still sweeter song.
lone ether, but the Muse has still her strongest bolt in reserve
for him, and in his closing prayer he wishes a lofty career for
Hieron, and side by side with the prince let the poet stand,
ceive a

iovra Tarry.
The proud selfIn
the
the
second Olymby
prayer.
the same maintenance of high pretension.
In

irpofyavTov trolly. Ka0'

assertion

is

pian there is
the first Olympian
in reserve.

"EAAame

hardly veiled
it is

the

In the second

Muse
it is

that keeps her strongest bolt

the poet himself that keeps

He seems, as has been

(v. 92).
the stature of Apollo himself in his proud
scorn of the Python brood.
How, then, is this to be reconhis

arrow within his quiver

said, to rise to

freedom from boasting, which

It is because of the source of genius
Hellenic ethic enjoins?
God himself. Pindar looks down on lesser poets as eagles

ciled with the self-control, the

PINDAR'S THOUGHT.

xxxiii

on ravens (O.

2, 96), on daws (N. 3, 82).

Contempt, scorn,
It is a sublime looksuperciliousness are hardly the words.
ing over the heads of his rivals with at most a faint conscious-

ness of their cawing far below.

This is a dangerous assumpan attitude that may be nothing but a posture, and we

tion,

it in inferior
But
poets, who take on Pindaric airs.
Pindar at his greatest height does not forget by whom
lie is borne
up, the limits of his god-given power,
xp/) 2e

resent

aitt TTUJTOC opdv fitrpov (P. 2,

The little that
34).
he has to say about training bears on the games rather than
In 0. 8, 59 he is speaking expressly of a trainer, 1
on his art.
the
and there
meaning is disputed. Mild enough is 0. 10

Kar avTov

But elsewhere Nature

(11), 22."

God and Fortune

with

often blended
praised
to the exclusion of mere

is

TO Se
learning, of the StSa/crcu opera/ of O. 9, 108.
If Pindar cultivated a choice

Kpariffrov airav is his motto.

tyvij.

garden of the Graces,

it

is

by a

skill

that Fate has allotted

If men are good and wise, it is in accordance

(O. 9, 27).
with a SaifjLwv (v. 28), and as if never weary of the theme, he

him

comes back to it in v. 100. Again it sounds forth in O. 11

"
wisdom is of God." When he longs for the good
(10), 10
and the beautiful it must come from God (P. 11, 50). Part
and parcel of this belief in nature, in God, is his belief in heredThis comes out more crudely, as might be expected, in
ity.
which is an arrangement in God and Blood
his earliest poem
(P. 10), but it is no less fundamental in that which some con:

when he intimates, not obscurely, that the

rests
on
of
the transmitted virtues of her noble stock.
hope
Aigina
Pindar has been called a Pythagorean, but this is saying
sider his latest (P. 8),

nothing

more than that he shared with

Pythagoras the

the doctrine of the immortality of the

The next
world.
sou ^ w hi c h had its main support in the Delphic
The symbolism of this
oracle and in the Pythian temple.
belief

ro Sitid,aoQai St TOI

KOv<f>oTipai
1

in

#TJac

yap
Se

eiSoTi

'

pyTtpov

dyvwfiov

Si TO

fiij

irpofiaQtiv

aTrtipdrwv <ppivt.

ice

(pvvT

dptTif iron

iriXwpiov bpfidoai K\iof dvi]p Qtov

avv iraXdpif.

2*

INTRODUCTORY ESSAY.

xxxiv

belief is found everywhere in Greek religion, especially in the

Bacchic cycle, and in the mysteries of the Twain Deities,
Demeter and Persephone. The second Olympian shows his
1

creed in part as to the future world.

Such a creed, it may be
noted, is of a piece with the aristocratic character of his mind,
the continuation of the proper distinction between Good and

Doric sense, not a system of revenges for the inof

The
equality
present fortune, as too many consider it.
grave is not all silence to Pindar ; the ghost of sound, Echo,
may visit the abode of the dead, and bear glad tidings to
in the

Bad,

who have gone before (O. 14, 21). Immortality has not
been brought to light, but the feeling hand of the poet has
found it in the darkness of Persephone's home.
those

V.
Pindar was classed by the ancient rhetoricians as an exemplar of the avarripa. apfjiovia, as belonging to the

^ Aischylos

same

class

with Thukydides in hisSTYLE

AND ART.
This classification is
tory, Antiphon in oratory.*
Pindar an based on grounds which do not all justify themselves
at

in tragedy,

once to the modern reader, although they have

warrant in the formal system of rhetoric, with

^Q^

its close analysis of figures of speech and figures of

thought, its minute study of the artistic effect of the sequence of
sounds. But "downright," "unstudied," are hardly adjectives
3
that we should apply to Pindar without much modification.

See note on

DIONYS. HAL., De compos, verborum, p. 150 (R.).

In the treatise just cited DIONYSIOS gives an analysis of one of Pin-

v. 62.

Andar's dithyrambs (fr. IV. 3), but his comments turn on phonetics.
other characteristic of Pindar may be found in his Veterum scriptorum
censura, p. 224, which, though not free from professional cant, is worth
j\wr6c St KOI TlivSapof ovopaTdiv ical voi]p.arwv tivtKa Kai
quoting:
TT

irtiag ical TOVOV KOI irtpiovaiag icai KaraoKtvrjg Kai

p i a c /ifrdr/flovjjc KOI ITVKVOTTJTOG icai erf/ivorijrof ical
*"'
Kai av&jat
Kai ivtpyiiag Kai ax'lLiaTia P tJ
?0oiroua
/xdXiara ci rtJUv n't ati)<f>po<nvr\v Kai tvaifitiav Kai

i ic

i'af

iruav fidwv.

'

PINDAR'S STYLE
The famous

characteristic of

Horace.

ART.

XXX v

Horace emphasizes the opulence

movement

of his poetry.
But in
Pindar does not in the least resemble
respects
r

of Pindar, the wealth and

many

AND

a mountain-torrent, and if we accept the views of

those who systematize his course of thought into the minutest

we should sooner think of comparing the Pindaric

poems with the ot^vol oytroi of the Hipparis (O. 5, 12), than
with the headlong course of the Aufidus, which Horace evi-

channels,

dently has in mind.

Pindar's peculiar accumulation of para-

tactic sentences, clause following clause with reinforcing weight,

may indeed be compared with

the ever-increasing volume of

fed from hillside and gorge, and
there are many passages in which the current runs strong and
fast, and needs the large utterance of the profundum os, but
the mountain-stream as

it is

the other figure of the Dirkaian swan rising above the din of
the torrent of poetry, his wings filled with the strong inspiration of the Muse," yet serene and majestic in his flight, is not
to be forgotten.
Quintilian '(10, 1, 61)' echoes HorJ*
'

QnlntilUn.

Novem lyncorum

longe Pindarus
princeps spiritus magnijicentia, sententiis, Jiguris, beatissima
usual

ace, as

rerum verborumque

copia.

now

turn from the characteristics of Pindar, as given

have not to do with the
to
the
others,
poet himself.
by
Pindar is profoundly self-conscious, and his witness
na'ive.

Let us

We

He

distinctly claims for himself

elevation, opulence, force, cunning workmanship, vigorous exIn what seems to moderns almost unecution.

concerning himself

Pindar

own

crat.

is true.

He
1

lovely self-assertion, he vindicates his rank as a poet

just as he would vindicate his rank as an aristois an
eagle, his rivals are ravens and daws (0. 2, 96 ;

Od.

4,

Monte decurrens

velut

amnis

itnbres

quern super notas aluere ripas^

fervet immensusque ruit pro/undo
*
1.

c. v.

25

Pindants ore.
Multa Dircceum
tendit,

levat

aura cycnum

Antoni, quotient in altos

nubium

tractus.

INTRODUCTORY ESSAY.

xxxvi
N.

Bellerophon shooting his arrows from the lone

3, 82).

bosom

of the chill ether (0. 13, 87)

is

a prefigurement of his

poetic exaltation, his power, his directness, and so he never

wearies of calling his songs arrows or darts (O. 1, 112
2, 91.
;

12; 13, 93; P.I, 12. 44; 6, 37), which sometimes

fall in a hurtling shower; but sometimes a single arrow hits
the mark, sometimes a strong bolt is kept in reserve by the
Muse, for Pindar, as an aristocrat, is a man of reserves. Of

99;

9, 5.

the richness of his workmanship none is better aware than

The work of the poet is a Daedalian work, and the sinuhe.
ous folds are wrought with rare skill (0. 1, 105), the art of

and adornment, the production of a rich and

compassed surface (P. 9, 83). The splendor of the Goddesses
of Triumphal Song irradiates him (P. 9, 97), and he is a
leader in the skill of poesy, which to him is by eminence wisdom (ffo^m), wisdom in the art of the theme, and in the art

art is selection

of the treatment.

Now how

far does Pindar's account of

What is the
himself correspond to the actual impression ?
immediate effect of the detailed work of his poems, that detailed

The

is at first more
comprehensible?
odes produces, from the very outset of

work by which he

detail of Pindar's

the study, an irresistible effect of opulence and elevation.

Opulence is wealth that makes itself felt, that suggests, al-

most
Opulence.

insultinglv,
J a contrast,

and that contrast

is in-

*?

It is one half of an aristocrat, elevation

digence.
being the other, so that in art as in thought, as in politics, as
in religion, Pindar is true to his birth and to his order.
This

opulence, this abundance of resource, shows itself in strength

and in splendor, for TT\OVTOQ is /ifyai'wp, ir\ovroc is tvpvaQtvijQ.

The word splendor and

all

its

synonyms seem

to be

made

for

He

drains dry the Greek vocabulary of words for

and
shine and shimmer, glitter and glister, ray
bright,
light
and radiance, flame and flare and flash, gleam and glow, burn

Pindar.

and

The

blaze.

first

strength, with flaming

1

P. 4, 248

Olympian begins with wealth and

of gold, and the shining star of

fire

TroXAotffi

$'

uyq/icu ero^iaf irkpoif.

PINDAR'S STYLE
The fame

the sun.

of Hieron

is

AND

ART.

xxxvii

resplendent, and the shoul-

der of Pelops gleams.

No light like the light of the eye,
thought the Greek, and the ancestors of Theron were the eye
of Sicily, and Adrastos longs for the missing eye of his army.
So the midmonth moon in her golden chariot flashed full the

Wealth is not
eye of evening into the face of Herakles.
It
must
be
set
It
is
off.
not the uniout,
enough.
picked
form stare of a metallic surface, it must be adorned with the
Pindar
tracery that heightens the value of the background.
His epinikion itself, as we have
delights in elaboration.
seen, combines the two moral elements of the games TTOVOQ

His lyre has a various range of notes, his quiver

of arrows, and at times such is the shower of notes,
such the rain of arrows, such the sparkle and flash and flame
lairava. re.
is full

of the lights, such the sweet din and rumble and roar of the
music of earth and the music of heaven, that the poet himself, overcome by the resources of his own art, confesses his

and by one strong. impulse of his light feet, swims out

of the deluge of glory with which he has flooded the world
1
of song.
It requires strength to carry this opulence of splendor, but Pindar's opulence is the opulence of strength as well.
defeat,

He does not carve his bow with curious figures so deeply cut
that at the drawing of the string the weapon snaps.
His is
not a sleepy but a vivid opulence, not a lazy but a swift opulence.
Everything lives in his poems, everything is personified.

Look at the magical way in which he lights up this

lamp of the architecture of his Odeon in the first Pythian.
Golden Lyre, joint heirloom of Apollo and the Muses

great

"O

1
It will be observed by those who know Pindar already, that I have
taken no notice of the various interpretations and readings that have been
suggested for this passage (0. 13, 1 14). In an edition like the present, one

has the right to choose what would be useful for beginners, or needful for
Those who cannot believe that Pindar is speaking of
self-vindication.
his

own

oX/xafl'

feet

side of the

the metaphor in N.

may compare

vTrooKaiTTOi TI$

swimming

'

5,

20

singer,

How

comp. Ar. Ran. 244

any one can consider

Ko\i>n(3otoi fitXeaiv.
this passage, is to me as yet a mystery.

avroQtv
For the comic

fiaicpd //ot

t^ w yovciTuv i\a<j>pbv bpfnav.

^aipovng tfiSfJQ iro\vova to mean "Lord," in

:

INTRODUCTORY ESSAY.

xxxviii

thou for whom the step, the dancer's step, lis"

seems too faint. We see the foot poised,

violet-tressed,

teneth."

"

Obeyeth

tremulously listening for the notes of the phorminx, as if it

few verses further down, "snowy
had a hearing of its own.
"
her
Aitna, nursing the livelong year the biting snow," not

snow," as

down

has been rendered.

it

from Heaven.

It is

not hers.

It

has come

and only
on her cold bosom, the pillar of the sky. Yet again the
couch on which the fettered giant lies goads him and galls
him, as if it too had a spite against him, as well as the weight
And
of continent and island that pinches his hairy breast.
so it is everywhere and while this vividness in some instances
is faint to us, because our language uses the same personificato her

It is the child of Zeus,

rests

tions familiarly,

were new,

we must remember

or, at all events,

by frequent

had not

that to the Greek they

entirely lost their saliency

attrition.

is a manifestation of strength, and Pindar is

and a lover of swiftness, to judge by his imagery.

Swiftness
swift

Swiftness
Swiftness.

In detail

we readily recognize in plan, in narrative.

work it goes by another name, concentra-

the gathering of energy to a point, a summing up of

It is the certainty with which Pindar
in a word.
comes down on his object that gives so much animation, so

tion

vitality

much

strength, so

much

and the picture

second Olympian he is

epithet,

that have overcome.

"
calls

them simply

swiftness to his style.

word, an
In the
there, drawn with a stroke.

is

telling of the blessedness of the souls

When
those."

he comes to the damned, he

The others bear anguish too

"

Non ragioniam di lor. In the same

"
wonderful second Olympian he says, Liveth among the Olympians she that was slain by the rumble of the thunder, long-

great for eye to look at."

haired Semele." Semele died not "amid," but "by" the roar.
"
The roar was enough to destroy that
Killed with report."

the untranslatable ravvtOfipa gives at once

gentle life, and
the crown of her womanhood, the crown of her beauty, the

crown of her
to Zens,

suffering.
visited

when he

Semele

lives again as she

her with immortal terrors.

appeared

PINDAR'S STYLE
The

aristocrat

must be

rich,

AND

ART.

xxxix

A man may

must be strong.

be both and yet be vulgar, for there

a vulgar beauty, a vulsecond characteristic of Pindar is elevation.

is

gar genius. The

This word is preferred to sublimity, because sublimity is absolute, and is incompatible with the handling of any but the
highest themes.

Pindar

is

Elevation

is

relative.

You may

treat a thing loftily without treating it sublimely.

not always in the altitudes, though he loves "the

bosom of the cold

ether," and the fruits that grow on

the topmost branches of the tree of virtue, nearest the sun,
and the lofty paths along which the victors of Olympia walk.

lone

He

is

not lacking in sportiveness, but whatever he treats, he

term which is no

treats with the reserve of a gentleman, a

anachronism when applied to him. Hence his exquisite puri"Secret are wise Suasion's keys unto Love's sanctities"
ty.
he sings himself, and amid the palpitating beauties of Greek
mythology he never forgets the lesson that he puts in the

mouth of the Centaur (P. 9, 42). The opulence, strength,

swiftness, elevation, of Pindar's art reveal themselves in varying proportions in the various odes. Noteworthy for its opuis the seventh Olympian, for Diagoras of Rhodes, the
famous boxer, which the Rhodians copied in letters of gold,
lence

in the temple of Athena at Lindos. What statemagnificence in the famous forefront of the sixth Olympian,
in which he sets up the golden pillars of his porch of song.
What vividness in his immortal description of the power of

and dedicated
ly

music in the

first

Pythian.

Gray's imitation

is

well

Perching on the sceptred hand

Of Jove, thy magic lulls the feather'd king

With ruffled plumes and flagging wing
Quench'd in dark clouds of slumber lie,
The terror of his beak, and lightnings of his
:

Matthew Arnold's
And

is

eye.

not unfamiliar:

the eagle at the beck

Of the appeasing, gracious harmony

Droops all his sheeny, brown, deep-feather'd neck,

known :

INTRODUCTORY ESSAY.

xl

Nestling nearer to Jove's feet,

While o'er his sovereign eye

The curtains of the blue films slowly meet.

But to begin to cite is never to stop.

Of the various elements that go to make up this total impression of opulence and elevation, some will be considered
Something will be said of the effect of the
rhythms, something of the opalescent variety of the dialect,
of the high relief of the syntax, of the cunning workmanship
hereafter.

Let us

that manifests itself in the order of the words.

turn to a closer consideration of that which

now

attracts atten-

first

Much might be said of

tion in an author, the vocabulary.
the vocabulary, with its noble compounds, whether
VocabularyCompounds, taken from the
epic thesaurus, and so consecrated
of
a
the
mint-mark
religious past, or created with fresh
by
1

by the poet himself. In the paucity of the remains of

the lyric poets, we cannot always be certain that such and
such a word is Pindar's own, but that he was an audacious
a
builder of new words is manifest from the fragments of his
vitality

Some of the most magnificent are put in the

of
the
odes, as O. 2, 1
dva&^oppyyec vpvot. O.
openings
O. 13, 1
0. 8, 3
3, 4
vfoviyaXov rpoirov.
apyiKepavvov.
P. 2, 1
P. 1, 1
piyaXoiroTpi<ToXvfj.TrioviKav.
tOTrXoKa^oiv.
P. 10, 3
P. 8, 2 fieyurroTroXi.
Xttc
apifiaBviroXe/jiov.
dithyrambs.

.*

'

P. 11, 3
The epithets applied to
aro^a^ov.
apiffroyovy.
Zeus is atoXothe gods match the splendor of their position.
:

/Bpovrae

(N.

9.

45), operiKrviroQ

(0. 10 [ll], 89), opffivftyfa

(0. 13, 77), (JtoiviKotrTEprnrae (O. 9,

invoked as SeWora THHTO/ZE^OC (O. 6, 103),

iyxttKtpavvoG

Poseidon

6).
is

(0.

5, 31),

is

called papvKTVTros Evrpiaiva (O. 1, 73).

fiporoG "YirtpwviSag (0. 7, 39),

Helios

and Amphitrite

is

(f>nv<rifj.-

is

xpuffaXdraroe
And so
(0. 6, 104), and Athena (.y%tflp<ipoQ xopa (0. 7, 43).
the whole world of things, animate and inanimate, is endued

with

life,

pounds.
1

or quickened to a higher vitality, by Pindar's comcry is alvyXuooog (0. 13, 100), the lyre

The

BRAUNING, De adjectivis compositis apud Pindarum, Berlin, 1881.

Hor. Od. 4, 2, 10. 1 1 Seu per audaces nova dithyrambos verba devolvit.
:

PINDAR'S STYLE

AND

ART.

xli

Lions acquire something of a human os(O. 10 [11], 103).

tentation by fiapvKopirof (P. 5, 57).
The majestic chambers
of Zeus are pe-yaXoKtvdels (P. 2, 33), and hide awful shapes of
to punish the intruder.
6iriQ6p.fiparov av\t]fj.a (P. 1,

doom

92) resounds as

if

the words of themselves echoed

down

the

There are no pfifiara yofufwTrayrj, the rivWe have festal splendor here also, not fate-

corridors of Time.
ets are hidden.
ful sublimity.

The

produced by Pindar's comnot confined to the compounds.

Even the most
familiar words are roused to new life by the revival of the
effect of living splendor,

pounds,

is

It is a canon of Pindaric interpristine meaning.

p re tation that the sharp, local sense of the preposieverywhere to be preferred, and every substantive may

viyid use of
Tocabuiary.

tion

is

be made to carry its full measure of concreteness. This is

We are not to suppose
distinctly not survival, but revival.
that Kparrip (0. 6, 91) was felt by the Greek of Pindar's time
as a

male agent, or

atcova.

(O. 6, 82) as a shrill-voiced

woman.

Whatever personification lay in the word was dead to the

Greek of that time. Pindar revived the original meaning,
and the y\vKvg Kpartjp is a living creature. In fact it is hardly possible to

go wrong

in

the blood comes.

pressing Pindar's vocabulary until

It is true that in many of the

long compounds the sensuous delight in the sound

the main thing, and yet even there

we

is

find

<f>i\r)aifj.o\irt (O. 14,

14) and ipaoipoXirt (O. 14, 16) used side by side, in such a
way that we cannot refuse to consider how the poet meant

them, just as in the same poem (v. 5) he combines the transient pleasure of ra Ttpwva with the abiding joy of rd
"

A Greek who called a thought an aKovrj, was using a less startling

image than we should use in calling it a whetstone ; to call the teacher
of a chorus a icparrjp was not the same thing as .it would be for us to
call him a bowl."
JEBB.
1

'

H. H. SCHMIDT, in his Griechische Synonymik, has paid much atThese matters have been touched lightly in the notes,
the hope that a good book, based on Schmidt, might one day supply
J.

tention to Pindar.
in

the needs of our schools.

INTRODUCTORY ESSAY.
In the fine feeling of language few poets can vie with Pindar',
and though he is no pedantic synonym-monger, like a true
There is
artist he delights in the play of his own work.

but
danger of over-subtilty in the study of antique style
Pindar is a jeweller, his material gold and ivory, and his
;

chryselephantine work challenges the scrutiny of the microscope, invites the study that wearies not day or night in exploring the recesses in which the artist has held his art seques-

Pindar himself has

invites the study and rewards it.
avvfroiaiv (O. 2, 93) a common saying; Pindar

tered

made ^vatvra

himself speaks of his art as O.KOO. aotyoiQ (P. 9, 84) ; his call
is to the lovers of art as art.
There is

across the centuries

an aristocratic disdain

in his

nature that yields only to kindred

spirits or to faithful service.

The formal

comparison Pindar seldom employs,

with special effect in the stately openings
In O. 12 the
of two of his odes, O. 6 and O. 7.
leisurely

though he uses
Comparison.

it

'

comparison takes the place of the myth, and others

But instead of "as" he
are found here and there.
prefers the implied comparison, which is conveyed by parallel
structure such as we find in the beginning of O. 1, of O. 17
In the metaphor, with its bold identification of object
(10).
*jid image, Pindar abounds as few poets abound.
Every
realm of nature, every sphere of human life, is laid under conThe sea is his with its tossing waves (0. 12, 6)

tribution.

and its shifting currents (O. 2,

whether a prince (P. 1, 86;

37).

The

ruler is a

helmsman,

an order (P. 10, 72),

or the mind of Zeus himself (P. 5, 122).

Tyche

4, 274),

(O. 12, 3),

is to let the sail belly to the wind (P. 1, 91).
His song is a flood that sweeps away the pebble counters of a
Rebellious insolence is
long arrear of debt (O. 10 [11], 11).

To

be liberal

scuttled as a ship is scuttled (P. 8, 11); a favoring breeze

An eagle, as he calls
prospers the course of song (P. 4, 3).
N. 3, 80), to
himself, he loves to dwell in the air (O. 2, 97
;

wing
he
91.

his

song (P.

8,

34).
delights to stretch his

99

9, 5.

12

13,

93

An

archer, like his master Apollo,

bow, to speed his dart (O. 1, 97 ; 2,

P.

1, 12.

44

6, 37).

Of

light

and

AND

PINDAR'S STYLE
flame, as has been said already, he

xliij

Wealth
fame shines forth (O.

never weary.

is

a bright and shining star (O. 2, 58)

23), fame looks from afar (0. 1, 94)
up life (O. 10 [11], 25) his songs

ART.

is

joy

in their

is
1,

a light that lights

passionate dance

blaze over the dear city of the Opuntians (O. 9, 22) ; the feet
of the victor are not beautiful merely, they are radiant (0. 13,

The games themselves furnish welcome figures the

36).
chariot-race, reserved for grand occasions (O. 6, 22 ; 9, 87 ;
P. 10, 65), the hurling of the dart, the wrestling-match (0. 8,
25; P. 2, 61). Nor does he disdain the homely range of
1

and proverb and every -day life.

The bee, it is true (P.
4, 60), was a consecrated emblem before his time ; the cow,
for a woman (P. 4, 142), is as old as Samson.
The cock (O.
was
to
Greek
more poetic
the
the
Persian
and
12, 14)
bird,
2
than he is to us, even as Chanticleer; but the fox figures in
fable

known in higher speech (0. 11 [10], 20;

3 [4], 65), but by the fabulistic nickname KepSw (P. 2, 48).
He is not shy of trade and commerce, ledger (0. 11 [10], 2)
and contract (0. 12, 7). Dante has, in his Inferno, the figure
Pindar, not only as
I.

of an old tailor threading his needle ; Pindar is not afraid of

a metaphor from adjusting clothes (P. 3, 83).
Aischylos
speaks of the net of Ate; the figure is grand, but Aischylos
sees poetry in the cork as well (Choeph. 506), and so does

Pindar (P.
even

in

2, 80).
glance at the list of the figures used
8
the Olynipians and Pythians
is sufficient to show

that

life is

not sacrificed to elevation.

word

as to

mixed metaphor

in

Pindar.

No

charge more

common than this against him, as against ShakeMixed

metaphors. S eare . an(j a rhetorician of the
ordinary stamp will
p
doubtless consider the offence as a crime of the first magnitude.
1

Of

homely figure seems to underlie P. 1, 81

commentators have made nothing

this the

general drift

is

irtlpara awravvaatf.
though the

satisfactory,

"
summing up the chief points of many
The metaphor of a rope-walk would explain

clear enough,

things in brief compass."

avvravvaaii;, iriipara being the ropes or strands.

*
Yet see Ar. Ran. 935: iir iv rpaytpStais txpy v ndXticTpvova
*
See Index of Subjects, 8. v. Metaphors.

iroiijtrai;

INTRODUCTORY ESSAY.

xliv

The number

of metaphors properly called mixed

large in Pindar as
count as mixed

This

is

is

supposed

nor, in

;'

any

not so

is

case, are

we

to

rapid shifting of metaphors.

metaphor^
to be expected in the swift movement of Pindar's

The

disjointedness of Emerson's style has been inon the ground that each sentence is a
defended
geniously
And so Pindar's metaphors are slides that come out
chapter.
in such quick succession that the figures seem to blend because
genius.

the untrained eye cannot follow the rapid movement of the

notorious passage occurs in the first Pythian (v. 86
artist.

foil.),

in

strings.

which Pindar touches

in

" Let not fair chances

slip.

quick succession various

Guide thy host with a

Forge thy tongue on an unlying anvil. If it so

chance that ought of import light escapes thee, it becomes of
magnitude in that it comes from thee. Of many things thou

just helm.

art steward.

witnesses are there to deeds of both

Many

kinds," and so on, with a shift in every sentence.

passages the absence of conjunctions is sufficient to

no connection was aimed

if

at,

and

it is

In such

show that

the fault of the reader

he chooses to complain of an incongruous blending of things

that are left apart.

The next point to be considered

is the plan of the epinikion.

was
under the domination of
or
Pindar
not,
Original genius
Plan of the the tradition of his department, and the fragments

Q f Si mon i(j es are enough to show that there was a

of handling the theme common to all the
method
general
The
is, as we have seen, an occasional poem.
epinikion
poets.
The problem is to raise it out of this position, as a mere temporary adornment of the victory, to a creation of abiding
The general method must have been reached beworth.

Epinikion.

fore Pindar's time

it is

his success in execution that has to

be considered here. The epinikion has for

and the individual but it rises through the
;

its

basis the fact

real to the ideal,

through the individual to the universal. The light that shines

about the victor's head brightens into the light of eternity ;
1

See note on P. 10, 53.

PINDAR'S STYLE

AND

ART.

xlv

the leaf of olive or of laurel becomes a wreath of amaranth.

Sheer realism had no place in high Greek art. The statues

When
of the victors in Olympia were not portrait statues.
the victor had overcome three times, then, it is true, he might
up a portrait statue, but three victories of themselves

set

would idealize. The transfiguration which we expect of heaven

So the victor and the victory are
the Greek sought in art.
not described at length.
True, the poet sometimes labored
under the frightful disadvantage of a commission that dictated
an enumeration of

How

may be

all

the prizes gained by a certain family.

how

lightly, he acquitted himself of the task

But apart from such special
seen in 0. 7, in O. 13.

gracefully,

under which everything spiritual and artistic must

the poet was
groan, being burdened, in this travailing world
The special occasion
free to conceive his subject ideally.
restrictions

secured interest and sympathy in advance, gave him the broad

and not the proudest eagle that ever

earth from which to rise

if

soared,
it

once on the earth, can

be but for a

little

rise

distance, along

without running, though

black surface and the

its

Now change the figure after

epinikion started on the earth.
Pindar himself has sugthe Pindaric fashion to the temple
some fair Greek temple,
gested the comparison (O. 6, 1)
of
the
the
clear-cut
mountains of Greece
repeating
proportions
just as the Gothic cathedral repeats the forests of

Germany

some temple standing on the large level of an acropolis,

The facade of the work is to be
standing against the sky.
illuminated, but not so as to throw a garish light on every deOnly the salient points arc to be brought out, only the
characteristic outline, so that as it comes out against the dark
tail.

sky you seem to have one constellation more.

Nay, the new
is
strangely blended with the old groups of stars,

constellation

and we cannot

tell

which

is

mythic

past,

which illuminated

present.

The

selection

Now
now

already been indicated. The

often suggested by external relations.
the victor's family that furnishes the story,

sources of the

it is

myth have

is

the victor's home,

now

the scene of the contest and the

INTRODUCTORY ESSAY.

xlvi

god or

presiding

internal motives,

prophecy

Sometimes the selection is due to

hero.
and the myth is a model, a parallel, or a

perhaps

all

three.

This, then,

is

the function of

in the epinikion, the idealization of the present, the

This was an artistic necessity for
transfiguration of the real.

the

myth

the Greek, and it was in some sort an historical necessity.

It gave a new value to epic
It reconciled epic and lyric.
themes by using them as parallels for the present, while the

drama took the

last step

and made the past the present.

Pindar does not jumble his materials in admired disorder,

nor does he sort them after the approved scientific fashion,
with subdivision after subdivision, to the exhaustion of

all

the letters of the alphabet, Roman, italic, Greek, and Hebrew.

Analysis does not show the way in which the poem was

The

woven.

fruitful study of Pindar lies through synthesis,

not through analysis, and in the introductions to
tne several odes an effort has been made to show

Symmetry
in Pindar.

how

the meaning of the whole reveals itself to

him who sim-

What is dignified by the

ply follows the poet's guidance.
name of an analysis is often nothing more than a table of
contents, a catalogue, the very form of which disguises the
lack of connection.

Pindar
for

it is

Logical disposition will not avail much.

But symmetry there must be,

poetical, not logical.

is

impossible for any one that studies Greek literary

art not to

The tendency to balance, to

In Greek the tendency is a law.
on this. The law of correspondence

count on symmetry.

parallelism, is universal.
It is needless to enlarge

measure answering to measure is fundamental, and has

been applied to every sphere of Greek art pictorial, plastic,
not without overstraining, yet not without great profit.
literary
In music as in architecture
"

Offenbach has said

Music

unquestioned. Even frivolous

an algebra." Poetry, like music,

it is
is

made up

of equations.
The odes
In Pindar the symmetry of form is evident.
Symmetry are composed either of corresponding strophes or
of form.
O f corresponding triads (strophe, antistrophe, and

is

epode).

But

this is not

enough.

There must be within each

AND

PINDAR'S STYLE

ART.

xlvii

strophe, each epode, another balance, another correspondence,

another symmetry.
Westphal first distinctly postulated this
correspondence, and opened the way for the establishment of

but the bold and brilliant originator wearied of his own

work, renounced his own principles. J. H. Heinrich Schmidt
began his metrical and rhythmical studies as a worker on the
it;

lines laid down by Westphal, although he differs from his

forerunner at every turn and Moriz Schmidt, well known as
a Pindaric scholar, far from being satisfied with the results of
his predecessors, has recently set up his schemes in opposition
1

and J. H. H. Schmidt's.
sample of the divergencies may be given. In the epode
of O. 6 Rossbach- Westphal saw three mesodic periods with
an epodikon

to Westphal's

I. 3. 2. 3.

J.

II. 4

2.

4 4.

H. H. Schmidt marks

thus

III.

five,

43.JJ3.3

according to his MS. revision,

x

1.323.

IL424

Moriz Schmidt
structs a different

(p.

III.

44 4 3

fo.

17.88.8*8.

V.

44

71) pronounces both wrong, and con-

scheme

46446 = 20. 54444=16.

It will

4 epod.

3. 4.

4' 66 44=20.

be observed that the number of bars in Rossbach-

Westphal and in J. II. 11. Schmidt is the same. In Moriz

Schmidt, owing to the greater range he allows himself in the
use of rovi] and pause
the power of prolonging and the

number is slightly increased. He has

But the other differences are
Still, whether we accept the short periods or the
graver.
long, the recognition of some principle of symmetry cannot
These choral structures were made not only to
be withheld.
power of resting

fifty-six

the

against fifty-three.

balance each other, but also to balance themselves.

So much for symmetry of form. Is there any correspond1

M. SCHMIDT, Ueber den Bau der Pindarischen Strophen, Leipzig, 1882.

INTRODUCTORY ESSAY.

xlviii

ing symmetry of contents

poetry.
Symmetry
of contents.

We

find

it

elsewhere in Greek

We

find response of antistrophe to strophe in the

drama, not only in form, but to a certain degree
Are we to renounce this in Pindar?
jn
sense
_

Does the development of the ode go its own way regardless

of the form ? This has been practically the conclusion of the
editors of Pindar from Erasmus Schmid, with his formidable
rhetorical analysis of the odes, down to Mezger, with his reThis Terpandrian
inforcement of the Terpandrian vopog.
1
in
Pollux
and
touched
on by Bockh,
mentioned
4,
66,
i'o/ioc,
Terpandrian contains seven parts

tTrap^a, /zerap^a, <carar/30?ra,

vop.cs-

^itraKararpOTra, d/i^aXde, o^>payt'e, iiri\oyo.

Westphal identified with the old-fashioned irpooimov,
he changed into apx">
'Xoyoc being the same as t^oSeov,

and

he applied the Terpandrian scheme in this form to the odes

In the
of Pindar as well as to the choruses of Aischylos. 2

same year Moriz Schmidt published his translation of the

Olympian odes divided into the members of the Terpandrian
3
on Pindar (1880) much
vo/ioc, and in Mezger's commentary
4
Pindar,
space has been given to the advocacy of the scheme.
says Mezger in substance, composed his poems for oral delivBut
ery, and consequently wished to be understood at once.

even to his contemporaries, in spite of

all their advantages,

the immediate comprehension of his poems would have been
Of these
impossible if they had not had some outside help.
extraneous aids, three, melody, musical accompaniment, and

But there was a tradidance, are lost for us irrecoverably.

tion, a fixed norm for such compositions, a rtfyidc from which
the epinikion must not vary, a Tf.dp.6f not only for the contents,
but also for the form. To be sure, the old interpreters in their
blindness knew nothing of this; but Bockh and Dissen ob1

De Metris

Prolegomena zu Aeschylos Tragodien, p. 76, Leipzig, 1869.

MORIZ SCHMIDT, Pindar's Olympische Siegesgesange Griechisch und

'

Pindari, p. 182.

Deutsch, Jena, 1869.

*
Terpandrian composition has found no favor with J. H. H. SCHMIDT,
Kunstfornu-n iv. p. 635 fgg., or CROISKT, Pindaro, j>. 126 sqq.

PINDAR'S STYLE

AND

ART.

xlix

served certain laws of structure, certain recurrences, certain

sym metrical responses. Thiersch proved the triple division
rov (pafjLaTOQ, tiuKiitfjuov
but it was reserved
and establish the proposition that
Aisahylos, in the composition of his choruses, and Pindar, in
that of his epinikia, followed the vop.og of Terpander with its
'.

TrpoKtofjiiov, fjtlffov

for

Westphal

to set forth

This Mezger considers Westphal to have

the forty-four odes except eight, at least
and these
so far as the three principal parts are concerned
sevenfold division.

made

evident for

all

But the esbeginning, middle, and end.

principal parts are
tablishment of these principal parts does not carry us beyond

What we want

Thiersch.

I.

is

the normal

number

seven,

as,

TTjOOOl/itOV.

n. APXA.
III.

KaraTpoird.

IV.

OM$AA02.

V. peraKaraTpoird.
VI. S*PAri2.
VII. tTri'Xoyof or i6$tov.

Westphal himself seems to feel that the lover of Pindar will

rebel against the thought that the great poet wrought according to a mere mechanical formula; but the Pindaric

Westphal seem to have no such

o/j0a\de exercises on
them a special fascination that reminds one of the days of
the 6fi<j>a\6\lw)(pi* an(i there is an undeniable charm about
scholars that have followed
scruples.

The mystic and Delphic

tbe scheme.

The

three certain parts are beginning, middle,

and end, and for these we have the high authority of Aristotle (Poet. c. 7).
The seven normal parts remind one of
the seven parts of the comic parabasis, and as the seven parts
of the parabasis are seldom found in their completeness, so
1

The organism

is

so elastic that Mezger

makes

eight parts, retaining

the (irap\a rejected by Westphal.

*
deinde ita appellati per ludi'Of*<t>a\6\jn>x l dicti primum Bogomili
brium a Barlamo Galabro monachi aetatis istius qui se qovxacrrac voca;

bant, a

modo quo

preces

fundebant, KIVOVVT^

o^>da\fiov aiiv o\tp voi tv fitatp rr]c icoiXi'ac ffyovv

DDCANGE.

nempe rbv
Kara rov

aloOfiTov

(>fi(f>a\6v.

etc.

INTRODUCTORY ESSAY.

the Terpandrian

vofjiog

seldom has

its full

number.

The name

not only mystic and Delphic, it has indirectly a

Plato demands of every Xdyoe that it shall
Platonic warrant.

d/^aXde

is

1
wov, that it shall lack neither head nor foot, and if
should
it
lack the central navel ?
neither head nor foot, why

be a

The

d/i0a\de, then, is the organic centre of the poem, and con"

there is no myth in the d/^aXde of
tains a myth.
True,

and

P.

at

any

1 and 10, 1. 2 and 6," but the rule is not

rigid*
and we must be satisfied with an approximation.

N.

9,

rate,

As a rule, then, the d/^>a\de contains a myth, while the beginning (ap\a) and the close (atypayis) contain the praises of the
Then there are transitions between the
victor and his house.
apx" an d

^ ne oyu^aXde, just as in oratory the

vpoKaraaTaatQ
the
way for the Siriyriaie: there are transitions beprepares
tween the d/Li0aXde and the o-^payt'c. But in this way Ter-

pandrian compositions might be made out of Demosthenes'

Philippics, and it is hard to see what has been gained except

two or three quaint names for familiar relations.

But Mezger has reinforced Westphal's theory by a discovery
of his own. While committing the odes of Pindar to memory
he noticed the frequent recurrence of the same word,
,

Mezgers

recurrent

or close equivalent, in the corresponding parts of

These
strophe and antistrophe, epode and epode.
recurrent words are all significant, all mark transitions, and
were all intended as cues to aid the memory of the chorus and
It is a mnemonic deto guide the thoughts of the hearers.
vice, but more than a mnemonic device, for it lets us into the

poet's construction of his

1

Phaidr. 264 C

own poem, and

dXXa rode y

olfini

at.

settles forever

tydvai dv, diiv irdvra

the

\6yov

uoTrep %(f>ov ovvtardvai otHfid n i^ovTa avrbv avrov iaart firjrs aKityaXov
iivai ftf)T dirovv d\\d ftttra re l-guv ical dicpa, irptTrovr' aXXJjXotf Kai rip
*

BULLE makes the following summary, which shows how very elastic
the vofioc is (a) eight are excluded as not being constructed according
to the ri9fji6t (b) eight have the seven parts ; (c) fourteen have neither
:

wpooiptov nor e%6$tov (d) five have no Tr/ooot/uov (<) seven have no
i 6(ov
(/) one has neither vpooipiov nor KararpoTra (ff) one has no
:

d (Philolog. Rundschau, 1881,

col. 5).

AND

PIXDAR'S STYLE

ART.

}{

If this were true, it would

disputed meanings of the odes.'
hardly heighten our admiration of antique art, and although
the coincidences are interesting and the observation of them
a proof of loving study that deserves to be honored, the dis-

covery of the recurrent word is not the end of

there are too many recurrent words.'

all

controversy

Of course, the acceptance of the Terpandrian fd/ioc and the

doctrine of the recurrent word puts an end to anything like
proportion in the contents of a Pindaric ode.
Compare, for
instance, Blass's analysis of a prooimion of Demosthenes, and

Mezger's exhibit of the composition of an ode of Pindar.

not agree with Blass, but there is an architectonic

You may

while
principle in the one,

is

it

should have such proportions as

utterly incredible that

we

0. I.: 7

0. III.: 5(7r.)
8(i.)
6
0. XIII. : 23 (7r.)

(p. 459.)

2(i).

P.

I.

28

(7r.)

+ 2(ic.) + 18(<>.) + 4(^.)+4((T.)+4(*.). (p. 175.)

(r.)+l7 (a.) + 6 (c.)+40 (6.) + 5 (/*.) + 16 (*.)+

+ 14

(<i.)

+ 3 (r.) + (12 + 3 + 20) ((5.)+4 0*.)+ 14 (<r.)+

(p. 83.)

Contrast this with Blass's analysis of the prooimion of

Corona
2

2.

3.
|

II.

De

1-2.

I.

I.

1-8)

4.

= 16

3.
|

6.
|

IV. 7-8.

III. 8-6.

3-4.

2.

4.

2.2.2.2
|

=8

=24

=24

2^2.2.2

=8

= 16
True, it may be said that the inner organism of a Pindaric
ode need not correspond to the outer form, and that the five
triads of the third Pythian may be chopped up into seven
1

Only a few examples can be cited

0.

7,

20 (TXairoXifiov), 77 (TXairo-

76 (rptya Saaaafuvoi) ; P. 1, 43 (tXwo/xai), 83 (tXwThe exact position is not always insisted on, as 0. 1, 23. 96 (K\OC
IOQ).
. .
Nothing so evident as the threefold sidle of Dante, at the
ITtXoiroc).
\imii). 18 (rpiiroXiv),

end of Inferno, Purgatorio, and Paradise.

*
BULLK cites, I. c., 0. 1, 21. 39 (irap'fx<uv), 67. 80 (ya/iov); 0. 2, 4. 48
19. 86 (iravruv), 66 (0pa<rac), 110 (Qpaaai)
(jroXf/iov), 3. 77 (Aioe),
P. 1, 20 (Airva),
0. 6, 77. 98 ('Ayjjffia), 62 (aicov<rae), 66 (dicoveiv)
(Alrvac) P. 3, 5. 74 (irort'), 4 (Kpijvoi;), 67 (Kpoi/iwv), and others.
;

INTRODUCTORY ESSAY.

HI

chopped up, for the knife does not come

the rhythmical joints. But where shall we find anything like this in Greek literature ? The further we penetrate
into Greek poetry, the greater reason have we to acknowledge
Terpandrian parts

down on

Violation of symmetry, of correthe reign of symmetry.

spondence, may be referred in every instance either to defec-

As in Greek archiGreek poetry, departures from symmetry are not

tive tradition or to designed disturbance.

tecture, so in

only suffered, but enjoined, for the sake of a higher symmetrical

The straight
effect, for the maintenance of the feeling of life.
line of

mechanics becomes the curved

line of art.

The

entasis

of the Doric column, the flexure of the Doric stylobate, are

familiar illustrations of the law of visual effect.
The Greek

had regard to the position that his work was to occupy,

to the angle in which it would present itself to the eye of the
beholder.
So in Greek poetry we must consider the law of
higher symmetry, the principle of artistic unity, the calculated
artist

on the hearer and we must remember that we have to

do with the hearer, not with the reader. ~S,Tf^o^vQia is well,
but when passionate utterance gives two verses the time of
one, we must not heedlessly apply the knife because the paseffect

But these interferences apart, we

sage looks out of balance.
expect a symmetry in contents corresponding to symmetry in
form, and we cannot admit a logical division which shall ruthlessly run across all the lines of the artistic structure.

We

must seek the symmetry of thought, where the symmetry of

Each strophe has
the form is revealed, in strophe, in triad.
its office,

each triad

its

function.

The only concessions

that

must be made to logical distribution are those that must be

made in the same department of art. We must simply allow
the strophe and the triad the same play that we allow foot
and series in the verse.
1

See CROISET'S chapter on this subject in his " Pindare," p. 354 foil.
I am here presenting I have long entertained, but in this, as in

The views

am more desirous of thinking a right thought than a

have not gone into the question of the relation of strophe
to antistrophe and epode, I would add here that J. H. H. SCHMIDT, in his
all

other matters, I

new

one.

As

PINDAR'S STYLE

AND

ART.

lift

Reduce the Terpandrian VOJMQ to a more simple expression,

it nothing more than a somewhat bizarre statement of

see in

the general principles that manifest themselves in an oration

of Isokrates or a dialogue of Plato as well as in an ode of

Pindar, and

it

would be

easier to

become a Terpandrian,

cer-

tainly easier than to accept Dissen's elaborate sys"

In his chapter
tematization.
De dispositione parhas
treated
at
Dissen
the
tium,"
length
arrangement of the

elements of the epinikion the preparatory office of the pro"

oimion and the interweaving of the parts.
With the ex"
short
he
of
the
all
Pindar's odes
pieces,"
very
says,
ception
have at least two parts besides the prooemium," and Dissen
has interested himself in showing how the poet prepares his

theme, interposes a myth, and then returns to his theme, and

how from the simple arrangements aba and a b a b, the poet
advances to a 6 a c

a,

abab a,

abcbab, ahead c, and

a b

c b a,

ab

c b

the crowning glory, a b

a,
c

a ba

c b

a.

c,

There is, of course, an element of truth in these recurrences.

There is a cyclical movement in many of the Pindaric odes.
The myth is usually belted by the praise of the victor and the
victor's home, but it is impossible to accept an elaborately
systematic arrangement of the subject within the symmetrical
structure of the rhythm and independent of it.
Dyads and

do not disturb the rhythmical working of the odes and Dissen often elevates to the
rank of an organic part what has been brought in simply as a

triads there are in Pindar, but they

;

According to him everything in Pindar must have a

deep significance, an independent value, a special allusion,
whereas much is put there for the sake of heightening the
effect by contrast.
foil.

about twice
(III. p. 350), has shown that Pindar has paused
The
as often at the end of the strophe as at the end of the antistrophe.

Kunstformen

object of this, as Schmidt thinks, is to break up the mechanical balance of

strophe and antistrophe, or, as he puts it, a+(a 6) is more common than

a+a+(6).

This

is,

of course, & reinforcement of the position taken here.

INTRODUCTORY ESSAY.

liV

Dissen has gone through

all

the odes and reduced

them

to

schemes, for which he claims great simplicity and beauty.

,
Furtwangler has selected a few, and expended on
Furtnangler.
them a great wealth of fancy. It cannot be said
1

..

of him that he is indifferent to the claims of symmetry.

To
him the Pindaric odes are so many temples, and he sees
ground-plans and elevations, and rows of columns, and groups
of figures in the rhythmical structures of Pindar.
Most persons will consider Furtwangler's book a waste of fancy and
Temingenuity, and yet it has not been written all in vain.
ple and ode are both built on a plan, both obey the laws of
symmetry, and so one may serve to illustrate the other. But

The temple is to be devel

oped from the cell, the ode from the rhythm. Regard the
ode as a great verse and much of the difficulty in finding symthe manifestations are different.

metry in the Pindaric poems will disappear.

The verse, as a rhythmical structure, is made up of versefeet; the verse, as a logical unit, is

made up

The coincidence and the discrepancy

of verse-foot and word-

of word-feet.

foot constitute respectively diaeresis and caesura, if, indeed,

one may be allowed to use this nomenclature, which certainly

has

its

Now

convenience.
a verse in which verse-foot and word-foot should coin-

kastis
cide throughout as in the famous sparsis
longis
horret of Ennius would lack unity,
splendet et
campus
\

and a succession of them would be intolerably monotonous.

Hence the office of caesura to effect unity by dividing a word
between two feet and so to force a more energetic recitation.
Diaeresis serves to distribute the

masses, caesura to unite

them.

Of course where the masses

are so large as in the Pindaric

not the same danger of monotony.

Each triad
a
In
whole.
fact
each
might present
complete
strophe, each
antistrophe, each epode, might be rounded off as a separate

odes there

is

element without
1

much

W. FURTWANGLKR,

offence.

But the Greek

sense of unity

Die Siegesgesinge des Pindaros, Freiburg, 1869.

PINDAR'S STYLE
demanded a

less

each ode often

fit

ter or a trimeter.

AND

ART.

ly

mechanical distribution, and the parts of

into each other as the parts of an hexame-

The

preparation, as Dissen

would

call

it,

does not count, nor does the connection.

The body of the
thought falls within the limits; that is enough. The study
of the Pindaric odes suggests the lines of color used in maps

The eye is not offended by the exto designate boundaries.

currence there nor the mind by the excurrence here.
Making
and suffering the sense to bind strophes
triads together while the dominant themes of strophes and
triads are distinct, we shall find no insuperable difficulty in
this allowance then,

and

establishing simple and easy proportions for most of the PinProblems there will always be, and bold would
daric poems.

be the

man who

should maintain that he had said the

last

word on such a theme.

Of the

forty-four Pindaric odes, seven only are

composed

in single strophes.

Of

these, O. 14 has two, P. 12 four,

N. 2

P. 6

five,

six, I.

7 seven, N. 9 eleven, N. 4 twelve.

Most of them
One

triad

are in triads:

0. 4, 11 (10), 12; P. 7

Three triads: 0.3, 5; N. 5, 6, 8, 11; I. 2, 4, 6, 6

Four triads 0. 1, 8, 9 P. 2, 5, 10, 11 N. 1, 3 I. 1
Five triads 0. 2, 6, 7, 10 (11), 13 P. 1, 3, 8, 9 N. 7, 10
Thirteen triads P. 4
:

I. 3.

10
10
12

_1
44

It is evident that the single-strophe poems will admit of

greater freedom of handling, and I shall take those up after
discussing the triadic poems.

One

triad

is

evidently too short for any except slight occa-

sional

poems.
In O. 4, an exceptional poem, the strophe has chiefly to do
with God, the antistrophe chiefly with man, the epode is an

myth. In O. 11 (10) the antithetical structure

runs through strophe, antistrophe, and epode, but each member
O. 12
revolves about a separate element of the epinikion.

illustrative

rocks even more than 0. 11 (10).

Each element

is distinct.

INTRODUCTORY ESSAY.

Ivi

P. 7 has been considered a fragment, but whether

ment or not, each member has its special office.

it is

a frag-

Two-triad poems do not occur.

The only two-strophe
poem, 0. 14, is suspicious, and cannot be cited to prove that
two triads would give ample room. If we are to have introit would be hard to distribute
them properly through two triads. Three triads give a natural division, and so we find that it is used nearly as often as
five, though the number five suggests a better proportion logEach triad has its dominant theme. 0. 5 occupies an
ically.

duction, myth, and conclusion,

exceptional position

among

the Pindaric poems, but the dis-

There is no overlapping in it.

tribution forms no exception.
Four triads are used as often as three. There is no meusually dominates one
in

most of the

odes.

we should

expect, the introduction

the
triad,
myth two, the conclusion one,
This is the type 1.2.1. Overlapping is

chanical uniformity, but, as

the rule 1.2.1 or 1.2.1 or 1.2.1.

P. 10, there

is

versification is

In Pindar's earliest piece,

no overlapping, and the student of English

reminded of the early timidity of blank verse.

Five triads might be expected to distribute themselves thus:

1, and this is sub1, Myth
3, Conclusion

Introduction

P. 8, with 2.1.2,
stantially the arrangement in most of them.
forms an interesting exception, for which the notes must be
consulted, as well as for the arrangement in O. 13, and P. 1,
which have a quasi-epodic structure, two triads representing
P. 3 and P. 9 are
strophe, two antistrophe, and one epode.

thrown out of line by the position of the myth.

In the Fourth Pythian we have no less than thirteen triads,
and it might seem at first as if the epic mass had crushed the
But when we examine the structure more
lyric proportion.
closely, we find that the first three triads form the overture,
It is a prelude which gives the motif of the
if I may say so.
These three triads are followed by seven triads with
piece.
the story of the Argonauts in detail, while the conclusion is
prepared and consummated in the last three triads. It is true
1

J.

H. H. SCHMIDT, Kunstformen, IV.

p.

349.

PINDAR'S DEVELOPMENT.
that the mass of the story carries

it

Ivii

on into the eleventh

triad,

but the grand scale prepares us for a wider aberration.

Of the strophic poems, O. 14 has already been considered.
In P. 12
is

we recognize the

familiar distrii uriori

1.2.1.

P. 6

represented by 2.2.2.
In N. 2 there is a curious iteration of the

tor

and

his family, 1.

1. 1

1. 1.
^<*/

**-s

name of the vicThe twelve strophes of N.

4 divide into 3.6.3, the eleven of N. 9 into 2.7.2.

not yielded satisfactory results.

To

I.

7 has

who must have

sharp figures at any cost, these

be disappointing; but the exact symmetry is
All that we could fairly
cared for in the rhythm, the metre.
those

statements

will

expect here

is

a general balance.

VI.
In the preceding glimpses of Pindar's thought and art, his
poems have been treated as a whole, and no regard has been
DEVELOP- bad to the gradual development of his powers. If
MENT.
if we had
j^g career exhibited marked

truststages,
data, such a presentation might well be considered defective.
Sophokles and Euripides would not fare

worthy external

thus, nor Plato, although

it

must be confessed that Plato

is

warning against the rash application of the principle of development. Let us see how the case stands with Pindar.

The

life

of Pindar gives scarcely any clue to his development.

is almost a dead si-

After his encounter with Korinna there

lence

from without.

modern

critic is

from within.

number of

Those who have

a Fine-ear

Besides,

fixed points.

we

ears to hear
and every
detect the sound of growth
have the advantage of a certain

may

We

know

the dates of a fair pro-

portion of Pindar's forty-four odes, and we may construct the

curve of his rise, and, if it must be said, of his decline.
The
a
was
seems
to
favor
such
for
Pindar
too,
department,
study,

and a lyric poet, it is thought, would be the first

show the traces of personal experience. But antique lyric
is not modern
Even Roman lyric is not Greek lyric.
lyric.
The Horace of the Odes is not the same as the Horace of the
3*
a lyric poet;

to

INTRODUCTORY ESSAY.

Iviii

Epodes

but

does not follow irresistibly that we can as

between the Pindar of the tenth Pythian

it

easily distinguish

and the Pindar of the fourth Olympian.

It

may be going too

far to say that the law of the department, the lyric rtfyioe,

was so much stronger than the individual that the personal

development does not count. The personal development does
count, and it is a legitimate and fascinating study, but the
danger of importing into the result a priori conclusions is
manifest.

Once

fix in

mind the

the

characteristic stages,

and

the inevitable tendency is to force the phenomena, no matter

how stubborn they may be, into the places which they are
supposed to fit. Of youth we expect exuberance of language,
unassimilated wealth of thought, rashness of imagery, a technic that betrays, both by its mechanical adherence to rule
and by its violation of principle, the recent influence of the

and the rebellion against it. Of matured power we

a
balance of forces the imagination is steadier, the
expect
thought deeper, the interpenetration of form and matter is
school,

more complete, the plan is organic, the poem grows symmetthere are fewer surprises, and the
rically up to its full height
technic has become a second nature without the dulness of
The man is at his best. The closing stage shows
routine.
;

perfect mastery of form still, but the effects are produced with
less expenditure of power, there is not the same joy of surplus
vitality,

applaud, the plan

"

"

the word

is

dexterity
a scheme.

comes

Now

when we
some such course

in too often

while

laid down in general for the track of lyric genius, the

essence
of genius, which is the unforeseen, disappoints
very
calculation at every turn.
There are some minds in which

may be

There are revivals

there is no trace of crudeness at any age.
of youth in poetry as in life, revivals that scandalize critics of
art as well as critics of morals.

Leopold Schmidt
1

riod

'

Of

all

students of Pindar,

has bestowed most attention on this sub-

LEOPOLD SCHMIDT, Pindar's Leben und Dichtung, Bonn, 1862.

I.
(01. 69, 3 to 01. 74, 2) embraces in the following order: P.

12, 7

0. 10, 11

N.

2; 0. 14,3,2; P. 3;

5.

Period

II. (01.

N.9; P.I;

74, 3 to 01. 80),

0. 1,12; 1.2;

0.6;

I. 6,

4, 7

P.

Pe10, 6,
9, 11,

P. 4, 5; 0.7,

13,

PINDAR'S DEVELOPMENT.

Hx

but in spite of his thoughtful study and his sympathetic

discernment, the results reached are not satisfactory. The per id
f immaturity is too
Kirst
long, and the evidence of
ject,

Period,

immaturity too slight. The great poets of the world

until the Suabian age of discretion
which is for-

do not wait

before they reach their prime. Of the seven dated poems

assigned to this period three are on the border of Pindar's
perfect art, so that we are practically left to make up our
ty

from P. 10, 6, 12, and 7. We

commissions came from Thebes.

characteristics of this stadium

are told that Pindar's

first

Nothing would seem to be more likely. But the odes give

no evidence of it. The Thebans may have employed him at
their local games, but the victors of the earlier odes are from
Thessaly, Akragas, Athens, Epizephyrian Lokris, and Aigina.
We are told that Pindar must have known Aigina from his
youth up, and no one questions his intimate knowledge of the
deep interest in its fortunes. One fourth of all the
odes celebrate Aiginetans, but the first Aiginetan ode is the last
of this period of immaturity. True, not without significance is
the close connection with Delphi and the consequent predomisland, his

inance of Pythian odes at this period, and it was doubtless a

proud moment in the poet's life when he received his first
Olympian commission, and if the longer ode on Agesidamos,
O. 10 (l 1), is the fulfilment of that commission, it may be par-

donable to see a certain jubilation

in its

tone

but

it is

extrav-

agant to attempt the reconciliation between the joyous tone

and the long delay by the supposition that the poet was too

much overcome by his emotion to do the theme immediate

The distinction between the earlier poems and the
justice.
poems of the period of maturity, as marked by the prominence
given to the grace of a special god in the latter, seems to be
shadowy, and to have less in its favor than the criticism that
there

is

a lack of unity in the composition of the earlier poems.

Period III. (01. 81 and 01. 82), 0. 9 ; I. 6; 0. 4 and 6; P. 8. The

dates of the rest are not fixed, according to Schmidt, and must be excluded from a rigid calculation. They are all Nemean and Isthmian.

8.

INTRODUCTORY ESSAY.

Ix

Unfortunately the relation of myth to theme is not yet put

on an impregnable basis, and what Schmidt says of the earlier

poems has been said by others of the ripest. It is easy to say

is no interpenetration of myth and thought, that the
actual present is not yet merged in the mythic past, that we
that there

have only striking situations, no development, and hence no

The trouble is to vindicate perfection
psychological interest.
for the others.
The handling of the metres in the different
periods

is

another matter that leaves ample margin for varySchmidt maintains that the metre shifts from

ing judgment.

logaoedic to dactylo-epitrite without discernible reason, that

the logaoedic is more freely handled as the poet develops, and
that the dactylo-epitrite is not thoroughly mastered until the

Here, again, the basis of induction is too

is too
the
aiaQ^aiq
narrow,
aXoyoc
potent an element.
The second period, according to Schmidt, extends from
close of the period.

Pindar's fortieth to his sixty-fifth year a stirring time.

the opening of it belong the battle of Salamis
Second

To
a

priod.

contest of Panhellenic significance far greater than

Marathon and the battle of Plataia, which touched Pindar

Thebes was severely chastised for her adherence to

the Persians, and the dominant aristocratic party sorely huIt is supposed
it is a mere supposition
that
miliated.
nearly.

Pindar, though of the nobility, was not with the nobility

had widened.

that

The

no longer the
and so he was
only form of government
fitted by nature and insight to act as a mediator between exAnd yet it would be hard to prove from Pindar's
tremes.
he ever had a reasonable sympathy with democracy
that
poems
anywhere. There was no call for such sympathy. The victors
in the games were all of his own order.
In this second period Pindar's reputation extended more
and more; the princes of the earth sought the honor of being
When he was fifty he yielded to Hieron's
glorified by him.
solicitations and paid a visit to Syracuse.
When he was in
his fifty-sixth year he is supposed to have been at the court
his vision

aristocracy was
worthy of the name,

of Arkesilas IV. of Kyrene.

Of

his travels, however,

it is

con-

PINDAR'S DEVELOPMENT.

Ixi

We

fessed we know nothing.

may infer from his extensive
connections and his exact knowledge of localities and of famhe had journeyed far and wide
but we are
ily history that
;

whether it is the singer or the song that

is voyaging, and the minute local
knowledge may be due in
part to the persons from whom Pindar held his commission.
often unable to

tell

In any case, the transmission of the names and fortunes of

mythic characters presents problems enough in every department of Greek poetry.
personal acquaintance with Athens

not unlikely, though by no means certain. The high praise

that he bestowed upon the city is referred by Schmidt to the
is

time between the second Persian war and his

visit to

Syracuse.

The relations between the Dorians and the Athenians became

more tense afterwards, and Schmidt himself acknowledges that
as

Pindar grew older he went back to the faith of his fathers,

the aristocratic creed in which he was nursed.

Pindar's rise in national estimation gave him a higher selfHe likes to show that his song makes him the peer
of kings. But it must not be forgotten that his boldest utter-

esteem.

itself, and that the Greek of that period

would not have understood the modern attitude of the subject
to the throne.
It is absurd to see any freedom in his calling
His own achievements and the achieveHieron " friend."
ments of the Persian war are supposed to have led him to

ances are courtliness

Success in the games is not

higher views of human power.
due to fortune or to fate, but rather to the victor's own prowthe victor's

own

the victor's family record, especially

the favor of a special deity, and chiefHere, again, it may be said that the
ly to the favor of Apollo.
material for the first period is too scant for the establishment
ess,

zeal,

in its religious aspects, to

of such a contrast in the second.

The advance in the art of composition in the second period

a point that cannot be discussed without illustrations from
the several odes. To reach Schmidt's conclusions it would be

is

necessary to accept Schmidt's analyses, which often err by

The attempt has been made in this edition ta
supersubtilty.
follow the growth of the odes in the poet's mind.

A general

INTRODUCTORY ESSAY.

Ixii

plan there was, doubtless, in each

rigid scheme,

and shaped

poem

but

it

was not a

graceful variations as the

myth grew out of the theme,

itself into

poet wrought at his work. The

heart or head, as the herb in Isabella's Pot of Basil.
must have suggestion, play, sweep, or we have no poetry.

We

its

to Schmidt,
have any such organic unity

Now, according
sees the

only in this period that we

only in this period that he

it is

happy co-operation of imagination and

Yet even here he notices a

cance of each

After

difference.

poem may be summed up

the fundamental notion

it out.

it is

is

plastic force.

fifty

the

signifi-

in a

formula; before,
so incarnate that we cannot dissect

But no high poetry

is

exhausted by

its

recurrent bur-

catch-words, its key-verses, just as no high poetry is

in any sense translatable.
The advance in the art of the narrative is another point

dens,

its

where we have to encounter the danger of a priori characterand the difficulty of a narrow range of observation.

ization,

Critics have noted that the construction of Thackeray's earliest

The difference lies
stories is as perfect as that of his latest.
in the detail work.
its

The Pindaric manner

sharp outlines of light,

same throughout.
But to follow in

its

of story-telling, with

tips of coruscations, remains the

detail all the

changes that Schmidt has

noticed in the second period is not possible within the limits

The third period the period of the senile
of this essay.
"
Pindar is marked by a decided decline.
The
Third
period,

The
eagle flight of the imagination is broken."
understanding is as subtile as ever, the humor is as fresh, the
warm, but the fair enchantment of the harmony
between the world of idea and the world of fact is gone.
The old poet falls into the sins of his youth. His composition is unequal ; and yet so much praise is lavished on the
and one of them of doubtful authenticity that
five odes
Pindar falls, if he falls, upon a bed of roses.
feeling is as

Without

refusing, then, the

meed

of praise to the intense

in finest details the

study that has enabled Schmidt to draw

image of the poet's

life

and the poet's

art

without denying

APPROACH TO

PINDA.R.

the value of the attempt to form such a picture of Pindar's

development, we may be pardoned for declining to accept as
final results

reached by processes so shadowy with materials so

limited.

VII.

Rauchenstein

who has done

so

much

to promote the study

of Pindar, and to whose Introduction to Pindar, read and

APPROACH meditated on many years ago, the present edition
IM.VDAB.

j s Doubtless due
a fte r commending Pindar in the
warmest terms to those who have reached the lyrical stage of
life, the age of feeling and enthusiasm, gives an outline of the
preliminary studies that he deems necessary, and then bids

us

Which are the

begin with the easier odes.
Not the shorter ones necessarily, for

easier odes?

the fourth Pythian, the longest of all, is one of the easiest,

and the fourteenth Olympian, one of the shortest, has given
the commentators

much

trouble.

read himself into Pindar

The

fact

is,

man who

has

a poor judge of the relative difof

odes
unless
he
has made actual trial in the
the
ficulty
class-room, and the experience of most lovers of Pindar has
is

of necessity been limited, as Pindar has seldom been read in

our colleges. And yet it might be safe to recommend some

For the beginning, within the range of

the short ode for
12, 11 (10)
P. 3, 4
for the culmination,
whatever else may lie between, 0. 1, 2 P. 2. This advice is
based purely on the relative difficulty, but those who know
Pindar will see at once that the easier odes are dactylo-

such course as

this.

Olympians and Pythians, 0.

Agesidamos then 0. 3, 6, 7

harder odes are logaoedic or paionian. Of course

not to be expected that the student will be satisfied with
so long a course of dactylo-epitrites, but the lesson is this
epitrite, the
it is

any ode of Pindar is to be studied as a work of art, it is to

be approached as a work of art, and the first thing to be masA good
tered, not theoretically, but practically, is the form.
recitation will be found of far greater value than much discourse about the atmosphere of the epinikion.
The poem
must be read rhythmically over and over until it can be read
If

INTRODUCTORY ESSAY.

Ixiv

and this must precede the intellectual study.

of
course, the vocabulary must be looked after, though
Then,
the Pindaric vocabulary is not very troublesome ; thereupon
the commentary, and finally the introduction, by way of refluently aloud,

When

view.

the

way
poem in

is

the rhythm is mastered, it will be found that

open for the appreciation of the meaning of the

The stress falls on the

its parts and as a whole.
summits of the thought. Words are not divorced that are
bound together by rhythm, no matter how widely they are

Key - notes
separated to the eye.
makes
itself
The welding of masses

make themselves heard.

felt.
The confused fig-

ures group themselves into patterns, and out of the darkness,

as out of a picture of Rembrandt, the remotest forms come
Then it will be soon enough to bring in
forth to the vision.

the historical apparatus, soon enough, if it is ever soon enough,

to bring in the metaphysical analysis, the logical skeleton,

which is supposed to exhibit the organism of the ode, though

vertebrae and ribs and thigh-bones are often missing, to say
nothing of the head.

Of course metricians are not agreed about every detail of

Pindaric metre, but neither are commentators about every detail of the interpretation of the text, and the
divergencies affect chiefly

matters that are cognizable by the eye rather

questions of symmetry, of the distribution

than by the ear

of the masses.

The length of the KW\OV may be a matter of

importance to the advanced Pindaric scholar. For the
beginner it is enough if he can be taught to feel how intimate
is the relation between form and sense, the $80$ of the
great
vital

moods and

metres.

Some knowledge

of the form, then, is a prerequisite to the

study of Pindar, so much at least as is necessary to
use of the metrical schemes appended to the odes. 1

artistic

make

1
These metrical schemes are due to the kindness of Dr. J. H. H. SCHMIDT,
and give a revision of those that appear in the first volume of his Kunstformen. For his system, see the Introduction to the Rhythmic and Me-

tric

of the Classical Languages, translated by Professor JOHN WILLIAMB

Boston: Ginn & Heath, 1878.
brief and lucid account of

WHITK.

METRES OF PINDAR.
Lyric poetry meant among the Greeks what the words mean.
was meant to be sung to the lyre, K<0apa, <pop^iy, to be

It

poetry,
focal.

sung and not simply

recited.

Instead of the lyre,

or rather clarionet, sometimes served to

accompany the voice ; sometimes both instruments

the

flute,

were used. The rhythmical movement of the body, the dance,

completed the trinity, which could not be dissociated without
loss.
The Shield of Achilles in Homer, II. 18, 569-572, shows
the rudimentary union of voice, instrument, and dance, which
1

still rudimentary, among the

people of our stock.
In Greece the popular became the artistic, and passed through
The
a long development, which cannot be exhibited here.

survives,

great musicians of the eighth century

Olympos, Terpandros,
Thaletas were followed in the seventh by Alkman, the Lydi"
who
an, the sweet singer of Sparta, Stesichoros of Himera,
bore upon the lyre the weight of the epos," and these were

succeeded by Simonides of Keos and Pindar, who represent

The Lesbian
the third great stage of lyric poetry proper.
school is called melic rather than lyric, and Sappho and Al-

Their poetry,
was, had not the sustained flight
It was from the poems of Stesichoros

kaios are not the artistic ancestors of Pindar.

of passion and
of the choral ode.

full

fire

as

it

how to build the fourth Pythian. The

a thing apart.
Common to poetry, music, and dance is rhythm, which
means " regular flow." Regular flow can be recognized only

that Pindar learned

dithyramb

is

by interruptions time unbroken is eternity we

must have groups, and these groups must be of
such dimensions as to be comprehensible. Hence the definition
;

is given in the Introduction to JEBB'S Oedipus Tyrannus.

The summary presented here rests chiefly on what I have learned from WKSTPHAL, and especially from SCHMIDT, and the phraseology is adapted from
my Latin Grammar.
It

rotffiv ff ev [iiaffoiffi iraig

'

ipepofv KiOdpiZt

\tirra\ey
poXiry r
*

\tvov

$'

0dpjayyi Xtytty
viro

KaXov dtiicv

Si pfjvirovTtG
<j>utvy' rot
i>y/i<fJ

a^tapry

Tt irool aKalpovrt^ STTOVTO.

For the controversy as to dates, see FLACH, Lyrik der Griech. pp. 1 19. 188.

INTRODUCTORY ESSAY.

Ixvi
of

as

rhythm

\povuy ratc

"
a^wpiff/itVij,

a definite arrangement

The

recurrence of groups was marked by the reSo we have a strong time and a weak
currence of a beat.
of times."

time, Btfftf and ap<nc, the sense of which terms was afterwards
In these simple statements lies the whole theory of
inverted.

There must be an orderly succession of groups of

must be accentuated by stress, they must
have simple proportions and a moderate extent, so that the ear
can recognize them, and finally they must be equal to one another.
The conditions of verse-rhythm are the same as those
of musical rhythm.
As a rule, we have in every Greek verse
a sequence of equal or equivalent feet under the domination
rhythm.

time, these groups

of a regularly recurring stress.

The elements of verses are called feet, just as we call the
elements of a dance steps, and they correspond to

bars in music.

In language, as
voice.

The

the stress

itself

seen,
is

rhythm

is

marked by

stress of

called arsis, the unstressed thesis,

the ictus.

Rhythm when
metre.

we have

stressed part

metre

represented in language is embodied in

a system of syllables that stand in a de-

is

Of course only those metres are

of importance that embody the principal rhythms.
The unit of measure is the short syllable,
(xpdVoe, mora)
=. % (^ note).
The long, , is double the short and
J (J
termined order.

note).

The

rhythm are based on the relation of arsis to

The number is restricted by the necessity of having simciasses of
pie recognizable relations. The Greek has but three,
Rhythms.
an(j ^ e ^hird occurs very seldom in modern music.
classes of

thesis.

I.

Equal Class (ytVog trov), in which the arsis

the thesis.

Represented
The

in

dactyl

or

Bars having

teurs, a part of

is

equal to

Pindar by
~-

J J"^
J J

five quavers are said to be used in the Combat dea

Lea Troyem it Carthage, by Berlioz.

htt-

METRES OF PINDAR.
Unequal Class (ylvog

II.

double of the

thesis.

which the

StirXafftov), in

Represented
The trochee

or by resolution, the tribrach

in

Ixvii
arsis is

Pindar by

^
^, -^

J*

J'J'J'

III. Quinquepartite or Sescuple or Five-eighths Class (yevoc

^toXiov), in which the arsis is to the thesis as 3:2 (1-^:1).
Represented in Pindar by the various forms of the paionian

measure.

The

Cretic

First

Paeon

>_,

^, ^,

^ -^ ^
-^ ^ -^ ^ ^
^
or^^- - =

J
J

J"

Fourth Paeon

Resolved Cretic
Bacchius

So

fH

J
J3 J

JH
^
J*

we have considered the

value of syllables as limited

to the simple relations of the short and the long, J* and J,
notes and ^ notes. But if we assume, as we have to assume,
far

the equality of the bars, it is impossible to restrict the range

of the elements to these two proportions, nor was it so re-

The long syllable may be drawn out benormal quantity. This is called rovij or
protraction, and serves to make up for the omission of one or
more theses. When this protraction fills up a whole
bar it is called avyKoirij, and the verse is a syncostricted.

yond

its

pated verse.
-*-'>-'>-'
i

., -. >_,

J
,_,

Sometimes two shorts occupy only the time of one. This

and instead of writing -^
is called correption,
we
r

Conception.

The
ent,

__

write a) or

^g

J*

syllable of a verse is usually considered indifferis marked in the schemes here employed according

final

and

Within the verse

metrical requirements.
a on g syllable which takes the place of a short, or
a short which takes the place of a long, is called irrational,
to the
\

and

is

designated by >.

INTRODUCTORY ESSAY.

Ixviii

An

or two-time trochee

irrational

one in which the

is

not that of three eighth-notes, but two, and it is rep-^ J~3, the proportions being not 2
irrationai- resented by

value

is

ity-

is

eighth-notes, but 1^
one in which the values are

is

written

--

-^ or J.

So the

-^.

1^

-f-

irrational dactyl

eighth-notes.

It

gj

The rhythm always begins with

The

stress.

unstressed

syllable or syllables preceding do not count as a part of the

rhythm, but as an avaKpoveic or signal -beat, marked off

thus

The

.
;

value of the anacrusis

must not exceed that of

the regular thesis.

Missing theses at the close of a verse are made

up as in music by the pause or rest. These pauses

So

have different values.

A denote
A
"
A
"
A
One
metres

or

"

*\

p
p.

"

four

two examples from the leading kinds of Pindaric

will illustrate these points.

0. 12, 1

Aiffffo|

If this verse is

syllables,

fiai iral

ZTJVOQ e-

Xtv&tpi-

ov.

measured by the mechanical values of the

we should have

Measured by

all

a pause of one eighth-note

"
two eighth-notes
"
"
three

we have

this system,

bars equal, the missing thesis

0. 10 (11), 6

made up by

pause.

iviirdv aXiro&vov.

This verse would be divided, according to the mechanical

values, thus

'

*-**

with anacrusis
(d).

(a),

"

*^s

with utter disregard of rhythm.

f
I

It is

now

read

protraction (b), irrationality

(c),

and pause

APPROACH TO PINDAR.

xix

How are we to know when to make use of these different

methods of reproducing the equality of the bars? When a
>-*
-_-,
single long syllable comes between two trochees,
i_
it is evident that we must read
^. We have
But the case is not so clear when we have such a
avyKoirri.
verse as O. 9, 27
ayytXiav ve^w ravrav. Are we to read this
|

,_!_>! _,_ |__|

_

_
^
>
,^|_>|_>|_A|?

or

or

t_

here as elsewhere observation must come in.

must find the great periods, which in Pindar are so clearly
marked by the sense that there is little dispute about them,
and then within the periods mark the ;<JXa or members, and
It is clear that

We

observe the regular sequences.

True, such K<J\a are already
down by the metrical scholiasts, but scholars are divided

laid

and the schemes followed here rest

on the observations of J. H. H. Schmidt, who has rejected the
antique kolometry, and has based his results on wide inducas to the value of them,

The

tion.

ject

The

belong to the systematic study of the subhere.

are designated in the schemes by ||, the periods by

each period there is a correspondence in the number

iccJXa

Within

J|.

details

and cannot be introduced

of the bars of each KwXov, and the groupings have received

different names according to the order of the recurrence.
"
"
and " postprelude
irpoydtKov and iir<p$iKov are respectively
lude," and stand outside of the responsions, which are usually
indicated

We

by curved

lines.

have irpoyStKa in the following

0. 2,

Ep.

0. 9,

Str.

I.

Ep.

I.

I. 3.

vp.

0. 11 (10),

3.

32.3 2.
Vix^x

vp. 4 4.

5. irp.

343.

In conformity with a hint from Dr. SCHMIDT himself,

in this edition the

have omitted

It is hoped
graphical designation of the responsions.
that the recurrent numbers will suffice to impress upon the student the

principle of symmetry.

INTRODUCTORY ESSAY.

Ixx

0. 13,

I. 3. irp.

Ep.

I.

3. irp.

3 2

I.

3. irp.

I.

2. irp.

0. 14,
P.

i-rruciKa

Str.

5,

more common

are far

0. 2,

Str.

0. 4,

I.

So also 0.

8, Str. III.,

in-.

Ep.

II.

21.2^2.4

Str.

I.

4 4~4 4~4~"4

Ep.

I.

4.4.4.5

Ep.

Ep.

3.

in Pindar.

8.8

in-.

r.

5~4

II.

4~3

I. II.

III.

4 3

6 Iw.

ITT.

5 4 4

3.

6.

3.2.

3 2

0. 6, Ep. III. 4 4

7,

II.

0. 6, Ep.

O.

6.6.6.6.

Str.

iff.

iff.

4~3

0. 9, Ep.

I.

iff.

0. 10 (11), Ep.

II.

O.

0. 13, Str. III., Ep. III. ; 0. 14, VI. ; P. I., Ep. I. ; P. 2, Ep.
III. ; P. 3, Str. I., Ep. I. II. ; P. 4, Str. III. ; P. 6, Ep. II. III. ; P. 6, III. ;
P. 7, Str. in. ; P. 9, Str. III., Ep. I. III. ; P. 10, Str. I. ; P. 1 1, Str. II., Ep.
II.; P. 12, III.
12, Str.

I.

III.

period

is

stichic

when two or more equal KU\U follow

one after another.

a a

So 0.
Stlehie

4,

Stt. IV.,

0. 6,

Str. V.,

0. 7,

Str.

I.

4
4

4.

4.

3 Vstr. VI. 3

0. 10 (11), Str. II.T. 6, III. 4

It is palinodic
Pallno4ie.

when

a group

is

repeated, as
e g

3.

.T

METRES OF PINDAR.
0.

1, Str.

Antithetic.

1.

o. 4,

Ep.

ii.

ri

0.

Str. II.

5^4

6,

O. 9, Str.

It is antithetic

(Tl 6~6.

IV.

1.

2.

repeated in inverse order:

is

a.

Ep.

O.

Ep.

I.

0. 13, Str.

I.

II.

a.

iir.

5.5.3.

0. 3,

h c

2.

8,

iTi.

4~~2 .4.2.

III.

when a group
a b b

ri.

6.5.5.6.

irp.

P. 6, Str. IV.

6.44.6.

0. 6, Str. III.

423.324.

P. 10, Ep.

II.

3 4

5.4

3.

In the palinodic-antithetic period, palinodic groups are re

peated antithetically,

e.

g.

Palinodie-

Mtlthetlc.

I.

4 3

5.5.43.

II.

4 3

2.2

3.

4 4

3.

0. 6, Str.

O. 7, Ep.

P. 7, Ep.

P. 9, Str.

I.

3 3

II.

3 3

33.

INTRODUCTORY ESSAY.

Ixxii

When
middle

the antithetic period has a solitary

mesodic :

in the

ictiXoy

it is

Meiodic.
0.

1.

1, Str. II.

I.

3 2 3.

0.

6,

I.

323;

0.

f, Str. II.

Ep.

8, Str. II.

P.

6,

5 3

P. 7, Str.

a luoyliKov

I.

is

bjj

3 2 3

Ep.

Ep.

4 3

I.

III.

323.

2 3 4.

2.

2 3 2

4.

424.

3 5

4 2

I.

Ep.

II.

2 3 3

Ep. n. 6

4.2; V.

I.

0. 6, Str.

2. 0. 3, Str.

When

Jj>

6 4

IJT.

6.

introduced into a palinodic period

it

becomes palinodic-mesodic.
PalinodicMesodic.

On

a b

a b becomes a b c a b.

this principle are constructed such periods as

The

0. 8, Str. H.

24

P. 2, Str.

6.34.6.6.3

II.

2~4.

4.

rhythms used by Pindar are the Dactyioand the Logaoedic. There are only a few
Rhythms.
specimens of the Paeon and the Bacchius.
1. The Dactylo-epitrite measures receive the name from
principal

mt ^ L

epitrite
.

the combination of the dactyl,

Dactrio-

epitrite,

epitrite.

SU pp Ose d to be

as 4 to 3.

epitrite
a rhythm in
,

',

with the so-called

meaning l
which arsis

would be divided thus

'

name is retained for

as we have seen, *- -"

-~-

convenience' sake
|

=
is

and

to thesis
.

The

the true measure

is,

METRES OF PINDAR.
The model dactylo-epitrite rhythm is shown in O. 3.
About half the extant odes of Pindar are composed

in

these rhythms, which are also called Dorian.

They are elevated, well-balanced, equable, and present a marked contrast
to the lively, lilting, excited logaoedic measures,

more

There

and the

still

a thorough correspondence
between the sense and the rhythm. The Dorian odes are much
stirring

cretic.

easier to follow, the

is

development

is,

as a rule,

much more

reg-

the forms are not so puzzling, even the tenses sympathize

with the rhythm, and the leisurely unfolding of the imperfect
is more common in the dactylo-epitrite than in the logaoedic.
ular,

2.
is

The Logaoedic rhythm

is

a f rhythm, the basis of which

the trochee, but not the trochee with the ordinary ictus,
This trochee has a stronger secondary ictus
_L oon the short, _L ^, admits irrationality,
>, and takes

as a substitute the so-called cyclical or light dactyl,

-* --, in

we have seen, not 2 + 1 + 1 mo=

l
1
3
but
The apparent jumble of dac+
+
rae,
J"53
tyls and trochees, as in prose, gave rise to the name logaoedic
The logaoedics are much used in
(from Xoyoc and aot&ft).
which the proportions

are, as

the lyric portion of the drama, and are familiar to all in the
odes of Horace, nearly half of the Horatian varieties, and
more than ninety per cent, of the odes, being logaoedic. The

logaoedic rhythms are lighter, more airy, than the dactyloThey have festal glitter rather than steady light, a
epitrite.
rapid flitting rather than a compassed march. All fancy apart,
no stronger contrasts can be felt than between the movements

two odes on the victory of Agesidamos (0. 10 and 11).

shorter ode rocks gently through a series of antitheses.
Not a pregrave and stately, despite its short compass.

of the

The
It is

Contrast the
liminary flourish, not an anacrusis, throughout.
dash and the whirl and the surprise of the longer ode.
O. 3
1 will also serve to bring out the contrast, which does
not rest on the imagination of the commentators, but on the
universal feeling of our race.

and 0.

3.

Those who have read the Acharnians of Aristophanes

abound in that

are familiar with the passionate cretics that

INTRODUCTORY ESSAY.

Ixxiv

young and
shows

lusty

The

play.

Cretic

or Paionian

rhythm

two of our

itself in

counted among

odes, O. 2 and P. 5, both of them

the more difficult Pindaric poems by

But the rhythm

reason of their extreme elasticity.

of these odes reveals the secret of their soul, and instead of

being the most difficult, they are among the most easily un-

The passionate movement betrays them. The

struck at the very beginning.
In O. 2, 0oc, #pwc,
avrip recur with a persistency that cannot escape the most
careless observer, and in P. 5 we have really nothing but a

derstood.

keynote

is

on

series of variations

Passion comes out with

TrXouroe, apera, Trdr/zoc, another trinity.

story ; passion will not let its story rest.

its

In what relation do these rhythms stand to the "moods"

so familiar to us by our own poets
by Milton, who says,
"
Lap me in soft Lydian airs," who speaks of the

made

"Dorian mood of
Gray,

who

moods

flutes and soft recorders;" by

"
Awake, Aeolian lyre, awake ? These three
mentioned by Pindar himself.
O. 3 is des-

"

cries,

are

all

ignated as Dorian in v. 5:
The Dorian harp of O. 1, 17

Awp/w

tytav'av

e'vap/id&u TreSt'Xp.

generally understood to refer

to the instrument and not to the mood of the poem, which is
called Aiolian

in

v.

102

is

eyue

3e

crr<f>av<3<ra.i

"

Ktivov iinrtiw
\

"

are men"the Aiolian breathings of flutes" in N. 3,

79. As these poems are logaoedic and O. 3 is dactylo-epitrite,
it would seem natural to
identify Dorian with dactylo-epitrite
and Aiolian with logaoedic, but the Lydian mood introduces
vo\jup

tioned in P.

r)

HO\TT<

-^pi).

Aiolian chords

2, 69,

a disturbing element.
Lydian measures appear in 0. 5, 19:
v3lotc aTTvuf tv auXoie, 14, 17 A v $ i u> iv rpdirw, and N.

A
4,

45

Av$

logaoedic,

and

<p

avv
in

N.

app.ovi(f,

8,

15:

KtXfjifvav, dactylo-epitrite.

three odes which are essentially

Av2/a>

plrpav Kava^rj^a irtwoithat are

But the logaoedic odes

in the Lydian mood are all of very simple construcand popular character, and the only Lydian dactylo-epitrite
shows marked peculiarities of periodology, so that for Pindar

composed
tion

See J. H. H. SCHMIDT, Kunstformen, IV.

p.

650 foil

METRES OF PINDAR.
at least the general identification of Aiolian with logaoedic

and Dorian with dactylo-epitrite

may be

maintained.

It will

here to give a characteristic of these three moods

Doafter the ancient authorities, leavrian, Aiolian, and Lydian
ing the details of Greek musical composition, with its diatonic,

suffice

'

chromatic, and enharmonic scales, to special students. This is

the more permissible here because the diatonic or natural scale

was the only one employed in lyric choruses.*

The Dorian mood was manly and imposing, like the Dorians
themselves; not expansive nor lively, but grave and strong.
What it lacked in liveliness and variety, it made up
by steadiness and impressiveness.
Aw/uov /it'Xoc
afpvoTOTov, says Pindar himself, in a fragment. It is the mood
for the tug of war, where the staying quality is priceless.
The Aiolian was said to reflect the character of the Aiolian
chivalry, the high and mighty, self -asserting, deep drinking

magnates of Thessaly, the swaggering, fighting, loveThe

making, convivial countrymen of Alkaios.
Aiolian mood, like the Aiolians themselves, was joyous and
full of movement, frank and fair, without lurking meanness
If the Dorian mood suited the close-locked conor shyness.
of infantry, the martial dash of the Aiolian mood made it
for the Kaoropeioj', the linrfiog vop.oq.
The Lydian mood, originally a flute-melody, was introduced

flict
fit

as a

vofjioQ cTrtidjctaoc

or dirge, and the tender, plaintive strains

lamentations for the dead.

were chiefly used in

Aristotle says (Pol. 8 end) that the Lydian mood

especially adapted to boys, 3ta TO SvvaaQai Koapov T t^tiv
The simplicity of the composition, and the
a/ia KO.I iraiSeiav.
naturally plaintive tone of boys' voices, are reasons that lie

was

nearer to us.

The Pindaric odes were accompanied now with

now with the flute (clarionet), now with both.
time the instrumentation was
1

*
s

See WESTPHAL, Metrik,

See WESTPHAL, Metrik,
irpiirti roi

I.

p.

I.

p.

still

the cithern,

In Pindar's

subordinate.

273, for the authorities.

264.

iraaiv doiSoXappdiCTaiG

Aio\c

apftovia.

PRATINAS.

INTRODUCTORY ESSAY.

Ixxvi

The

form is the dance song, music,

This, of course, has perished for us
recovery, and only the names <rrpo07,

third element of the

dance, being the trinity.

beyond

all

avTirrrpo<f>Ti,

and

iirudos

remain to remind us that

the rhythmical movement of the chorus added to the charm

of the performance.
The strophic poems of Pindar are processional, not orchestic.

VIII.

Careful dialect study will always separate the more or less

sophisticated language of literature from the native speech.

There is scarcely
J a writer in dialect that has not
..
-, ...
,
been assailed for infidelity to the spoken tongue
this is true of those who have tried to reproduce the

DIALECT.

and

if

dialect faithfully, what shall

'
such as Burns and Mistral ?

poets of Greece,

who seem

be said of the make-believes,

What shall be said of the lyric

to have shifted and blended dia"

according to rhythm and mood ?

Doubtless, to a certain extent, the dialect was dictated by
the origin of the department.
Lyric poetry emerging from
the Epos could not throw off the authority of Epic forms, but
lects

the so-called Epic dialect is itself composite, and the Doric

with which the Epic language was tempered by Stesicharacteristic of the higher lyric.
And yet
became
choros,
strains,

such

is

the freedom with which the Ionian Siraonides and the

Theban Pindar handle the language, that we must leave a

wide margin for individual susceptibility. Those who translate

Homer back

into the original Aiolic may yet reconstruct

But till this is done it may be

a Pindar in uniform dialect.

provisionally assumed that Pindar used an artistic dialect that>

had no definite relation to the spoken language, and it may

be added that
1

if

such a uniform dialect should be established,

"

[Mistral's poems] are written in a dialect which is neither the real

old Proven9al nor the modern patois, but a combination of the poet's
own." G. MONOD.
*

AHRENS, Ueber die Mischung der Dialecte in der griechischen Lyrik.

(Verb, der Gott. Phil.-versamml, 1852, p. 55 sq.)

PINDAR'S DIALECT.
it

Ixxvii

would be a contradiction of the subtile variety that Pindar

always producing out of his material, and always producing

with as full consciousness as true poets ever have.
Pindar
rejoices in his play with language he rings changes on words,
is

he toys with synonyms, he loves the discord of the oxymoron,

and those who think that such artistic devices are too meforget that before plastic art had developed its
While
fimsse, song had served an apprenticeship of ages.
awaiting, then, new light, it may be permissible to call Pindar's
chanical

language an artistic dialect, and to give a rapid

the chief peculiarities that mark it

summary

of

The basis is the language of the Epic, itself composite, and

with this are blended in varying proportions Aiolic and Doric
forms.
None of these elements appears in its extremes.
tain

The

forms familiar in

echoing verbs

flow of the Epic is retained, but cerare discarded.

There are no

Homer

in -ana, there is

no

The Doric majesty and sonorous

-$i,

into the composition, but the older

The

and

person plural ends

Pindar says TOV not r<J, rove not roc.
set aside.

first

no

infinitive in -cp*vai.

fulness of utterance enter

stiffer inflections are

in -jwv

The

and not

in -|u,

Aiolic gives

fire

and passion and a certain familiar sweetness as well, but the

Boeotian variety was not refined, and, in spite of local critiThus
cism, Pindar preferred the Asiatic form of the dialect.
trebly and more than trebly composite, Pindar's language
rhythms. The three moods
Dorian, Aiolian, Lydian call for different coloring, and
the mobile Aiolian measures show the greatest number of
shifts with the character of his

recondite forms, so that dialect, rhythm, plan, imagery, are all

in accord.
Ahrens has seen in the dialect of Pindar the influence of Delphic speech.

So, for instance, the use of iv

with the accusative, the elision of -t in irepi. But the evidence

seems too slight, and while the study of Pindar by the light
of Hesiod is instructive, the theory that they both used a

Delphic dialect remains an ingenious suggestion and nothing

more.
In the following exhibit only those points are dwelt on that

INTRODUCTORY ESSAY.

Ixxviii

might give the student trouble

The more familiar facts

VOWELS. a for Epic
a, as in

as to the recognition of forms.

are briefly stated.

So where T comes from an original

i\.
the sing, of the A- declension, apx<*> "PX *^ PX? <*PX <* >/:
in fut., aor., perf. of verbs in -d
as auSd<ro/nai (0. 2,

So

101), iToXfjiaaav (0. 2, 75), rcroX/zaw (P. 5, 117).

But forms from icrao/zat retain TJ as

also TtQvaKOTuv.

yai (N. 9, 52), <&tXoa-/;rao (P. 1, 50), and also those from
J/
as
(P- 4 6 ) Xi J? ff0 '*' (O- 2, 43),
a in the augment see p. Ixxxv. Derivatives
On
60).

XP^

>

of the A- declension and of verbs in

-<

have

a,

as

vira</>opm (P. 1, 59), Kvfltpvaaias (P. 10, 72), fjn>a.fjioavvav (O. 8,

of which the second part usually beThe

as
i),
Kaicayoptav (P. 2, 53), eiiaropi (O. 1, 24).
personal endings -p)v and -<rOr|v (3 p. dual) are in Pindar -|iav
and -oflav, as iKopav (P. 4, 105), KTitrtraaQav (O. 9, 49). For

So

74).

in

compounds

gins with

we find
Whether we

KvXXavac (0. 6, 77), Kvpavat (P. 4, 279).

are to read dpfjva or eipava (0. 13, 7), 'Adrjvai or
In this ed. 'Aflaj/at^t has been
'A0aveu (P. 7, 1), is disputed.
Feminine
preferred to AQrivaiq., and 'AXic/i^a to 'AX/^ava.
-*|VT)

-ovo, as

''

show a as raxwac (O. 1, 95), cuicorara (P. 2,

in -ij and in -8tjv, as Kpvfylj. (0. 1, 47), Kpvfilav
(0. 3, 13). The others cannot be reduced to classes and must
be watched. Doric is tj for d in 'A/z0ta/>i/oe (P. 8, 56), 'A/i0mabstracts in

priov (0. 6,
i\

as

-TT|S

So adverbs

35).

13

al.).

retained in verb forms

is

and verbals from verbs

in -*,

(P. 4, 71), alrfiffuv (0. 5, 20), ihvrjdriv (P. 11, 38),

though many have tSivadr}^ as amvrirav (0. 9, 35),
T|, where
retained.
Kp aTrta i^ a -^oq (P. 9, 93). There are a few exceptions,
Sijfffv

from (purlm (0. 13, 67); a few variations, now ij,

So the MSS. vary between deo^^rov and deofyarov
T) remains in the augment of verbs, beginning with
7).

as ^>wvaar

now

a.

(O. 3,
1

The ensuing pages

are abridged from the dissertation of

W.

A. PETER,

De

dialecto Pindari, Halle, 1866, with corrections and adaptations.

Use
has also been made of E. MTJCKE, De dialectis Stesichori, Ibyci, Simonidis,

Bacchylidis aliorumque poetarum choricorum

Leipzig, 1879.

cum

Pindarica comparatis.

PINDAR'S DIALECT.

Ixxix

as ijXTtro (P. 4, 243), in the subjunctive endings as

/SdXp
(O. 3, 13), the opt. in -mr as tifaiTjv (0. 13, 46), in the aor.

Nominatives of the

pass. (ftavTi (O. 1, 74), Xe/^0jj (O. 2, 47).

3d. decl. in -jp and -n are unchanged.

words

in -rrjpiov as xpT/oT?jpioj> (O. 9, 7),

part of which goes back to an initial

So is dXo)7r?j. So
compounds the second

e,

as BoXi\f)pT^of (O. 8,

20), cvfiparof (0. 6, 98), op^arijXarac (P. 5, 115). Substantives

of the 3d decl. in -n|io, as irfjpa (O. 2, 21), oto/^a (O. 2, 10).

Adj. in

-rjpos

and

T)\O

that are not related to a- stems.

v^TjXoe (O. 2, 24), Xai\^T)p6f (O. 12, 4).

-n, as yrjpnf (O. 1, 83), pi^nc

A
/,

as dpj/toc (O. 2,

&/, ^i^, ^r/3e, /^qrf,

with

^ju-,

numerals

(O. 7, 55),

So

in -as,

(O. 4, 138).

xrpi/Tr/c

pdvtg (P. 4, 159).

Adjectives in
in
and
adverbs
their
n,
46),
compounds,

noteworthy exception

-tjios,

Words ending

is

r^Xe (P. 11, 23), adjectives

compounded

in -tjicovra, as fjpideog (P. 4, 12), QTIKOVTO.**

So apriand
forms
QvqoKw, KaSopat,
from 7rX^T<rw and irfiyvvfju are the main exceptions. Other retentions of TJ than those mentioned cannot be reduced to rule.
a for c. This also is Doric. So <mapde (0. 3, 14. 18) for
Still Pindar does not say mpoc nor 'lopwv.
oKtcpor.
ra/zfu
is Ionic and
Epic as well as Doric, rafjLvoiaai (O. 12,
(0. 13, 99).

yu

Verbs generally retain a penultimate

(P. 2, 63),

X^yw

t|.

(P. 4, 292).

6), rpa^oiffa

= TpeQoiffo.

(P. 2, 44), rpa^cv

(P. 4, 115), rpaxov

rpe'xov (P. 8, 32).
Under c note that Pindar has
vtoc (or Ktivog), a
never icevdc, dSeX^dc.
i is
rejected in u^ycdc, as atyvcav (O.

1,

For cXttvdc, ^aetfdc, iceXa10), (^'Ea?c (P. 11, 15).

So
Setvdc, we find also the Aiolic form in -cvfos.
icXecvvdf

(O.

(P. 5, 20, etc.), KeXaSevvwv

(P. 3,

113

al.), ^aei/vdi'

1, 6, etc.).

w in
36

al.)

ov.

Pindar is always tJv (O. 1, 111 al.). CH/Xu/i7roe (O. 3,

varies with "OXvpiros (0. 1, 54 al.), but the 'OX. form
is far more common (more than 4:1).
aovoc is

more common than /uouvoc, voaoq than vouiroc, Kovpof

find Sovpi (0.
used, but Kopa outnumbers Kovpa.
6, 17) as well as Sopi (I. 4 [5], 42), ovpoc less frequently than
Atwfvo-oc is the normal form for Pindar.
Syracuse is

alone

is

We

INTRODUCTORY ESSAY.

Ixxx

(P. 2, l) or Suparao-irai (0. 6, 6), never

2i/|t>aicov<rat.

So the derivatives. The Aiolic ow^a has expelled both ovo/ia

and ovvopa, the Aiolic -oura (for -OVTIO) in the present partiSo tf>ipoitra (P. 3, 15),
ciple has taken the place of -ovaa.
Aiolic -owri is used
Kpiioiffa (P. 9, 17), Moiira (for Moria).
as well as Doric -OVTI, irtpiirvioioiv (O. 2, 79).
See p. Ixxxv.
for
CONSONANTS.
3, 12 al.), but
(O.
pXe'^ctpov
yXtyapov

eVXde for

cXiKopXeQapov (P. 4, 172).

'*

everywhere (0. 1, 99
P. 3, 66
O. 2, 19
;

<r0\oe is

The

al.).

N.

first

4, 95.

Boeotian.

So

syllable is short,
avrt s for auOtc

For
everywhere (0. 1, 66), Sfxeadat for ()t\eardai (0. 4, 8 al.).
rore is found the Doric form TOKO. (0. 6, 66).
Noteworthy
(O. 6, 24), and oicxeovri = 6\tovrt (0. 2, 74),
=
(O. 7, 69), nerbvTf.aai = irtvovai (P.
= EvtTrto-fC (P. 8, 81), tcairerov = careVto-ov (O.
e/Li7Ttec

are OKXOC

and

= oxoe

7TToT<rai

5, 50),

irt<rov<rai

8, 38).

Pindar has omroe (O. 9, 100 al.) as well as o<roc (O. 2, 75 al.),
rocnraSe (O. 1, 115) as well as 7-o<ra (O. 13, 71), /ifWoe (P. 4,
224) as well as pivoq (P. 11, 52 al.), <Jre, after the Doric fashion (O. 10 [11], 86 al.), as well as WOT* (0. 9, 74), though in
different senses.
4>^p for 6jp is Aiolic,
<f>6va

(P. 12, 2)

is

and is used of the Centaur.

from the Iliad (1, 268;

familiar

*cpre2, 143).

is not
changed before |* in KeKafyutVov (O. 1, 27), rtfyuoe is a
Doric form for Of epos (O. 8, 25 and often). Metathesis and

other slight variations explain themselves.

DIGAMMA. Pindar seems to have used the
in speech

and

in writing,

Mommsen and

and

digamma both

in this edition the

example of

some
and the digamma, though in skeletonThat the use was not
form, has been restored to the text.
But from this irregularity we are not to draw
rigid is clear.
the inference that Pindar only imitates the effects of the digamma, as seen in Epic poetry, although it must be admitted that the digammated words in Pindar are nearly all HoChrist has been followed after

hesitation,

Against the introduction of the digamma, see MUCKE,

p. 39.

PINDAR'S DIALECT.
meric.
'ilov

foi, ff,

F6v

(=

otSa and

i6v), orig. <rfoT, afi, oFeov.

(comp. wot and wit) have the digatuma

xxx

jroXXa

feid<i>c

(O.
v6 V (P. 3, 29), iwti Filov
(P. 5, 84), and
Add ftiSo f (O.
yet OVT ISely (O. 6, 53), 50p' tiolv (O. 14, 22).
2, 94), TravTo.

Fiaavn

Favlavuv

(fr. ofavlavtiv) is found

fepyov and its congeners, /y a
ff'pyo^ (P. 1, 29), fenre'iv (O. 13, 68 al.), yet flirty (O. 1, 52
P. 2, 16
N. 7, 48), but
ro c is
al.), AVoc (O. 6, 16
3, 2

8, 19), fe&ofiai (P. 4, 21).

(P. 1, 29),

faSovn (P.

6, 51).

more common, though some examples may be

got

rid of

by

emendation.
oiKtiv is

FOIKOQ (P. 7, 4) occurs, but also OIKOQ (P. 1, 72),

certain (P. 11, 64), not so fotKflr: fava, and
Favaaata,

once CLVCIKTUV (O. 10 [11], 54).

/f\7ri'c (0. 13, 83), but IXirie

AVo C (O. 2, 102). FtiKooi (N. 6, 67).
(O. 12, 6), as often.
fftnrtpa (I. 7 [8], 44), but tairipov (0. 10 [11], 82), fiSiof (O.
There are examples of fiaoe in Nemeans and Isth13, 49).

ra /eotKora occurs (P. 3, 59), eoiicoe

fcKart (O. 14, 20), FfjOog (0. 11
[10], 21),
In proper
(O. 6, 30), but to7r\oica/uw' (P. 1, 1).

mians; trov (O.

everywhere
FioirXoKov

4, 22).

else,

names Fa Xot (0.

9, 120), AoAaov
Isthmians

14, 21),

(P. 9,

fttffyxde,

Fuaviv (O.

e'c

85

it

al.),

elsewhere

FIU\KOV (P. 4, 188), fiXiaSa (0.

FtaXvaov (O. 7, 76) [?].
In the
'I<70/ioe

The digamma

5, 11).

(O. 8, 48).

aFiXirriq. (P. 12, 31), afi^pig (P. 2, 37), is

aFarav

Probably
middle of a word,
seldom indicated in

in the

3, 24), as the chief object

(P. 2, 28
the very practical one of avoiding the perpetual explanation of hiatus, to which the young student of

this edition,

e. g.

of the insertion

is

Greek should be made as

HIATUS. True hiatus

sensitive as possible.
is rare in Pindar,
though

he some-

times keeps a long vowel long before another vowel, as yXwaaq.

For 'Opdwaiy typa^cv (O. 3, 29)
aKovas (0. 6, 82).

The shortening of a long

not hiatus, as apovXty voraroc (O. 10
In the case of a
Derate (O. 10 [ll], 47).

Ahrens writes
vowel before a vowel
[11], 45), if Ulff(f

diphthong

it

'Op0w<n'ac.

is

would seem that t and v may be semi-consonant.

ev short in Pindar before a vowel, e.
g. iiririlov

Notice especially
(O. 13, 68
ed.

aFaTav

al.).
is

ai- is short in ai/arai' (P. 2, 28), but in this

preferred.

*i- is

short in l\vfvuv (P.

4*

8, 35).

INTRODUCTORY ESSAY.

Ixxxii

The ordinary erases, such as those with KU, rd, row,

CRASIS.
belong to the grammar. Some read wva^ (P. 8, 67). <J 'purro
Crisis and
ptvts (P. 8, 80), is ApHAERESis rather than crasis.
Aphaeresis.

jj ergk

goes so far as to write opx*? '*.-&aro (P.

4,

and oX/3w VSttfaro (P. 4, 256).

a is sometimes elided in 1 s. perf. act., eirtXcXad'
ELISION.
10
(O.
[11], 4); at in 1 s. midd., /u/u^o/*' cu^ay (P. 11, 53),
70),

^fvaofjL

d/u0t (O. 13,

iXiriltQ (O. 12,

t

[11], 44).

is

52); in 3

6); in

elided in 1

s.,

pi. (often),

KvXivlovT

avoQiaff airopov (O. 10

aypovg (P. 4, 149); in 3 pi.

inf.,

a^irjfi

Also Trtp' for irept (see

(Doric), ayaira^ovT avriica (P. 4, 241).
o is elided in TOVTO (O. 6, 57 al.), KIIVO (P. 9,
p. Ixxxvii.).
74), hvpo (0. 8, 51), even in 2vo (0. 6, 101 ; 9, 86), in 3 pi.
midd.; 2 s. opt. midd., yivoC otoc (P. 2, 72), and in the gen.
O- decl. in -oto, a non- Homeric freedom, AciXot' uvaoouv

s.

(P. 1,39).

SYNIZESIS
and

is

very

common

been thought best to indicate

as DIAERESIS.

Diaeresis.

Pindar, and it has

the text as well

in

it in

FIRST DECLENSION.
lect here.
Firrt
Declension.

Pindar usually follows the Doric diaNotice, however, the Aiolic shortening of HiXXava
for HeXX^i? (0. 7, 86
13, 109), Nt>a (0. 13, 24),
;

j^vKveia (0.

10 [ll], 17), Mivvua. (0. 14,

17).

Comp.

the Aiolic form 'OSu<yrta, retained in standard Greek.

140), and words

Xpvffo-xaiTa (P. 2, 16), iTriffiav (P. 4,

(0. 1, 40,

70; 0.

48; P.

8,

2, 12).

G.

Also

in -rpioiva

masc. -ao (Aiolic),

s.

KpovuSao (P. 4, 171), more commonly -a (Doric), Kpovifia. (O.

G. pi. -av (Doric), the only form aperdv airo iraaai>
8, 43).
So the adj. aXXav (0. 6, 25), etc., with the accent
1,
(0.
14).
:

on the

last syllable,

not aXXwy.

Dat.

pi. -ais

far

more

fre-

quently than -aicri, as -ois far more frequently than -own. Ace.
but also the Aiolic -ais (I. 1, 24), as Aiolic -ois is suspi. -as,
2, 82).
Proper names in -Xaos beand follow the A- declension 'AputaiXaQ

pected by Bergk (0.

come

-Xas

(Doric),

(P. 4, 65), 'ApKtffiX? (P. 4, 2), voc. 'ApKcviXa (P. 4, 250. 298),
but 'loXaoc usually retains the open form (O. 9, 105; P. 9,

85

al.).

PINDAR'S DIALECT.
SECOND DECLENSION.

The

Ixxxiii

gen. ends in -oio or

-ov, -ou>

The
being susceptible of elision, as is noted p. Ixxxii.
Doric ace. pi. in -os is favored by the metre (O. 2,
Second
Declension,
where, however, the best MSS. have rdirov:

the metre does not require KaKayopog (O.

THIRD DECLENSION.

The

dat. pi.

quently in -o*n, sometimes (in

Third
Deciendon.

Xalfffiaart

<r-

1,

53).

ends

stems)

in

we

more

-<n,

fre-

find -ccom, ?ra-

(O. 9, 14), 7raXati7/uar<7<rt (P. 8, 35),

p.tya.-

Xov0<7<ri>' (P. 2, 33). There is a good deal of

So irooiri (O. 10 [11], 71 al.),
variation, but nothing puzzling.
irooiv (O. 10
62
vo&conr
al.),
(N. 10, 63). typaai has bet[11],

warrant than Qpioi.

Gen. -cos and -wv are never contractbut do admit synizesis. -i is more common than -tl. In
the nom. ace. pi. -co. is seldom contracted. From words in -K\TJ
ter

ed,

'

we

D. 'Hpak-Xf? and
A. 'HpcuXta, V. 'HpacXtfc.
From words in -v, G. E
(O. 3, 28), rarely Evpvadijos (P. 9, 86), D. ftamXel (P.
find N. 'HpaicXeV, G. 'HpaxXlof,

PaviXft

1,

60),

18), fiaaiXiji (P. 4, 2), ftaotXta (P. 4, 32), ftairiXfja

(I. 3,

N.

(0. 1, 23), 'OSvffffj (N. 8, 26).

(TtXt'ec

(P. 5, 97).

55).

Words

in

Ace.
-t

pi. ftaytXijtc

(0. 9, 60), /3a-

/3a<rtX7jae (P. 3, 94), apiore'ae (I. 7 [8],

retain H, Trpa&oc (P. 12, 8), v/3ptoc (0. 7,

OvYartjp has Qvyaript (P. 2, 39) as well as Qvyarpi, Qvya.90).

rpa (0. 9, 62) as well as Qvyaripa, and always dvyarptg (P. 3,

AapdTTjp has Aa^arpa (O. 6, 95).

vaWpos (O. 7, 36
occurs as well as Trarpdc, jiaWpos (P. 4, 74 al.) and /xarpdc,
97).

al.)

fia-

4vi]p, besides the usual forms which

(N. 9, 4), and /larpt.
are more common, has avipi (P. 4, 21), are'pa (O. 9, 110), ave-

ripi

pfc (P. 4, 173),

avipwv (0.

1,

66).

From

Zcv

Attic is far

more

Zij^dc, Zqvi is nearly as common as A/ (A).

ILMrciSaw
once.
Zrjva occurs twice (P. 4, 194; 9, 64),
contracts aw into a, nooraeJdV, or keeps open, and so all the

common

than

Am

cases except the dat.,

is

ITomSoVoc (O. 13,

The termination
.

in

TTofli,

ro0i,

which

5.

-0ev

is

always

IIo<reiSawi'i.

variant

40).
(-to)

oiQtv takes

occurs frequently.

and

the prepositions of the

genitive

The

not common,

local -Sc (whither) is

occurs only thrice.

IK

-0i

irapa.

except

INTRODUCTORY ESSAY.

Jxxxiv

GENDER.
ways (0.

Taprapoe (P.

7,

81

48

8,

1,

is

15)

W,

al.),

a ' way s ^em< * n Pindar.

*S

Gender

So

fern.

commonly

is

Mapafluiv

110), aiwv varies (fem. P. 4, 186;

sometimes

fern., as

7, 67
ADJECTIVES.

masc. (O.

in

Homer

(O.

is

1,

'lafyioc al-

the Od.,
fem. (0. 13,

fern, in

5, 7), aldfip

is

6; 13, 88), sometimes

al.).

Pindar, like other poets, sometimes uses adtwo terminations instead of three, trvv poipt&iu TTOXA
28 )' "y oX v fy"Xaviav (P. 9,
( O> 9
100);
more commonly and more poetically adjectives of
three terminations instead of two adavara GeVtc (P. 3, 100),

jectives of

'

AriXou Ofo^/idrac (O. 6, 59), Guav^rav pafiSov (0. 9,

35), Trappovinav ev$aifjioi'ia.v (P. 7, 15). Of the less common forms of

TTO\V (O. 10 [11], 40), 7roXc

note TroXXoi'
TroXXovc
The old accentua7roXXo?c (O. 13, 44).
(P. 4, 56), iroXiaiv
are retained.
tions
o^iotoc, ep^og, froipos
COMPARISON. Pindar is fairly regular in his comparison.

iroXvs

Eustathios says that he has a leaning to the endings -rrpos,

-*0TOTos, as

afydovtcrrepoi' (O. 2, 104), airoriartpov

(O. 2, 68), al^oiiaTCLTOv (O. 3, 42).
ra^urortiiv
iropirta forms ?ropra^effraif (O. 1, 77) is peculiar to Pindar,
aiov (O. 1, 114).
/iacpoc forms fiaertruv (0. 13, 114) as well

as fjLaicporepof.

PRONOUNS, Personal.
<n5

3, 77).

latter

Pronouns*
TOI is

fol

is

Gen.

or TV.

being far more common), <roi, roi, riv, of which

always enclitic, while riv like TV is emphatic.

common.

mann and Bockh

have not ventured to write fiv with Her(See G. Meyer, Gr. Gram.
411,

(P. 4, 36).

414.)

Ace. i\U and

ap.p.S.

D.

r4i, <r$iv.

afJ.fJ.iv,

Ace.

N. *ySv once before a vowel (P.

D. efioi or P.OI (the

ac'o, <rcv, o-eGtv.

jU>

%H

aixuL, vp.iv

ajj-jw, v(t|X,

(once),
r<|>^.

In the plural N.

(O. 9, 15).
viv

vp.(iiv,

vfj.fj.1,

(Doric)

is

<r^l<ri,

o-^itriv,

preferred by

recent editors to the Epic /'v, which is found not infrequentThere are no reflexives. The emphatic forms
ly in the MSS.
of airoc suffice. Of the possessives note a(wk
fifiTepo^=zifji6g

(P. 3, 41; 4, 27); Tt& (Doric) is far more common than

for vplTcpoc we
<rfe, ifo is nearly four times as common as 8s
:

PINDAR'S DIALECT.
find u/xoc (P. 7,

15

8,

66), atyog occurs once (P. 5, 102), o$iI. 2,

27) twice, ff^tYepoc usually be-

= avnSv (P. 10, 38

=
once
toe, while eoc
ing
repog

Ixxxv

is

The

(P. 2, 91).

= at, o = oc

(P. 1, 74 al.).
often omitted, both syllabic and
safer to read a before two consonants long

Notice rat

relative.

The augment

VERB.

temporal, but

it is

Augment.

aj) aUj

Vj

(0. 10 [11], 51), ttirdpxtv

are unchanged.

Of the terminations
is

(Aiolic)

Terminations.

is

hence ap X

Verb.

used for the possessive of the pi.

So has the
fern.

has Doric a in the

article

(P. 4, 205).

in the pres. act. -ovri (Doric) or -own

used to the exclusion of -own.

-OVTI

cannot take

and hence -ounv must be used be() n the so-called short subjunctive,

i<f>t\KvaTiKt>v,

ore

vowe

j s>

see note on O. 1, 7.

more common than

-jxev is

(P. 4, 2),
fore -\uv

-iv in the inf.

aTap.tv

orjjmt

jSijrat (P. 4, 39), whereas a long vowel befiafjitv

would not be allowed in Homer, i'/u/jemt occurs,

The Doric yapviv (0.

nearly twice as common.
TpaQev (P. 4, 115) has the authority of the MSS., not
the cogency of metre.
ytyaKtiv (Doric) is from a theoretical
but

tpfjitv is

1, 3),

and is
ytyovivai (0. 6, 49).
In the participles -oura (Aiolic) is used exclusively in the
-ai and -aio-a (Aiolic) in the masc. and fern, aor.,
fern. pres.
yya(co>,

but never in ftaq\ dra/3ac (O. 13, 86), icara/3ac (O.

Two perfect participles have present end6, 58).
(P. 4, 183), K\\a^ovTag (P. 4, 179).
irt<f>piKOi>Ta
In the passive the open forms, -<u, -co, are preferred, with
-ju<rfla for -peda ocsynizesis, if needful (but always SeVeu).
In the 3 pi. aor. pass. -v is used
curs (P. 10, 28).

ings:

So

in

as needed, <j>avev (0. 10 [ll], 88), g^dfle^ (P.

the active tfiav (O. 2, 38), iyvov (P. 4, 120).

Many

verbs in

form the future and

o-

K\tfav (O.

110), ev/cXetfru (P. 9, 99),

1,

(O. 6, 56), a7ro</>Xavp/at<ra (P. 3, 12).

1

aor. in { instead of

G. Meyer, Gr. Gram.

the ordinary

(see

Impugned by CHRIST,

Philol.

XXV.

p.

8, 17).

529).

Kare^a^ev

IVEI< (P. 4, 237), a

628

MUCKJS, p. 29.

INTRODUCTORY ESSAY.

Ixxxvi

Pindaric word, simply follows the analogy of onotnatopoetic

verbs in -w, which regularly have | as (\\a\aj-tv (O. 7, 37).

forms

and
and
KOfiifaj Ko^uaov (0. 2, 16)
Kw/iaffatc (N. 11, 28)
Kopiai (P. 5, 51) v7raT(dw, viravriaffEv (P. 4, 135) and UTTQVrtdara (P. 8, 11) d/o7rdw, upTrarre (P. 3, 44) and d/D7rdcue
Others vary.

Verbs in

<c(u/zdw

&*

vw/tza^are (N. 2, 24)

&pfio(ray (P. 3, 114), but in the compound tvapfio3,

(0.
5).
Only a few verbs in -fa double o- in the <r- forms,

(P. 4, 34)

as OtfjHffffapevoe (P. 4, 141), whereas future and aor. <r, preceded

by a short vowel, are often doubled: tpdovraro (0. 1, 25), iicaThis so-called geminaXetTfft (0. 6, 58), avvaatv (P. 12, 11).
is a
reappearance (G. Meyer, Gr. Gram.
224).
Pindar uses the Homeric ilomtaev (P. 6, 40), but also the
common t$oav (O. 5, 16); once he uses ixli$(i0Kri<Tev (P. 4,

tion

217); alvld) increases in ij except three times; verbs in -oivw

have -avo. in the aor.
Pindar contracts regularly the verbs in
Contract Verbs.
-o. vauraw, an Epic verb, is the only one left open, vaterdovrtc (O. 6, 78; P. 4, 180).
,
_
|j u
an(j , l j n ^ Q
0)

Contract
Verbs.

Verbs

tracted.

-|u.

from verbs

Yerbs in
~V*'

lic)

is

in -o

|.

Verbs
0lj

in -e

contract

ew are never con .

contract.

8, 11), 3iSot (P. 4, 265), are found

K, but ridnai (P. 2, 10) and SiSbxrt (P. 5, 65)
There is much dispute about the readalso occur.
155
P.
in
4,
(where see the notes). &&>i (Aioing
The short
the only form used for the imperative.

Verbs in
as

_<<

ndeic (P.

in

forms, TtOcv (P.

3, 65),

Traptarav (O. 10

[ll], 58), KariaTav

may be noticed.

(P. 4, 135) =tTideaav, irapiffrriaav, KariaTriaav

lovrvLi

occurs once (P. 4, 35), otherwise So/itv

first

is

the rule (see

passive forms require no special exhibit. The

aorist middle of r/0?j/ui balances the second, each occur-

The

p. Ixxxv.).

ring four times, driKaficvog (P. 4, 29), dffjterat (O. 14, 9).
tice tpdreu, 3 s. pres. subj. midd. from tpa/mt (P. 4, 92).
Pr.

1. el|it, 2.

s.,

(P. 5, 116).
s.,

3. 7/y

pi.,

iara.1.

<jro7,

3. ear*':

3. tVrt,
pi., 1. ct/ueV,

once

Noeltrii-

Inf., tpfJiEv or 'imitvcu.

Part., ewv, lolaa.
Impf.
3. taav or taaav.
Fut. s., 1. tWo^eu, 3. taotrai,
Inf., t(7o-Wa(, efffftffQai.

Part., t<ra6)j.ivoe.

PINDAR'S SYNTAX.
has for

its

third pers. pi. (parri.

Ixxxvii

ur(u

is

a Doric verb

OlSd.

Kara are apocopated when apoapvaati (P. 4, 54)

dra/i>'a<rci, so afivatreitv
Ka^ vo/ioi' (O. 8, 78)
Kara vo/ioi/, ica47).

PREPOSITIONS.
cope

(P-

I'roposi-

iropd, ivo,

needful.

is

_ (Care OW
= Trpoc. It

'

(Q

8?

38 )

irori

7r

(Doric)
(0. 7, 90), and rarely used in
137), and in five other words.

is

Comp. Alkm.
elided once TOT*

38
cumSv

fr.

compounds irortora^W (P. 4,

The regular Trpoc is far more

common.
is suffered only before vowels, and when a
long syllable
needed, and in composition tlaiM
(I. 7 [8], 36) is the only
example.
Everywhere else we find ec. iv with the ace., es-

tU

is

pecially noticeable in

Boeotian inscriptions,

is

found only

in

Aiolic odes (P. 2, 11. 86; 5, 38).

irepi is elided irtp lirXarow (0. 6, 38), irep' aurdc (P. 4, 265),
For jierd Aiol.-Dor. ircBa is found (P. 5,
iripaiTTtiiv (P. 3, 52).
47; 8, 74). In comp. irtlanu^av (O. 12, 12). $w occurs

only three times, once alone (N.

4, 25),

twice in composition.

IX.
Pindar's syntax differs from Homer's at many points, but
not easy to tell what belongs to the period, what to the

it is

department, what to the individual. Only the most

important points can be touched here, and completeness of statistic is not attempted.
One mark of advance is the extension of the substantive
1

use of the neuter adjective, which can itself take another adfeel ourselves nearer to Thukydides
Neuter
jective.

We

Abortive.

t jj an

to JJ omer

ffvv
[7], 40), aTfiptl

The

down.

a-yaOy

when we read npirvov

iiraptpov

(0. 2, 33), iv afjififtovTi

scarcity of the dual is also noteworthy.

(I.

(N. 11, 42).

The dual is

preserved chiefly by Homer and the Attic writers.

In the Attic orators, even, it dies out as we come
It is not found in the Ionic of Herodotos.
It is a

ERDMANN, De Pindari usu synUctico, Halle, 1867.

INTRODUCTORY ESSAY.

Ixxxviii

In
stranger to Asiatic Aiolic, as it is a stranger to Latin.
P. there are very few examples.
The dual substantive, \tpoiv
(O. 13, 95), is a rarity, and so is iroloiv (N. 9, 47), but such
duals

mon
be

are

found occasionally even

dialect.

satisfied

KaatyvriTa. (O. 13, 6) is

the so-called com-

in

not dual, and we must

with an occasional dual participle,

arvo/uc'i'u> (O.
It is very unlikely that P.
(O. 9, 46).
should have used the few dual verbs (0. 2, 97 yapverof, O.
9, 49
KTiffffaadav) without a full appreciation of the dual

8, 39), KaraftavTf

force.

The
0.

72

distributive plural as O. 12, 9: TWV fttXXovTuv QpaSai,

:
aT(f>a.f<i)v cfwrot, P. 1, 4
irpooifiiwv d/i/3oXdc, P. 10,

21

9,

TroXtW

KvfifpvatruG, the use of the plural abstract as con-

crete, dyXafat, dpfreu,

and the

like,

The Homeric

are Pindaric.

See note on O. 5,
use of the abstract plural is not common.
20.
The plural of stateliness dyyeX/m, cd/uot, 6a\a/wi, \tKTpa
occurs often.

and
O.

In P.

reserve.

3,

66 we have a plural of courtliness

is found in

remarkable plural for singular

9, 60.

Peculiarities of concord, such as the

combined subjects (O. 5, 15 P. 2, 10

Concord.
45), and neut. pi. with verb
;

ffX^H1 *
ilivSapiKov.

93; P. 1, 13;
k are men tion.

Not

10 11,
10 [11],
be passed over with

4,

66

pi.

SO the

10, 4.

(O. 8, 12

<r\r)l*ia

TlivSapiKov,

name, for the trustworthy

The peculiarity of this figure is the com-

which, however, hardly deserves

examples are few.

may

4, 121),

singular verb with

its

bination of a plural substantive with a singular verb.

But
the singular is the general and the plural the particular;
and if the verb precedes, we have not so much a want of con-

As it is, most of the Pindaric incord as an after-thought.

See the
stances have disappeared under critical treatment.
note on O. 11 (10), 6.
The
style,

case-register of a poet is of especial importance for his

in an eminent de-

and Pindar's use of the cases shows

The dual

Dial.

I. p.

272.

is

claimed as Boeotian on slight evidence, MEISTKR, Gr.

PINDAR'S SYNTAX.
1

His free use of the

gree his genius for vivid presentation.
accusative is a return to the original sweep of the case. What
Cases.
Accusative,

called the outer object is really an extension of

is

^e

inner object.
avtya icrtivtiv is avtipoKramav
nouladai or else uvlpoKrovov tlvai.
The countless number of
outer objects is apt to obscure the inner object, in which al-

most

all

VIKO.V

lies.
In Pindar the
wide popular sweep.
commonplace. Not so VIKO.V 2po-

the variety of the accusative

inner object has

its

wide poetic,

'EAAaSa (P. 12, 6)

is

its

To the same class

(0. 4, 20), VIKO.V <TTt(j>avov (N. 5, 5).
belongs irvp irvtbvrwv (0. 7, 71 ; 13, 90), aXica^ opwira (O. 9,
119), vat -fttvaov (0. 7, 50), 6<f>9a\nov avrityXttt Miji'a (O. 3,

pot>

A very dif20), ov KaXa livSpta. QaXXtv 6 x<Jpoe (0. 3, 23).

ferent effect would have been produced by vat xpvcry, livlptaaiv tda\\tt>.

The

adverbial accusative

is

so familiar a form of the inner

object that it is not necessary to cite examples, especially of

Nor need we note such
the neuter accusatives.
Adrerbial
Accusative.

common

uses as g/g^v and rponov.

81) reminds one of Sophokles' Kaipbv

Kaipbv

ft

<j>0eyato

S"

i^Kttg (Ai. 34).

The appositive accusative, the object effected, of the sentence,
ttTrotva (0. 7, 16 al.), X ap' (0. 10 [11], 86 al), is often dis(P.

1,

tinctly felt in its case-relation,

though the post-Homeric dead-

a l so found, Atoc \aptv (P. 3, 95).

An old use of the accusative of the outer object is the combination with passives, intransitives, adjectives, verbal nouns,

ening of x"P tv

otherwise felt than such loose English com"

"
"
a8
hoof-bound," shoulder-shotten," foot"
In
Pindar
these
heart-sick."
accusatives
refer
sore,"
chiefly
to the body and its parts, either as such or as the seat of
Accusative
of part,

pounds

thought and emotion, seldom to abstracts.

rapa, 7rp<rw7ra, vwra, Jjrop,
voov,

<j>vffiv,

<r<J/ia.

^Arj, ^pwra,

v^u^ar, 8v/ior,
o^iv are hardly

ircap, </>peVac, dpyai',

ra^oe, ^n TLV i aptrav.

ttdof

and

felt as abstracts.

ERDMANN,
lin,

1866.

1. c.

FRIESE,

De casuum

singulari

apud Pindarura

usu, Ber-

INTRODUCTORY ESSAY.

xc

Double accusatives
importance,
f

Double
Arcusatire.

in

Pindar show few extensions of any

ipi^m takes the ace. of the whole and the ace.

the part, a familiar Homeric figure, Xa\rat viv

^\ av

yi VEtov tpttyov (O. 1, 68).

iprj^ou) takes the
of
and
the
ace.
the
thing (P. 3, 97), someperson
what strangely ; ^t'poc, however, may be an after - thought.

ace. of the

'

The

f
iKi ~
factitive predicate is boldly used in P. 4, 6
xp*) ff *
"
for
the
leader."
Battos
trrfjpa Barrow,
Proleptic (predica:

tive) uses

The absence

must be watched.

of the article leaves

the adjective and substantive, as in Latin, without any exterSo 0. 1, 68 \a\vai nv p.iXav
nal indication of the figure.
v. 82
TO. Kf rie
to
blackness
yivtiov
")
epeQov,
("
ai'wvvfjiov
:

yrjpas

Jtyoi

v.

88

tXtv

irap6tvoi> avvivvov,

and so

in

almost every ode.

The ace. of extent in space and time requires no notice.

The terminal accusative, which is not a whither-case, but only
1

Terminal
ArrusatiTc.

a characteristic of motion, occurs in Pindar, who,

jjj> e
jj omer> lj m jts it to a comparatively narrow

range of verbs and substantives. IKHV and its kindred should

not be counted, they are transitive like Shakespeare's "arrive,"
but i\QtiV) /zoXttv, jSiji'di, viaeffdai cannot be excluded.
So

iXdcw with Ti-e&W (P.

peyapov (P.

4, 134), Sd/uoi/ (O. 14,

3 [4], 72). I. 2, 48 Ifiaiov
O. 2, 105 aivov tfta jcopoc has given

5, 52),

20), Kpoviov (O. 1, 111), \i(3vav

(I.

tXdyf seems doubtful.

way to alvov iircfia, but 0. 9, 76 irtliot' po\wi>, and N. 10, 35
Pindar far prefers the
tpoXev "Hpac TOV evavopa Xaov stand.
:

more concrete

preposition,

and

it is

a mistake to attempt the

extension of the terminal accusative, as has been done.

The genitive as a fossilized adjective stands in the same
relation to the substantive as the accusative to the verb.

The

denominative verb takes the genitive by reason of

,_

fienitlTP

,.

its

substantive element, just as the adjective takes the

accusative by reason of the verbal activity in the floating predicate.

88

Two

Noteworthy

is

the large

employment

of the adj. in

-toe

rather free uses of the ace. of extent are to be found in P.

6, 33.

4,

PINDAR'S SYNTAX.

xci

for relations otherwise expressed

by the genitive, especially of

The dialectical preference for
possession, origin, time, place.
In
Md
-ioc instead of the gen. of the father is marked.
1

AJ. !*.

v KXemeioc ovrot; (Plat. Gorg. 482 D) is

Auic 5
said with a tone of poetic persiflage ; to Pindar himself the
effect must have been less striking than it is to us.
So *J
TloaeiZaviov
veil
Krearov
10
Kpovu
(O. 2, 13),
(O.
[ll], 30),

vlov (P. 8, 19).

SivapKEiov
With the genitive proper is blended the ablative. The significations of the two cases often meet in languages
.

j n w hi c h t ne forms are
Of special
quite distinct.
uses of the genitive in either direction there is not much to
note.
Possession, origin, cause, material, are familiar everywhere.
The genitive of material varies with the
of
.

MaterUi.

XiQivoq is the rule, but Haplov XiQov (N.

adjective.
1
a necessity, as in prose.
dda/zdiro'oi; is used once
once
(P. 4, 224), d<Sd/*a>Toe
(P. 4, 71), e dSd^avroc once (fr.
IX. 2, 3).
xpufftoc, which, however, is often used figuratively,
is far more common than
-)(pvaov.
4,

is

81)

Quality
adjective,

Pindar.*

is
everywhere in the language expressed by the
and there is no example of a genitive of quality in

The

(P. 10, 47),

Kdaropoe /3m (P.

//^torwr

idioms.

might have been used.

dXcd
AIOITOC
11, 61),
(I. 3 [4], 53), irdcVoc

<f>6pat

(O. 6, 22), Xfjfia Kopwv/2oc (P. 3, 25), are familiar

Pindar can even say, P. 6, 35 Mtwai'lov yipovroc
0p)v ftoacrt TrdiSa fov, and the boldness of P. 1, 73 :
:

aXaXaTog

The

as SpaKovruv <po/3at

is rare,

appositive genitive

where SpaKovreioi

llwv,

is

BKRGK, G. L. G.

I.

p. 67.

Possession

20), XtffTopeiov lipfia (P. 6, 32), dvQt

Cf. N. 3, 60.
So after elvat

exemplary.

genitive in the predicate

is

common.

aiiv 'Aya/u/*voj>i'p \lsvx 1? (P7

'AQpoSiata (N

7, 53).

Time

tairi-

ptoc (f>\tyiv (N. 6, 43), fjitXirovTat ivvv\ioi (P. 3, 78), iffirtpiaig aoiSaif (P.
3, 19), tipafiipiav ovdi (tiTa vvKTat; (X. 6, 7), irtfiTrraiov yfyevijuivov (0. 6,
63).

The Hebrew says " the son

(P. 4, 39),
1
*

For
It is

ImyovviSiov

of five days."

Place

ivaXiav ftdptv

(P. 9, 67).
an application of this in criticism, see P. 4, 206.
j3pi(po<:

almost incredible that scholars should have been found to com-

bine loftovf d/3p6raro

= dopovs dfipovf (P. 11, 34).

INTRODUCTORY ESSAY.

xcii
(O. 9, 57

P. 3, 60).
;
QvTevetrdai has the privilege of yiyvtoQcu
On
(P. 4, 256), KCK\rjadai is an extension of etrai (P. 3, 67).
the genitive with ircpfOiv, see O. 8, 43, and consult further the

note on O.

4, 10.

The comparative

genitive,

which

well-known brachylogy, hardly

Uomparatio
eompendiaria.
it

ayura
VQ

<j>tprepoi>

fiy

an ablative, allows the

in

English.

'OXu/*7rmc

=(rov) 'OXu/UT/ac (ayawhere I have not thought

1, 7)

^ ra ^ 'p repov>

worthy of a note.

(0.

is

felt

remarkable comparative

is

Trpiv

with

the gen., irplv cfyme (P. 4, 43), where it is quasi-prepositional.

Of the verbs of hitting and touching the most remarkable
deviations are in the direction of the dative, for which see
i ii usual
Conrtrnctions.

An unusual construction is vpvov ap\t

10 ) WDe re we should expect the genitive.

P- xciv.

The apxfl is the

The common

3>

ap\t is ap\ofievri fyim or avafiaXXov.

uses of the genitive, whether referred to the
genitive proper or the ablative genitive, or left to hover between the two, need not detain us. So the genitive after
verbs of desire (P. 2, 27 3, 20), under which class opoveiv (P.
u/xvoc,

and dpyav, after Christ's conjecture (P. 6, 50), the gen.

of remembering (P. 9, 95) and forgetting (O. 8, 72 P. 4, 41),
of hearing (P. 1, 2; 4, 135), of the part by which such as
10, 61)

with strong ablative

Xftpoc (P. 9, 132), av\evwi> (N. 1, 44)
the gen. of price (0. 12, 12; P. 1, 39), of cause
leaning
(0. 7, 6), of time within which (O.

6,

61

P.

4, 40).

genitive as a whence-case is used with somewhat more

freedom than in prose. Outside of the verbs of separation

The

1
58 ve^aXdc fiaXdv, and
is doubtful.
there
See also
interpretation
For all local uses Pindar greatly prefers
note on O. 4, 10.
the preposition, which he employs with peculiar clearness

tne boldest

een. ag a

TThenee-case.

and

force.

57; P.

3,

is

O.

tk e

Xuw with the gen. is perfectly legitimate (0. 2,

50; 11, 34), but he has IK twice (0. 4, 19; I. 7

[8], 5).

The
but

it

genitive absolute will be taken up under the participle,

may be said here that Pindar seems to go somewhat

bevond the Homeric

limits.

PINDAR'S SYNTAX.
The

xc iii

dative case in Pindar shows the three elements

the

dative proper, or personal dative (Latin dative), the local dative, and the instrumental, or, better, comitative.

The
the locative

is

personal dative is a locative plus sensibility ;

limited in its range ; the comitative has a per-

sonal as well as a local character, and this

when it is reinforced by avv.

brought out

is

especially

The personal dative is used in Pindar with poetic freedom,

but the differences from Homeric use and from prose use are
not startling for the most part. The differences are
Personal
Ditto.

differences of degree, not of kind, and it is unnecesgo through the categories of the dative of possession
(so-called), of profit and loss, freely combined with verbal

sary to

nouns as well as with verbs, the ethic dative. It may, howbe worth while to say that there is no double dative in
the sense of whole and part as in the ace. (rxfifjia Kad' o\ov
KO.I
In Pindar, as in Homer, the dative of the whole
fiepoc;).
on
the
complex with the second dative. So 0. 2, 16
depends
ever,

apovpav irarpiav fftyior} KOfnaov Xoiir^

yiv1

1,

afyitri

depends

on the whole group, apovpav

irarpiav Kopioov Xonry yivti.

dative of reference (O. 2, 93
tywaivTa awiToiaiv), the
dative of the participle (O. 8, 60 elSoTt, "to one that knows"),

The

(P. 10,67: TTfipwvTi," to

one that tests"), which

is

the beginning

of a dat. absol. that did not ripen, the dative with verbals in -roc
The
all belong to the common apparatus of the language.
so-called dative of the agent, however,

aor. (cf. P. 1,

The agency

is

really a dative of

The
only an inference.
is generally with the perf. or equivalent
73: ap\(j> Sa/iao-fltVrfc). On the construction

personal interest.
prose construction

is

The Homeric construcwith the present, see O. 8, 30 ; 12, 3.

The giver is
tion of Se'xo/jat with dat. is used in Pindar also.
See notes on 0. 13, 29
interested as well as the receiver.
and P.

4, 21.

The conception
personal dative
personal dative.
/xt\t

icXiOet'c,

often seems to be in suspense between the

The dat. of inclination is a
local.

and the

So the

but in O.

1,

dat. with

92

K\I vcvQai,

N.

4,

"AX^eou vopy k\i0u<m,

15:
it

r^>5e

would

INTRODUCTORY ESSAY.

fciv

seem to be rather instrumental, as in P. 10, 51 tpeurov xdovi.

In O. 6, 58 'A\0f mra/3ae /ztWy, it is better to personify.
:

An unusual extension of the personal dative is seen in verbs

of touching, which in Pindar are construed as verbs of approach, though the other construction with the gen. is also
known

to him.

gen., 0.

36
22

6,

has the

i//avu>

35; N.

dat.,

P. 9, 130; the normal

;
faropai the dat, P. 10, 28 N. 8.
the gen., O. 3, 43 ; P. 3, 29 ; N. 8, 13.

42

5,

3 (4), 30 ;
(ty.)
;
Oiyyaj/w the dat., P. 4, 296 ; 9, 42 ; gen., I. 1, 18.
With some verbs which familiarly take the dative, Pindar
;

I.

occasionally uses a preposition to make the image more vivid.

especially kv with the favorite pyi/v/u, 0. 1, 90; P. 4, 251 ;
1. 2, 29.

So

The

adjectives that vary between gen. and dat. vary accordto

the predominance of the fixed element or floating eleing
ment (" his like," " like him "), N. 5, 8. </Xoc as a subst.

takes gen., as an adj., the dat., N. 4, 22 ;

certain caprice in these matters that it

I. 1, 5.

There

is

not profitable to
In 0. 3, 30 'Opdwiriq. lypafav iepav, the dat. gives
pursue.
an ugly but not unexampled hiatus which can be removed by
substituting the gen.
is

Of the
2,

93;

7,

adverbs, tvSov, which regularly takes the gen. (as O.

62; P. 11, 64), takes the dat. (N. 3, 52; 7, 44).

"TX w ^h dat. (N. 6, 11) is figurative, but ay\ov (N.

local.
The government of a dative by such a word
1

9,

40)

is

as cotj'w-

viav (P. 1, 98) is an extension not to be wondered at in postHomeric Greek, though not very common in the standard

language.

The

comitative, or, as

mental dative,
Comiutire
(Instrnmenui)

is

it is

more

common enough

usually called, the instruin Pindar, as O. 1, 49:

xa X a 'P? Tapov, but he often uses the more perffvv, as avv evriat (P. 12, 21), the more
As the verbal
concrete ev, as iv \epari (P. 2, 8).

sonal

noun has much of the verbal motion

in Pindar,

we

are pre-

13: 'laQpiav tiriroioi VIKO.V.

Instrument, manner, cause, run into one another.
They are
all common in Pindar, and need not be cited.
The causal
pared for such extensions as

I.

2,

PINDAR'S SYNTAX.

XCV

Jative construction, however, it may be noted, is not so common in Homer. Whether the dative as the measure of dif-

ference

is

instrumental or local

is

open to discussion.

The

We

can say 3aconception has simplicity in its favor.

we can say iv paaavy. So ira\<f Kpariuv (O. 8, 20)
(pipfiv iv,
"
"
"
wherein
rather than
is
whereby," though local and inlocal

The descriptive dative, or dat.

strumental are not far apart.
of manner, aXaOel voy (0. 2, 101), iXtvdipy typtvi (P. 2, 57),
aafavt? xpuri (P. 1, 55), is common, and there are a few dative
adverbs varying with prepositional combination.
rx? is
common than avv rv\y, StK<p than ffi>v Sut^, avayxy than

less
ervr

avayxtp.

From the

must be separated the locative proper,

UvQoi.
and
Whatever rights the local dative
'I<70/noi
may have, Pindar does not exercise them freely.
Local
Datire.
When the simple dative is followed by iv with the
iv "Apyei re, we have every reaas
P.
dat.,
5, 70
A.uctitttf9it
son to suppose that the iv was forefelt just as the ov may be
local dative

such as

when

forefelt

is

construed

ftaaaanrt(v) ap^ttv IlaXtou, or instru-

Nor

Some examples may be

ovre follows.

personally, as P. 3, 4
mentally, as O. 6, 31

*rpii/>

?e

irapQtviav w3<;

ft

xoXiroic.

the temporal dative very common,

xpovy by itself
not temporal, but comitative or instrumental. It means, as in
is

Temporal
Datlre.

"at

prose,

por

last," e. g.

ac ti ve

s (fa

see

O. 10 [11], 93;
jf. 1,

46.

Yet

P. 4, 258.
\pov(f has a

temporal sense with an adjective, as P. 4, 55 ^povy larripy,

though we find P. 10, 17 vtrripaitnv iv a^lpatf. So O. 1,
43 Sevripy y(povy, 0. 2, 41 aXXw \povu. In afjilpaiffiv (P.
:

WKTI occurs only in

22) the iv of iv opQvaiaiv is forefelt.
The dative of time of sacred festivals and games is
O. 1, 2.
1,

claimed by some for 0.

doubtful.

5,

The explanation

dat. of place

and time

is

N. 2, 24, but even these are

;
of Pindar's limited use of the

to be sought in his liking for the

preposition, which in his hands

The

is

potent.

used by Pindar, and sometimes takes the place of the ablative genitive, Avev

(N.

7, 2),

suffix -dtv is freely

Top aidtv (P.

1,

88),

<ri8ev (I. 3 [4], 5),

and

INTRODUCTORY ESSAY.

xcvi

so of the possessive, aiQtv on-a (N. 3, 5), aifttv iratlat (I. 1,

The local -Se is little
55), not that the whence force is lost.

We

used.

The

find it in oVicaSt, TlvdiSvaoe^ Tpo/arSf.

limits of this outline

make

it

impossible to go into the

1
details of the use of the prepositions in Pindar.
few illustrations
must
serve
to
show
the
plastic power he
Prepoiitions.
The local signification is seldom efp u g forth.
j.

we

the motion in space, the rest in space, everythe MSS. have c ytvtag
(N. 4, 68) is not
is an element of
there
yeVti,
simply
purpose moving to an
end. In 0. 6, 12 T\V cT utVoe trot/uoc ov iv Siica
a-iro
,

faced

where.

feel

te yeVoe

ftarnv OiK\fioav TTOT ig *A/u0taeach

00yaro,
preposition is used in its full force. The
pjjov
word moves roundly off the tongue, the praise is not simply
yAu<7<7tte "AcpaffTog

about Amphiaraos, but goes out towards the lost vrpaTtac

Compare the

festal picture, O. 7, 1
decide airo
Another passage where the airo of time is
also the awo of space is P. 5, 114
iroravoG airo juarpoc 0t'Xac,
"a winged soul from his mother's lap," "from the time he
:

db)p{]ffTai.

left his

mother's lap."

is

to iv as OTTO

is

to

liri,

and while euro and l occur in similar combination,

In N. 5, 7
*K oe Kpovov
largely outnumbers airo.
it
would
be
unwise to insist on
airo
Ka\
Ni/pjjt^wv,
fyvrivQivTaq
the difference, but OTTO Otov would not satisfy us for EK dtov in
t
0. 11 (10), 10: IK deov
avrip aofyalq avdei TrpairiSfo<rn>.
:

t>"

"
"
outside of,"
beyond," above," occurs once
Pindar's favorite preposition is iv.
in O. 6, 25.

in the sense of

"

Every one who has watched the behavior of iv

in

composition, where the original force best shows itself, is acquainted with its realistic touch. Compare, for instance, even

and ivfalicwfu. Pindar uses

iirideiictntfu,
So O. 13, 22 and O. 7, 5. He uses it occaadverbially.
sionally in Aiolic odes for etc with the ace., P. 2, 11. 86; 5,

in prose, airoSeiKvvfju^
it

7, 31.
Especially noteworthy is what is called the
instrumental use of tV, a use which is especially familiar to us

38; N.

BOSSLKB,

De praepositionum uau apud Pindarum, Darmstadt, 1862.

PINDAR'S SYNTAX.

New

from the Greek of the

Testament, although there

the result of Semitic influences.

instrumental iv

we can

xcvii

Everywhere

it

is

in this so-called

trace the local tV, the seat of the mani-

abode of the power. In many of the examples

English itself would tolerate the local "in" as well as the
We ean understand N. 11, 28:
instrumental "with."
iv
fjievof KOfjiav
iroptyvptotf ipvtotv, as well as I. 1, 28:
So N. 1, 52 iv \fpt rivaaawv (ftatryavov,
fifvot tpvftri xaiTag.
festation, the

ayaralaiv iv X P ai xouuh&vlovf idapatTae TrwXouc, which

brings before us the image of the reins in the hands of the
tamer.
O. 5, 19: airvuv iv ai/XoTc is a perfectly comprehenP. 2, 8

sible

combination to any one who considers the nature of that

The combination of iv with vitpif gives the

wind-instrument.
limits,
StKy. is

iv
the environment (P. 1, 62; N. 10, 28; I. 2, 38).
not a stranger to prose. The proleptic use of iv with

the dat., instead of etc with the ace., is common everywhere

with Tidsvat, and common in Pindar, who, however, extends it.
The anticipation of the result has the same effect of resistlessness that thrusts the local Sia with the ace. out of prose

favor of

in

2m

In some of the Pindaric pasadverbial, or, in other words, tmesis

with the gen.

sages iv has been

made

has been assumed, but the image often loses by it.

There
can be no tmesis in O. 7, 69 \6yuv Kopv<j>ai iv aXatieiy Trtroi:

<rai

= aXafletc

avv
its

use

is
is

ytvo^tvai.

an intensely personal preposition. In standard prose

limited to consecrated phrases of religion (trvv deu)

and business.
in

The comparatively frequent use of it

in later Greek has made scholars

Xenophon and

regardless of
does not use

its

infrequency in model prose.

often, Isokrates

Thukydides

Pindar, as a poet,
has avv very often, fjara with the gen. very rarely.
The use
of avv where we should have expected the simple dative has
it

never.

It serves to personify, to make the

tool an accomplice.
To bring this to our consciousness we
"
sometimes do well to translate with the help of," as "with"

already been touched.

by

itself

has become faint to us.

ipiK\dyKrav yoov, N.
5

9,

P. 12, 21

48

o<f>pa

vcoda\>)c

5'

avv Ivrtai

avcrut

INTRODUCTORY ESSAY.

xcviii

pia avv uoidy.

The avv

of time

is

not infre-

Katpu
quent, P. 11, 10: Kt\aSfitTT aKp<f ffvv tow fpa, P. 8, 7
avv dr/ocm, but it is well to remember that the Greek con:

siders time as an attendant (cf. 6 \povof /iccpoc avvwv)

not as a medium merely.

With

did in a local sense, the genitive is

and

more common,

as

With the genitive the pasthe exclusive use in prose.

With
sage is already made, or as good as made.
8w
the accusative Sia is 'alongf' as well as 'through*

it is

and Kara), but it is not safe to insist.

He who
S' iiri rt
\66va KOI Sia daXatrvaf (N. 6, 55), says
also TTI \Q6va KOI Sia irovrov ftfftaKtv (I. 3, 59).
In a trans"
"
ferred sense, tiid with the ace. is
owing to," never by means
of."
So N. 7, 21 Sid TOV a^vEvrj "O/ujpoK, is "thanks to,"
"because of;" so Sid ^alfiovag (I. 4, 11).
"
in Pindar with the gen. is
above," both literally and
v-n-lp
metaphorically; once "beyond" (N. 3, 21), where virep with
ace. would be more common.
He who stands over
(comp.

avo.

says Trcrtrcu

vircp.

"
stands to protect, hence vvep is in behalf of ;" only
once "by reason of" (I. 5 [6], 29); with the ace. it is "be"
"
above " (P. 2, 80).
yond (O. 1, 28) ;
Kara occurs only once with the gen., O. 2, 65 : icara ydc.
With the ace. the perpendicular motion is transformed into
"
horizontal motion,
along," and then, to extent, position.
Kar OIKOV (P. 1, 72), is "at home," /ear'
"OXvpirov (N. 10, 17), of the abode of Hebe, KUT aKpav (0. 7,
36), of the head of the Olympian, the stage of Athena's first

The transferred meaning of Kara, "according

appearance.
"
" in accordance
after
with," needs no illustration, (card,

to,"

the likeness of," is found in P. 2, 67 Kara $oivi.ooa.v e/zTroXdv.

"
In P. 4, 125, sard icXe'oe, K. is
following hard."
:

ava, which has little scope in prose, has in P. the

poetical use with the dat. (0. 1, 41 ; 8, 51, etc.), and
as horizontal as Kara with the ace. (P. 2, 60, etc.).
,

is

,,

d/j0/,

another preposition

little use, is

0.

1,

for which

frequent in Pindar.

50 (though the passage

is

disputed)

It is

P. 4, 81.

prose

has

an adverb,

On

P. 8,

PINDAR'S SYNTAX.
As

85, see note.

a preposition

it

has

all

xc i x
the oblique cases,

most frequently the dat. The " both-sidedness " of aptyi may
be inside, or, more commonly, outside the dat., d/x^i irodi,
"

"
"
"
about the hair
(P. 4, 96), d/i<p< icd/mte,
In this outside use d/z^t is sometines weakened
"
"
"

about the foot

(0. 13, 39).

as the English

about

is

weakened.

So

ap<pl (cpou^otc,

at

the fountain" (O. 13, 63), d/^>' avlpiavri (r^tloy, "hard by

In d/x^i TOKIVOLV (P. 6, 42), where we
the statue" (P. 5, 41).
should use in prose -rrtpl roice'ae, encompassing affection may
in.
The parents are guarded on the right hand and
on the left. Then aptyi with the dat. is used of the prize, like
Trepi with dat., d/i^' apyvpihffffty (O. 9, 97), and thence trans-

come

ferred to other relations.

"

For the inside use com p. P.

1, 12,

with the environment of art," and P. 8,

So in O. 13, 37 aXiu apfi
afityl pa-%ary.
the sun that compasses, where ap<j>i is felt almost as

where d^i0< trotyiy.

34: ipy. iroravov
tvi, it is

is

The most
d/i^i is also found with gen. and ace.
noteworthy use is O. 10 (11), 85, where TOV eyicwpov d/^
In
Tpoirov seems to make the tune the centre of the song.
the
ttiand
Kairov
9,
5,
(O.
103)
24)
ap^l iravayvpiv
(P.
a.fji<pi
TTOC and the iravayvpts are measured from within.
As afjut>i is comparatively common in Pindar, so Trepi is coman adverb,

paratively rare.
that surrounds.

In

irepi

In

irepi

it is

fear

\^v\av (P. 4, 122) joy

fills

SeipaTi (P. 5, 58)

the heart from within.

besides the usual prose
/icrd (used adverbially, P. 4, 64),
constructions (0. 1, 60 al. ; P. 5, 11 al.), has the ace. (0. 1,
66) and the dat. (O. 2, 32) in the sense of "amid,"
"
"
"
an d the ace. as after in the sense of to get," as
O. 4, 21 /zero (rrtyavov iwt>.
Noteworthy is ptra with gen.
"
"
"
in the general sense of
among," i. e. as part of (^itVoxoc),
:

P.

5, 94.

with ace.

TreSd,

TrfSa

vntv (P. 8,

which answers

piyav Ka^iarov

in

(P.

meaning to /nerd, is construed

5, 47), and in <ro^)6c n-ftT atypo-

74) would be represented in prose by iv with dat.

tVi, the most difficult of the Greek prepositions,
is used most frequently with the dative, when the

superposition sense

makes

itself felt

So O. 11

(10), 13

INTRODUCTORY ESSAY.

c
<rrf(pavtf

on account

of," but

"

in addition to."

(See

9, 121.)

limited in prose to persons and personified things,

As P. uses Trapd freely, there is danger
An old
of feeling the personal sense too much.

is

irapa

the ace.

in

except

"

not

is

note on O.

phrase is Trap Trotioc (P. 3, 60; 10, 62). Trapd is used

See note on O. 1, 20.
with
the dat. of place.
Trapd
freely
with the ace.
propter, appears once in P., Ktivav irapa. liairav
It is the first instance of this use, which does not
(0. 2, 71).

become common
?rpoc,
TOT-'

until

much

not unfrequently

later times.

in the

form

Trort,

once in the form

with persons and

seems sometimes to personify slightly. Hence P.

(O. 7, 90),
,

4,

295

is

a favorite preposition

Qvfjiov

ixdorrdai Trpoc rjfiav Tro\\d<c,

we

feel

almost as a person, and the difference from the personal

dative is not great.
So Trpoe /* in prose is almost /HM. Even
ijfiav

with designations of time, Trpoc atS (P. 9, 27), Trpoe yijpac

9, 44), the coming of dawn, of old age, is felt as the ap-

(N.

irpdc with the dat. is seldom used.

proach of an enemy,
the
with
Trpoc
gen. of the agent is preferred to WTTO
with the gen., which is the ordinary prose conPindar tries to keep his
struction, and therefore colorless.
.

UTTO

fresh,

and

his VTTO with the gen. is

still

"

under,"

still

what we should call virtK, although the local meaning comes

out more distinctly with the dative.
See note on O. 6, 35.
These are only specimens, but they are sufficient to show
that in Pindar's poetry the prepositions stand out with local
vividness.

The

large use of the adjective instead of the genitive has

already been remarked on, and needs no further emphasis,
exce P t so f*r as it seems to show that neither geniAdiectire
Proieptic

tive

of place nor genitive of time

is

local.

proleptic, or predicative, use of the adjective is

mon, and must be watched.

See

The
com-

p. xc.

In the use of the demonstratives Pindar differs from the

tragic poets in his comparatively scant

which

is

pre-eminently dramatic.

employment of o&,

PINDAR'S SYNTAX.

is

ci

Thii
Lyric poetry makes little use of the article proper.
shown by a comparison of chorus and dialogue in the

best

drama.

In Pindar the old demonstrative sense

is

conspicuous, the article can still represent and

does represent freely an independent demonstrative pronoun ;
In combination with the subit can be used as a relative.
still

stantive

it

has the familiar anaphoric use, the emphatic referis known, the use in vision, like 6$t.
In

ence to that which

the dactylo-epitrite poems, in which the article is generally

less freely employed, the article seems to serve to bind the
qualifier to the far-distant substantive, as in the noted pasiroXX' avw, ra 5* au KCLTU \^tv^fj
sage, 0. 12, 5 : at ye p.v avfiptSv
\

ptrap.<jjym Tap.voiaa.i

Kv\iv$ovr
*

only in the dactylo-epitrites

the dactylo-epitrites that the

is

e \7rtStc.
That this occurs
not surprising. It is only in

movement

is

deliberate

enough

In the tumult of the logaoedic the

The ordinary use of the article is also

to allow the separation.

nexus would be lost.

found in Pindar, but

it would take very little stress to revive

The extensions of the article
the demonstrative meaning.
that are most noteworthy, in comparison with Homer, are the
combination with the adjective ra rfpirva. (O. 9, 30), that with

the participle 6 ^o) wvuis (N. 4, 31), and especially that with
the inf., always, except in the disputed passage, O. 2, 107, in
The full development of the articular inf. was rethe nom.
served for prose.

The

free position of the relative

Belatire.

and

its

equivalent article

belongs under another head.

Especially worthy of
......
note is the use of the relative in transitions.
.

The voices present few peculiarities in Pindar, and it is

hardly worth while to notice the so-called intransitive use of
transitive verbs, as any verb can be used intransitively in

use of SptTrtiv and

easily explained

any sphere of the language.

dplirtffdat,

The

of Krlaai and KTiaaaQai,

on general principles.

The middle

is

STUN, De articuli apud Pindarum usu, Breslau, 1868,

See Index of Subjects under Relative.

shifting

may be
no more

p. 34.

INTRODUCTORY ESSAY.

Cii

causative than the active, and it is a mistake to apply the

causative formula as the key wherever the conception seems
us.
Difficult is ftaXeS" aXiKiav (P. 1, 74), and the
causative explanation may be the true one there, though /3aXeffdat as a nautical term may have been extended.
The middle

remote to

has more color, more feeling, than the active, and we might be
tempted to see in Pindar's use of tvptlv^ where we might expect fvplffQat (P.

2, 64),

but we find the

fect,

and of yapvw
analogy of
(co/zac

noun

(I. 1,

a certain aristocratic contempt of efmiddle of KtXafo (0. 10 [11], 79)

fut.

30) where

it is worth while to notice the

In avacrjaavrts
and the rest.
1

4<ro/mi, flot]aopcu,

(P. 10, 40), ico^ac takes the place of the reflexive proas corpus does in Latin, and so does ^atTav in iari^a-

vtaaf.
\airav (O. 14, 24). On the passive use of Karao^d/utvoe,
Pindar has no future passive apart from the
see P. 1, 10.

future middle (see note on O. 8, 45 apfrrm).

As to the present indicative in Pindar, chiefly worthy of note
is the absence of the so-called historical present.
Brugmann
:

has recently vindicated the proethnic rights of the

historical present on the just ground of the time-

Present

Tene.

It is therefore not a little remarkable

lessness of the present.
To them the
it as little as Homer uses it.

that Pindar uses

viereTat (O. 3,

ried.

The
mouth of Apollo, O.

5, 86).

the

must have been

either too vulgar or too hur34) is a true present, and so is StKovrat (P.
oracular use of the praesens propheticum is put in

historical present

The

40

dXiWreu, of Medeia, P.

conative force of the present participle

is

4,

49

conspicuous,

where we might expect the

may
would
read
some
(P. 4, 106) and Kop,iKopifov
though

so that
fut.,

8,

it

stand, as in prose,

But all Pindar's uses of the present parThe present inf. in

can
be
paralleled in good prose.
ticiple
the
oratio
to
obliquo.
imperfect after a
represent
imperfect
ZOVTCLQ (0. 13, 15).

*Bd AorUt.

pres. tense occurs in O. 7, 55, a usage very common

in Herodotos.
special study has been consecrated to the

See the

list

in

RUTHIRTORD'S

New

Phrynichus,

p. 383.

PINDAR'S SYNTAX.

criii

use of the imperfect and aorist in Pindar,

shown that the aorist, preponderating as
narrative, is used, as a rule, with

and

has been

it

does

it

more frequency

in

lyric

in the logaoe-

An interchange of
not equivalent to t\nrc,
"
but means had to leave
she was a moth(0. 6, 45), mre,
"
The
aor.
of
a
er
(O. 6, 85).
negatived
negative notion has
die

poems than

tenses

is

in

the dactylo-epitrite.

not to be conceded.
"
"

Xflirs is

for its pendant a positive imperfect in P. 3, 27

ffKoirov

oi/S'

tXafle

vaov flaoi\ev.
The conative imperfect is
Panhellenic.
The perfect has originally nothing to
.

atei'

do with completed action

as such.

Completed

ac-

The perfects of the

only the result of intense action.
senses, such as SlSopice (0. 1, 94), of emotion, ycyadi (N. 3,
33), like the perfects of sound, (ce'fcpaya, Ke'vAayya, rYptya, are
tion

is

The perfect of the result

The pluperfect, the perfect
of action requires no notice.
of the past, is of rare occurrence in Pindar (Oi 6, 54) as in
The picturesque Homeric use is not found. The
Aischylos.
not perfects in the ordinary sense.

aorist

abounds

in sharp

full consciousness.

summaries, and

The gnomic

used with

is

aorist, either as

the

aorist of the typical action, or as the aorist of experience (em-

ov irw rte tvptv (0. 12, 8), or

piric aorist), with a negative as

with

irorl as tvvai TrapaTpoiroi ifla\6v TTOTC (P. 2, 35),

has

many

examples in Pindar. In combination with the universal present it sometimes produces the effect of sharp, incisive action
but we must not overstrain the point.
(see note on P. 2, 90)
The future has many marks of a modal origin. It is not
;

"

"

and
was originally something more than the
Traces of thi&
foretelling of what was to come.
"
modal future are found here and there in P. epe'w, I must
"
So K^uao^ai (P. 9, 96).
needs tell (0. 8, 57).
The tenses of the moods durative (present) and complexive

simply predictive.
"

Tenses of
the Hoods.

shall

will," it

(aoristic)

p rmc ipi efi

1

Like the English periphrastic

are used in conformity with the general

When a verb of thinkt| ie language.

of

American Journal of Philology, IV.

pp. 158-166.

INTRODUCTORY ESSAY.

cir

ing becomes a verb of wishing or willing, there is no difficulty

about the use of the aorist as a future (see note on P. 1. 44),

but the

fut.

often

lies

too near, as P.

4,

243, where Trpafaffdat

to wpafaffdat on account of the negative.

indicative mood requires little comment. In one place

must give way

The

the future takes oV, N.

avepel

Indicatife.

7,

68

paQiav It TIC av ipsl, where

large use of the indie, in

The

is

possible.
..*

the conditional sentence

of Pindar's love of the concrete.

The pure subjunctive

in

independent clauses,
whether we

SnbjnnctiTe.
final.

perative answer.

60: ay'

iTreir

QIOQ ytviaQai.
2
KfXalrjaofjiEv
:

always

call

it

especially characteristic

whether

in prose,

is

in

dependent or

imperative in its character,

adhortative, interrogative, or

Ihe subjunctive question expects an imExamples of familiar constructions are P. 1,

tfcvpwp.ev vp.vov,

TTfftt>/4i> (TTefya.vwv

is

I.

(8),

6: ^i\T kv

Ko&ta Oepairtve. 0. 5, 24
the short-vowel subj., see 0. 1,

On
may

^.i]T(.

be either

fut. or subj.

/i))

7.

opfyaviq.

partitai]

In 0. 2,
use

The Homeric

of the subjunctive in which the imperative tone is lowered to

simple prediction (comp. the toning -down of "shall" and
"
will," just referred to) is not found in Pindar.

The opt. when standing free is regularly a wishing mood in

Pindar, the wish passing easily, at times, into the semblance of
a command.
The opt. of wish usually dispenses
ft yap with
with el yap in P.
opt. is found in P.
46; N. 7 (8), 98 and the present seems to occur more frePres. e. g. O.
quently than is usual in proportion to the aor.

1,

1,115; 4,12; 6, 97 (?). 102 ; 8,85.88; 9,80; P. 1,46. 56;

10,17; 11,50. Aor. e. g. 0. 8, 29 9,84; 13,25; P. 1,47;
In one breath we have the opt., 0. 13, 26 a^dovriros
9, 90.
;

yivoio, in the next the imperative, ivQvvt. (v. 28).

(O. 9,
44), vTTOffKairroi rig (N. 5, 19), are to all intents imperatives,
and so the optatives O. 3, 45 and P. 10, 21, where rfij is
set

commonly
with

Of

a.v.

<j>cpoie

down as potential opt., and equivalent to opt.

this old potential use of the opt. there are only

See American Journal of Philology,

III. p.

438.

PINDAR'S SYNTAX.

CV

a few examples, and

hardly one of these beyond cavil. The
is O. 11
our* ep//3po/not
(10), end: ovr a'idtav aXuirrj^

clearest

where Hartung reads SiaXXafaivT av

despite digamma, Scbroeder, StaAXafrtvro (gnomic aorj.

Xeovrtc StaXXafaivro
>J0oc

The imperative

>J0of,

As every other

follows the rule.

idiomatic

Greek author, Pindar has many examples of the weight of the

a string, P. 1. 86 foil.
of the
present imperative
Imperative.
impact of the aor., see 0. 1, 76 foil. Special uses
;

have not been noted.

Inseparably connected with the use of the moods is the
1
v.
In Homer KIV preponderuse of the particles av and
av and

ates over av

in Pindar av has gained greatly on

*
T1
In the Iliad nev stands to av as 4 to 1.
In

icev.

KCV.

Pindar they nearly balance. In all

with inf., II. 22, 11, and that used

Homer

there

is

but one Ktv

in a

confused way, but one

Pindar
av, II. 9, 684, and that with direct reference to v. 417.
has no av with the inf., but he uses Ktv three times with the
with pres. (P. 7, 20), with aor. (P. 3, 111), with fut. (0. 1,
Pindar has Homer's leaning to av with the negative,
but he does not use it in the formulated conditional sentence,
inf.,

110).

although

it

has effected a lodgment in the generic relative and

temporal sentence, from which in Attic it was destined

to shut out the old constructions with the pure subjunctive.
in the

A
in

short space must suffice for the behavior of the

sentences. The structure of the sentence

compound
much simplified by

moods
is

very
the large use of the participle and the
freedom of the infinitive. Pindar has much less variety than

Homer, and in syntax, as in other matters,

daintiness of selection.

shows a

certain

The Homeric form of oratio obligua is also the Pindaric.

The reigning form is the infinitive. So with Xtyovri, O. 2, 31

Or.tio

9,

53

ohn qua.

4?

with

7T

<pavr/,

O.

7,

54

a,

O.

6,

49

faro,

XOVTOi o. 6, 54 00cyo/*at, 0. 1 36. Even

the
(against
rule), O. 7,62. (Cf.J.Mart. Ap.1. 12,32.)

33

For particulars see American Journal of Philology,

BRKYKR, Analecta Pindarica, p. 12 foil.

B.

P. 4, 88

5*

III. pp.

446-465

INTRODUCTORY ESSAY.

C vi

we (N. 1, 35) or on (0. 1, 48) is occasionally

Notice the prolepsis in O. 14, 22: vlov tiirrfz on

The

ind. with

used.
foi

yairav.

i<TT<f>a.i'u>ffe

Homer

does not use the opt. after a past tense to represent

So in Pindar
the indicative, except after an interrogative.
the indicative after an interrogative may remain as P. 4, 63
1

or be changed into the opt. as P. 9, 126, where

one would be tempted to turn the fut. opt. into the fut. indie,

N.

1,

61

were

it

3, 25,

not for 0.

where the

6, 49,

relative,

with the interrogative, takes the opt.

In the causal sentence we find ort, O.

being confounded

60 3, 39 8, 33 ;
45; N. 6, 34, but
causal
chiefly eW, 0. 2, 108; 3, 6; 4, 12; 6, 27; 7, 61.
s*ntnees.
QQ a j
rp ne raoo(j } s the indicative or an equivalent
opt. and av (0. 13, 45).
The chief final particle is o<J>pa, a particle that was already
10 (11), 35; P.

cation

is

73

al.

1,

we, 0. 13,

Pindar doubtless for its antique

was soon to disappear from classical poetry
That he had no feeling for its original signifishown by the fact that he never employs it in its

obsolescent.
Final
Sentences.

2, 31.

Selected by

sound,

it

temporal sense." oQpa occurs eleven times, we three times,

"
we av once, oVwe once, /u// four times, !Va, in order that,"
42
For
av
never.
see O. 7,
o?rwe (N. 3, 62) has been
we
;

needlessly attacked.

The sequence

is

regular, principal tenses

being followed by the subj., historical tenses by the opt.

a rule fixed by Homer.
P. 4, 92
'6<(>pa
plained.

The two exceptions

are easily ex-

tparai is good for all time, O. 7,

13
Karifiav is an aorist used as a perfect, the perfect form
3
being regularly used as a present.
for
its
narrow
Remarkable
range and its sharpness is Pin:

conditionai
Sentences.

4
dar's treatment of the conditional sentence.

mos

t;

striking feature

American Journal of Philology, IV.

is

p. 419.

See WEBER, Entwickelungsgeschichte der Absichtssatze,

ican Journal of Philology, IV. p. 431.
s

The

the predominance of the

p.

72

Amer-

American Journal of Philology, IV. p. 429 (note).

For details see American Journal of Philology, HI. pp. 434-446.

PINDAR'S SYNTAX.

cvii

logical hypothesis, the indicative in protasis, the indicative or

This form outnumbers far all the
equivalent in apodosis.
others put together.
It is largely a mere formal condition.
It is based on what the poet knows or sees.
Sometimes it
is
generic (see 0. 11 [10], 4), but it almost always has in view
a particular illustration of the principle involved.
The generic condition proper is put in the old form of

this hypothesis, el with the subj., chiefly, perhaps exclusively

the aorist subj., for in I. 4 (5), 12 :
aKovyy, almost forces
itself

on the reader. Pindar knows nothing of ei KE, T/y, el ay.

few ideal conditions ( et with opt. ) occur in

Pindar's

dreamy, wistful passages, which seem to show that the optaSometimes we can feel the
is, after all, not ill-named.
growth out of the wish (O. 1, 108; P. 3, 110), sometimes
tive

is followed by an apodosis (P. 1, 46).

Still fewer are the unreal conditions, conditions against fact, and in
are evithese we hear the hopeless wish (P. 3, 63. 73).

formal wish

We

dently in a different world from Homer's,

1
formulae.

The

we

are lapsing into

relative sentence follows the lines of the first

two

classes

of the condition, except that it admits KCV and av in generic

sentences with the subj.
Relative
KCV, N. 4, 7 (ace. to the
sentence.,
gchol.), av, P. 1, 100 ; 5, 65 ; 10, 23; N. 4, 91 ; pure

11

75

subj.,

O.

18.

The Homeric

3,

6,

8,

11

N.

3,

71

KCV with subj. of a

9,

44

I. 1,

50

6 (7),

more exact future

oc-

most epic of all the odes, P. 4, 51. Opt. with av

P. 9, 129
oc av >//auffic, for which see the passage.

curs in the

occurs in

It is in the

temporal sentence that the need of expressing

generic and particular action, prior and subsequent action, is

The original generic here too
Temporal felt most distinctly.
Sentences.

was

p ure gu ^j w hi cn Pindar retains here and

there in the fragments.

But av with the temporal particles
has already formed a stable compound for the expression of
indefinite and future relations.
0.2,23; 6,67; 10 (11),

100

P.

1,

2,

11

3,

106

5,

8, 8. 96.

For examples see Index of Subjects,

s. v.

This &v with

Condition.

INTRODUCTORY ESSAY.

C viii

80

subj. is retained after a past tense, 0. 13,

no frequentative

is

opt.,

no

N.

1,

67

there

opt. representing a.v w. subj. in

Pindar.

Of

course the indicative

P.

3, 91).

exact

used of particular occasions.

is

the use of birore with the indie, (see note on

The fulness of the form gives it the effect of the
is

Noteworthy
r)viKa.

Of the temporal

particles of limit

Pindar uses de

= twc

once, O. 10 (11), 56, irpiv with the aor. inf., according to the
norm, in the sense of "before," as P. 2, 92 ; 3, 9 ; 9, 122;
N. 7, 73; 8, 51 ; 9, 26, irpiv with the indie., also according to
'
"
the norm, in the sense of
until," 0. 9, 57 ; 13, 65, with neg.,

N.

4, 28.

The

infinitive plays a large part in Pindar.

ficiently

It

has been suf4

Most
(post-Homeric).
of the examples are in the aorist, O. 2, 56. 107
8,
P. 1, 99
N. 8, 44. The present oc59. 60
9, 40

deadened to admit the

article

curs in 0. 9, 41

P.

2,

56; N.

5,

These are

18.

all

nom-

the disputed O. 2, 107, and all retain the

demonstrative force of the article. The language has not

inatives except

yet allowed

itself to

preposition
And this dative force
dative of a verbal

been so long

whether we

dative.

It is

17), ffo^oc

as a dative.

felt

for the infinitive seems to be the

noun

accounts for

we

call it final,

all

that

is

Whether we

the use of the Pindaric infinitive.

getic,

form by using a

violate the sense of

with what had

are

still

peculiar in

call it

epexe-

in the sphere of the

hardly needful to cite ayadov papvaaQat (0. 6,

(P. 8, 74), or even eiy>ij<7t7r>)e avaytivdai

Kopvffffefjiev

What the
(O. 9, 86), and tirityaviaTepov irvQioQai (P. 7, 7).
later language has retained only here and there in phrases,
Pindar uses as of
avadsladai

dom
1

(I. 2,

right, SWKE

16).

The

inf. is

xpUadai (P.

4, 222), irip.irtv
consecutive enough, and sel-

takes ware, but four times in

American Journal of Philology,

American Journal of Philology,

II.

all,

once O.

9, 80.

The

pp. 467-469.

III. p.

192

Philol. Assoc., 1878, p. 11 (for the position).

foil.

Transactions Amer.

PINDAR'S SYNTAX.
consecutive notion proper (wore with indie.)
epic and lyric, in which the final abounds.
infinitive

had long been so

cix
is

not suited to

Of course the

far deorganized as to serve as a

representative of the indie, in oratio obliqua, and in this respect Pindar presents no peculiarities, except that he someits timelessness.
See above, p. civ.
akin to the opt., and it is not surshould be used as such.
P. 1, 67
Ziv rl\fi\

times holds the aorist

The

inf.

to

infinitive is closely

prising that

it

ahl Siaxpiveiv \oyov avdpuiruv (= side Staicpivoi Xdyoe).

For the inf. as an imperative see 0. 13, 114, where some
read KOV^OKTI

p,'

cKvevvat

iroffiv,

and give the

inf.

an optative

use.

After a long discourse, in which participles had been used

TO. vvv
very freely, Sokrates says in Plato's Phaidros, 238

yap ovKtri iroppw e>i0i/pa/i/3wj' 00yyo^at, and it is

natural that the lyric poet should make large use
of the participle, which enables him to concentrate his narra-

on the main points, while preserving the color of the

thought or the description. We are prone to analyze the
participle, to call it temporal, conditional, adversative, whereas
the participial form avoids and often defies the analysis.
When the later rhetorician wanted logical clearness, he would
none of the participle, and Dionysios of Halikarnassos makes

tive

'

for multiplying the genitive

a distinct point against Isaios
In narrative the participle gives color, gives atmos*
absolute.
Turn it into a finite verb and you have a catalogue,
phere.
at best an outline,

and not a

Notice the effect of O.

picture.

49-51, where each point of horror

is

accentuated, ra.fj.ov
SitSaaavro Kal tyayov.
When the poet finds that he has been
too leisurely in his narrative, his haste is marked by the use
1,

of finite verbs. So at the close of the story of the Argonautic

expedition, after recounting the adventure with the fire-breathing oxen, in which descriptive participles play a conspicuous

part (P. 4, 224-237), Pindar, as if feeling that his time was

short, has not a participle to throw away on the adventure of
1

ludicium Ue Isueo, 698 (K).

(Jump.

Am.

Juuru. of

i'liil.

IX. p. 142.

INTRODUCTORY ESSAY.

Cx

the dragon, and when he openly acknowledges (v. 247) that

he must be brief, he touches off each stage in the subsequent
action with a single finite aorist verb, and does not even allow
a parenthetic imperfect.
Instead, then, of the formal sentences of time, cause, adversative relation, condition, purpose, we often find the participle,
although in many cases it is best not to analyze. The tem-

of course that which is rooted in the partiand

all the others come from that.
OrdinaTemporal ciple,
Participie. r
jjy t ^ e &OT [ S ^ p art precedes in time the finite verb
with which it is associated. O. 1, 71 tXdiov
avvev, O. 6,
37 TTteVae xoXov
tiraiy\tr Jw', O. 13, 86 avaflas
airovv. 149
KaSoe
fev, P. 4, 112
QriKanivoi
irffjnrov,
poral relation

is

pate
.

vifjLta.1^

pr'ip^atc

P.

N.

davfjiaffov,
.

9,

32

'6<f>mQ.

irpoXiiriav Qvp.ov

iretpdro 3e irpwrov /na^ac

The

aep.vov avrpov

43:

1,

Sotove

combined
accompanies and

tenses are often so

that the durative tense of the participle

colors the leading verb in the aor.
The effect of this

hold the balance between the tenses.

Any

is

to

descriptive pas-

So O. 6, 46 tdptyavro . . <ca2osage will give examples.

iXavvutv tKtro, P. 4, 95: "IKITO airtv^w, v. 135:
i, v. 48:
Karterrav.
The action is often coincident. O.
.

10 (ll), 53:
(6),

51

rpi-fyaiQ

SopTrov \vffiv

f.dr)K

eiTrtv re

<f>ti)viiaa.iQ

viv.

f^apafftraro

rtfiaffaiQ Tropov 'AA^>eou, I.

art fiairtQ ayrjp^ P. 3, 35

ec KO.KOV
So with the durative tenses, P. 4,
:

naXaxav X P a TpoafiaXXovTO. rpu^av eXiceoe d/z0t?roXflv.

The coincidence is sometimes disguised by the negative.
So 0. 8, 29 TOVTO irpaaauv fifj Kafioi (= KapTipoii)), O. 6, 36
271

yjpri

ovft

tXade (=.<j>at>tpa

rjv)

KXeVrora.

The

participle is used after verbs of perception (intellectual

O. 6, 8 : t<rro . . . ex w>/ I- 6 (^) ^7 :
actual) as usual.

and

*<""<>

Participle

b8 f
*PercIpti o ..?

),

<

>a

aii^wf, O. 14,

frP"*,

16

P. 2, 54

iSciicra.

f?a v

rovtit Kwfiov

'Apx'Xo Xoi'

xuuvoutvov, N. 11,15: Qvara ^it^vaaQiit irtpttrriXXwv

Actual perception is
O. 10 (11), 3 6<f>ii\ny tVtXe'Aafla.
:

See American Journal of Philology, FV.

p. 165.

PINDAR'S SYNTAX.

C xi

seldom put in the aor. part., usually in pros, or perf., P. 5,

84: wirruQeiffav irarpav
t5oi/ P. 10, 23: oe a.v
vlov
I. 7
36
vlov
tlaiciru) Qavovr iv
Ty^oi'TO.
OTE^avwy,
(8),
"ify
.

TToXffJlU.

Causal

is

of emotion.

an inference from temporal.

So P. 1, 13: arvfrvrat
.

Seioavreg vftpiv
VQV .3^
3> 33

Causal

Participle.

irffjnrot' t v.

So often with verbs

.

112:

dt'ovra, P. 4,

122

yadj}fffv

yo-

'
.

markable construction, where

For a reraftuv.
the participle is treated exactly

y ya g e

on with a finite verb, see P. 7, 15.

The adversative relation is expressed in Greek chiefly by
the participle.
The language is sometimes kind enough to
as

give warning of this by Kaiirtp and o/zwe, but often

no no ti ce j s given, and failure to understand it is
I. 7
charged to stupidity.
(8), 5
Kaiirep a-^vv^tvo^ N. 6, 7
oi>K
P.
140:
4,
tt^orec,
KatTrep
rpa^tlav fpirovrtav TT^OC tVtjSSac
AdTersative
Participle.

O^UH:,

O.

46

1,

Ta,u)v Ifiav

^ato^tJ'ot,

N.

4,

P. 4, 180: ycueraoirec.
Pindar has a number of

would yield a conditional

:=

it is

Ktivoq a/i0' 'Aycpovri

So P.

64

participles, which, if

va.it-

vaiovrtf,

analyzed,

Iwv

62

tote, v.

ft

atj'ot'fj,

N.

9,

34

Tvyuv

viraffTri^wy

= rv^o'C, N. 4, 93
= el v7rr/<77riee. But
tl

often best to let analysis alone.

Given, vpjj<re iptwuv
and causal and conditional meet. The Attic

(0. 13, 113),

would resolve

The

ar cpcvyc,

fut. participle, as is

tvprjaetf^

well

not so Pindar.

known, has
'

in

range

Future
Participle.

in

amounts

extension of the use

46

very limited
the old modal

Greek, being employed chiefly

sense of the future after verbs of motion, or as the
re p resen tative of the indicative after verbs of per-

ception and after we

I. 2,

1,

precipitate.

Parttciple.

aii'/wi'

This analysis is sometimes forcibly suggested by KE.

So O. 6, 7 iiriKvpj
10
22
0.
ffa(C
d^aiQ el dtffte,
(l 1),
^iKvpffeie,

Conditional

P. 10, 29

85

*c\a2^n'.

yXcJffffav ei/ptVw

is

to

the last a comparatively late growth.

an

adj. (0. 12, 8), like the Lat.

seen in N.

5, 1

fuluna.

An

IXivvoovra Ftpya&aQai ciydX/iora.

OVK tXivvaovraf airoiig tlpyaadpav.

INTRODUCTORY ESSAY.
After verbs of motion Pindar has the future participle, e. g.
O. 6, 38 <j>XfT ""' /iav e CT(Yze>'oe, O. 5, 19 f.p\op.a.i airtjauv:
'

''

''

but the present participle occurs so often with verbs of motion that it is not worth while to change dyico/jt'^W (P. 4,
3
P, 2, 3
(ftepuv plXoc tp\op.ai, N. 5,
105) into ayKOfj.i,(tty.

irm^e
v. 66:

2iayy\Aoiffa, N. 10, 16

avXav larjXOev

fytpuv,

&WKWJ', N. 11, 34: t/3a .

avayuv. There
rjXOs .
of course a difference, as appears 0. 5, 19: ep^o/mi AvStoic
avvtitv iv avXolg cunjffuM', but the two blend, as is seen 0. 8, 49 :
.

is

Qoov ravuev

ap/jia

a.TroTrlp.iruii'

tiro\^vfjiivoQ.

not the place to discuss the origin and development

The detachment must have been
of the genitive absolute.
Genitive
gradual, beginning probably with the gen. of the,

This

is

Absolute.

me w jtbin which

with the present and extending

to the aorist, beginnings ith the pure genitive and extending

to the abl. genitive until it became phraseological and lost to

consciousness.

The

last step is

omitted, a step not taken by

In Pindar it is rare.
4, 19.

In Pindar the gen. abs.

taken when the subject

Homer

II.

except
See note on P.

8,

18,

406

is

= Od.

43.

evidently not so free as it is in

later times, and whenever there is easy dependence we must
accept it. P. 3, 25 iXdovrog evraaOr) ivov XtKrpotffiv cur' 'Apis

33 TrupwfltVrwi' Tpuuiy eXvat Sufiovg aftporarof.

note on P. 8, 85.
In Homer the present
part, is

Kcr/'r, P. 11,

See also

more common than the

far

in Pindar, ace. to a
recent count, aor. and pres. nearly balance.
The relation is
chiefly temporal ; cause and condition come in incident-

Of time

ally.

aor.,

P.

S P.
1

4,

aor.

80: avSpuv Kapovrwv, O. 3, 19:

69: ir\f.vaar-wv Mo'i/cu', P. 4, 292:

1,

CLASSEN, Beobachtungen ilber den

homerischen Sprachgebrauch,

p. 180.
*

N.

1,

41

ity of the

olxOeindi' irv\av.

Fennell in his note admits the possibilThis would have been

dragons having opened the gates.

In Latin the first inference with the passive

naturally olavTig irvXag.
form of the abl. absol. is the identity of the agent with the subject of

the sentence; in Greek with the passive form of the gen. absol.
and, to say the least, rare.

last,

it

is

the

PINDAK'S SYNTAX.
ovpov

al.,

pres.,

O.

5,

23

Of cause or

v irarpde.

vluv TrapiffTapivuv, P. 11, 17 :

iviirirw
condition, O. 3, 39
:

55 'E<pupa/wj'
Trpo\e6vTwi> al.
The participle differs from the infinitive, from the verbal
noun in concreteness, and concreteness is one of the marks ot
SapitSdv, P. 10,

Pindar's style; so that it is not surprising to find

him using the participle instead of the infinitive,

use of

We

instead of the abstract noun.

are so used to

we overlook its rarity in

when we meet such a specimen

this in certain Latin authors that

Greek, and yet we are startled

ov cncatoYcpo* XP^M*
as O. 9, 111: avtv It Oeov fffatyapfvov
cKaorof, where the participle has a much more cogent effect
\

An analysis into iav ataiyrifjiivov p would

than fftoiyaodai.
weaken the sentence hopelessly. P. 11, 22: irorepoy viv op
tV EuptVy
Oc]

on O.

3, 6.

ff^a-^dflffa rrj\e irarpac iicviaev',

P. 3, 102

wpaev irvpt Kawfuvog etc AavatJv yoov. See note

In like manner interpret P. 2, 21 'IfrWa <j>avrl
\

ravra fiporols Xeyetv iv vrtpoevn Tpo\<$ iravrq. icvXtv^o^evov.

Ixion does not preach ; he gives an object lesson.
The few examples of the participle in the predicate fall un\

der the

rule.

are either adjectives or are dissociated

They

Participle IB
Predicate.

from the copulative verb.

Comp. note on P. 6,
em rot
2 8, and notice the parallelism, N. 9, 32
:

(piXnrrroi T

Many

avrodi

teal

Krcavuv

e^oi'Tee Kpiaoovaq avfyaf.

other points must be omitted for want of space, and

is referred to the commentary for further particu-

the reader

The large use of parataxis makes the Pindaric handling

of the particles of especial interest to the grammarian, and
we find exactness as in the use of re ... re ..., re icaf,
lars.

It must suffice here,

paired with bold variation as ftev ... re.
the impression has been produced that in syntax, as in

if

Pindar is sharp, cogent, effective. There ia

"
about his pictures, and the syntax plays its
subjectivity

everything
no "

else,

part, too often

and

See

my

overlooked, in producing the bold contour.

W. J. ALEXANDER

in

Justin Martyr, Apol.

American Journal of Philology, IV. 291

I. 3, 4 ; 19, 5.

foil,

INTRODUCTORY ESSAY.

cx iy

A complete

Pindaric syntax would be at the same time a theory of Pindaric style.

The order of words in Pindar is of prime importance to
"
"
in the
those who would study
composition
antique sense,
but the effect of the sequence of sounds must be
Order of
Wordi.

je t
to S p ec i a } studies.
fondness for alliteration in 8, ir, K,

Noteworthy

is

Pindar's

Sigraatism, which his

teacher, Lasos of Hermione, avoided so much that he actually
composed a number of asigmatic poems, was not shunned
T, p.

by

Pindar, as appears in P. 2, 80. Nor did he scrupulously avoid

the recurrence of the same groups in successive syllables,
P. 2, 80: uTrip 2p/coe, 0. 6, 16 etTrev iv e?/3at<n, O. 4, 22 : fr
:

P. 1, 69
ayijrty) cinfy>.
course they are felt chiefly
:

fcrefft,

Of
them

out, P. 4,

193

are not infrequent.

Rhymes

when rhythmical

stress brings

-^pvatav ^ripeim Xafiwr </mi/\av, P. 4,

32

dXXa yap voerrov Trpo^afftc yXuvtpov, less where the rhyming

words have different stress, as 0. 9, 24 /uuXepeus tTrityXe-ywv
To the average reader, however, the position of words
aoitfais.
:

of interest, so far as it gives emphasis to the leading

elements, and in this respect the study of the rhythms aids
very much in removing the difficulties that the beginner may
is chiefly

In the equable measures of the dactylo-epitrites the

Our minds
separation of the words gives very little trouble.

find.

are attuned to the leisurely motion, and we can afford to wait.

No
stress - points of the verse signal to one another.

The

matter what the distance between beginning and end of a verse,

then again the meaning is
they are never really far apart, and
often to be gathered from the edge of the ode in a manner
of acrostic.
The attention is often kept alive by suspense,
the object being held back as if it were the answer to a riddle,

and

this very suspense serves to preserve the organic unity as

well as to bind epode

more

closely to

antistrophe.

Some-

times when the thought seems to have reached its legitimate

end, a message follows, a momentous codicil to the poetic testament, a condition, a restriction. Sometimes again a word is
1

HIRRE, De verborum apud Pindarum conlocatione, Berlin, 1867.

PINDAR'S SYNTAX.

CX V

held by the power of the rhythm until it penetrates the whole

structure.
Sometimes the poet strikes sharply two or three
notes that convey to the student the movement of the whole,
and O. 2 and P. 5 give up their secret to the skilled in song.
All this is capable of demonstration, but it is a weariness to
demonstrate what every one who attacks Pindar resolutely
1
will soon find out for himself.
Certain peculiarities of posi2

such as hyperbaton and chiasm have been duly noticed

commentary. The hyperbata are not over-common nor
over-harsh.
Chiasm is not unfrequently overlooked by the
tion,

in the

beginner

the beautiful Greek method of giving a double

opposing pairs, a stress that we are prone to bring

stress to

it is

about by the mechanical expedient of hammering emphasis

and dead pause.
A word here as to the figure known as hypallage, for while
hypallage

is

not the result of the order of words,

it is

the re-

sult of the close knitting of words.

By hypallage
an attribute that belongs in logical strictness to one

word of a complex
so

little

tion.

is

applied to another. Sometimes it makes

no notice has been taken of it in this edi-

difference that

If,

what trouble is given

In other cases, however,

for instance, the kine are dun,

by fiouv fai'Oac ayt'Xac (P. 4, 149) ?

the effect is much more marked, the

words are rolled together

so as to give a superb unity, as O. 3, 3 Qfipuvoc 'Okvpriovfai*
as in O. 10
vfjivov rather than Qfipuvog 'QXvfjnriovtKov vpvov,
:

(ll), 6: ^iv^idiv ivurav aXtrd&vof, as in P. 4,

255:

vfjurlpac

Of Pindar's noble
aurivoQ oXfiov.
been said already, but the range is

compounds something has

much extended if we consider the manner in which he gathers up word after word
into the sweep of his movement, and we begin to feel that
there

is

something in the profundo ore of Horace.

See Index of Subjects under Position.

More stress might have been laid on the regular interposition of the
preposition between attribute and substantive or substantive and attribute
1

See notes on 0.

1,

37

5,

22

P. 8, 88.

PBLOPS AND OINOMAOS.

East Pediment of the Temple of Zeu* it Oljnnpi*.

(Griittner's restoration.)

OAYMIIIONIKAI.
OATMniONIKAI

A'

IEPQNI SYPAKOSIQt
KEAHTI.
"Apio-rov

fj,ev

vSwp, 6 &e xpyabs aiOopevov irvp

are StaTrpeTrei VVKTI peydvopos e^o^a 7r\ovrov

el 8' ae6\a yapvev
ae

a\\o 6d\7Tv6rpov

ev afiepa (jtaevvov

darpov

eptjfia*;

St'

aidepos
1

'OXu/ATrt'a? arywva (peprepov

fjLtjS
offev 6 Tro\v<paro<; vpvos df

awfrwv

/i7/r/e(T<rt,

10 "Kpovoy TratS', e?

pdicaipav

avSd(TOfJW

tce\aSelv

d<pvav u

'Iepa>z/o<? kcrriav,

STROPHAJB.

L^i
II.

^^^
-^

-~
_^

III.

IT.~:
ia

i-

-i

^:

-v~

-~
-^

v^

--

i-

-~

|^^^|

i-

---

--

i-v^|

^.|

1.43.84.

-^

II.

4.3.4.

L.
-^
-~ -Al
-^ |-Al

-v^

-^ -~ |_^.|-^^ l_
^^^|^.^^| -^ |-^ -~ -Al
i_
^cr= _~
-A
i-- -~ |^^^.|
i_
|~>*~\ -Al
-- ~| -- -- -A
i_
|

--

-~~ |-v-| --

III.

4 4 3 4
.

4.

IV. 6.0.6.6.

OLYMPIA

I.

'Air. a'.

09 d/JL<be7rei fficairTov ev Tro\vp>a\(f>

p,ev Kopv<pds dperdv airo iraaav
BpeTrotv
if/eeXta,
ay\ateTai Be ical

"

15fioya-iKa<t ev dcoTco,

ota Trai^ofjuev <pL\av

avBpes

aXXa Awptai/

Bafid Tpdire^av.

djA<pi

OTTO

<f>6p25

'acro'a\ov
/, el ri rot

Ultras re

ical Qepevlicoy %df.

voov VTTO ry\vKVTaTais

'

20 '6re Trap'

AX<ec3

tryro
dicevTrjrov ev Bp6fjuoi<ri 7rape%Q>v,
Kpdrei Be irpoo'ef^i^e BeffiroTav,

f)a. Xa/A7ret

ev eyavopt

IleXoTro? aTroitcia

AvBoy

Be Foi /cXeo?

25 roy peyacr0evr)<i epaa-a-aro yaiao%o<;

TIcxreiBav, eVet viv icaOapov Xe^ro? e^eXe KXa>0a>

7f

Oayfiara vroXXa, /cat iroy rt

rov a\a6ri \6jov

ical

36

'

ftpor&v

*o

^art? virep

BeBaiBa\fievoi, ^reyBeo'i Trot/c/Xot? e

30

Xapt?

8', iiirep

airavra rev^et ra /ie/Xt^a Ovarois,

eirufrepoura rtfjuiv real

ama-rov

efiijcraro tna-rov

ce

EPODI.
I.

i-

II.-

l_._n^~ra.

rr.

>

II

ii

L_

n-^~i

i_

-A

-Al

|
i

B-.-I

_A

i_

-^

L_I

I-AI

4 2

4.

II.

3 4

3 4.

III.

332.33

V. 3 3 3 2

3 3

3.

OAYMIIIONIKAI

A'.

TO Tro\\diei<i

35 eo-rt 8'

dvBpl <pdf*ev

yap

eot/co? a/i^>i SaifjUtvtov

ica\d

atria.

vie Ta*/Ta\ov,

<re 8'

dvria Trporepwv

<p0ey^ofj,ai,

OTTOT e/caXetre Trarrjp rov evvofuoTarov

e? epavov <pi\av re
dfioiftata 6eoi<n> Beifrva
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1>YTHIA

120

'Air. y.

*H p,

<o <f)i\oi,

Kar

d^eva^liropov rpiotov

op6av Ke\evBov lo)v roTrpiv- rf p,e ris oW/ios e^a> TT\OOV

40 efta\ev, W9 or' a/farov elva\iav.
Moiera, TO Be reov, el /j,i<r6oio avveOev 7rape%iv
(fxovav virdpyvpov, aXXor' a\\a rapaa'cre/Jiev,

>

77

TGW
ra

'

'Eir.y.

i*vi/ r)

pa<rv8ai<p
V(j>poa-vva re ical S6

/j,ev

7ri(p\eyi.
ev apfAaai Ka\\iviicoi TraXat

e<fov 6oav

66

Trarpl TlvOovi/cy

TO 7e
45

^U

70

tcrva <rvv

re <yv/jivv 67

a a-rpariav

6eodev epaipuv Kakwv,

cpKVTari,.

TTO\IV evpltTKcpv ra pecra (jid<r<rovi <rvv

'
ai<rav TvpavvlS&v

76

so

'Air.

8*.

%vvcu<ri 8' dfi^> dperais rerapai, <j>0ovepoi 8' dfivvovrai

/ Ti9 aKpov e\fov ycrvxa re vepofievos aivav
N
86
&r
4y
v/3piv
6
8' e&yariav
aTreQwyeitF/AeXavos

e6X^r

Ka\\iova Bavdrov * rsij^v yXvicvrdra yeved

evcovvfjiov Kredvcov Kpdriarm %dpiv Tropcov.

& re rbv
60 Sicufiepei

'Ew.

'I<f>iK\eiSav

FioKaov

fdva%

TLo\v&evice<?, vloi 6e<av,

TO fMv Trap* apap eSpaia-i @epdirva<j,

ev8ov 'O\v/A7rou.
TO S' otfceovras
'

v_
i

C\

->^

\x

i*.

eovra, fcal KacrTopO9 ftiav,

vfiirrjrbv
<re re,

10

nVBIONIKAI

IB'

MI A At, AKPATANTINQt
AYAHTH*.

Xrp,
,

'.

Ka\\i<rra ftporeav

T'

o%0ai<; UTTI

iew 'Afcpdyavros evSparov KoXtbvav, w fava,

i\aos ddavdrwv dv&pwv re <rvv tvpeveia
Segat (TT<f>dva)fia roS'
ctvrov re viv

ITaXXa?

e/c

'EXXaSa vitcdvavTa re^va, rav

<f>evpe

Trore

0pa(reiav Topyovcav
'

oy\iov dprjvov StaTrXe^ato-'

Zrp./S'.
II

10 ate \i/36fievov BvcnrevOei avv

Hepcrey? OTTOTC rpirov avvaaev icaa-ijvijTav /^e

i.

STROPHAB.

PYTHIA

i22

XII.

eiva\ia re 5e/n<^> TOUTI re fiotpav aywv.

%roi TO re Gecnrea-iov Qopicoio fiavpaxrev yevos,
\vypov T' epavov IIoXuoY /era Brjtce parpos r efiireBov

r avajKalov

15 Bov\offvvav TO

Kpara

vtip?

Aai^aa?

efifievai.

TOI/ aTro

a\\'

eTret e

^pvaoy

<f>a/jbev

TOUT&)!' <f>i\.ov

avropvrov
av&pa trovwv

av\wv rev^e Trdfjujxovov

EupuaXa? eV Kap7ra\if4av yevvtov

eppva-aro TrapQevos
20 o<f>pa rov

30

fj,e\os,

<rvv evrean fiifji^a-air' epiK\dyicrav

viv evpoi<r' avSpdtri

36

yoov

d\\d

Ke<f>a\av 7ro\\av vofwv,

aya>vtovt

36 XeTTToy biavurbfievov ^d\Kov (tafia ical Bovaxtov,

roi Trapa /caXXt^opp vaioiai TroXet XapiVwi/,
Ka^>f<rt8o9 eV refievei, Triaroi %opevrav fiapTvpes.
i

Be Tt? c(X/8o5 eV dvOpwTroiffiv, dvev icafidrov

46

so

ov <f>averai, etc Se reXeuraaet z/ty ^rot aafj^epov

TO 76 /Aopo-ifiov ov 7rap<j>yicr6v
aXX' Herat
tz/'

yvo>fjuj,<;

de\7rrta (Ba\a>v
TO /46P Baoaei, TO

3' OVTTO).

MEDUSA KONDANTNI.

NOTES

The abbreviations
familiar

such as O.

in the Notes are

all,

or nearly

= Olympian Odes, P. = Pythian

N. r=Nemean, I.=Isthmian.

Once or twice A.

is

all,

or Pindar,

used for the

Codex Ambrosianus, Schol. Germ.=ScholiaGermani, Cod. Perus.

= Codex Perusinus. The Nemean and Isthmian Odes and the
Fragments are cited

for convenience' aake

tion of Christ (Teubner).

according to the edi-

NOTES.
OLYMPIA L
SYRACUSE was founded by a colony of Dorians from Corinth,
nnder the Herakleid Archias, in Ol. 11, 8 (734 B.C.). The first
'

point settled was the island Ortygia (N.

1, 1

ap-irvtv^a a-f^vov

K\tivav "ZvpaKovaav 6ai\os 'Oprvyi'a), with which AchraThe city grew

dina, on the mainland, was afterwards united.
until it embraced in its circuit five districts, each worthy to be
'AX(f)(ov,

called a city

no

but even in the earlier time Pindar's address was

figure of speech, P.

2, 1

^fyaXoTroAte?

&

Svpajcoo-at.

The constitution of Syracuse, originally aristocratic, was changed

into a tyrannis by Gelon, prince of Gela, who reconciled the facAfter Gelon became lord
tions of the city, Ol. 73, 4 (485 B.C.).
of Syracuse, he made it his residence, enlarged it, built up Achradina, added Tyche, and what was afterwards called Neapolis.

All this was not accomplished without high-handed measures,

such as the transplanting of the populations of other cities. Gela

Kamarina was razed to the ground,

and the Kamarinaians transferred in a body to Syracuse (see 0. 4).
Under Gelon's rule Syracuse became the chief city of Sicily, the
tyrant of Syracuse one of the most important personages on Grecian soil. Applied to by the Greeks for aid, when the invasion
of Xerxes was impending, Gelon offered two hundred triremes,
twenty thousand men-at-arms, two thousand cavalry, two thousand archers, two thousand slingers, two thousand light troops,
and provisions for the whole Greek army until the close of the
war, on condition that he should have the command in chief

lost half its inhabitants.

>

lo

In the historical introductions, especial acknowledgments are due

Mezger.

NOTES.

126
(Herod.

7,

158).

Soon

was declined, Gelon was

Theron of Akragas, against

after this offer

called on to help his father-in-law,

the Carthaginians, who had espoused the cause of Terillos of Himera (see 0. 12), and Anaxilas of Rhegion, son-in-law of Terillos.
The great battle of Hhnera, popularly put on the same day as

the battle of Salamis really fought somewhat earlier ended in

the signal defeat of the Carthaginians, who lost one hundred and
on the field. The Carthaginians sued
fifty thousand men dead

which was granted on singularly easy terms; for the

Carthaginians were backed by the Persian empire with its vast
resources. The battle of Salamis had not yet shown the weakness
of the Persian power ; and, in fact, the immediate effect of that
Persia lost little of her prestige
battle has been exaggerated.
until the close of the fifth century, and Persian gold was a potent
element in Greek history far into the fourth.
The consequence of the victory at Himera was a vast accession of power and influence for Gelon. Anaxilas of Rhegion,
and a number of Sicilian cities, recognized his supremacy. But

for peace,

midst of his plans and projects Gelon died of dropsy,

To his brother, Polyzelos, he left the command of the army, the guardianship of his minor son, and the
hand of his widow, daughter of Theron. Hieron, the elder of the
surviving brothers, who had been prince of Gela, succeeded to
the government. Owing to the machinations of Hieron, Polyzelos was forced to take refuge with Theron of Akragas, who was
at once his father-in-law and his son-in-law ; and a war between
Hieron and Theron was imminent, had not a reconciliation been
effected by Simonides, the poet.
Polyzelos was allowed to return to Syracuse, but Hieron was thenceforward sole ruler. In
477 the Epizephyrian Lokrians invoked the help of Hieron
against Anaxilas of Rhegion; the prince sent his brother-inlaw, Chromios (see N. 1 and 9), to Anaxilas, and the lord of Rhegion held his hand. In 474 the inhabitants of Kyme (Cumae)
were hard pressed by the Etruscans. Hieron immediately granted the desired aid, and defeated the Etruscans in a naval engagement oflf Cumae. A helmet with the inscription 'Idpatv 6 Ac(i>o^e*al rol SvpaKocrioi
ytos
TO> At Tvpav drro Kvp.as was found at
Olympia in 1817 (Hicks, No. 15). The year after Ol. 76, 4 (473
Hieron defeated Thrasydaios, son of Theron, and Akragas
B.c.)
and Himera both acknowledged his sway but he granted them
their independence and a democratic constitution.
in the

Ol. 75, 3 (478 B.C.).

OLYMPIA

127

I.

To his success in war Hieron wished to add the heroic honors

paid to the founder of a new city. This new city, Aitna, was
founded, Ol. 76, 1 (476 B.C.), in the territory of Katana, the old
inhabitants having been removed to Leontini. Ten thousand
citizens were imported, half from Syracuse and Gela, the other
The constitution was Doric;
half Peloponnesian immigrants.
son, Deinomenes, and his brother-in-law, Chromios,
were put in charge. Hieron often called himself Alrvdlos (P. 1) ;
Chromios followed his example (N. 1), and the founding of the
"
Aitnaian women" of Aischylos, and
city was celebrated by the
and Hieron's

by Pindar's

first

Pythian.

The court of Hieron was a

charmos was a frequent guest.
des, Pindar were among the

centre of literature and

art.
EpiAischylos, Simonides, Bakchylivisitors.
No Doric prince ever

reached such a height of glory. He was brilliantly successful

games Ol. 73 and 77, with the single horse Ol.
78, with the chariot
Pyth. 26 and 27, with the single horse
Successes
Pyth. 29, with the chariot, and again with mules.
elsewhere are not unlikely. He devised and performed liberal
A special treasury was erected at Olympia for the Carthings.
thaginian booty, and the noble gift which he vowed to the
Olympian Zeus was set up after his death by his son Deinomenes a bronze four-horse chariot and driver, the work of Onatas,
on either side a horse with a boy rider by Ealamis.
As a Doric prince, Hieron has found as little favor with posterity as he did with his Athenian contemporary Themistokles.
A tyrant, he helped the moralists to make the uneasiness of
crowned heads still more uneasy. He became the type of splendid success and of splendid misery for he was tortured by bodat the great

he was surrounded by sycophants and informers,

and lived in an atmosphere of treachery and meanness. Those
who see in Pindar's Hieronic odes sermons levelled at the unfortunate prince will be inclined to despise the greatest ruler of his

ily suffering,

A more humane judgment will recognize high qualities

impaired by the faults that were engendered and exaggerated
by the tyrannis.
Hieron died Ol. 78, 2 (467 B.C.), at Aitna, and upon his death

day.

received heroic honors.

The
01.

first

77 (472

Olympian celebrates the victory gained by Hieron,

with his race-horse Pherenikos. He was then

B.C.),

NOTES.

128
at the height of his

power and

Some put

glory.

the ode four

years earlier, Ol. 76 (476 B.C.).

The theme of the poem is given in v. 7, p.rj8' 'O\vp.nias dyo>va
fapTepov av8da-ofj.fi> and while every Olympian does honor to Olym;

pia, this is the irpoaatirov njAavye's, this is, as Lucian says (Gall. 7),
TO AcaAAioroj/ rS>v qo-p-aTtw airdvT&v. It may have been put first, be-

cause

it

was the most

beautiful

its celebrity to its position, for

but

it

which

owes, in turn, no

it

little

of

was commended by

its

myth as well as by its theme. The chariot-race of Pelops for

Hippodameia was the true beginning of Olympian contests, and
the Pelopion was the heart of Pisa. The Aiolian rhythms are
bright and festal, and glitter as the language glitters. Pindar is
" No better element than
consciously treading a lofty measure.
u
he
no
blaze
than
fire by night, no form
water,"
says,
brighter
of wealth that outdazzles gold, no light of heaven so luminous,

warming, as the sun, which dims the ether into voidness, no

more noble than the Olympian, the source of highest
songs to highest bards, chanting Zeus supreme in the palace of
so

contest

Sicily's chief lord,

who

plucks the

loftiest fruits

of emprise,

who

decked with the sheen of the fairest flower of poesy. For him
the noblest chords must be struck, the sweetest musings of the
poet recalled, and the scene brought back when the steed Victor
is

bore his lord to triumph (vv. 1-22). Forth shines his glory in
the land which Lydian Pelops made his own, for Pelops, the
favorite of the gods, has found his resting-place (v. 93) where
Hieron, favorite of the gods, has won his victory. The fame of
Hieron shines forth (v. 23) the fame of the Olympiads looks forth
94) and the story of Pelops is encircled by a belt of glory."
In his version of the Pelops legend (vv. 25-96), Pindar contradicts the popular account hence the elaborate caveat at the outTo make the myth resplendent as his theme, he must reset.
move the foulness of envious tongues. No cannibal feast was
offered to the gods by Tantalos, none shared by them (v. 52).
Tantalos's sin the giving of the sacred nectar and ambrosia to
his fellows brought ceaseless woe on himself; but his son,
(v.

though sent to earth again, was remembered by Poseidon, to

whom he had been what Ganymede was afterwards to Zeus. The
darkness of the fate of Tantalos ouly heightens the brilliancy of
the fortunes of Lydian Pelops.
The story told, the tone is sensibly lowered. An Olympian
victory is still sunshine for life, and Pindar avers that no prince

OLYMPIA

129

I.

more deserving of what is noble none of more powerful sway

but there is the old moral that
shall be set forth by his hymns
the present good is the highest, and the old restlessness of hope
for a yet sweeter song, and a yet more glorious victory.
And
then, at the last, the poem rises to the height at which it began.
The Muse has her most powerful shaft in keeping for the poet's
;

bow. The king, as king, whatever else others may attain, is at

the summit of human fortune. Look no further. Prayer can
only seek the keeping of this lofty height for king and bard
alike

(w. 97-116).
is an epitome of Pindar's manner

The poem

approach by
overlapping parallels, the dexterous use of foils, implicit imagery.
His moralizing is national. No Greek lets us off from that.
The rhythm is Aiolian (AioAjjiSt fj.o\ira, v. 102), the tune the
rider-tune (j7r7r'<a vop.<a, v. 101). On the reconciliation of this
statement with v. 18, Awpi'av (poppiyya, see the passage.
Of the four triads, the first is taken up with the introduction,
and the preparation of the myth the second and third contain
the myth the fourth connects the myth with the conclusion.
;

2rp.

a'.

1.

"Apwrrov

jih*

variously interpreted.
ytrai (iptarov

tenet

is

/xej>

17

tiSwp

xPW ls

Much

No

v8a>p (Rhet. 1, 7, 14).

involved, as

shown by the

is

cited in antiquity, and

says Aristotle, Sdtv Xe-

wepe'x

profound philosophical
42

parallel passage, O. 3,

KTfdvav 8f XP V<T S olSoifOTarov, KTf. The

poet emphasizes, after the Greek fashion, water as the source and
sustenance of life. The copula e'orf, <rf is rare in P. This first
et

8'

dpicrrfvft

fjitv

v8o>p,

is characteristic of P.'s advance by a series of steps.

"Water," "gold," "sun" are only for the enhancement of the
Olympic games, Much in P. is merely foil. 6 Be The article
is still largely deictic in P.
Notice the rhythm, which is an im"
portant guide. 6 S, but there is another gold a blazing fire
like it loometh
a night fire far above all proud wealth." irilp
is brought into close relation with vvteri by its position.
2. wtcri
The local-temporal dative. Below fv&ptpq. |xrydvopos: P. 10,

sentence

-.

ayavopa likovrov. 3. ypvv Dor. for yrjpvfiv. The inf. in -tv

well authenticated in several Pindaric passages.
5. |U|KT(I)
More vivid than
(Herm.). Look for no other light, now
18

is

that the sun has risen.

double epithets, vv.

gested by

10,

trip WKT'I.

0a\irvrepov .
O. 2, 60. 90.
;
.

59

iptjjxas

Not

F2

4>aew<Jv
6. tv

otiose.

a^p?

P. delights in
<f>acw<$v

There are no

sug-

rivals

NOTES.

130

fiovos SXios ev ovpava, Simonid. fr. 77 (Bgk.). Aldrp is Homerically fern, here and O. 13, 88 : aldepos \lsv%pas dno KoXn-wi' (pfipwv.

Note P.'s peculiarly plastic use of the prepositions. 7.

There is no good reason for denying to P. the socalled short subj., as here and O. 7, 3.
The imper. fut. with pr),
which so many commentators accept here, lias little warrant anywhere. In So. Ai. 572, still cited in some hooks, df)crov<ri depends
on SITUS See note on O. 6, 24. I. 7 (8), 8, Sa/ucoo-o/xetfa was understood by the Schol. as subj., and de'frrm in a generic sense Fr. X.
81'

alOcpos

ai/8dcro(Av

4: OMTI

8(trai is in all likelihood a sul>j.

d^ipaXXereu:
Variously rendered. P.'s usage (see O. 2, 98; 9, 5; 13, 93 al.) indicates a shower of poetic jSeXq or Kr/Xa whirring about the minds of
the bards. So the pavrela in So. O. R. 481 del >VTO. Trepmorarai.
Cf. Eur. H. F. 422 d/*$i/3aXeu/ /Se'Xeo-iv.
9. <ro<|>v
doi8S>v.
They
KeXaSeiv : Favorite word with
are called eVeW reprove?, P. 3, 113.
"
Sound forth," " praise." The inf. in its
P., who has ennobled it.
old final sense. 10. Kp6vov ira8(a): There is always a certain
The adj. is still statelier than the gen.
stateliness in genealogy.
Cf. O. 2, 13 dXX' & Kpovie irai 'Peas. There is good reason for the
See v.
specially common mention of Kronos in the Olympians.
Is i^veov . . . paicaipav: See v. 6.
111.'
Comp. P. 5, 11: reai/
ftrriav, and I. 3 (4), 35
fj.uKai.piii>
e'p^oxrei/ pa.Ka.ipav ecrriav.
Uo^vovs Concord with the involved subject of KeXaSew. The
v. 1. iKoufvois is not to be considered.
Cf. I. 5 (6), 21 :
.

.\

cra^)etrraroi/ rdvd' eVtcrrei^orra va<rov

'Air. a.

12. 0|iicTTiov

5s

Strabo,

Others
1,

4,

6,

"
TroXv/ujXo),

44, 3.

49;

130

13.
;

. .

o-Kairrov: Lit., "staff

of doom,'' "ju-

For position, comp. O. 2,9.

iro\vpdXy =
The Schol. Germ, cite II. 9, 542, in which prjXov is

dicial sceptre."

wo\vKdp7r<a
" fruit."

paivt^tv evXoyiats.

273, puts ot Kapiroi in the first line for Sicily.

Demeter is fid\o<f>6pos, Paus.
rich in flocks."

8pirv: Where we might expect SpeTro/ievoj, P. 1,

The SpeVavoj/ is a woodman's bill, Lycurg. 86.

6, 48.

O. 2, 14: dt6\u>v Kopvtpdv, 7,4: irdyxpvaov icopvtpav

Kopv^xis
14. d-yXatteTai 8^: The change to the finite construction
KTfdvcw.
:

is
brings out the nearer image in bolder relief. Special reason
discernible also in P. 3, 53. When there is no p.ev the change is
15. Iv OWT<J: P. uses ev with plastic vividness.
easier, I. 3 (4), 12.

Comp. N.

3,

32

eV dpfrais yeyriOf, as in

Latin sometimes gaudere

It
to be roughly explained assort roiavra.
is the exclamatory relative from which the causal sense can be
in.

16. ola:

Not

OLYMPIA

131

I.

" Such are the

plays we play." Comp. P. 1, 73 2,
picked out.
. . .
75 3, 18. 17.
4>pf"YY a : A. does not refer to the meHieron is a Doric
tres, as is shown by v. 103, A.lo\r)i8t /xoXn-a.
;

Apov

may well be a Doric instrument. O. 3, 5

does refer to the measure but irt8i\ov is not <f>6ppiy, and at the worst the Aiolic melody may be considered as a
subdivision of the Doric. See Aristot. Pol. 4, 3, where it is said
that some recognize only two appoviai, the Dorian and the PhryHere the aor. might be expected, but the
18. Xd|xpav(c)
gian.
pres. shows that the action is watched. The poet addresses himet TI . . . SK|Kc
This the regular form of
self, his <pi\ov rfrop.
condition in adjurations. Cf. I. 5 (6), 42. 4cpvCicov Name of
Hieron's horse, " Victor." In the form Bepei/iie?? (Macedonian), the
name is familiar. The *. of P. 3 was doubtless grandsire to this
r< KO.I This combination is common in P.
the occurrence
4>.
prince

the <dp/uy|

Aeopi'oj TTC SiXw

varies

much

in various authors.

In P.

it

serves to unite comple-

Here IltVay, the scene, and

ments, both opposites and similars.
make up the sum of the song. x<*pis : Usu. rendered
"
"
"
song," the grace
beauty," charm." Why should it not be
of poetry, as below ? Pindar had pledged himself to sing the
victory ; and, when the steed sped to the goal, the promised
*., Victor,

song made him

of sweetest cares. 19. yXvicvTaTMc

used of the poet's musings. " Brought
me under the empire of sweet musings." 20. irap' 'AX^cy: irapa
in prose, with gen. or dat., is shrivelled into an exclusively per. . .

<f>povTi<riv

feel

the

stir

(ppovridfs is

It is freer and more original in

sonal preposition, like Fr. chez.
"
"
Pindar, although in the domain of Alpheios would err only
The
in suggesting too much.
Scpas
living body, originally
distinct from o-w/ota.
Used plastically as the Lat. corpus se.
:

concrete, personal piyvvvai is common in

Pindar, and must have its rights of contact. Here "brought to
"
"
"
"
Wedded," clasped," embraced," envictory's embrace."
cases.
With
this
will
answer
for
circled,"
many
passage comp.
22. irpoW|u|c

P.

9,

77

'En-, a'.
icXt'os

The

nai vvv (v Ilvdaivi vtv dya&ea

23. linroxxp(iav
24.
v. 93.

Echoed,

KapViu8a

From xPMa
AvBov The gold
:

vi'of

of

rvdoXf t

<rvvf~

v. 1 glitters

in

n^Xoiros aironct^: Emphasizes the scene for

the rich adjective.
the third time, and prepares the transition. 25. TOV The story
26. iirci: "Since" (causal).
often begins with a relative.
:

NOTES.

132

K. possibly to present a contrast to the

of the familiar story (Ov. Met. 6, 407), which P. is at the
pains of denying below. The abl. gen. is used below v. 58. Later
Greek meets poetry here. KA&>0: Klotho, Lachesis, and Atro-

Ka.0o.pov Xc'|Jt]Tos

Xfftrjs

pos, the three fates, are Xo^iai dtai, ace. to Euripides,

I.

T. 206.

depends On KfK.
So the best
28. Qav^ara
(paibipov is explained by f\e<paiTi.
icai irov TI KO.I
MSS. On the omission of eWi, see v. 1.
So
Thuk. 2, 87 ttai TTOV TI KOI cnrtipia. irpoyrov vavp.a^ovvras ecr<j/Xev.
The interpolated MSS. have (pptvas, Christ suggests
<J>OTI,S
(pans cannot be ace. pi., and would not do us much
(ppoviv.
good, if it were. We must connect closely, after the Pindaric
fashion, (pans virep TOV dXadfj \6yov, as one element, put Se&uSaXfivdoi in apposition with it, and make f^airaratvn absofwVot
"
"
mislead "
are misleading."
So icXeTrrei, absol. N. 7,
lute,
23; cf. P. 2, 17. Notice the contrast between (pans, the poetical
story, and \6yos, the prosaic truth
n\>Qos has departed from its
Homeric sense. 29. iroiiciXois The etymology points to embroidery (T) TroiKi\fip,a>v
aTroKpvfat (pdos) and embroidery to falsehood, as we have learned from Fr. broder, whereas &n\ovs 6 pvdos
27. eXe'4>avTi

4>ai8i.(iov

KKa8p.'vov:

i|iov

d>.

f)

i>ii

TT)S

a\r)6fias

<pv.

30. Xdpis: The charm of poetry.

Comp. O.
2r/>. )3'.
where there are three Xapirtr: <rvv yap vp.[iiv TO. re Ttpirva

14, 5,
na\ ra

The rule, present. 31. !pjrev\ei

yXvKf' averai iravra ftporols.
33. o.|i.e'pai 8' ciriXoiiroi . . . o-o<j>toTao-aro The manifestation, aor.
TOI
O. 10 (11), 59 o T' f(\fyx<i>v IJLOVOS aXdSfiuv frf}TVfua> Xpovos.
:

(OTi.

in this position is never otiose.

Often
" In truth it
is."
av8pC Not differentiated from dv

35. IOTI:

f.

So often in poetry. ap.(j>i A favorite preposition in P., esp. with

used in prose. In the sense of this passage irtpi is
more commonly employed even in P. dp<pi, being the narrower,
The effect of
is the more picturesque.
36. vU TavrdLXov, r 8()
:

dat., little

8e after

the vocative

Pindar, and
Cf. O. 6, 12
shows that

is
;

to give pause.

It is not

uncommon

in

877.

used where yap would seem more natural, 8

8,
o-e

is

P. 10, 10 al. o-J . . (fref^ojwu The position

felt as the object of apTrdo-at (v. 41) until
"
is renewed.
when the

15

is

not

apirdcrat is reached,
thee I will utter what

impression

Touching

wars with earlier bards."

37. 6irr(e):
Where the simple ore might have been used. O. 9, 104; P. 8,41
al.
The tendency of the compounds is to crowd out the simple

OLYMPIA
forms.

licoXeo*

Sc. Oeovs

likes to put the preposition

or substantive and attribute.

133

I.

T&V e\ivo(uirTv
P.
I* ?pvov
between attribute and substantive
:

The article is added, as here, P. 2,

rav \nrapav OTTO Qrjftav. TOV is deictic, and fiivoficararov gives
an anticipatory refutation of the yaa-rpipapyia. 38. fpavov: This
word is selected to show the familiar footing of Tantalos. Nor
3

is

iiXav SiiruXov idle.

The

adjective there also

enhance the intimacy of the ajxoipaia Sciirva.

where uses the middle of this familiar verb.

is

intended to

39. irap^xwv

P. no-

40.

'A-yXaorpaivv
An original feminine, " Bright - trident," then a surname; like
"
"
Bright-eyes (Jh. Schmidt). The Greek cares little about possible ambiguity of accusatives before and after an infinitive.
41. iplpy

'Air. ff.

we can only
:

T&V

viv

y\vKvs

and TTO^OS both so little that

not inconsistent with the tra-

P. uses tp-epor

say that his usage

ditional distinction.

33

Of

is

passionate desire tpepor

tp-epo? (<T\tv

is

For

<pvrei)<rai.

used, O.

iro6(Q>

3,

COmp.

t.,
xpvo^ai<riv * v> ITO
6, 16: irodfw a-rpanas 6<pda\p.ov tp.as.
here of the chariot, avd is another Pindaric preposition that is
very little used in prose, even with the ace. 42. pcrapoo-ai De43.
pends on J/xpa), as, in the passage cited above, (pvrdia-ai.

O.

oXXw xpovo), P. 4, 55 XP V<P

eV, 0. 2, 41
depends on rfkOt in its moral sense not simply
to, but/or.
Ganymede, according to Bockl/, was considered by P.
to be the son of Laomedon, Pelops was a contemporary of Laomedon, and so the chronology is saved, if it is worth saving. TWVT*
em xp '5 " For the same service." 46. fiarpC More tender than
Sevrepu) \p6vtp So
45. Zrjvi
iio-Tepw.
:

without

iroXXa (laiofjievoi
npbs fMTpa.
''Despite many a search."
u
4>wTs: (p<as (poet.) is colorless, or
wight." 48. irvpl ^coio-av:
To be closely connected. The Schol. renders vSaros a<^av by
The position of the words shows impatience
v8a>p aKfj.ai(os Yoj/.
:

and horror.

49. jiaxaipa

makes the butchery more

vivid.

Kara

with p,t\T) in apposition to o-e.

50. Tpaire'fcauri T* ap.4>i d. is an adverb in P. 4, 81, and
P. 8, 85. The
rpan-efai were arranged in two rows facing each
other, each guest having a rpoTrefa.
"They divided among
themselves the flesh to the tables on both sides." Son-ara: "The
f^Xij

fnf\fi(rri

rather than rap.ov Kara

fjLf\rj,

last morsels,"

The

finite

*Er.

'.

51. 8ie8<uravro :
implying a cannibalic delicacy.
verbs throughout force attention to the horrid details.

52. airopa: 0. 10 (11), 44; airopov.

The

plur. exagger-

NOTES.

134:
ates, P. 1, 34.

d<fioTajiai
is

y<urrpi\Mpyov

Asyndeton

to be expressed.

is

"Cannibal" approaches the effect.

where repugnance

especially in place

See Dissen, Exc.

II.

53. aicepSeia XA.<ryx v

Gnomic perfect. For the sentiment comp. P. 2, 55. \ayxdvw has

more commonly a person for a subject. Kaic<ry<5pos Dor. for KO:

aXXa yap: ydp gives the reason

"
for the oXXd, as who should say, oAXws 8' %v, but all in vain
for."
The same homely sphere of imagery
Kcn-air^l/ai . . . icipy
" stomach."
as concoquere,
Nor is " brook " far off. So II. 1, 81
55. TJV: See v. 35.

Krjyopovs.

yap rt j(6\ov ye Kal avTrj(j,ap KaraTre^rj. 56. IXcv P. 2, 30

" which in the
57. &v . . . X(6ov : Apposition
ti-aipfTov ?\e poxdov.
ti Trep

form of a stone."

foi iranjp:

We

could dispense with foi or

Yet foi irarrip gives the punisher, avrm \idov the punishment, and the apposition makes it easier, Sv going with Foi and
\i6ov with avrw.
Comp. I. 7 (8), 9 TOV virep ice(pa\as are Tavrdavrai.

trpf^fv apfu Qeos. 58. Kc$aXas paXciv: Abl.

"
expecting," and
gen., which is better than to make fj.fvoii>S>v
the
with
w^>po(rvvos aXarai
{ja\flvTfve<T0at..
mark,
KftpaXas
a. with gen. as Eur. Tro. 640.

\ov \idov Trapd

TIS

59. diroXo|iov=:7rp6s ov OIIK Hern ira\ap,T)<ra(rdai.

Schol.
2rp. y
60. |*Ta rpiuv
Supposed to refer to the three great sinners,
Tityos, Sisyphos, and Ixion. Tityos is mentioned in Od. 11, 576,
.

Tantalos in v. 582, and Sisyphos, M. 593, and Ixion may have

dropped out of the list. In any case, we are to understand with
rpimv, not dv8p>v, but TTOIHOV, which, on the hypothesis mentioned, would refer to the punishments of Tityos, Sisyphos, and
If we analyze the woes of Tantalos, the stone, the hunIxion.
What is the fourth ?
ger, and the thirst, we shall have three.
Is it the /St'os 7i7re8o/iox#o? the thought that nectar and ambrosia
had made him immortal (a(pdirov), or the remembrance of the
nectareous and ambrosial life of the immortals, the " sorrow's
crown of sorrow," or the reflection that his son had been banished
from heaven for his fault (roSvt KU irporfKav) ? As Tantalos is mentioned only for Pelops' sake, the last view gains probability.
,

re here, like -qiie, makes v. and d. a

connecting single words, is chiefly poetic or late.
64. f8c<rav: It is better to admit a tribrach than to accept the
MS. detra-av, or Momrasen's Qtv viv, although we miss an object.
Hartung would read d<p6irovs Qr)Kfv, referring to the Sauces trvfi.i, but the point is the favor shown by the gods to Tantalos.
62. Wicrap afippoo-iav re

whole.

Tt,

OLYMPIA

135

I.

vw is tempting. TI with epdup. \aS4\uv =\f]dfiv. Inferior

MSS. have \a<rtft.( v,makingeA7rfTai referto the future as eATropu does
ois

v.

109; but (\Tropai in the sense of" think,' "suppose" comp.spero

may take the present as it does repeatedly in Homer. II. 9, 40;

Mommsen reads \(\adtp.fv. 65. Trpanicav irpo., "straightvli* . . . fot

The dat. shows how he felt it. 66.
forward)."
67. irpte cudv6(iov . . . (vdv Even in the three
avepuv v. 36.
temporal passages, here, P. 9, 27, and N. 9, 44, npos shows its
18, 309.

.-

"fronting" sense. 68. viv . . . yivtiov: tr^/ia tcad" o\ov KOI

not different from " they bound him hand and foot."
(
"To blackness." Proleptic use, esp. common in tragic poets.
So. Antig. 881; O. C. 1200; Eur. H. F. 641
fi\ ( (pdp<av a-Kareivbv
* here is al69. Iroipiov av<j>p6vTiav -yo-HLOV
(pdos (iriKaXtyav.
most equivalent to " tempting." dvf(pp6vna-(v, " woke to the
:

Love is a (ppovris. Notice that this triad is welded

and moves very fast, with stress on ydpov (v. 69, 80).

desire of."

together,

Oinomaos,
OtVo/taov, v. 76.
y. 70. Hio-aTo . . . irarpte
king of Pisa, had offered his daughter Hippodameia in marriage
to any one who should overcome him in a chariot race.
Fragments of the sculptures representing the dywv of Pelops, from
the eastern pediment of the temple of Zeus, have been unearthed
at Olympia.
It is better to make the whole pas71. a\t94\iev
'\vr.

.-

sage from nia-dra

a-xtdtp-tv explanatory to ydpov than to
make ydpov "bride," in apposition to 'Iinro8dfj.(iav. <TX- "*
win." otos *v Sp4>v(j: Cf. P. 1, 23: V 5p(pvai<riv. A similar scene,
O. 6, 58, where lamos invokes Poseidon by night.
72. airvev:
Loud call to the loud sea. ryirvav, of a cry that is intended
.

" halloo."

to carry

74. irop iro8

On rrapa, with dat, see v. 21.

Regular word to introduce the language of the speaker.

Hence seldom with any other than the finite construction in the
best period. 4>\ta Bcipa: Note the effective position and the
"
"
count
cs x*P lv tAXrim: "Come up to favor
shyness.
cited
in
favor."
Aen.
one's
31
4,
by Dissen, is not
7,
aught
Verg.
75. etirc

so delicate
n-opevo-ov

fuit aut
WAoo-ov

are accidental.
79.

quicquam dulce meum. 76. irefieurov

Neither the three aorists nor the three

tibi
:

78. Kparti

Oinomaos was wont

y.

81.

irAa<rov=cp.

irp6(rp.iov.

to transfix the suitors

IT'S

Cf. v. 22.

from behind.

Ovyarpte: The sense was fairly complete with

structure of the strophe. P. likes this method

Comp. the

NOTES.

130

of welding the parts of the triad, e. g., O. 2, 105: Qr'ipavos. O. 6,

50: irarpos. O. 9, 53: vtcoTtpuv. With the nominative the effect
ia startling.
See P. 11, 22. 6 |*y a?
Xa^pdvci: "Great peril
takes no coward wight." X., according to one Schol.
KaraXa/i"
" takes
"
rts 8e Kiv8v(cf. P. 4, 71
/3ai/et,
inspires
possession of,"
vos upartpois dddpavros Sfja-fv SXots ;)
according to another
" admits
" allows
avaXiuv oi
of," less vigorous.
of,"
SXrai,

4>wra:

So

I. 1,

prolonged
"

ov,

coward

The rhythm calls for a

15: aXXorpiat? ou x ( i)(TIand ava\Kiv is thought over again with (pum.

no

no coward wight." 82. ol<riv Not to be disTO,

So Mommsen after good MSS.
:

sected into Toirrw olaiv.

An

Doric for

r/.

which

must be remembered that KaO^jwvos means more than

it

dvwwjxov

(xdrav

impressive cumulation in

83. ?\|/oi:
It is "sitting idle, useless."
"sitting" in English.
85.
jxarav: "Aimlessly," "and all to no good end."
viroKcurerai Ace. to Schol. =irpoKfi<T(Tai.
"On this I shall take
my stand.'' "This struggle shall be my business." irpa|iv:
88oi
"Achievement," "consummation," not yet colorless.
di8ov More solemn and impressive than the aorist with which

"Nurse."

he began.

86. fweirtv

Bergk writes fjvrjrtv everywhere in P.

has no clear imperfect force in P.
ttpd^faro eases the dat., which P. however uses,

formal imperf, but

ttttpavrois

fVi in

it

Dat. P. 8, 60 N. 8,
as well as the gen., with verbs of contact.
36 Gen. O. 9, 13 P. 3, 29. aYoLXXwv " Honoring," " by way of
;

honoring." N. 5, 43. 87. 8t<j>pov . . . xpvo-cov v. 42. irrepoto-iv

horses of Pelops on the chest of Kypselos were winged, Paua.
TTT. instrumental rather than local.
5, 17, 7.
:

The

2rp.

8'.

88.

IXv

o-vviwov

Commonly

set

down

as a zeug-

"
He overcame Oiuomaos,
ma, yet hardly so to be considered.
and the maid to be his bedfellow." re, consequential. Olvojuiov
89. &T<KC: So the best MSS.
a short in
Piav: /3. not otiose.
rtKf rt, the reading of the inferior MSS., would suggest
Aiolic.

a change of subject, not surprising in Greek, but clearly a metri" Forward in

cal correction.
deeds of valor."
ipcrawri |icp.ara
Not " to deeds of valor," for which there is no warrant, as II. 8,
327, and 22, 326, have eVt. The Schol., however, understands the
passage as eVt^v/iovvrar rf/s dptrfjs KOI ravrris dvr(^op,fvovs, thus
giving /A/xac5Taf the Pindaric construction of a verb of approach,
Zirrtcrdai, Qiyiiv.
'ApfTal<ri fjitp.d\oTas, another reading, is frigid.
P. does not personify d. The Scholiasts give the names of the six,
:

OLYMPIA

137

I.

among whom figure Atreus and Thyestes. Pindar is supposed

not to know the horrors of the house any more than Homer, but
one cannibalic incident was enough for one poem, to say nothing
of the rule ra /caXa rpt^ai f|a>. 90. alpaKovpiats = TOLS rwv vt*.pu>v
A Boeotian word (Schol.). The yearly offering was
ivayicrfjuuri.
the sacrifice of a black ram, Pans. 5, 13, 2.
91. pliuicTai
With V,
:

I.

On

2, 29.

see v. 22.

ft.

92.

ir<Jp<{

icXietfe

The conception

is

93. TV^POV apw|>iiroXov : See O.

that of support (instrumental).
10 (11), 26: dywva
dp\al<a ad/itm irap IleXoTros ftu>pu>v idptdThe tomb of Pelops was near the great altar of Zeus in
(jLov.
the Altis. irapa PWJAU On irapa, see V. 20. ri 8c icXlot . . . Sc'Sopiu
.

Echo of
TriaScoi/

Combine TO ic\(os rav 'OXv/zThe ftp6p.m refers not to the ex-

Xa/i7ret 8e foi K\(os, v. 23.

and

tv 8p6p.ois IlfXoTror.

but to the scene (Jj>a), where not only speed but

shown.
94. W8opK
Perceptual perfect
present.
Comp. oTTWTra, o8a>8a. Glory is an 6<pda\[t,6s. 95. Taxvra iroSur
The two great elements of speed and strength
aicfxai T' Urxvos
are set forth, N. 9, 12 i<r\vos r dv8p>v d/x/XXatr ap/xacrt r y\a(pvHere iro8S>v suggests the dKapavroiroSow irrnrnv autrov (O.
pols.
There is another division, irovot bairdva T, with the same
3, 3).
ploits of Pelops,
is

strength
.

. .

re (O. 5, 15), .the TTOVOS for the feats of bodily

strength (dpaa-virovoi), the Sairdva for the horse-race (8<nrdva ^aiip(cr<u The middle of reciprocal action,
pov i-mrav, I. 3, 47).
as if we had ir68ts ra^fls (piovrai.
Comp. I. 4 (5), 4 KOI yap

complementary

(pi6(ji(va.i

PIOTOV

vdts (V TrovTff

His

licious,"

So

6a\ma<rrai irfXovrai.

has light on both hands.

which we

also extend

beyond

99. &lOXci>v Y' fvcKcv

'AI/T. 8'.

"

life

its

97. Xoiiriv dp-^il

98. ncXir^co-oav

"
:

De-

proper sphere.

The necessary amari

aliquid.

be found in games." Religiose dictum

Then follows a bit of cheerful philosophy. ri 8' aU\
(Dissen).
"
. . .
The highest boon is aye the blessing of the day."
ppoTuv
r6 atei Trapdfj.fpov ((r\6v is not, as one of the old Scholia has it, TO
far as sunshine is to

<a6

napd rols dvdpatnois dyadov. P. emphasupremeness of the day's blessing as it comes. lo-Xdv
A curious Boeotian form everywhere in Pindar. 100. iravrl 0poTWV The reading of the best MSS., as if e (cdcrrw ftporStv or
TIVI ppoT&v.
Comp. also Plat. Legg. 6, 774 c mio-i r>t> V
^* 84 arc^avworai P. passes over to his highest duty
TJ; TrdXft.
i]p.fpav KOI dfitaXe/TTTcBS'

sizes the

and his highest pleasure.

101. lirireij> v6\up
The rider-tune,
TO Kaordpetov (Castor gaudet equis), well suited to the achieve:

NOTES.

138

P. 2, 69 TO Kaordpetov 8* eV AtoX/Seero-i ^opBdit &i16: v Kaoropeitt ^ 'loXaot' (vappoi-ai viv vp-v<a. The Aiolians were the great equestrians of Greece. 103. WiroiOa . . . p.^
inent.

Xv,

Comp.

I. 1,

Verbs of believing incline to the swearing negative p.^. "I am

" I am
confident,"
ready to swear that." 104. afj^orepa Adv.,
:

With Mommsen for ap.a. 105. SeuSaXwariMommsen, an old aor. inf., like de>i>, II. 24, 663.

like dp.<p6repoi>.

l*v

Ace. to

But even

a(i(*e

does not aflfect the sphere of time,

such a verb as irtiroida, may be thrown into
on eXiropcu, P. 1, 43. The compliment of a
comparison with the past is not so great as with the future.
The case O. 2, 102 is different. vjivwv irrvxus " Sinuous songs,"
the in and out of choral song and music and dance.
106. Tawri
. . .
jitpifivaicriv
Depends on eTrLrponos. /icpi/ii/at, as in N. 3, 69
Here God makes the plans
frtftvov dy\aai<ri fj.tpip.vais Hvdiov.
of Hieron his own. pjScTai Might be used absol. " Is full of
watchful thought." Dissen comp. N. 6, 62 Hiropai 8e KOI avrbs
but it would be easy to get an ace. fj.epip.vas out of
fXv /* Array,
the dat., " is meditating the accomplishment of them." Schol.
if this is granted, it

an

as

aorist inf., after

the future. See note

p.r)8(Tai Sc,

(pydfcrai

"With
107. Jrxwv TOVTO KaSos
108. el Si (i*| ro.\\> Xiirot: The origi-

(re VIKTJTTJV.

this for his great concern."

nal wish element is plain in all or nearly all Pindar's ideal conditionals.
Subject of XtVoi is dtos, and XtVot is intr. 109. yXvicu"
"
rlpv Sc. p,fpip.vav, a sweeter care," a sweeter victory." KCV
. . . KXttJciv :
Some of
Kev with fut. inf. here, and only here, in P.
:

the Scholiasts use the aor. in the paraphrase. But it is better

not to change. The construction is due to anacoluthia rather

than to survival.

For <rvv comp. N.

and the older use of Lat. cum.
Combine tmKovpov \6ya>v. The path

110. <rvv SpfwiTi 0o

'ETT. 8'.

8f

10,

a-dtvfi vtKaa-ai,

48

a-vv iro-

cirCxovpov

. .

the path of
song, which will help forward the glory of Hieron, as told in the
Xdyoi by the Xoytot. See P. 1, 94 oiriGo^porov av^^ia 8oar oiov
48dv Xfywv

is

KO.I Xoyiois KOI doi8ols.

The
Siairav fiavvti
path is to be opened by poesy for rhetoric. 111. irap* cvScUXov
. . .
The famous hill at Olympia, on the summit of which
~K.p6vt.av

diroi\oiif.vo)v dv8p5>i>

See O. 5, 17 ; 6, 64 9, 3. The
112. pe'Xo? . . . rpe sunniness of Olympia is emphasized, O. 3, 24.
4t Poetical and musical bolts are familiar. O. 2, 91 9, 5 13,
sacrifices

were offered to Kronos.

96

P.

1,

12

1.

(5), 46.

iXic^

Dissen comb, with

OLYMPIA

139

I.

and comp. 0. 13, 52 nvKvorarov na\ap.ais. So, too, the Schol. It

more vigorous to combine it with rptfat, as Bockh doea.
:

is

"Keeps

in warlike plight."

favorite

word with Sophokles, and

rptyci: "Nurses," "keeps."

T., a
so perhaps ridiculed by Ar.
"
113. lir' aXXouri

Vesp. 110: alyiaXov rptfai.

suggests the various altitudes

it

"

em =

of the great.

in,"

though

xopv+ovrti

"

caps itself." The topmost summit is for kings.

iriirr*iy
114. litjit^Ti: (Ti suggests the temptation; see v. 5.
P. 3, 22 irairraivet TO. noptru. I. 6, 44 rd paicpa S" t"i ns
iropo-iov
irairraivd.
jr., originally of a restless, uneasy search in every direction.
In P. -nairraivt is little, if anything, more than O-KOTTC*.
115. ettj
"Look no further."
Asyndeton in a prayer. The
present is more solemn and less used in prose than ytvoiro. P.
TOVTOV " Thy." Pronoun of
1, 29
aj, Zev, T\V fir] favSdvfiv.
116. 0-0^(9.
the second person. roo-o-aBc: " All my days."
fV<
<r. is
"poetic art." The tone is high enough, for P.
<ro<piq.
so"
r, "as
pairs himself with Hieron by the parallel T
(<ri re ... epi re), but (6vra is part of the prayer, and not an

Heads

itself,"

assertion merely.

OLYMPIA

It

AKRAGAS (Agrigentum) was a daughter of

Gela. Qela was

founded, Ol. 22, 4 (689 B.C.), by a Rhodian colony Akragas more
than a hundred years afterwards, Ol. 49, 4 (581 B.C.). In Ol.
52, 3 (570 B.C.) the notorious Phalaris made himself tyrant of the
city, and, after a rule of sixteen years, was dethroned by Telemachos, the grandfather of Emmenes or Emmenides, who gave his
name to the line, and became the father of Ainesidamos. Under
the sons of Ainesidamos, Theron and Xenokrates, the name of the
Emmenidai was brought to the height of its glory, and an alliance
formed with the ruling house of Syracuse. Daroareta, the daughter of Theron, married first Gelon, and, upon his death, Polyzelos,
his brother. Theron married a daughter of Polyzelos, and, finally,
Hieron married a daughter of Xenokrates.
The Emmenidai belonged to the ancient race of the Aigeidai,
to which Pindar traced his origin, and claimed descent from
Kadmos, through Polyneikes, who was the father of Thersandros by Argeia, daughter of Adrastos. Evidently a roving, and
doubtless a quarrelsome, race, the descendants of Thersandros
;

went successively to Sparta, to Thera, to Rhodes, and finally to

Akragas. Such was the ancestry of Theron, who made himself master of Akragas by a trick, which he is said to have
redeemed by a just, mild, and beneficent reign. Under his rule
Akragas reached its highest eminence, and Theron's sway extended to the neighborhood of Himera and the Tyrrhenian sea.
When he drove out Terillos, tyrant of Himera, and seized his
throne, Terillos applied to his son-in-law, Anaxilas of Rhegion,
for help, who, in his turn, invoked the aid of the Carthaginians.
Thereupon Theron summoned to his assistance his son-in-law,
Gelon, of Syracuse, and in the famous battle of Himera the
Sicilian princes

gained a brilliant victory.

(See Introd. to Ol.

1.)

The enormous booty was spent on the adornment of Syracuse

and Akragas. Akragas became one of the most beautiful cities

OLYMPIA

II.

141

of the worfa, and the ruins of Girgenti are still among the most
imposing remains of antiquity. A few years after the battle of
flimera, Gelon died, Ol. 75, 3 (478 B.C.), and was succeeded by
his brother Hieron in the rule of Syracuse. To the other brother,
Polyzelos, were assigned the command of the army and the hand
of Damareta, daughter of Theron, widow of Gelon, with the
guardianship of Gelon's son; but the two brothers had not been
on the best terms before, and Hieron took measures to get rid
of Polyzelos, who was a popular prince.
Polyzelos took refuge
with Theron, who bad married his daughter, and who in consequence of this double tie refused to give him up to Hieron.

The Himeraians, oppressed by Theron's son Thrasydaios, made

propositions to Hieron two cousins of Theron, Kapys and Hip;

pokrates, joined his enemies, and the armies of Hieron and Theron
faced each other on the banks of the Gela. Thanks, however, to

the good offices of the poet Simonides, peace was made; Polyzelos was suffered to return, and Hieron married the daughter of

Xenokrates, brother of Theron. The rebellious spirits in Himera

were quelled, and our just, mild, and beneficent prince, wlio was
elevated to the rank of a hero after his death, so thinned the
ranks of the citizens by executions that it was necessary to fill

them up by
put to

flight,

foreigners.
Kapys
Theron sat firmly

and Hippokrates having been

on his throne again, and, after

putting to death all MB enemies, had the great satisfaction of

gaining an Olympian victory, Ol. 76 (476 B.C.), which Pindar
celebrates in this ode and the following.
Theron died Ol. 76, 4 Xenokrates, his brother, who won two
of the victories celebrated by Pindar (P. 6 and I. 2), died either
before him or soon after.
Thrasydaios, his son and successor,
whose cruelty had roused the Himeraians to revolt, chastised the
Agrigentines with scorpions, and attacked Hieron with 20,000
mercenaries. After his defeat, Akragas and Himera rose against
him, and he fled to Megara, where he died, and the revolted
cities became democracies.
Thrasybulus, the son of Xenokrates,
continued to live in Akragas, but the memory of Thrasydaios
was a stench in the nostrils of the Himeraians; hence their
;

gratitude to Ztvs 'EXev&rpios and 2o>reipa Tv^a for having delivered them from such a monster (0. 12).

In the opening of the second Olympian, Pindar himself points

out the threefold cord that runs through the ode, and recent

NOTES.
commentators have found triads everywhere. It is best to limit
ourselves to the poet's own lines. When Pindar asks, "What
god, what hero, what man shall we celebrate ?" he means to celebrate all three, and god, hero, and man recur throughout the
god helping, the hero toiling, the man achieving. God is the
The
disposer, the hero the leader, and the man the follower.
man, the Olympian victor, must walk in the footsteps of the
greater victor, must endure hardness as the hero endured hardness, in order that he may have a reward, as the hero had his reward, by the favor of God. This is a poem for one who stands
on the solemn verge beyond which lies immortal, heroic life.
But we must not read a funeral sermon into it, and we must notice how the poet counteracts the grave tone of the poem by the
final herald cry, in which he magnifies his own office and champions the old king.
Hymns, lords of the lyre, what god, what hero, what man shall
we sound forth ? Pisa belongs to Zeus (6* 6s ), Olympia was
stablished by Herakles (rjpats), Theron (avfip) hath won the great
four-horse chariot race. His sires (rjpafs) founded Akragas Zeus
(6f6s) send the future glorious as the past has been (vv. 1-17).
Done cannot be made undone. The past was toilsome and bitter,
but forgetfulness comes with bliss, and suffering expires in joyance. So in the line of Theron himself, the daughters of Kadmos
(fjpuvai, Tjolai), Semele, Ino, suffering once, as the founders of
:

Akragas toiled once, are now glorified. Yet this light was
quenched in deeper gloom. After Semele, after Ino, comes the
rayless darkness of Oidipus, so dark that even his name is
shrouded. Polyneikes fell, but Thersandros was left, and after
him came Theron (av^p), and Theron's noble house, with its noble victories (vv. 17-57).
But this is not all. Earthly bliss is not
everything. There is another world, and the poet sets its judgment-seat, unfolds the happiness of the blessed, and introduces
into the harmony of the blissful abode a marvellous discord
of the damned. In that land we hear of Kronos and of Rhea
Of men there
(0eof), Peleus, and Kadmos, and Achilles (fjptafs).
is expressive silence (vv. 58-91).
Theron is old, and the poet, instead of working out his triad mechanically, vindicates the reserve of his art.
He has arrows enough in his quiver he has
power enough in his pinion. He can shoot, he can fly, whithersoever he will and now, that we have left that other world, and
have come back to this realm of Zeus, he bends his bow, he
;

OLYMPIA

II.

143

Now he can praise Theron with

stoops his flight, to Akragas.
all the solemnity hut without the gloom of an epitaph, and the
last words fall like a benediction on the gracious king (vv. 92110).

There is no myth proper. The canvas is covered by the prefiguration-picture of the house of Kadmos and the vision of the

world beyond.

Innocent suffering is recompensed by deep hapby eternal reward. Theron's achievements

have the earnest of an immortal future. Time cannot express
his deeds of kindness.
The rhythms are Paionian, manly, vigorous, triumphant, but
Bakcheiac strains seem to have been introduced with the same
effect as tin: belts of darkness which chequer the poem.
Of the five triads, the first opens the theme, the last concludes
it
the second triad deals with the mythic past the third returns to Theron, and connects the second with the fourth, which
is taken up with the world beyond.
piness, heroic toil

2rp.

Originally song dominated instruMusic was " married to immortal verse," as the
Pratinas ap. Athen. 14, 617 D. makes song
to the man.
1.

a'.

'Ava|i^ip|xiyys

mental music.

woman

the queen

rav doidav KarearatTf Hifpls /SaeriXf lav o 8' avXos vtrr*In P. 1 init. the <pop/j.iy
irrrrjfKTas.

pov xopeveVa) KOI yap ftrff

gives the signal, but there
riva. 6c<5v, riv' tjpuo, rivet 8'

no

is

avSpa

difference in the relation.

2.
Imitated by Hor. Od. 1, 12 quern
tibia sumis celebrare, Clio,
quern

virum out keroa lyra vel acri

deum? Horace follows the artificial climactic arrangement,
which brings him up to
Augustus. So Isok. Euag. 39 ov8tls
ovrt dvrjrbs ovff T)fj.i6fos OVT ada.va.Tos.
Antiphon (1, 27) gives US
Pindar's order ovrt fftovs ovff rjpatas OVT' dv6pa>7rovs ala^wddo-a
ovoe Bflo-aa-a.
The triplet here announced runs through the
poem. To Zeus (A) belongs the place (a), to Herakles (B) the
festival (b), to Theron (C) the prize (c), and the order is
\

ft

(Ilura)

A
A
C

(dtov)

(Aid?)

('OXv/ii7rta8a)

B
B

(i7po>a)

(avBpa)

('HpajcXt'ijf)

(Qfjpova) C (TfTpaopias)

with a subtle variation of case.

See O. 1, 9.
KcXoSTJo-ofwv
Whether we have subj. or fut. here it is impossible to tell, noi
does it matter. 3. 'OXvuiuoSa
'HpaicX^s See O. 10 (11), 56,
:

for the story.

|

4. aicprfOiva:

a* po & tv a

Comp.

8if\e>v (6v(

icat

O. 10 (11), 62: TOV woXt'/ioto

irfvrafTrjpid

tcr-raatv ioprav.

NOTES.

144:

N. 7, 41. 6. yry WVTl T&>v " We must proclaim

can
be
heard." The post-Homeric -i-eoy forms are
so far as voice
not common in lyric poetry. omv So Hermann, as ace. of extent
to SIKUIOV. Others OTTI. Most of the MSS. have 6iri, glossed by 8ta
Uflu. aKpodivia, as in

and

(JHavijs \ap,Trpds,

ovra KOTO,

have
T>V ^tvcav.

all

rf/v <pi\iav

<?

vov,

which

oiris

interpreted as

is

as a masc. subst.

=6

Si'/caioj/

oTTtjJo-

86 I. 3 [4], 5) would not be unwelcome to me, " a

of guests." So \drpis
6 Xarpfvav and a-ivis
6
respecter
just
{^vwv Supposed to have reference
a-ivofj-evos, besides others in -is.
to Polyzelos, the fugitive brother of Hieron.
7. epewrji' 'AKpoyavSo Athens,
TOS The reference is to the great day of Himera.
for her share in the Persian war, is called (fr. IV. 4, 2) 'EXXaSo?
The compliment is heightened by the well - known
(pfia-fjM.
Notice the auspi8. cvwvvjtwv . . . irare'pwv
strength of Akragas.
cious beginning of the last lines in the four stanzas v. 8, eicavv/KOV, v. 16, tv<ppa>v, v. 38, tvOvpiav, and, like a distant echo, v. 104,
Continuation of the figure in epewr/ia.
ip9iiroXiv
(vtpyfTav.
This raising of the city to its height is supposed to refer to the
adornment of Akragas with great temples and other magnificent
fievos (cf. P. 4,

public buildings.
9. KajirfvTcs ot: This position of the relative is not so
'AI/T. a.
harsh as in Latin, on account of the stronger demonstrative element of the Greek relative. So v. 25 "-naQov at /aeyaAa. 6vp3
Od. 1, 4 : TroXXa 8' o y ev TTOKTO) irddtv aX-yea ov KOTO, dvpov. 10.
All cities were dedicated to some deity, but Akragas espeUp<iv
cially, having been given to Persephone by Zeus, ds dvaKaXvTrrrjpia.
:

"

"

Got (of conquest). So P. 1

coxov :
Preller, Gr. Myth. 1, 485.
65.
The ingressiveness of eo-^ov is due to the meaning of the
,

verb.

the

otKTjjio irorap-ov

full adj. is

Comp. P. 6,
name as the

OIKJJ/LMI Trora/uoj/.

more common than the

:

irora^ia 'A.Kpdyaim.

In such combinations

fossilized adj. or genitive.

The river bore the same

Comp. further Eur. Med. 846 iepow iroTap.5>v

Theogn. 785 Evpwra 8ovaKorp6(f)ov dy\aov aorv, and O.
13, 61, where Corinth is called acrru Ueipdvas.
10, 11. ZuccXCa? . .
d<J>9a\p.<5s
Comp. O. 6, 16 TTO&'W orpaTias o<p$aX/i6i/ ep.as. Athens
and Sparta were the two eyes of Greece. See Leptines ap. Aris:

city.

TroXis,

tot.

Rhet.

3, 10, 7,

11. alwv
fycirc

"
Athens, the eye of Greece."
followed as it was allotted."

whence Milton's

p.6peri[w>s

"Time

In innumerable passages

as the attendants of men.

&

os are represented
ala>v, xp vos
This personification is easier to the
>

OLYMPIA

H.

145

Greek than it is to us, and must be looked for. See O. 6, 56.

wXovnJv T Kai x*P lv Notice the close connection of " wealth and
honor." x- * s tne gl ry l en t by poesy, and "wealth and poesy"
would represent the material and the spiritual elements of hapOn xP lf see O- 1> 18- 30. 12. Yvrjo-iais eir' apcrats In
piness.
"
prose we should consider eVi on account of." Here it is more
"Wealth
and
plastic.
poesy crown their native gifts." See O.
:

>

13.
Ko<rp.ov fVt orf<pai>6>, and comp. note on P. 5, 124.
Kpovie irat Teas Much more vigorous than & iral Kpovov re KO.I
'Was, though we must not forget dialectic preferences for the
forms in -ior.
Rhea is mentioned again with Kronos, v. 85:

11 (10), 13

6 irdvratv 'Ptas inrfprarov c^oiVa? dpovov,

iroo-is

and Zeus

called

is

XI. 5. For this Kronos element, see 0. 1, 10. P.

himself was a servant of Rhea (Magna Mater). The special
allusions detected by the commentators to Theron's personal
nalt 'Ptas,

fr.

Here
?8os 'OXvjMrov
history are due to fanciful combinations.
again 'OXv/iTrou is
Trordpiov. The triplet
'oXv/wtoj/, as Trora/xoO
here reminds one of the triplet in the first strophe, and by as:

Herakles (O. 6, 69), and iropov T 'AA1, 20: Trap' 'AXcpfw <rvro Sf/xar), we
14. inipov r 'AX^cov
So, 0. 10 (11),
53 " The watercourse of the Alpheios." So-called gen. of apposiold "warming," "dissolv15. iavOeis
tion.
cv(ppav6fis, but the
See P. 1,11.
16.
ing," "melting" sense is not wholly lost.
There is no o-^jj/ia naff
cr4>io-iv depends on Kofjucrov \onru ytvei.
oXoj/ Kai p.fpos for the dat.
For the construction, comp. O. 8, 83,
and P. 1, 7 Eur. Bacch. 335 tva Sony Qtbv Ttntlv rip.lv rt np.fi
"
navri ru yivti Trapfj.
KOfiio-ov, like our
convey," always consigning diOXcav

icopvfpdv to

Theron (comp. O.
should have the same order.
<ptov to

notes " care," " safety."

r^Xos Familiar commonplace. The meancomplete without Zpywv rAo?, so that these two
words come in as a reinforcement. " When fully consummated."
diroiTjTov: We should expect airpaxrov like Lat.factum infectum, but diroir/Tov embraces arrpaKrov. 20. XdOa: N. 10, 24 vtudP. 1, 46 d yap 6 iras
a-ais dls fffxtv Qfalos &vo-<p6pa>v \d6av iroixov.
'ETT. a'.

ing

17.

TWV

is essentially

o-vv
irorpnj) OTIV cvSatp.ovi
Xpovos Kap.dr(i)v fTTi\acriv Trapda^ot.
" Must
"
come."
Cannot
semi-personifies n6rp.os.
Y^VOIT' av
fail to come."
21. !<rXwv
See O.
eV^Xwj', itself a poetic word.
vn-b x<
rwv VTTO, with the genitive of things,
2, 69.
1, 99
:

W"

keep? the personification alive in prose.

But the "under"

NOTES.

146

element of viro is felt in P., though, of course, it is more evident with the dat., " Under the weight of."
x a PM- is echoed
"
in v. 109 (Mezger).
22. iraXfry |<OTOV 8anur6e'v
Quell'd in spite's
despite." The irijpa resists, but resists in vain.
naMyiurrov is
adversative, not attributive merely.
:

23. W||n): So the Ambrosianus and the Schol.

2rp. ft.
Otherwise 7^/17177 might stand. The durative tenses of TTf/iTreti/
are often used where we should expect the complexive (or aoris"
detachment " as our
TT. has not the same notion of
tic) tenses.

" send."

24. avcicas

v. is

vov.

predicative.

Ar. Vesp. 18

wjnqXcSv:

The

aveKas fs rbv oiipa-

figure is that of a wheel.

fircrai:

"Sorts with," "suits," dp/idfei, Schol. cvdpovois: Elsewhere of

goddesses only, P. 9, 65 N. 3, 83 I. 2, 5. 'OfirjpiKos fiJAot, says
a Scholiast. Of. II. 8, 565 evdpovov 'Ho> ftipvov, al. 25. KdBpxno
Kovpais
Semele, Ino, Autonoe, Agaue, were all in trouble. P.
liraOovat: See v. 8.
selects those who emerge.
Ino, pursued
by her mad husband, leaped into the sea and became a goddess,
Leukothea. Semele, killed by lightning because she wished to
see her celestial lover, Zeus, in full array, was afterwards reWv9o 8c irirvei An intercalated received up into heaven.
flection, and not a part of the narrative, as HiriTVfv would make
;

it.

{Jopv

26.
Position as in TraXiyKorov Sa/xao-^eV, V. 22.
" Before the face of
mightier blessings."

o-rfvwv irpis a-y.

jcpecr-

27,

The instrumental " by " is more poetic than

The tenderness of Semele is brought out
by the womanly ravWOcipa. 29. IlaXXds The Scholiasts call at28.

Ppopw

Kcpavvov
the locative " mid."

tention to the significant omission of Hera ; the specific mention

of Pallas may be explained in half a dozen ways. She was one

of the guardian deities of Akragas, a close sympathizer with her

The triad here is not to be emphasized. 30. irais 6 KHT<ro<j><5pos
Dionysos. Cf. fr. IV. 3, 9 TOP Kto-o-oSeVai/ 6t 6v.

father.

'Ayr. ft.

3Xr).

31.

iv xal 3a\acrcrqi

Here

*cai

belongs to \fyovri

v. 13: & Kpovie iral

are the daughters of Nereus and the sea (^
Nereus is " water" (mod. Gr. vepo), as his spouse is Doris

(Bossier).
'Peas.

32. xopauri Nijptjos aXiais

Comp.

The Nereids

the sea being a symbol of riches (?<mv #oAa<rcra, ris 8t vw KOThe expresPIOTOV a<)>0iTov . . . TOV 8Xov ap^n \p6vov
;).

Taor/3Vei

sion seems redundant, unless

the enjoyment of

life,

and

we remember

that piorov expresses

not the mere duration (xpovos).

OLYMPIA

n.

. .
xp^vov Comp. 6 irds xp vos P- 1> 46. On dp.<pi see
O.l,97, where the "both" signification is plainer. As ntpi w.
" around "
" around "
ace. may mean
(without) and
(within), so
be
"about"
and
"about"
(without)
(within), and so
dp<pi may
be loosely used for eV. Pporwv ye However it may stand with

33. TOV SXov

>

impas Oavdrov The ddvaros is

35. ov8* qrvx u lov aH^P av > KTf.
Tt'Aor.

high and mighty heroines.

34.

the ndpas. Cf. V. 19 epytav

Instead of a mechanical re'Ao? apt pas to balance Trdpas davdrov,
instead of a mechanical onoff to/if 0a to balance on-ore reXf vrdP. varies the structure " Surely in the case of mortals a
a-ofjifv,
:

certain goal of death is in no wise fixed, nor [is it fixed] when

we shall bring one day, child of a single sun (spanned though it

be but by a single sun), with unfretted good to its end in peace."

The position removes all harshness. /3porS>v at the head of the
sentence

is

only semi-dependent,

Tf\t vrda-ofjif v

from the apposition.

man-

rjo-vxipov hpfpav, in like

ner, allows us to wait for its regimen.

sonification may have faded somewhat,

atXiov

iraiS*

The

per-

but the mind dissociates

38. *J?pav

Gnomic.

In P. Moira is above the gods, but in

" She who."
"
Mainirarpwiov, KT{
tains as an heirloom [=from sire to son] this fair fate of theirs."
40. TwvBe: As usu. of the victor's house, the Emmenidai.
41.
lirC TI . . . irfjn( a )
The calamity is gently touched. The name
of Oidipus is not even mentioned.
Where P. does mention
the hero, it is to honor him, P. 4, 263. iraXivrpaireXov
"Re'ETT. ft'.

39.

Molp(a)

harmony with them.

TC

Pendant to

verse."

"

iraXiyKorov

8ap.ao-6(v, v. 22.

42. *|

otnrcp:

Kara poipav avroJ yevoptvos. 43. crvvavOn his way from the Delphic oracle, where Apollo had
frfpcvo?
told him that he would be the murderer of his father that begot
him ( So. O. R. 793 ). XP1!
waXatyaTov WXco-aev P. ignores
Since."

fiopijios ul<5s=r6

the

part as recorded

first

by

So. O. R. 791

a>s

wrpl

p,fv

xP f "l M f

She saw,
45. Alei" 'Epivvs
o|e'o>s /3At irov<ra, Schol.
2rp. y.
while Oidipus was blind. So. Ai. 835 KO\> 8' dpvyovs ras dd.
:

Tf

napdfvovs,

'Epivvs

dft

ravvrroftas.

with the
forgotten

opcotrar trdvra rdv

46. <ruv a\\a\o4>oviqi

8'

fiporois
:

nddrj,

(rtfjivas

The comitative

trvv

of the simple instrumental dat., which has

comitative origin. Cf. P. 12, 21
<rvv
o^pa

dat., instead
its

"

>

(jLi(jLr)<TaiT

piK\dyKTav yoov.

y^vos

api]iov

His fighting

NOTES.

148

47. 0c'p<rav8pos
stock," his sons, the spear-side of his house.
The son of Polyneikes and his wife Argeia, daughter of Adrastos.
:

Iv |xdx<us

49. OaXos

iroXe'|*ov

He was

68

Cf. O. 6,

slain

by Telephos before Troy.

6aXos 'AA/cat'Sav.
Aigialeus, the only son of Adrastos, had fallen before
Thebes, so that Thersandros became the avenger of the family in
the war of the Epigonoi.
50.
(So Bockh with the Schol.)
aparyrfv

'HpaxXtTjs o-fp.vbv

. . .

cnrepfxaTos

piav

The MSS. have

"
:

e^ovrt,

Seed root," origin.

CXOVTO

which some Scholiasts take

So Aristarchos.
as e^ovo-t, while

others note the change from dat. (e^om) to ace. (TOV Alvrjo-ibdfiov), a change which, however natural from substantive to participle, is

not natural from participle to substantive.

Xvpav TC

Blended

'Air.

"

54.

y.

in v. 1

-ye'pas

52. fuX6*v

dvai<f)6piiiyyfs vpvoi.

Prize."

6|uSieXapov

Likewise victo-

The brother was Xenokrates.

Comp. P. 6 and I. 2.
"
Koivai
Who give and grace victories.
Impartial." Xdpires
avOca TeOpCim-wv
The
See O. 6, 76
5 (end)
N. 10, 38.

rious.

chariots are wreathed with the flowers they have gained.

See
P. 9, 133
TToXXa p.fv Kflvoi SIKOV
<pv\\' firi KOI orecpai/ous.
:

SvwScKoSprfpcov

Hence O.

nxivz=T6

Chariots had to

make twelve courses.

8a>8fKdyvafnrrov reppa, and O. 6, 75.

N. 1,10: earn 8' ev fvrv^/a
viKTytrat, Schol.

3,

33

58. dywyias
anpov.
like tv(f>p6vTj, d<pp6vT)
:

<rvvav trapaXvei.

The bad

sense

d<ppo<rvvr).

is late.

The

best

Cf. P. 5, 33.
56. TO 8i

Trav8oias

8v<r<|>povav

Formed

MSS. have

8vo-<ppo-

glossed by ddvpia. This is the recurthe balance of good and bad. 58. 6 }i*v

8v<r(p. is

rent thought of the ode

a faded oath, by way of confirmation.
Often used
/i.,
to meet objections.
aperais SeSaiSaX^vos See 0. 13 for a poetic
lesson on the necessity of something more than wealth.
Cf. P.

irXovros

5, 1

dvdyr)

6 TrXourof (vpva-dfvfis, orav rts opera KeKpap.fi>ov KaOapa airrov

" This
59. TWV TC ical TWV
and that."
Tro\v(piXov eVe'rav.
:

Not "good and bad," but "indefinite blessings." So, in prose,

60. (3a0cuiv vire'xwv (UpiTOV KOI TOV, " this man and that man."
Ace. to the majority of interpreters this means
ftvav d-ypoTcpav
:

"

"

rousing a deep and eager yearning for achievement," putting

into the heart of man a deep and eager mood."
So the Schol.
:

<rvv(TT)v 6^o)i/ TTJV (ppovTt8a Trpos

TO dypevew TO dyadd.

dypoTtpos

is

used of the Centaur, P. 3, 4 dyporepa of Kyrene, P. 9, 6. But

lions are ayporepoi, N. 3, 46, and as ntpipva leans in P. to the bad,
and vnixw occurs nowhere else in P., diversity of opinion may
;

OLYMPIA
"

be pardoned,
"

vnixt iv,

149

II.

sustain," is the other side of itarfxav,

side appears, v. 21
fVXwi/
virb

keep down," and that other

^apfidrmv Trrjfia 6vacrKfi TraXlyKorov 8afj.acrdev. There the monster

is crushed, here the high (deep) load of carking care is shoulWealth is an Atlas.
dered.
\

'

The shifting of the imagery

by the beginning of the epode. dpir)\os
api8rj\os,
an Homeric word. 62. <^YY* is used of the sun, the moon, or
any great or conspicuous light. el 81: The passage has an enormous literature to itself. In despair, I have kept the reading
of the MSS., with the interpretation " If, in truth, when one
hath it (yiv
8e
irXovrov) he knows (of) the future that," etc.
in P. is often not far from 817.
This would make the sentence
an after-thought. Bockh's 1 1 ye, which is simple, is not lyrical
(Mommsen). fZ 8 and iv bt are not convincing conjectures.
tirrf has been suggested.
Bergk considers oi8ei to have been
used once by brachylogy instead of twice, and punctuates ei Se
" If au one t na * hath it
vtv (x u>v rif
^ ev T
"'
knows, he
7
(Theron) knows." In that case, Theron would have been mentioned.
Mezger makes I TIS olfav
avayna the protasis, and
"ETT.

is

61. owrrfjp dpi^Xos, KT(.

facilitated

M^

>

the apodosis, or rather the apparent apodosis,

the real apodosis being some verb of ascertainment understood.
See my Lat. Gr. a 601.
"If one knows
(why, then, he must
know that)
the good," etc. This makes Se apodotic. See O.
3, 43. It would be better to leave the first sentence frankly without an apodosis. 63. 8av<5vTwv The sins committed in the world
below are punished here oh earth. Earth and Hades are mutual
hells.
P.'s view of the yonder world, as set forth in this passage,
may be supplemented by the fragments of the Gprfvoi. P. believes
in the continued existence of the soul after death, in transmiicrais 8(

rvpa-iv

gration, in retribution, in eternal blessedness. Immediately after

death the soul is judged and sent to join the ranks of the pious

Good

souls dwell with Pluton and Persephone

and happiness, the bad must endure anguish
punishment and purification. If they do not
mend, they are sent back to earth, and after death come again
before the inexorable judgment-seat. Those who are purified
return to earth in the ninth year, and are made kings, heroes,

or of the wicked.

in perpetual light
past beholding for

When a
Bages.
transition stages,

man

has maintained himself in each of these

all wrong, he becomes

and has kept pure from

NOTES.

150

a hero, and dwells forever in the islands of the blessed.

"

(After

airoXapvoi: Of. O.
Mezger.) avrltt
Straight," (vd(o>s, Schol.
64. erurav The aor. disposes of Rauchen1, 59: aTraXapov ftiov.
Btein's avris
65. Kara ^as
Kara
rq&t Aios apx4 On earth.
with gen. in P. only here TIS Dread indefiniteness. 66. \o-yov
"
4>pacrais
Rendering his sentence." <ppddv, of deliberate, careful, clear speech,
\6yos is used of an oracle, P. 4, 59.
:

.-

'

.-

2rp.

8'.

67, 68. wrais Si vvKT<ronv alei,

ttrais 8' afiepais

I follow

Mommsen. The best MSS. have foots 8' eV <fyi. Various changes
for v_x ^ in v.
have been made to save the uniformity and avoid
68. So, v. 67 : ia-ov fit, v. 68 "ura 8' tv d/x., which J. H. H. Schmidt
follows. Equal nights and equal days may be equal to each other
(equinoctial) or equal to ours ; may be equal in length or equal in
"
"
character.
Equal to each other in character seems to be the
" The
safest interpretation.
night shineth as the day ; the darkness and the light are both alike." To some the passage means
:

that the blessed have the same length of day and night that we do,
but their lives are freer from toil. This interpretation is favored

which shows that the standard of comparison is

69.
though Dissen makes it refer to the wicked.
S&ovTai It is a boon. 8epKovrai, the reading of the mass of our
MSS., is unmetrical, and not over-clear. ov \86va The position
by

dirovftrrfpov,

earthly

life,
:

of the negative in P.

by ov8t
\fpa\v

is

irovriov vftap.

especially free
*v

*K4

here

So, P. 2, 8

Local

"Strength;" as

more

vivid

aic/ia TroSSi/, I.

to be justified
:

ayavaiaiv *v

N. 1, 52 tv x e P'
than instrumental.

iroiKi\aviois eddfj.ao'a'e TTO>\OVS.

$>d(ryavov.

it is

(8), 37, is

fivdcrcrwv

"speed."

aic|x$:

71. iceuvov

"

For the sake of unsatisfying food," as mortals do.

This use of Trapa, " along," " by way of," and so " by reason of,"
" for the sake
of," is solitary in P., but becomes common in the
So trap o. ripifois 8<Sv: At the court of Pluton
later time.
and Persephone. 72. rxaipov When they were on earth. evopitiais: Ps. 24, 3: Who shall stand in His holy place? He that
hath clean hands and a pure heart who hath not lifted up his
soul unto vanity, nor sworn deceitfully.
74. rol
O Hanoi
irapa Siavrav

&KXCOVTI

= o^eovcrt

'Avr. X.

:=:

&=

'i

v<pi(TTavTai KOI /3a<rrabti(rti/ (Schol.).

75. lTJX(iarav

"Persevered."

iarpls

would naturally mean six times. eVrpiV may mean

The soul descends to Hades, then returns to
three times in all.
rpis (KaTJpwdi

OLYMPIA

151

II.

77. JfreiXav:
earth, then descends again for a final probation.
Aios 68<Sv The king's highway (mystic).
Act. only here in P.
Not " along," as in prose, but " to the neighirapa KptJvov -n5p<riv
borhood of," as if rrapa Kpovov, " to the court of Kronos," who pre:

79. Hv9t\uL
Dor.
78. vowos
sides over the happy isles.
j/^o-ouf.
5.
So I. 1, 20: (pid\ai(ri xpv<rov. Cf. P. 1, 6 4,
Xpwrov
^pvora.
71. 240; N. 5, 54; I. 7 (8), 67.
80. ra jxiv x p<r50v . . . vSwp 8'
aXXa Chiasm. The world below is a brilliant repetition of the
world above. The prizes are of gold
gold instead of olive
and laurel. In vdwp, Dissen sees an allusion to the water-parsley
of the Isthmian games. 82. rrc<|>avois I have given what seems
to be the best MS. reading. Kt(paXds is used in a gloss to explain
<rrf>ca>ois, as or. is not applicable to x f P aSi oppoi being used for
neck and breast, arf(pavoi for heads. Bergk suggests Spp.ois (
(= in Lokrian inscriptions) rS>v x*P* s dvair\(Kovrt KOI arf<pdvois
and (rr($>avois being Aeolic accusatives.
:

<

83. {JovXais iv ipOauri

8*.
,

N.

N.

5, 14.

TIS

of

10,

28;

I.

2,

38;

and

Like

18;

fv MKTI is common even in prose.

84. 8v . . .irdptBpov: The best

with a gap.

6,

tv

12; P. 5, 14;

'Pa8a(idv6vos The
tv irarfip
:

MSS. have

v. 65.

t%ti yas

62

tv vd/xoir, P. 1,

eV SiVca, O. 2,

The true reading cannot be elicited with cerand glosses. Even in antiquity the critics

tainty from the Scholia

were at a loss. I have resigned myself with Dissen and Schneidewin to the reading of the interpolated MSS. 85. T^os . 6p<Svov Rhea, as mother of the gods, thrones above all.
86. ILfjXevs
An Hellenic saint, a Greek Joseph. See N. 5, 26, where he resists
the wiles of Hippolyta, and I. 7 (8), 41 5vr' (vo-fftftrrarov (pans
'!U>\KOV rpd(f)fiv TTtdiov. Peleus and Kadnios are associated again,
Here they are linked by rt ical on account of the like
P. 3, 87.
.

1. c. 91
oTroff 'App-oviav ya^itv ftoS>mv
6 S<
Called dvrideos, P.
KeLBjios
Nijptos i/3ovXov QtTiv TToiSa *\vrav.
3, 88.
'AxiXX^a tv v^vois fiaKapcav tri (pa<riv tivat tvairep Tro8a>KT)t
'A^iXeuf, acc. to the famous skolion of Kallistratos ap. Athen. 15,

fortune in marriage,

695 A. See Plat. Symp. 179 E, 180 B. Acc. to N. 4, 49 Achilles

has another abode, an island in the Euxine. It has been fancied
that Theron was a Peleus, a Kadmos, and an Achilles in one.
2rp.

('.

90. a|*ax ov aoTpaprj tcfova

An

allusion to "EKTtap (acc.

u
Greek feeling
*e ^er<p) as the upholder" is not impossible,
the
though
metaphor is common enough. KWKVOV Son of Posei-

to

NOTES.

152
don,

who opposed

Corap. P.

5,

60

the landing of the Greeks.

N. 1, 66

edcoKe tirjpas alv<p <6j3ft>,

Oo.va.ru inipcv
:

<pd<Tf viv

daxrdv

and Lat. dare morti, " put (in)to (the maw of) death." Instead of flattening antique personification, let us emboss our own.
91. 'Aovs
nopelv is combined with vep.eiv and didovai, P. 5, 65.
fxopw,

re iraiS' AlOioira

grouped,

common

Memnon.

Kyknos, Hektor, and

another triad.
on announcing the end.
I.

iroXXd p>t,

(5), 39,

vnr'

dyiewvos

Memnon

Acre.
:

are

Asyndeton

Comp. Theokr.

P&TJ Of poetry, 1.4,46; O. 13,

17, 30: vir<a\fvi6v
(papeTprjv.
93.
92. Ivri: Is explained as a singular, but Gust. Meyer, Gr. Gr.,
483, dissents. It is livelier as a plural, 0. 10 (11), 93; P. 1, 13.
:

93. <{>vaevTa o-uveTowriv

A stock quotation, "that have a voice
T& irdv Sometimes written roirav or
4s
only for the wise."
TO irdv is
Toirav to save the quantity, like avfjurav, airav, irpoirav.
" the
general," TOVS TroAAovs
glossed by TO KOWOV, Shakespeare's
The other rendering, " generally," is less satisKOI xvSaioTfpovs.
factory. The change from the dative o-weTolo-iv to ts and the ace.
is in P.'s manner.
Mr. Verrall argues (Journal of Philol., No.
XVII. ) at length in favor of roirdv from *T07n7, " divination," a
:

&

word which he

elicits

from

94.

T<yirdeiv.

<ro<jxis

Of

poetic

$v: A

Pindaric cry to be heard often, e. g. O. 9, 107:

TO Be (pva Kpdrio-Tov airav, for while P. does not despise training, O. 8, 60, where, by the way, he is praising a trainer, he
" Be born with
believes in Ruskin's first rule,
genius." God,
the
the
Muse,
Muses, Charis, the Charites these are the
Apollo,
sources of the poet's inspiration. It is part and parcel of his aris"
blood " theory. 95. (xa0<5vres The old sneer that finds
tocratic
~
an echo in Persius, Quis expedimt psittaco suum x a l P* * Th e commentators refer this characteristic to Simonides and Bakchylides.
Simonides was considered o-o^xaTaTOf, and if Simonides
art.

was meant, o-ocpbs 6 TroXXa fei8a>s (pva would be spiteful. Bakchylides was the nephew of Simonides, disciple, imitator, and
collaborator of his uncle.

supposed that P. gained the conS. and B., and hence this scornAs Simonful and, we should say, ignoble note of superiority.
ides had just made peace between Hieron and Theron, it is very
unlikely that P. should have made this arrogant fling at this time.

tract for writing this

It is

poem over

With KopaKcs. The antithesis is the opvis fatas (Mez96.

Usually punctuated Xdftpoi 7rayyX<ao-i'a, Kopaices &s.
The dual certainly suggests definite pairs,
Kopaices 5s ... vapverov
Xdppot

ger).

especially as

it is

often used with

mocking

effect, e. g. in Plato's

OLYMPIA

153

II.

The

Euthydemos (comp. Arcades ambo).

use of the dual on

for the plural is not tolerable. Mr. Verrall's

suggestion that the reference is to the two Sicilian rhetoricians,
Korax and Tisias (the latter of
was called KOKOV Kopaicos

metrical

(?)

grounds

whom

KOKOV

<a6v) is

ingenious.

See P.

1,

where the panegyric side

94,

recognized. If we must have rivalry, why not rivalry between the old art of poetry (<pvq) and the new art of rhetoric (padovres) ?
Besides, \dftpoi KopaKts of this kind succeed
"
best in the Xd/3/>os (rrparos (P. 2, 87).
Ineffectual
aicpavro

of oratory

is

stuff"

See P. 1, 6.
The eagle
quiet and disdainful on the sceptre of Zeus. His
defiant scream will come, and then the ineffectual chatter will
'Ayr.

97. Aite irpte Spvixa Ociov:

'.

sits

(Pindar)
cease.

Comp. Soph.

rax av fai(pv7)s
vwv 0-Koir<i, KTf. :

55

'

Ai. 169:

ft tru (pavetrjs,

/ie'ycu/
|

(fiyrf

8'

alyvnibv

v
98.

Trrfjf-ciav affxavoi.

Resumption of the figure in

vv. 93-94.

So N.

Cf.

N.

rCva
ay^tora
Not exactly ^a\ovp,v " Whom are we trying to
f)aXXo|icv
hit ?"
The pres. for fut, except in oracles (0. 8, 42), is rare, conSee Thuk. 6, 91, 3.
99. IK paXOaicas
versational, passionate.
. . .
<j>pv6s: The quiver usually has a hostile significance, hence
The arrows are kindly (dyavd), not biting
<f>ptv6s is qualified.
9,

dtcovrifav OXOTTOI'
:

Moi<raj/.

0v|W:

hri ' As in O. 8, 48
(m.Kpd).
100. ravvo-ais avSdo-opu,

eV

'lcrdp.<a irovriq

= rtivas TO TO^OV

Bockh punctuates

ravva-ais

and makes

it

its full

sense of "loudly proclaim."

iipp.a

doov rdvvfv.

diro<pavovfj.ai (Schol.).

an optative (impera-

tive opt.), counter to the Pindaric use of rot.

In

3, 26.

101. av8a<ro(iai:

Ivrfpiciov \<tyov:

O.

6,

20:

on account
102. TCKCIV fitj: The neg. is
ptyav opitov op.6<T(rais.
of the oath. Commentators are divided as to rtKf Ii/, whether it
is past or future.
For the future, see O. 1, 105. For the past,
P. 2, 60

8t TIS f/8T) KT(d,Tt(r<ri TI KOI ntpl Tip.q Xe'-yet

?Tp6v TIV'
T&V ndpoidf ytvivdai ^avvq irpaTriSi TraXat/^oi/fl Kftxd.
The past is better on account of the enarov yt FtTtw u These
hundred years," with an especial reference to Akragas, which
was founded about a hundred years before (Ol. 49, 3
582
fI

dv* 'EXXciSa

B.C.).

105. 6T]p<vos: Effective position.

'ETT.
Comp. v. 17:
yeV, and O. 1, 81. The sense is fairly complete in the antistrophe and the use of the dependent genitive here renews th
.

G2

NOTES.

154:

whole thought with a challenge. alvov In prose this word was

reserved for religious occasions. P uses iTtaivos but once. litifya.-.
Is supposed to have an actiml basis in the behavior of Kapys and
:

Hippok rates, two kinsmen of Theron, who went over to Hieron

But gnomic aorists have an actual basis also. 106.
"Not mated with justice, but [set on] by
oxi Suco. <ruvavTO(ievos
(Schol.).

rabid men.

Comp. 1. 2, 1

^pvo-afinvKoiv

ts 8i<ppov

Mourav

eftaivov

(lopywv: Of men besotted in their

So p.apyovp.(i>ovs, N. 9, 19. 107. TO XaXa-yncrat Oc'Xwv: The
fury.
articular infinitive, which is not fully developed in P., is seldom

K\vra (popptyyi avvavrofifvoi.

used after verbs of will and endeavor, ;ind then always has a
strong demonstrative force often with n scornful tang. So. Ant.
312 OVK f airavros 8d TO Kp8aivdi> (pi\rlv, 664 roinriTatrcrfiv rols
TO 8pav OVK f)Of\T)<rav (cited by De
Kparovcriv eVvoei, O. C. 442
Jongh ). So in prose with <rir(v8(ii>, Qappdv, SitoiceH/, and the
:

"
Full fain for this thing of babbling." icpv^ov A
opposite.
re 6^iev: Better than
yery rare substantive.
TiBtpev, which
would depend awkwardly on XaXayiJo-ai. 108. Jircl . . . BUVOITO
"
eVe/ is
whereas." Madmen may attempt to babble down and
obscure his praises, but his deeds of kindness are numberless,
and cannot be effaced any more than they can be counted. 109.
XppaT(a): Echo of ^ap/iarau/, Y. 21 (Mezger).
:

EAGLES AND HARK.

Coin of Akragac.

OLYMPIA

HI.

THE third Olympian celebrates the same victory as the preceding ode. Ill what order the two were sung does not appear.
O. 2 was probably performed in the palace of Theron O. 3 in
the Dioskureion of Akragas. The superscription and the Scholia
indicate that this ode was prepared for the festival of the eeoivia, at which Kastor and Polydeukes entertained the gods. It
is natural to assume the existence of a special house-cult of the
Dioskuroi in the family of the Emmenidai, but we must not
press v. 89 too hard.
;

The third Olympian, then, combines the epinikian ode with the
theoxenian hymn. The Tyndaridai are in the foreground. It is
the Tyndaridai that the poet seeks to please (v. 1) by his 'OXu/iIt is the Tyndaridai, the twin sons of Leda (v.
irioviKas vpvos.
It is
35), that are the ruling spirits of the Olympian contests.
the Tyndaridai that are the givers of fame to Theron (v. 39).
The victory is the same as that celebrated in the previous ode,
but there Theron is always present to our minds. We are always thinking of the third member of the triad god, hero, man.
Here Theron is kept back. The poet who was there almost, if
not altogether, defiant in his heralding of Theron, utters scarce a
word of praise here. Before it was merit, here it is grace.

The poem is a solemn banquet-hymn. The victory calls for

the fulfilment of a divine service, a dfoSpaTov XP* OS ( v ?)
P^ sa * 8
the source of deopopoi doiSai (v. 10). The myth has the same
drift.
It is the story of the Finding of the Olive, the token of
-

victory. This is no native growth. It was brought by Herakles

from the sources of the Istros, a memorial of Olympic contests
It was not won by force, but obtained by entreaty from
(v. 15).
the Hyperborean servants of Apollo (v. 16), and the hero craved
it as shade for the sacred enclosure of his sire, and as a wreath
for human prowess (v. 18).
Already had the games been estab-

NOTES.

156

but the ground was bare to the keen scourgings of the

sun (v. 24). Sent to Istria on another errand by Zeus, he had
beheld and wondered (v. 32). Thither returning at the impulse
of his heart, he asked and received, and planted the olive at
lished,

Olympia

(v. 34),

which he

still visits

with the sons of Leda

(v.

35).

The parallel with Herakles is revealed at the end. Theron

has reached his bound his Herakles' pillars. Beyond lies nothSeek no further (v. 45).
ing.
The olive was a free gift of God. So is this victory of Theron.
It might be dangerous to press the details.
Yet it is not unGreek

to say that the beauty of life is found of those

in the path of duty.

Theron's praise

is

no

less

who walk

because

it is in-

direct.

The

dactylo-epitrite rhythms are peculiarly appropriate in a

addressed to deities so Dorian in their character as the
Dioskuroi. The compass of the strophe is not great, but especial
stateliness is given to the composition by the massiveness of the
epode. It is noteworthy that strophe and epode end with the
same measure.
Of the three triads, the central one contains the heart of the
Finding of the Olive. The story is begun at the close of the
first triad, and finished at the beginning of the third, and thus
the parts are locked together.

hymn

1. <|>iXo|cvois
The Dioskuroi were in an especial
2rp. a.
manner gods of hospitality, though an allusion to the 0eo|eVia is
:

not excluded.

icaXXiirXodSf lv, Aeolic -fyiXmtris, P. 2, 96.

used of Thetis and Demeter in Homer, who is
more lavish in his use of eWXoKafiot. Helen is Ka\\iKop.os, Od.
See O. 1, 115.
re, as the brothers, so the sister.
15, 58.
H. shares her brothers' hospitable nature. See Od. 4, 130 foil.,
296 foil. 2. icXcivav 'Aicpd-yavra With P.'s leaning to the fern.
A prayer and not a
ycpaipuv: "While honoring."
wx<>H "'
boast.
So also P. 8, 67, where alrta forms a sufficient contrast.
Kajjuj)

6'

dSeiv

'EXeVa:

*.,

3.

ijpuvos 'OXvjiirioviicav vpvov

TTIOVIKOV {j^vov.

6p8cio-ais

Instead of the prosaic 'OXv/x-

Simply

"

raising," without

any

side-

notion of column (O. 7, 86) or statue (I. 1, 46). dicafMHTBirdSw

4. awrov
O. 5, 3 aKapavTOTroSos
Appos. to TJ/J.VOV.
dirfjvas.
Comp. O. 5, 1 ; 8, 75. OVTW \u>i irapccrrdicoi So with Mommsen,

OLYMPIA

HI.

157

instead of OVT<O TOL 7rap<<rra p.oi.

oura>, as she had done before.
With Trapfordicoi comp. P. 8, 70: /co>/xoi
In a wish, P. 1, 46. 56.
" With its
gloss fresh
O. 9, 52:
"fire-new."
figure,
upon
iivdf a 8' vfj.vo)v vfa>Tfpo)v.
rpoirov The novelty consists in the
combination of honor to God and honor to man, of theoxenia

p.tv &8vfj.(\(l

Aoca TrapeoraKf.

We

it."

veoovyaXov

say, with another

Combination of

the epinikion (Mezger).

5.

ireSiXy

The

Tre'dtXoj/

6. lire!

'fan-, a'.

Theron

victory of

Pisa (Q(oivui).
irovs doiSai,

ye-ywveiv

V.

34

and

flute (Fennell).

Gives the double element

-che

and the right of the Tyndaridai

(eVti/tictov),

Comp.

with

lyre
strikes the measure.

to

6f6p.opoi viaovr eV dvdpa>tXaoj dvridfoicriv vurcrat trvv f3advd>vov

v.

TO.S airo

The song

8i8vp.vois iraicrl AjjSay.

is the*

refluence of the

coming

of Herakles and the Tyndaridai.

xa ^Tat0 1 K-' v fcvxOevres : P.
warmer
this
participial conception to the colder infinitive
prefers
See P. 2, 23 3,102; 11,
(TO) \aiTauriv firi^vx^vai <rr<pdvovs.
22; N. 4, 34; 1.4,49; 7, 12. Dem. 18, 32: Bid TOVTOVS oi>xi
'

much more vigorous than

o-dtvras,

Sta TO TOVTOVS

irdo-dfjvai.

p.r)

The

familiarity of these constructions in Latin deadens our perception of them in Greek, where they are very much rarer, utv,
See O. 4, 13.
7. irpdo-o-ovri
P. 9,
with an answering re, v. 9.
:

111:

ffjie

8' 2>v

occurs 0. 10, 33.

elsewhere, O.

6,

TIS Trpdo-a-fi

968|iorov
1, 61

59; P.

XP* OS

The

9,

The more

last part

11

of the compd.

though

familiar middle

faintly in

is felt

5, 11

There is no echo of opdaxrais. 8. <<Jp(uyyd TC

6t o8/j.aTovs dptTas.
. . . K<X!
POO.V atiXwv iircuv TC: re ... Kai unites the instrumentation,
T(

adds the words as an essential element. ironciX&yapuv: Cf. O.

6riv =: iroirjaiv.
Etym. Magn.
7roiKiXo(pdp/iiyyos doi8ds.

4, 2

p. 319, 31

0{<ns

17

TTOITJO-IS

nap' 'AXxaio),

and

p. 391, 26

9.

AlvTio-iSdftov -n-aiSi:

a re

nivoapos

om

Sappho, fr. 36 (Bgk.) OVK oI8

In honor of Theron. <rvp|ii!ai:

6f(riv TO iroirjp,a Xe'yet.

Cf.

dfu.

0. 1,22.

See V. 7.
ytywvciv
Supply Trpdo-o-et, which is
near neighborhood of o-v/x/ujai keeps the construction wide-awake,
yeycwtv (Christ) does not give a clear sense,
though the shift is in P.'s manner. ras airo: O. 1, 8. 10. 6c6fio"
poi
God-given," as I. 7, 38 yd^ov dtopopov ytpas.
IIi<ra

easier, as the

'ETT. a'.

11.

<p

Tlv ^

Pres., the rule

=TOVTU> (in his honor),

the exemplification.
generic sentence as in Homer. c<f>cT(j.ds: See P.
pdXri

Kpavwv .
Simple subj.

TIVI.

aor.,

2,

21.-

in

NOTES.

158
"

Of

old,"
"

"of yore."

O.

7,

72:

rl

12.

Trporepuv dv8pSv.

Unswervable." "EXXavoBiKas The judge of the contest,

so called because Greeks alone could participate in the games.
Originally the number is said to have been two, afterwards ten,
ofc

according to the number of the

wards

still

(f>v\ai

the victor would

of the Eleians, and after-

y^ 4 P wv
natunilly follow the

further enlarged.

>

wj'o'Oev: The eyes of

movement of the prizeThe Eleians were called

AirwX^c :
giver's hand, hence v^odtv.
Aitolians, after their leader, Oxylos, who accompanied, or rather
guided, the Herakleidai on their return. 10. y^avK ^XPoa : Cf. So.
:
y\avKas . <j>v\\ov e'Xaias. The hue is grayish-green.
the symbolism of the olive, see Porphyr. de Antro Nymph,
c. 33.
P. does not distinguish the t\aia from the KOTIVOS (wild
T<iv irore: The relative begins the myth.
Cf. 0. 1, 25.
olive).
14. "lorpov: A half-fabulous river.
'A(i<f>iTptKovia8as Herakles.
The mouth-filling word, well suited to the hero, occurs again,

0. C. 701

On

1. 5,

falsiparens Amphitryoniades.

The well-known favorites of

beyond the North," according to P., as he

16. Sapor 'Yircppop&ov

2rp. /3\

Apollo,

112

Cf. Catull. 68,

38.

who

lived "

brings them into contrast with the Nile (I. 5 [6], 23). Perseus'
visit to the Hyperboreans is described in P. 10 (Pindar's earliest
'AmiXXttvos OepdirovTa: P. 10, 34: a>v 6a\iats e/iTTfSoj/
poem).
ircurais
Xo-yw: \. has
^at'pft.
Herakles does not often stoop to plead.
"
17. irwrra 4>povetuv: "With loyal soul," if" loyal
were antique;
" true to his sire." olrei " He had to ask.
Not aiYeZ, the histor.
pres., which is very rare in P., and turns on P. 5, 82, which see.
|

(ii<pap.iais

Tf

fJiaXicrr'

'ATToXXcov

an emphatic position.

1 '

n-avSrficw:
Comp. 0. 1, 93; 6, 69. 18. oXcrei: "Every place consecrated to the gods is an oXo-os, even if it be bare of trees," says
the Schol. <nciap5v T <)nmv|ia: Jt had shaded the "lorpov Trayai,

The shade is common to all men, the

|vv6v ov0poSirots
wreaths are for the victors ( Bockh ). " A common boon."
"Month"In his face." 8ix<5p.T|vi
19. OVTW: With dvre(f>\((-f.
halver." The full moon lighted the height of the festival.
"
" Full "
SXov
xP *PHiaTOS
( proleptic ).
Comp. the yellow
harvest-moon." 20. loWpas: "At eventide" (cf. P. 4, 40), ace.
to Bockh, but the moon may flash full the Eye of Even, which
v. 14.

is herself.

(11), 81

Still

the adverbial interpretation

iv 8' fvirtpov

(<fr\ftv (vanrtdos

is

favored by 0. 10

(TfXaj/ac tpar&v <t>dos.

OLYAIPIA
Arr.
i

it

dfdXois.

as the judge

and

P.

3,

i#Xv

81.

&.

dp,(p'

36

34

P. 3,

is

See also O.

very
1,

decision

0aX\v:

is

7,

80: Kpi-

"pure" (intemerate)

v. 12.

opa(Dor.)

7, 78.

22.

6rjice

=apa

here,
Sc. 'Hpa K \f,s.

common

89.

in Greek, e. g. O. 9, 50; P. 4,
"
Bluffs," as in Homer.
fr. XI. 64
irap KprjfjLvbv 8aXd(T-

KpT)|ivofe

tcpr)fj.vo'is,

On

the position of ov comp. 0. 4, 17.

inner object SeVSpa TfdrjXora fi^e.
Kpoviov.
:

3tV8pe'

So N. 10,23, but O.

icp(o-iv:

The

N.

Trapa Boi/3i<i8o?
23. ov icaXa, /ere.

<ras.

"true" (unwarped),
5, 11, but=6^oC, N.

is

Change of subject
25. 251.

aYvdv:

159

III.

8. is

Bockh combines Kpoviov

This would require Kpoi/i'Sa

Aristarchos combines x&>po? IltXoiros, tv&dvaais Kpoviov.
Hence we read ^wpos <V j3dcr(rats Kpoviov nAoTroy, which is
24. TOVTWV .,. -yvfAvos: AST>V is used
very much in P.'s manner.
rifXewros.

(Herm.).

asa relative, the asyndeton

need not be
rovrutv ovv.

is

not

felt

with the

fuJlerTovrtoj/,

which

" of
any favored
P.
KOTTOV
Ai6?
9,57
(Libya). vnraicovc|tcv As a slave.
spot,
e^o^oj/
"To be exposed to," "lashed by" (cf. " that fierce light which
Kairos

So

"

garden

beats

upon a throne").

6eicu.s

. .

25.

but

it

oav-yais

O.

7,

70: e^ei re

p.u>

Theogn. 425 avyas otos r)t\iov.

The Schol. makes this form here
iropcveiv
irop(vrdai,
is better to make noptveiv transitive and S>p^a intransitive.

ot-fidv 6 yfi>(d\ios aKrivcav 7rar/jp,

Bergk reads

&pfjuuv.

26. linro<r<$a: I. 4 (5), 32 iirirovoas 'loXaor.

'Ejr. 3'.
In P. 2, 9
Artemis puts on the trappings when Hieron yokes his horses. Ho:

mer calls her

27. &|<XT' lK86vr' . . . airi, re.

(II. 6, 205) xpvvrjvios,
Refers to a previous visit, the memory of which was recalled by
the nakedness of the Kanos. The circumstances of the two visits
:

are different; the first visit (from Arcady) was under the stress
of dvdyKa, and at the bidding of the hated Eurystheus, and the
second visit (from Elis) was in faithful love (TTIOTO (ppopeW), at

own spirit. Supav: O. 9, 63: MaivaXiaurtv tv

&(ipals.28. dyyeXiais The plural of an impressive message, also
I. 7
avriK dyytXiai.
I'OJ/TWI/
Eurystheus sent his mes(8), 43
sage to Herakles by Kopreus (II. 15, 639), a proceeding which
both Homeric and Pindaric Scholiasts ascribe to fear. Ivrv(e)
As in P. 9, 72: o>j ap' fliriov fvrvfv Ttpirvav ydfiov Kpaivfiv rtXtvrdv. The extension of W. from irapao-Kfvd&iv to Sitye iptiv (Schol.)
is not Homeric.
rrarpiiOcv: The acayxa bound sire as well as son.
The story of the oath of Zeus and the consequent subjection of
Berakles to Eurystheus is told, II. 19, 95 sqq. 29. xpvo-<Jpv

the bidding of his

NOTES.

160

Mythic does have mythic horns. Tavye'ra: One of the

Pleiades, daughter of Atlas, mother of Lakedaimon and Eurotas.
In order to escape the pursuit of Zeus, she was changed by Artemis into a doe, and after she returned to her human form she

OijXeiav:

consecrated a doe to the goddess.

30. avnOeio-a
'Opewo-ia: The hiatus is paralleled by O.
(Schol.).

avariddtra

82; N. 6,
not different from "'Apre/us 'Opdia, before whose altar boys were scourged at Sparta.
Both doe and
scourging indicate a substitution for human sacrifice. As the
capture of the doe ordinarily precedes the cleansing of the Augean
stables, and so the founding of the Olympic games, v. 34 foil., see
Ol. 10 (11), we have another indication that there were two visits
to the land of the Hyperboreans.
eypo^ev The Scholiast is
good enough to give us the inscription on the doe's collar TaiJ16 (Bergk).

I. 1,

2^;

6,

'O. is

lepav avfQr]<fv 'Aprt'/itSi.

31. irvoias oiriflev Bope'a: P. comes back to the Hyper2rp. y.
boreans with an explanatory touch. See on P. 4, 29. To emphasize the distance is to emphasize Herakles' devotion to his
sire. This P. has done here and in vv. 14, 26. irvoias has scarcely
any MS. warrant, but irvoiais can only be defended by vague anal-

32. 6<|xpaive
ogy.
Qavpaivf, which is an inferior reading.
33. TWV Depends on tjaepos.
88icdYvajiirTov See O. 2, 55.
The place was called TO
34. <J>vrewj-u Epexegetic infinitive.
Udvdfiov (Schol.). ravrav coprav: The Theoxenia. viaereu: The
:

only correct spelling, ace. to the best MSS., and borne out by
G. Meyer, Gr. Gr., 497, vlo-opai for vi-v<r- i-o-/u. 35. Pafoguvov
Epithet applied to the Graces, P. 9, 2; to the Muses, I. 5 (6), 74;
See P. 1, 12.
to Latona, Fr. V. 2, 2.
:

'Air.

y.

36.

jrrpairv

= firfrp\^v .(Schol.).

The Dioskuroi were

8ar|Tov a-yava vc-

52 fvpvxopov
dpcras Especially of those
games that require personal prowess. 0. 1, 95 Iva raxvras 7ro8>v
aKp.ai T i&xvos OpacrvTrovoi, N. 9, 12 ttr^uoj T* dvftptov <i/itX(pi^fTai
(tciv

racial STrapras dyavav.

37.

N.

6eo\ evaynvioi.

dvSpwv

T*

10,

Xai? ap/iaeri re y\a(pvpols nfjxpaivf Kvftaivutv TrdXir,

N.

T( viv Kal irayKparia (pdty^ai eXeiv 'E7ri8avpa> 8nr\6av

Still

charioteering was not without its dangers.

So. O. C. 1062.
38. 8i<j>pT]Xao-ias
As

pijx<}>ap(id.TOV

5,

52

irvKrav

VLKOHVT aperav.

See P.

6.

d(pfTrjpioi

the

Dioskuroi had an altar at the starting-post of the Hippodrome

Tap Ovfibs frrpvvei: The ?ra of the MSS. (=7r$,
(Paus. 5, 15, 5).

OLYMPIA
Schol.) cannot be construed;

and
and
|

dai.

39

it

makes no

sense,

(iraporpvvd), with poor

uneasiness.
'E|i|xcv(Sais

T(): Theron crowns the

The

0TJpci>vi

often

with orpvva

Bockh
MSS. The old Scholiasts show

8i86i>T(av is

late

161

III.

too far

off.

Trap,

line.

when

dat. with (\6flv as

40. ltroi\ovr<u.
Sc. the Emmeniequiv. to ytvco-dai.
Comp. what is said of Xenokrates, brother of Theron, I. 2,
:

KCU dt&iv 8alras TrpocrcTrrvKTo irdcras.

'ETT. y'.

41. TcXcros

= ras

42. ei

toprds (Schol.).

8'

apurrcvci,

"If" (which no one will deny). A familiar sentiment,

such as the Greeks did not hesitate to repeat on occasion. See
KTe.

O.

1, 1.

43. vvv 8^:

The reading

vvv yt

is

natural, but vvv 8e has the better warrailt

This comes near an apodotic

anchor. I. 5 (6), 12 (cr^anas
:

B( oTi/aos (d>v.

aperaio-iv:

"

By

at first sight more

"
in his turn."

Now

loxandv

8e.

Of one

that casts

npos oA/3ou /SaXAer' ayKvpav

his deeds of emprise."
44. oucoOcv:
rj8r)

Variously interpreted. As olnodtv oiKabe is proverbial for ease

and comfort of transmission and transition (O. 6, 99 7, 4), so
the omission of oucaSe shows difficulty, trouble, arduous effort.
;

Comp. I. 3 (4), 30 dvopeaia-iv 8' eV^dratcrtj' o'lKofltv (TTaKaicriv airThe effect is " the far distant pillars of Herarovff 'UpaK\iais.
kles."
'Hpa.K\.e'os oraXdv: Proverbs weary less by repetition
:

than original figures. 45. ov viv Siwiu vw

TO iropa-a. Neither
Suavins dicit de e quae Theronl
ov fjidv nor ov /AJJ is Pindaric.
" Set me down
an empty fool"
dicere vult (Dissen).
KCIVOS ettjv:
There is no omission of av. Comp. Lys. 21, 21
(if I do).
:

(= 8oKoir)v

paivecrdai),

ti

dvaXi<TKOi[U.

KASTOR AND POLYDEUKKS.

Coin uf the

Brettioi.

p-

OLYMPIA
KAMARINA was founded by
hundred and

the

IV.
Syracusans, 599

thirty-five years after Syracuse itself.

B.C.,

one

Destroyed
time after-

by Syracuse in consequence of a revolt, it was^ome

wards restored by Hippokrates. Again stripped of its inhabitants by Gelon, it was rebuilt once more by men of Gela, Ol. 79,

The proverb

4 (461

B.C.).

vw

supposed to

is

p.fj

Kivei Ka/jidpivav

refer to the

O.KII>T)TOS yap
unhealthy situation of the

d/iei-

city,

but Lobeck reads <a^apivav, cloacam.

Of Psaumis we know absolutely nothing, except what Pindar
Both odes are
is pleased to tell us in this ode and the next.
supposed to refer to the same victory, airr^vrj, that is, with a mule
The MSS. have in the superscription ap^an or 47771-01?
chariot.
is due to Bockh's combinations. This gives us a terminus.
uTTTivr)
The mule-race was done away with, Ol. 84 (444 B.C.). Bockh
puts Psaumis's victory Ol. 82 (452 B.C.), and maintains that the
victor had failed in the four-horse chariot race, and in the race
with the single horse (Kf\r)Ti). The dirf)vrj victory then was a
consolation, and there seems to be a note of disappointment in
:

the rhythm.

According to Bockh the ode was sung in Olympia; according to Leopold Schmidt in Kamarina. The latter view seems
to be the more probable. The fourtli ode was sung in the festal
procession, the fifth, the genuineness of which has been disputed,
at the banquet.

The key of this brief poem is given, v. 16 Sidm ipd TOI ftporS>v
The final test is the true test. Success may be slow
in coming, but when it comes it reveals the man.
The thunder:

f\eyxos.

is an unwearied chariot.
What though his
Horai revolve and revolve ere they bring the witness of the lofty
Good fortune dawns, and then comes gratulation
contest?
forthwith. The light comes late, but it is a light that shines

chariot of Zeus

OLYMPIA
from the chariot of a

man who

IV.

163

hastens to bring glory to

Kama-

Well may we pray, " God speed his other wishes."

rina.

Well

praise the man liberal, hospitable, pure-souled, lover

of peace, lover of his state. No falsehood shall stain this record
of a noble life. The final trial is the test of mortals.

may we

So, by trial, Erginos, the Argonaut, was saved from the reproach of the Lemnian women. Unsuccessful before, he won
the race in armor, and said to Hypsipyle as he went after the
crown " This is what I am in swiftness. My hands and heart
The race is for the young, but I am
fully match my feet.
younger than my seeming. Gray hairs grow often on young
:

men

before the time.

The

final trial is

the test of mortals."

Psaumis had every virtue but success; now this is added.

So Erginos was a man of might, of courage now he has shown
;

bis speed.

The logaoedic rhythms are handled

so as to produce a peculiar

-^), and the result is

Prolongation is frequent (i- for
a half-querulous, half-mocking tone. The lively Aiolian mood
is tempered by the plaintive Lydian.
Psaumis is only half satisfied, after all, and his enemies are not wholly confounded.

effect.

The

triad distributes itself fairly into prayer, praise,

1.

ST/J.

Phaidr. 246

and

story.

"EXaTT)p vWpraTt Ppovrds aKapavniiroSos Zcv : Plat.

6 p-tv 8f) p.tyas rfytp-ap tv ovpaixp Ztvs imyvov app.a

tXavvcov Trpwror Tropevtrai,

quotation in later Greek.

which

irrr)vbv ap/ia

Comp. Hor. Od.

becomes a stock
34, 8

per purum
volucremque currum. aKap,avriro8os : O. 3, 3
real yap ipai ydp gives the reason of the invocation. The
5, 3.
Horai, originally but two, Kap7ro> and GaXXw (Paus. 9, 35, 2), are
the daughters of Zeus and Tin-mis; they who in their steady
course *Qpai being from -\/j<i, " go " bring things at their season. It has taken time for Psaumis's success to ripen.
2. wiro

tonantes

1,

egit equos

aoiSas

KdTffjav.
4,

14

Comp.

O.

7,

13

iroiKi\o<j)(5p(j.tYY ?

troiKiXov Kidapifav.

lircplrav

(uxpTvp(a)

vir

a^^ortptav (fpopfjiiyyos KOI avXtov)

ff. O. 3, 8

<popp.iyya 7roiKi\6yapvv, N.
"

In their circling dance."

4Xuro-<5|ivai
It is deplorable literalism to suppose
:

that P. actually went and bore witness to the contests. See N. 1,

19 ftrrav 8' eV av\dais dvpais. The poet is said to go whithersoever his song goes. Comp. N. 5, 3 or t^' arr' Aiyivas, StayyA:

Xour' art, Krt. also 1.2,46.

. cv
-irpaao-ovTuv, KT t.
;

3.
:

|xdprvp(a)

The only

v^.vrjrl]v

possible

(Schol.).
for

meaning

4.
'-

NOTES.

164

va>v forces us to take fvavav in a good sense, which is otherwise

strange to P. See P. 1, 52; 2, 82. The figure was not so coarse
to the Greek as it is to us. So. O. C. 320 (paibpa yovv air o/z/im-coj/
rruivfi fj.f Trpoo-ore/xovo-a. We can hardly make poetry of Horace's
:

caudam.

leniter atterens

i-fiva>v

refers to

Psaumis and eVXoi to

Pindar. " When friends fare well, forthwith the heart of the
noble leaps up to greet the sweet tidings." Some make the passage ironical. 6. aXX', J> Kprfvov irat Resumption of the address.
Airvav . . .
aXX' S> Hi<ras.
Cf. O. 8, init.
Marep
OvXv/iTn'a
:

the repressive, as eXar^p

Zti> the aggressive, side
of Zeus's power. Comp. also O. 6, 96 Zyvos Airvaiov updros. 7.
lirov: A trivial word ( almost
"dead -fall" ), ennobled like
oppifiov gives

"canopy"

Tv^wvos

o-aj.

avepjeoxrav

(KowuTrelov).

'OXti/wrioi/tKai/

P.

8.

1, 16.

9.

vpvov.

and

Od. 9,400: aKpias

OviXvpirioviKav

Xapirwv

N.

6,

42

Kufiov

Xapircov

qve/ioeVO. 3, 3:

f&TTfpios

9, 54
eu^o^ai ravrav dperav xtXaftfjcrat. crvv
ofj.('i8u>
<pXeyei>,
of the /3a)/ioi l| 8i'8v/ioi, O. 5, 5, was dediXapiTfo-a-w. The fourth
cated to Xdpires KOI Aidwo-of.
Comp. O. 2, 55, and remember
also the enmity between Typhon (6eS>v TroXe'/uoj, P. 1, 15) and
the Graces.
:

10. \povuararov

'fan.

The Horai have not hastened.

Hence

"
" late" with
Mezger, not lasting." ^avjiios . . . 6\ia>v. It is
not necessary to supply &v nor to make 6xfa>v the abl. gen. 2xei
" 'Tis Psaumis's that has
is only an etrri in motion.
come, his
"
of
chariot's
(revel song
victory),
o^. prevalently of an OTDJI^
12. cnrcvSci
Psaumis's own eagerness is
O. 6, 24 ).
( Schol.,
X-,

brought into contrast with the deliberateness of the HoraL 13.

A mild personification after the Homeric Amu',
Xoiirats evx a
TC /*ei>
II. 9, 502.
8e balances, re ... re parallels,
H*V
Cf. O. 3, 6
T( shifts from balance to parallel.
6, 88
fj.(v
:

7, 12.

69

P. 2, 31

two groups

I.

4,

249

6,

39

rpo(pais erdipov miruv,

Notice the triple praise in

al.

and

II. (1

{-fviais Trai/SoKou,

Hmx^av

16.
(2) 'Htrvxiav (piXoTroXiv.
the disturbed state of Sicily.

|>iX<JiroXiv

High

praise in

Personify with Bergk. 17. oi

N. 1, 18 ov \^ev8et fiaXwv. For other eccentric
^evSei rfyJjtt
2, 34. 69. 106; 3, 23; 7,
positions of the negative, see O. 1, 81
48 8, 79. Here it amounts to, " I will not lie-dye my word."
:

Cf. also P. 4,

99

e'x&'oroto-t

/xi)

-<\rfv$f<Tiv
:

flirt ytvvav.
iv 8e irtipa

Kara^idvais

Cf. N. 3, 71
18. 8io.irti.pa TOI Pporwv ?Xryx>S
"
" decisive."
Sta- is
final,"
duxpaivtrai.

OLYMPIA

IV.

165

KXv|Uvoio iraiSa: Erginos, the Argonaut, son of KlyApollodoros, 1, 9, 16, 8, son of Poseidon), was ridiculed by the Lemnian women (P. 4, 252), on account of his white
hair, when he undertook the weapon-race in the funeral games
held by Hypsipyle in honor of her father, Thoas. His victory
over Zetes and Kala'is, the swift sons of Boreas, gave the mockers
a lesson, not to judge by appearance, but to judge righteous
judgment (after the Schol.). According to Pausanias, 9, 37, 4,
19.

*Eff.

menos

(ace. to

Erginos, son of Klymeuos, late in life consulted the oracle as to

the propriety of marriage with a view to offspring, and received
the answer 'Epyii/e K\vp.tvoio Trdi Ylpt cr/3<optdao, cty' f/\df s yt:

en KOI vvv taro/3oijt yepovri verjv 7rori/3aXXe KOThe sequel showed that his natural force was not abated,

vtfjv 8ir)fj.fvos
p<bvT)v.

aXX'

and this gives point to Erginos's reply to the taunt of the Lemnian women. 21. IXvo-ev 4 aTi|uas Concrete power of the prepSo I. 7 (8), 6 (K irfvdecav XvfcvTfs. \. without a preposition.
osition in P. 3, 50 \va~ais
a^eW, where, however, tgaytv is
22. x a Xic&>io-i. 8' Iv evretnv
sufficiently plastic.
Comp. P. 9, init.
:

A game usu. at funerals.

VIKUV Sprfpov

0. 13, 30.

23. 'Ytj/iirvXc^

See Ovid's Heroides VI. and Chaucer's Legend of Good Women.

The prize was raiment (ffa-daros dpi<pis, P. 4, 253).
o-Te'4>avov
The wreath was given besides, I. 1, 18 foil. 24. Ovros: Taunt:

Kayser, Rauchenstein, and others punctuate

ingly: "You see."
oSros fyo> ra^vran ^elpe? 8i Kai rjrop tow, the position of 8e as
0. 10 (11), 76. 109; P. 4, 228. But we should lose dramatic power

The hands
by this. Erginos is slightly out of breath. X"PC
and feet show the first symptoms of age, Hesiod, O. et D. 114.
The feet give way before the hands. Notice the scene between
Euryalos and Odysseus in Od. 8, 147 foil., and especially where
Odysseus shows some concern about his running. For jubilant
:

assertion of the

Vesp. 1383.
tiori.

fo-ov

ginos is still
Psaumis, who
at

all, is

power of old age

in

boxing

(^elper), see

Aristoph.

If the feet are all right, then the rest follows a for" Are a
match " (to say the least). 25. <fri5oKTai ErAn allusion to the gray hairs of
speaking. iroXia
:

is supposed to have been an

wpyye'pwj/, if a ye'pwr
an unnecessary hypothesis of the mechanical order.

OLYMPIA
THE

victory celebrated here

is

V.

the same as that of the preced-

ing ode.

The verse about which the poem

revolves

is v.

dpfTdi<Ti irovos 8cnrdva re p,dpvarai irpbs tpyov

fjifvov.

15

mVi

Kiv8vv(p

8'

d/ifi

KfKaXvp.-

The preceding poem dwells on the importance of the

final trial (4,

16);

this gives the conditions of success, novas

The wain must be untiring (v. 3), the sacrifices great

and various (v. 6). To gain an Olympian victory, to found a new
The flower of victory is sweet (acorns
city, costs toil and money.
Sanrdva re.

abode of Pelops lovely (tvtjpciToi omidpoi), now that

the price paid.
So the daughter of Okeanos,
Kamarina, who is to greet the victor with laughing heart (v. 2),
was builded with much toil, much cost. The stately canals, the
grove of houses these, like dirrjvr), like fiovdvo-iai, were not made
for naught.
May blessings rest on city and on Olympian victor
May the one have the adornment of the noble deeds of her sons,
the other a happy old age, with his sons clustering about him
Wealth sufficient
TTOVOS Sairdva Tf have brought their reward.
remains. Add fame. What more ? Let him not seek to become
a god.
There is no myth. The founding of Kamarina is fairy-tale, is

y\vKvs), the

the

work

is over,

magic achievement, enough.

This poem, short as it is, has given rise to much discussion. The
Breslau Scholiast (A) tells us that it was not in the (8d<pia (original
texts), but it was considered Pindar's from the time of Didymos on.
In O. 2 and 3 we have two poems on one and the same victory, but
the treatment is very different, as we have seen. P. 4 and 5 celebrate the same success, but different sides are turned out.
Here,
too, it might be said that O. 4 dwells on the achievement, O. 5
on the conditions; and O. 5 shows a more intimate acquaintance
with local circumstances than O. 4 does. But this makes it
only the harder to understand the resemblance in diction.

OLYMPIA
With

aptrav (5, 1)

trv/^Xai/

with avTov y\vKvv

(5, 1),

167

V.

compare v^nfXnTdrav

dyytXiav

y\vK(~iai>

d(ffh.a>v

(4, 3);

(4,4); with aKafiav-

8(Kv occurs
roTroSor aTTTjvas (5, 3), ftpovras aKa/iaiTOTroSor (4, 1).
and 5, 3 ; Kv8os dvt(h)K( is found 5, 7 ; Kv8os optrm, 4, 11 ; IKW,

4, 8,

tt, 4, 10; and if the more common interpretation of 4, 4 be

accepted, taavav avriV dyye\iav irorl yXvKfiav eVXoi, it is echoed
by 5, 16 r/ v 8' f^ovrt s <ro(f)oi KOI troXirais (8o{-av fp.p.(v if not, 5, 1C
5,9;

a sarcastic comment,

of TroXtat (4, 26).

It is also well to remember the very narrow limits within whicli
these resemblances, some of them in themselves trifling, are
crowded, and Pindar's disinclination to repeat himself. In all
P. 8(Ktv occurs but four times, aKapavroTrovs three times, forms
of i*&> seven. The chances of an accidental coincidence are remote. The poet must have had his own ode in mind, or another
perhaps Pindar's local representative, another Aineas
must have imitated bis manner. Add the point ad(0. 6, 88)
duced above, the evidence of a more intimate acquaintance with
is

yrjpas (5,22) is a reflex

local circumstances.

Much

of the other detail is hyper-Pindaric. Kap8ia ytXavfl,

seems to be modelled, and not very happily modelled, on
P. 4, 181, 6vfj.u> ytXavf'i, and d.Kap.avroiro8os dirfjvas, v. 3, on O. 3, 3,
v. 2,

diea(jLavTOTr68(i)v ITTTTCW.
vifaXav dptrav, V. 1, is matched by I. 4 (5),
45, ir^jXals dptTots, TrdXtv \aorpo(pov, v. 4, by O. 6, 60, \aorpo<pov

rip.dv.

is found 1. 1, 50
(rt^ivov tivrpov, v. 18, is
the other hand, aotros is op#o7roXtr, O. 2, 8 ;
KaXXtoror, N. 2, 9
aXm/terras,
tepdy, P. 4, 131
I. 6 (7), 18, never
yXvuvs except here. Mezger

Kv8os d/Spov, v. 7,

found P.

9, 32.

VVtKor, O.
4 (5), 12

I.

8,
;

75

On
;

iiKpos,

has called attention to the resemblance between this ode and

the beginning and the end of the fifth Isthmian and we can
hardly resist the impression that we have before us a clever copy
of Pindar's manner.
;

But

if it is a

copy of Pindar, the copy

is faithful

to Pindaric

Of the

three triads, the first has lor its main theme the
victory of Olympia, the second the founding of Kamarina, the
third contains a prayer for well-earned enjoyment of the glory

symmetry.

gained abroad as well as at home. The three triads have been

compared to the three Kparfipfs of the symposium, at which the

ode was sung.

The metres, logaoedic ace. to J. H. H. Schmidt, are often called

Moriz Schmidt
dactylo-ithyphallic, not elsewhere found in P.
insists

on the strong resemblance between the movement of O.4

NOTES.

168
and of O.
brief

in opposition to Bockh, who says A ceteris Pindari

mirum quantum distans. Von Leutsch emphasizes tlie
:

5,

carminibus

compass of the strophes and epodes, the simplicity of the

verse, the peculiarity of the sequence, all indicating the Lesbian

According to him the poem is too light,
style of composition.

and has too little art, for Pindar.

If we had a wider range of Pindaric poems, we might obelize
with more certainty. To me the poem is exceedingly suspicious.

"The prime." See O. 2, 8. 2.

1. awrov:
The nymph of the lake, Kaniarina, from which

a'.

2rp.

Ovyarcp
received
:

'Air.

its

Yc ^av "

name.

P.

4. awjttv:

a'.

8,

P-4, 181

38: ava>v

the city

Xaorp<5f>ov

-rrarpav.

With

growth of the restored Kainarina. 5.

POPOVS t| 8i8v(iovs According to Herodoros, Herakles built six
altars to twelve deities, and the pairs of o-v/x/fo/xoi are these: 1.
Zeus and Poseidon 2. Hera and Athena 3. Hermes and Apollo
6. Kronos
5. Artemis and Alpheios
4. Charites and Dionysos
and Rhea. ty^paipcv More natural than eyepape v, on account of

reference to the rapid

:

wo

" Strove to honor."

6.
fiovOwiais Comp. I. 5 (6), 44
fvxais VTTO dea-ma-lais AtWo/xai. /3. denotes the height of liberalDo not extend vno to a/iiAAm?.
ity, and sorts with avgmv.

ava>v

This is the reading of the best MSS. Hermann

thinks that the contests were held on the fifth day. Fennell
considers Tre/wrra/Wpois a formation analogous to e'/SSo/^Koira,

ircfiirrapc'pois

to Tre/iTraprpois, " lasting five days,"

and so equivalent
which many editors have.

oySorjKovra,

'E?r.

in

a.

7. tinrois T||U<$VOIS

only in the mule-race

sage

is

endless.

The

horse."
gle," like
rSav

p.oi/a/i7rv^

oiofavos

is in

Causative.

dvrjp.

"
*(\r)s

Sole-frontleted

" for "

sin-

See commentators on So. O. C. 718:

8. vtKa<rais avc&qKC
The
NjjpT/Swj/ duoXovdos.
the aor., the effort (v. 5) in the imperf.
itcdpvfc
vfoiKov: See Introduction to O. 4.

/carop.7ro8coj/

success

was a

(e'yepaipe)

(air^vrf).

(Aovap.iruiaa

The various games

the city. He succeeded
The controversy about this pas"And with the riding of single

p.ovapiirvKia re

which he strove to honor

9. Olvofioov Kal HAoiros: See O. 1, 24 foil.

P. does
2rp. &.
not couple closely the luckless king and his fortunate successor

OLYMPIA

169

V.

10. crraenwv: "Abode." So 0. 10 (11), 101; P. 4, 76; I. 6 (7), 45.

IlaXXds: Brought from Lindos iu Rhodes to Gela, from Gela
to Kamarina.
aei8i (xiv
irorauov TC See 0. 4, 13.
11. "flaviv
.

eighty feet high, between the mouth of the Oania

(Frascolaro) and the mouth of the Hipparis (Camarana), at the
eastern end of the great bay, the innermost point of which is
occupied by Gela (Holm). "Qavis bears a suspicious resemblance

K. lay on a

hill,

to 'ndwr)s, an Oriental fish-god, germane to Dagon.

re "Qaviv
See Curtius, Gr. Et. 4 p. 561. iy\upiav: Not
points to faavit.
otiose.
Kamarina gets its name from the lake of the land.
,

12. o-epvovs A X TOVS: "Stately canals" (Am. Journ.

'Aj/r.
of Phil. VII. p. 407).
Others "sacred" oecause of the river.
Doric use of the word "host" for "folk." 13. icoXXa:
o-rparov
The commentators are divided as to the subject; part take "ITT'.

Trapts,

much

part ^av/iiv.
Assuming, as we may, that Psaumis had done
to improve the navigation of the river, the praise is more

delicate if we make the river the agent of all this good, and
"
The river doth
put, instead of the benefactor, the benefaction.
"
build with speed a lofty forest of stedfast dwellings (Myers).

canal enables the builders to float down wood rapidly for

Fennell transl. xoXXa, " makes into rafts." w|k
houses.
As it were, " a forest of tall houses." 14. inr a^ax*yviov aXo-os
vias Livelier than the other reading, air. See O. 6, 43, and N. 1,

The
the

new

35

<rir\dyxv(i>v viro pzre'poj darjrav fg

light

and

aiyXav

/aoXwi/.

is 4><ios

To

life.

15. A^<' operato-i: N. 5,47: eVXoitri iiapvarai irtpi iracra

ir5vos Sairavare: 1. 1,42: d/i^>oTpov ftairdvais rt KOI irovots.

*ETT. /3*.

TroXif.

The singular number of a welded pair. irpte jfpYov:

victory in view, veiled though it be with risk." The
chariot-race was a risk to person as well as to property.
See P.
an old
16. rjv 8' rxovrcs: The successful are the wise
5,49.
fjiapvarai:

"

With

So Eurip.

sneer.
Xirais

Who

P. 11, 28

TOP (vrvxovvra KOI

(fipovflv vop.top.fv.

KX\ iro-

are the last to recognize merit in a fellow-citizen.

KiiKo\6yoi 8e TToXZrai.

17. Swr^p
Kamarina was a redeemed city. The
2rp. y '.
voc. a-oyrtp is post-Homeric.
18. ASaiov: According to Demetrios of Skepsis this Idaian cave was at Olympia.
If so, it was
:

doubtless

named

after the great

Ida in Crete.

There were many

NOTES.

170
Cretans

the original founders of Kamarina.

among

dirvwv ev avXots

On

cations.

The Lydian

(v,

see O. 7, 12

flute

19. AvStois

melody was used

Trap.<p<avoi(n

in suppli-

ev fvre<riv av\>v.

"With hosts of noble men." 21.

apostrophized, as often, at the close of
Iloo-eiSaviaio-iv iirirois
22. evtoithe poem.
Cf. O. 1, 77 ; 8, 49.
P.'s usage would lead us to combine evdvpov with reXevrav,
|iov
'Aj/r.

20. cvavopfaun:

y.

'OXvpirioViicc

The

victor

is

but this

an exceptional poem, and we may follow the Schol. v

it with yijpas.
See 0. 1, 37 P. 8, 88.

is

who combines

Od. 12,43: TO> 8' ov n yvvf) KCU

irap itrTarai ov8e ydwvrat.
24. llapKcwv
Cf. N. 1, 31
OVK
Proleptic.
dyta.
f
papai jroXvv ev fitydpto TT\OVTOV KaraKpv^ais e^tiv dXX eovrotv
23. irapurra|ievv : Cf.

'ETT. y'.

tKva

oiKa&f

vo(rrr)(TavTi

ev T( iraQflv

/cat

aKov<rai <pi\ois

tapK.ev.

That prosperity

sound which streams in and out, helping others and gainWhoso hath this, and Psaumis hath it, let
ing good report.
him riot seek to become a god. (") \MTe\><rR 6ebs yivlaQtu.: Sc
L 4 (5), 14 HTJ pen-eve Zevs yeveadai. An abrupt end, like O. 3.

is

MULE

CAR.

Coin of Messana.

AOESIAS, son of Sostratos, was a Syracusan of the noble family

The lamiof the lamidai, descendants of lamos, son of Apollo.
dai were hereditary prophets among the Dorians, hereditary
diviners at the great altar of Zeus in Olympia.
Early settlers
of Italy and Sicily, they retained their connection with Arkadia.

was also a citizen of StymAs a Syracusan he was an active partisan of Hieron,

and after the fall of the tyrannis was put to death by the Syra-

Our

Agesias, a citizen of Syracuse,

phalos.
cusans.

The composition of the ode cannot be

(476

B.C.),

nor later than Ol. 78,

(468

earlier

B.C.),

than Ol.

76, 1

the earliest and the

within the reign of Hieron.

Pindar was at that time in
Ol. 78, 1 is the
Sicily, and the poem was composed in Greece.
date to which the ode is assigned by Bockh. Zti/s Alrvaios
(v. 96) would seem more appropriate after the founding of Aitna

Olympian celebrations that

latest

fall

Ol. 77 (472 B.C.) is excluded, because

The arguments advanced by Leop. Schmidt in sup(Ol. 76).

port of the same date, such as the character of vv. 58-63, which he
regards as a feeble reflection of O. 1, 71-85, and the confidential
tone in which Hieron is spoken of at the close, do not seem to
be cogent.
The ode was probably sung at Stymphalos and repeated at
Syracuse. One Aineas brought the poem from Thebes to Stymphalos, and directed the performance. We do not know whether he was an assistant of Pindar's or a local poet of the lamid
stock.

The verses to which one always comes back in thinking over

poem are these (100, 101): dyadai 8t jriXovr' tv x fl p- ( pi<}

this

I/VKTI

6oas (K vaos

a7re<7Ki'/i</>$ai

8v' ayKvpai.

In the second Olymhere there is clearly a

pian we have noticed a recurrent three

recurrent two. Agesias, the hero of the poem, unites in his per;

NOTES.

172

son Syracusan and Stympbalian. At Olympia he is victor in

At Syracuse he is
the games and steward of an oracle (vv. 4, 5).
He
O-VVOIKIO-TTJS of the city and beloved of the citizens (vv. 6, 7).
is prince and prophet, as Ainphiaraos (v. 13) was warrior and
prophet, and his victory. must be celebrated at Pitana (v. 28), as

must be celebrated at Syracuse (v. 99). His charioteer, Phinmust speed to the banks of the Eurotas, and Pindar's
leader, Aineas (v. 88), must conduct the festal song.
Agesias's
maternal stock was Arkadian from thence came his prophetic
blood from Euadne, daughter of Poseidon (v. 29), a prophetic
god from lamos (v. 43), whom Euadne bore to Apollo, a pro-

it

tis (v. 22),

phetic god.

The myth of lamos

(vv. 29-70) shows the value of this double

the result, a double treasure of prophecy. Prosperity and
fame attend the lamidai. Herakles helped lamos at Olympia

help

Hermes the lamidai in Arkadia (v. 79). Thebes and

68)
Stymphalos are akin (v. 86), as Herakles, Boeotian hero, and
Hermes, Arkadian god, unite to bless the lamidai. So the song
must praise Hera (v. 88), for Arkadia was the home of her virginity, and vindicate Boeotia, home of Herakles (v. 90) must
remember Syracuse, and wish the victor a happy reception in
one home as he comes from another home as he comes from Arkadia to Syracuse (v. 99). He has two homes in joy two anchors in storm. God bless this and that (rwi/Se Keivw re K\VTUV
Nor is the mention of the two
ala-av irapfxoi (^tXe'wi/, v. 102).

(v.

idle.
May Amphitrite's lord speed Agesias's ship, and
prosper the poet's song (v. 104).

anchors

one of the most magnificent of Pindar's poems, full of

not so dazzling as the seventh Olympian. The myth of
lamos, the fj,dvris ancestor of a H.O.VTIS is beautifully told. Profound moral there is none to me discernible. "He that hath
gods on either side of his ancestry shall have the gods to right
and left of him for aye," shows an aristocratic belief in blood
This

is

color, if

(ov8t TTOT

ficXetyfiv yfvtdv, V. 51).

such a ganglion of personal and tribal relations involved in this piece that one is tempted to long historical and
antiquarian disquisitions; but if we accept Pindar's statement
as to the connection between Thebes and Arkadia, nothing more
is necessary to the enjoyment of the ode.

There

is

OLYMPIA

VI.

173

The rhythm is Doric (claotylo-epitrite).

Of the five triads, the first contains a glorification of the victor,
who is compared to Amphiaraos, also a prince and a prophet:
the second takes us to Arkadia, and begins the story of lamos,
which is continued in the third and the fourth. The latter half
of the fourth prepares the return to Syracuse, which forms the

conclusion of the poem.

2rp. a.

26

O.

8,

0.

5, 13.

1.

5 (6),

"

Golden"

for "gilded."

viroarao-avres
"
House," as
OaXdjiov
2. is 8re: Without a verb, as P. 11,40; N. 9, 16;
With us art the verb is in the ind., and not in the
1.

Xpwo-^as

vTTtarao-f

1.

KIOVO. 8aip,oviav.

Homeric subj. (N. 8,40); therefore supply Trayvu/iev, if anything.

The ellipsis was hardly felt. 3. ird|ofwv: On the mood, see O. 2,
A favorite quotation in modern as in.
2.
dpxo(ieVov 8' cp-yov, KT(.
ancient times. The gen. absol., though not " pawing to get free," ;
is not used with perfect freedom in P.
Hence d. e. is felt to depend on TTpoo-toirov. 4. l 8' ctij, tcre. The ideal conditional (0. 1,
108) of a fair dream, too fair to come to pass, and yet it has conje
to pass,
no subject, no TIS, as might be expected. Sd
ft?; has
:

. . . re
See 0. 4, 13. 5. PW|JLO> . . . (xavTeiai Tafias
often varies with the genitive so as to produce a
chiastic or cross-wise stress, thus emphasizing each element alter-

N.

9, 46.

jwv

The dative
nately.
K\fivav

Sfprj

Here the

on

stress is

2vpaKoo~<rav it

is

on

rap.ias,

Aapei'ou 8 e
yv ro> jSouXo^ie'i/o) KOI ov y vvfj

traipa

Ar. Ach. 219,220: vvv

8' eVeiS))

rov

a-rtppov

17

O-UI/OIKIOT^P rav

Comp. Hdt.

dSfX<e^r

dvc^fios,

p.tv

while in

2vpaKo<r<rav,

p-fri

fjdr)

7,

TJV

Cf. Isai. 3, 13 :
pov dfiov. Cf.

irais.

rovfjiov

dvTtKvrjftiov

Kt\o s ffapvvfTai. |MivTi(:=^ia^-tKoJ.

ra|ias = SIOIK^TTJS (Schol.). The lamidai had the right of divining by fire. 6. ruvoucwmjp: Of course only by hereditary right.
Km

TraXaiw \aKpari8rj

TO

cr

Not with ev lp.fprats dotSaif, but with a(p06v<i>v dtrratv.

Citizens are apt to show envy in such circumstances.
Those who count three columns in the irpodvpov forget Pindar's
7. eiriKvpo-ais:

Cf. v. 74.

four. A. is an Olympian victor, a ra/xiar

of Syracuse, and beloved of his people. The
outside columns are personal, the inside are hereditary. oorwv

implicit way.

There are

Ator, a o-vj/otKionjp

Both Stymphalians and Syracusans.

'Aj/T.

O. 3,

5.

a'.

8.

tort*

Sai|i<$viov inSB'

rxwv

exwv

N.

9,

45

Cf. Aisch.

IOTW Xa^wi/.

Ag. 907: rov abv

irotf.

\\

NOTES.

174

The Greeks drew largely on foot ana

, 'l\lov
iropdfiTopa.
footgear for their imagery, and yet Aristoph. laughs at xpovov
TrdSa (Ran. 100).
9. Sworparov vl6*-.
8., "blessed of heaven."
a,Kv8woi ... dp. On the risk of the chariotEffective suspense.
also O. 5, 16
P. 5, 49, and Introd.
race, see So. El. 745 sqq.
:

to P. 6.

10. irap'

KOI dvtpas.
vav<riK\vrav 6t<r<Tavro.
vt)<rovs T(

this clause

up

"On

avSpowriv:

N.

5,

9
ft

11.

land."

Aiyivai/,

irovaO-f]

Apoll. 142
evav8pov re KOI

Hymn.

rdv iror
:

in opposition to d/cu/Swot.

The position throws

The generic condi-

tional in P. takes the pres. indie, (rarely pres. subj.) or the aor.
subj. fdv (fjv, eT Kf) does not occur. For the thought, see 0. 11 (10),
:
Cf. 0. 1, 36. TU/=<TOI.
4.
12. 'A-ytjo-to, rlv
Ircl^cs : Of. P. 6,
:

8$

7:
"

erot/to? vp.va>v

"

13. airb y\iatr<m:

Bqaavpos.

He

flung

it off

"ASpaaros Leader of the Argive host that

roundly,"
came to help Polyneikes to his rights, P. 8, 51, and elsewhere.
'A(Mt>idpTjov
Amphiaraos, noblest of the seven against Thebes.
N. 9, 24 6 8* 'AfKpidprj crp(i<ro'ei' K(pavv<a 7ra/i/3('a Zevs rav ftadvN. 10, 8 yaia 8' ev Qrjftais
crrepvov ^Qova, Kpvfyfv 8' a/x' tTTTroty.
:

freely."-

14. Kara: With ffiap^ftv.

Kfpavva>6ficra Atof /3(\<riv.
the
White, ace. to Philostr. Imagg. 1, 27.

tirirovs

gender, see P.

On

2, 8.

15. IHTO . . . TeXtoOeVrwv : The MS. Tf\(rdcvra>v is un'ETT. a.

derstood now as " consumed," now as " composed " in the sense
of Lat. compositus. " The corpses of seven pyres," one pyre for
each contingent, not for each leader, as Adrastos escaped death,
Amphiaraos disappeared, Polyneikes was buried by his sister.
Of the many conjectures, van Herwerden's re 8ai<r6fvra>v is the
most convincing. Cf. N. 9, 25 tirra yap Saio-avro Trvpai veoyviovs
and Eur. Herakl. 914 Trvpot (p\oyl <rS>p.a 8ai<r6tis.
<f>G>ras,
:

one of Bergk's experiments. Christ's text has

Scholiasts seem to have had before them re
(so says Moriz Schmidt also), which they understand now as
"counted " (KaTapttfpjtfeVreoj/), cf. II. 3, 188 fitra roicriv (Xfxfyv
now as o-vXAextf*'"" trvbXtyfvnv cf. Ar. Lys. 526 Plat. Legg.
0fvra>v is

TU>V.

The

784 A. The former is the more likely. Bergk re vrjvQfincw,

from ve'w, " pile up." ToXoiovtBas Mouth-filling patronymic for
ToXafSar (Adrastos). Comp. 'Ympiovifys for 'YTrep/wj/ ( Od. 12, 176),
:

6,

'laTrertoi/i'Sjjy

2, 11.

for

'laTrert'Sjjf

17. An$<5rcpov

dp.<t>6rfpov j3ao-tXevf

(Hesiod.O.etD. 54).-

16. 6J>eoXnJv: O.
Cf. II. 3,179:

A clear Homeric reminiscence.

T dyadits Kparipos r at^fn/rijf.

18. avSpl

Kwpov

OLYMPIA

VI.

175

. . .
SvpaKoo-iw The Schol. combines d. 2. and K. 8., and
must stand despite the affinity of dv8pl for Sfo-rrora. 19. $1X0VIKOS Bergk writes cpi\6viKos from i/tV?;, as he thinks with Cobet,
N. L. 691, that velxos would require <f)i\oviKT)s. The passage is re:

this

ferred to
pto-Tos

by Isokr. 1,31:
-rrpbs

fJLT}8(

6p.i\rfriKos 8' ftrti pr) ftvcrepis

&v

p.r/8f

irdvras <pi\6viKos (so the Urbinas).

8vad-

20. \Uyav

P. is a challenging herald.
O. 2, 101 aifiao-o/wu
opicov 6(i6cr0-cus
tvopmov \6yov dXadtl >d<a. 21. fwX^Ooyyoi: So I. 2, 7 p,(\i(p06y" will
yov Tfp^t^dpar. liriTptyovri
<rv/ji(pa>vfjarovtriv (Gloss),
ap" shall not
"
me
prove,"
say
nay (E. Myers).
:

*vns

22.

Srp. ft.

= *tXTif A
.

Sicilian-Doric name.

Comp.

Phintias in the story of Damon and Ph'intias (falsely Pythias).

aXXd: With imper., as 0. 1, 17 and often. fcvjov: P. harnesses
his poetic chariot only on grand occasions.
O. 9, 87 P. 10, 65
"
I. 2, 2 ; 7 (8), 62.
crfl&os r|(u<Jvv
rfii\
Straight."
Comp. P.
a-0. is not limited by P. to animals, Fr. II.
a-Btvos tinrdov.
2, 12
;

Homer has II. 13, 248: <r. 'ifio/zf wjor, and

486: trdfvos 'Qpiuvos. Plato says in sport of Thrasymachos,
Phaidr. 267 C. TO rov Xd\KT)8ovlov (rOtvos. 23. 4 faxes =us rd1,4: <rdfvos 'HpcwcXeor.
18,

8<J>pa

X<>s.

P.'s favorite final particle.

iceXcvOy 4v

KaOap^

For

the path of poesy see N. 6, 52 7rp6<ro5ot, 62 : 6861' a/ia|trdi/, I. 2, 33:

ov8( irpocrdvnjs d Kt\tvdos ytrmu,L8 (4), 19: fivpia itavra tc.i\t\>"
24. f3d<ro|*cv
Ka0.
0os.
illumined."
o<ppa, as a relative, may
take the fut. (II. 16, 243 Od. 4, 163 17, 6), and P. has P. 11, 9
:

but the "short" subj. is more likely. See

O. 1,7.
25. Kal Y&OS: K., "actually," "at last," shows impati" Above
ence, like TJ8r).ll oXXov
tg as II. 18,
(all) others."
431
fK
ira<rt<av KpoviSrjf Ztvs oX-yf' tBrjKtv.
aXXav Dor.
e'/iiot
o<ppa

K(\a8r)<rfTf,

fern. pi. := ("XXwi/ (f)ni6v<av).

26. arc^avovs

The

chariot

wreathed as well as the victor. 28. irpos IIiTdvav: The

of the town in Laconia not the town itself.

was

nymph

'Ayr. /3'.
29. a: The myth is often introduced by a relative
or equivalent demonstrative, O. 1, 25 3, 13 8, 31.
p.ix6cl<ra: P.
much prefers the first aor. p. of this verb to the second. Kpovty
;

A<iwXoKov: " Black -tressed. ' So Bergk for

Of. P. 1, 1 : fioir\oKdtWXoKa/ioi/ (unmetrical) of the best MSS.
31. irap0tviav wSiva
Mourdv. Allusion to the 'la/nidat.
H<av
"
Fruit of unwedded love." K^Xirois " With the folds of her
robe." References to change of belting, in the circumstances,
See O.

2, 13.

30.

NOTES.

176

common enough

are

cisive

in all literature.

W|Mrowr(a): See O.

month.

uniformly fem. in Homer, it

So P. 3, 45

iropo-aiveiv 86p.ev

may be
:

X.

45

7,

Xvot K v xaXivov

'ETT. /3'.

considered

3,

The

As

de-

a. is

fern. here.

33.

8i8aai, and P. 4, 115

This son of Elatos was Aipytos,
:

Arkadia, on the upper Alpheios.

Comp. N. 1, 68:

35. vir" Air<5\Xvi

inf.

3eX'o)i/ VTTO pnralcri, Fr.

apJ>iir<5Xovs

Trope Kei/ravpw

ElXariSqi
Tpd(p(iv Xe/pwi/i 8S>Kdv.
v. 36.
34. 4>aKrxv<f. In southern

oUciv: Epexegetic

32. icvpiw Iv pjvi

2, 23.

VTTO

feuyXaiy dcpuKTOty,

and

esp.

I.

t<p' fjpa'i irapdevias.

36. ov8' eXa6(c)

icXem-oiaa

The

aor. e\a6f

would

more naturally take the

aor. part., but the neg. is killed by the

K \., "hiding."
neg. (owe eXadev
(pavepa rjv). Of. II. 17, 676.
38. irep':
37. A|eiq, |xcXrq,: As with a bit (ovre'po> ^aXo/ai, Soph.).
Allowed in P. for irtpi 39. 4>oivnc<5Kpoicov Tlie passage is charac-

teristically full of color. <p., "crimson."

KaTaOTjKOjUva P. gives
in detail for the daughter what he had only hinted at for the
:

mother.
KaXiriv

40. icdXiriBa

As

Od.

in

X6x(Aas (nro Kvaveas

xov<rrj.

7,
:

20

The

Trapdevu(fi eiKvla

1/6171/181

gen. with the notion of

overarching. Mommsen reads with A Xox/wur VTTO Kvavtcus. For

KTO yap X613, 111. For Xo^/xa, P. 4, 244
gen., comp. O. 2, 91
The colors are contrasted, dark blue with yellow,
Kvave'as
Xp-a.
41. TKTC
The imperf. of
cold with warm.
Tft-eo-Oai e/ieXXe.
" she
this verb is in very common use. Sometimes
was (a) moth:

er

"

(v. 85),

sometimes " she had to bear."

a future prophet, " upon whom

O. 7, 32. Comp. P. 2, 16
juis
:

N.

7, 1

'EXct'^via TrapeSpe

was the

0crf<f>pova

'

Fit

word

xP vvoX a lTa

Moipav ftadvfppovwv.

O.

26, KXa>$o> is
of KXcodob Kaaiyvr)1,

the Trdpebpos of 'EXet'^uia. Moipas P. speaks

ras T(, I. 5 (6), 17, and mentions Afi^eo-i? at the Xa^oc of
:

(O. 7, 64), but

2rp. y.

row."

nowhere

43. wSivos

Comp. N.

(s aly\av nals Aios

1,

calls "ArpoTros

36

eparas

for

God." Xpv<roic<S42 'EXcievuav Of.

spirit of

Rhodes

by name.

An oxymoron,
VTTO

like

"

sweet sor-

avriica

QarfTav
(ptvycov 8i8vp,a> trvv KacrtyvrjTat p.6\ev-

crwKdy^yatv

a>Sij/a
|

p-arepos

44. avriKa: Effective position. The favorites of the gods are sped
On the savagery of the primipara,
in childbirth.
Kvi^op-e'va
:

see Plat. Theaitet. 151

C: pj dypiaivt

oxrivfp at -rrpcoTOToKot trtpl

The
sore distressed." 45. Xetirc
"
imperf. denotes reluctance, "had to leave," felt that she had
8vo . . . Spaxovrcs Two also in Eur. Ion, 23. The serto leave."

ra

iraibia.

Fennell,

"though
:

OLYMPIA
pent

is

177

VI.

notoriously mantic and Apollinic, and occurs everywhere

Greek religion. The dpaKovra are children of

in the history of

Gaia.
4,

Notice the rarity of dual nouns in P. Y^ avit "ir<s Pis proverb-yXavKwTra noiKiXovtorov o<pii>. The basilisk eye
46. iOptyavro: The affectionate middle, P. 9,20. 95.
:

249

ial.

An oxymoron contrast to the natural 16s

The honey, which is also mantic, was a miraculous exudation of
the serpent's fangs, and so /xeXio-crai/ is = p.(\icr<rai(f. Iff is another
47. KaSd^xcvoi
As if they were human. 48.
play on 'lapiftai.
UvOwvos So. O. R.463: & 6f<rm<TT(ia AeX(pis Tre'rpa.
rpaeWas
iXavvwv " Hasting." 49. rbv
WKOI The opt. for the ind.

4*i

i<j>

-.

Homer

virtually confined to the .interrogative sentence.

This Pindaric experiment with the relative is due to the inter-

in

is

rogative character of fTpero, and has few parallels in classic

Greek. So. O. R. 1245 xaXet TOV \diov fjLi>i'ip.r)v ira\ai>v crTrfp/xd:

rtov f\ov<r v<p' tov

Qdvot fiev avros,

Trjv ie

The

TtKTovfrav \tiroi.

ex-

amples mainly in Herodotos. yryeucciv: A Doric perfect, such as

we find most frequently in the Sicilian dialect. TfTtXtvraKoixrat
occurs in a Delphic inscription (Curtius).
'Ayr.

y.

50. ircpi Ovarwv

As

fipoT&v, TTfpl S' Ipa dfolcriv

e'orl

in Od.

1,

66:

69 ntp\ p.tv voov

Bergk reads

ddavaroio-iv (8a>Kf.

with most of the codices. 52. pdvvc Specialized in prose.

"
"
Here of prophetic revelations.
53. cvxovro
Vowed," deoXXa
clared."
See 0. 1, 55. 54.
Y*p: "But (in vain) for."
So Odysseus, Od. 5, 463 <r^oiVw v7re<XtV^. aireipdry
<rx<>iv<|>
"
The quanlimitless."
(as Od. 10, 195),
Bergk writes an-ftpi'
:

Trtpi

"
tity aTTetp^ro),
(direipTjTos,

unexplored,"

is,

Horn.), but dirdparos

to say the least, very problematic

might be to irt'ipas as irtparos is

to irtpas.
"Boundless brake." 55. iwv: The colors assigned to
the violet here seem to show that the pansy isme&ut(viola tricolor),
the yellow eye of the violet being too small for the prominence of
"
"
"IQV means also
{avdaia-i.
Deep
gillyflower." ira|iirop<|>vpois
56. T&: "Therefore."
arSt^a.-.
purple." Pppc-yjw'vos "Steeped."
:

In

Homer

him

only of the dead body.

to be called.

Her

an omen, as often.
irdvra \povov would
us lose the intent.

'Eir.

y.

calling

xp^V

<n'K' iraVTl

be coarser, and

57. TOVT' 5w|t(a)

KaTc<j>d(xi|ev

was a dedication

lamos.

H2

"For

all

tv iravrl

xP

She dedicated
the nomen was
time," where ts

vt

xP v<ro<rTf ^*vol

would make

*HP:

NOTES.

178
So

P. 9, 118: xpvo-oo-Tf(f)dvov 8e foi *H/3ar

napirbv dvdt)travT
consecrated epithet, Hes. Theog. 17 : "H/fyp
(6t\ov.
drroftptyai
Dat. of
rt xpv(ro(rr(<pavov KaXr'/v T( Aidoi/rjv. -58. 'AX<}>c<5 peo-ao*
|

approach. The god of the sea is also god of the river. Besides,
Alpheios runs straight to the main. "Mid-Alpheios" (Schol.).
P. 2, 12.
Others, "into the middle of the Alpheios." cipvpiav
aicoirrfv
v. 29.
59. irp6-yovov
Comp. P. 3, 27 ovS' e\adf VKOHere in its full sense. See O. 3, 7. 60. XaorpoiTuv.
0eo8(idTas
The honor of a Troi/j.r)v \a>v. 4$ K<|>aXqi: Cf. O. 7, 67
<J>ov Tijxav
61. WKTOS viratOpios
t'a
Comp. the scene, O.
K((pa\a
yepas.
" Clear
1, 71.
aprucinijs
speaking." So 1. 4 (5), 46. Comp. dpri:

Not Aortas, tlie riddlesome, this time. 62. juThe voice sought him in the dark and (when it found
him) said. The commentators have made much difficulty about
the highly poetical expression. 63. ira-yKoivov Is xP av: Comp.

TTOUS, dprivrofjios.

TaXXao-cv:

O.

3,

17

Aior eurei navdoKw aAcm.

TT.,

a prophecy rather than a

prolepsis in the usual sense of that word.

the track of my voice."
2r/>. 8'.

64.

T<Sica zi:

rt Xfdvrwi/,

6iri(r6cv:

"In

iX^arov An Homeric word (^Xi/Saror) of uncer"Steep" might answer here, "hrambly" (Goe-

tain meaning.
bel) would not.
66.

<|>dfj.a<;

Tore.

tv8ei(\ov Kpoviov (O.I, 111) does not help us.

Cf. N. 4, 62: dpcurvpaxdixav
survival of the etymological mean-

67. Opeurvp-dxavos

which shows the

"
"
So O. 2, 49
68. 9aXo
ing of wxavq,
might,"
power."
6d\os
A.8pa<rridai>
dpayov 86p.ois. 'AXKa'iBav From 'AX/caioy, the
father of Amphitryon.
We are more familiar with the form
:

'

The altar was built

70. *ir* oxpoTaTcji PO)(IOJ
Alcides, 'AXicd^s.
of the ashes of the sacrifices, and consisted of two parts on the
:

upper and

and the
rfa'av: The contrast to
TOKO. p.v is put characteristically at the end, not at the beginning
of the 8f clause. K&.CVO-CV A shift of construction, instead of
lesser the thighs of the victims wer,e burned,

divination performed, Paus.

5, 13, 9.

leaving dto-dai in apposition with

'AJ/T. 8'.

71. i{ ov:

"
"

drjo-avpov.

Since when," not a part of the promise.

is."
Some have no stop at
and make ytvos depend on eo-Trero, a rare accusative, on
the strength of N. 10, 37. 72. nitres " Prizing." 73. is <|>avepav 68<Jv: Comp. v. 23: KeXrvdo>
Kadapa, and contrast the
picture of home-sneaking youths, P. 8, 87 Kara \avpas 8'

Supply

eori as usual,

has been and

'l/ii8aj/,

OLYMPIA

179

VI.

'

XP^P ?KTTOV Each action is a proof

of achievements, O. 9, 112. Others:
Action proveth each man.
pwpos Cf. fr. XI. 42 irari /ip>v
Of the
Blame and praise are inseparable. J
tiraivos
74.

dirdopot irroxrarovri.

So xp^'

(thereof).

ffaa-rov,

Ktpvarai.

KptjiaTai = oriKpf'/iarat

source.

75. irtpl 8a>&KaTov Sp4-

(Schol.).

76. -irono-roLfo . . . pop^av

See O. 3, 33.
Victory transfigSo the Schol. ol VIKO>VT(S SUKOVCTIV cvfiSfts tlvai. No one
who has seen can forget the light of battle even on vulgar
the beauty of homely brides. As
faces, and everybody notices
lamos is steeped in violet light (v. 55), so Agesias has beauty
For
distilled upon him.
Trorttrra^j; with Bergk for irorurrdfai.
l*ov

ures.

the generic
viri

(without

sul>j.

KvXXavas Spovs

O.

av), see

So Christ,

3,

13

<a

nvi

77.

0X77.

The

after the* Schol., for opotr.

gen. in O. 13, 111 rai ff vrf Airvar tn/fiX6<poti KaXXiVXovrot TrdXtff.

(iarpws avSpcs The double lineage is insisted on. The maternal stock is one of the two anchors, v. 100.
:

78. I8pt)<rav: The aor. act. occurs also Hes. O. et D.

8ewv KdpvKa Hermes is often Cyllenius.
Od. 24,1: 'Ep/7?
Xirais :r: \iravfvriKals (Schol.).
8e tyvxas KuXXijj/iof fi-fKaXdro.
"
Supplicatory." Comp. P. 4, 217. 79. a-ywvas tyti piipav T* aeOXwv On fvay&vios 'Epfjias see P. 2, 10 ; for d(6\a>v
po'tpa, I. 3
'ETT. 8'.

82.

Applied to the Peloponnesos, O. 1,24; to

the Lokrians, 0. 10(11), 109; to Argos, N. 10,36; to the sturdy
One of the harshest
irvoai*
Acharnians, N. 2, 17. 82. 8<$av
combinations in P., at least to our fet'ling, but the tongue is
It is a bow, I. 4 (5), 47
freely handled in Greek.
yXuo-o-d pot
To^fvpar' f\fi. It is a dart, N. 7, 71 anovff ire ^aXKOTrapaoi/ (comp.
the use of yXw^iV, So. Tr. 681). Being a dart, it can be ham80. cvdvopa:

(4), 10.

The
1, 86: xoXKfve yXwo-o-ai/, or sharpened, as here.
a Nat'a dicova, I. 5 (6), 73, and the poet's tongue is to be
edged as the spirit of athletes is edged, 0. 10 (11), 22. The word
Xtyvpaj is not used in a bad sense the Greeks liked piercing
mered, P.

trainer

is

sounds, and KaXXipooia-i wools shows that in this case, at any rate,
the sound of the whetstone was the voice of the Muses. The
shrill whetstone that P. feels on his tongue accosts him with

sweet breathings, and with a welcome message.

We
y\ii<ra-^
want the dative and accept the hiatus, as O. 3, 30 'Op#<na
83. irpoae'pim
So with Mommsen and the best MSS.
(ypaifrtv.
The inferior MSS. have 7rpo<r'Xcft, " draws to," with W^Xovra as an
oxymoron, "which to harmonious breath constraineth me noth:

NOTES.

ISO
"
ing loth
(Myers).

We

should expect rather some such word

as irpo(Tfi\fi (n-poo-eiXf i), " forces."

KaXXip<Sort irvoais If npo<rt\84. [xaTpopaTup 4|xa,
Kfi is read, K. TT. is the dat. of approach.
:

KTt.
Metope, daughter of Ladon, and nymph of a body of water
near Stymphalos, was the mother of Thebe by Asopos.
:

lies. Scut. 24
85. irXali/rrirov OijfJav
Boiwrol 7rXiji7r2rp. f
frucrev: See v. 41.
P. 9, 18: oj/ irart .
Kpei'owr' eYi/crei/.
Much stress is laid everywhere on the waters of
iparcivov vSwp
:

'.

TTOt.

Thebes.

Comp. P.

94

9,

v8a.Ta>v de fif^vaTai.

86.

... p.rj8f AipKaiW

form used everywhere

Kto(pbs dvrjp TIS, 6s

iriojjiai

pres.

as a fut. except here, where Curtius (Gr. Verb. II l . 290) considers

it to have a pres. force.
88. AlWa: Aineas was P.'s ^opoStSaIt is sup<rKa\os, and was to him what Phintis was to Agesias.

posed that Aineas was a Stymphalian relative of Agesias, and a

local poet
the proper man for the performance of an ode intended to be sung at Stymphalos. The task "Hpav TlapBtviav
Kf\a8^a-ai was to be the work of Aineas himself, to be followed

by P.'s ode, which Aineas was to produce, and to find out by its
whether P. was open to the old sneer against Boeotians.
Aineas is a man whom he can trust with the execution of a commission which should silence the cavillers in Stymphalos.
effect

A Stymphalian goddess. Hera had three

"Hpav IlapOcviav
temples there, and three names, TTOIS ( irapfavos ), reXet'a, x"7Pa
:

>

Paus.

89. ap X aiov 8vi8os

8, 22, 2.

Boiwriav vv:

Comp.

fr.

IV.

The "Yaivts were old inrfv are criias TO Boiavrior/ edvos tvfjrov.
habitants of Boeotia. The moral character of the swine was not
exactly the same among the Greeks as it is among us and the
Semites.
Comp. Phokyl. 3, 5 f/ 8e avos ^.ocrvprjs OVT av KOKT)
"
aXaOtViv Xo-yois
rals dXrjddais
ov8e p.fv taffKr).
In very
9

truth "

after

tive.

).

90.

<j>ij-y

JLV

= perf.

Of the words. He is faithful. 91. rjvKopuv oxuMourav: Of the musical and orchestic part.
He is reten-

ayycXos 6p96s
reiXa

an honest calculation

-yXvicvs

charm of

his

Kparqp Shifting of the metaphor.

See Introductory Essay, p. xli.
:

He adds

own.

92. elirov
So the best editors with Ailios Dionysios.
'Ayr. f.
94. $om'Oprvyias Sacred to Artemis, an Arkadian goddess.
K6ircav So called with reference to the color of the ripening grain
:

95. Aa.fj.arpa

Persephone,

Hieron was an Hereditary priest of Demeter ant

to the Triopian deities, as did Apollo

who belonged

OLYMPIA

181

VI.

1, 144), and Demeter and Persephone were much worshipped in Arkadia. \VKiirirov So, especially, when she returns in

(Hdt.

96. ZTJVOS Alrvaiov

the spring.

Cf.

Aitna was an especial pet of Hieron,

of P.

title

1,

1,

6
is

Zrjvos Alrvaiov

\^P LV

called Alrvalos in the

97. Xvpai |ioXirai re: P.

evo$ P. 3, 69.

Alrvaios

N.

who

com-

posed in his honor three Pythians, one Olympian, and fragments

of a skolion and a hyporchema remain. y iv *'ltoVTI So O. 7, 83
6 (v "Apyd ^aX/cor eyvco viv.
Opaoxroi
Tapar<roi So for dpaixroi,
with the Schol., Bockh.
The fut. opt. cannot be defended.
'

where fyoiaff
ov yvaxroiaro are
and represent fut. ind. We should have to
read dpavcrm with Hermann, or dpavoi with van Herwerden.
cites So. O. R. 1274,

Bergk

in oratio obliqua,

'En.

e'.

With a sweet security of transfer

in Gottes Hand). So also O. 7, 3 8<apfi100. |tooiKoQtv otKaSe, and, for the opposite, see 0. 3, 44.
99. oucoOev oucoS':

(comp. Aus Gottes

o-erat

Wp'

'AptcaSias

Hand

Stymphalos.

Cf. O. 9,

22

K\VTCLV \onpa>v (ira-

The metropolis is not necessarily the

oldest town.
cvfi^Xoio
Heyne reads t ii/ioXoio. See 0. 1, 12.
101. 8v' a-yKvpai
On either side of the prow (Paley). Starboard
and port, not fore and aft. Proverbial. The two homes, with
fipovri fjuiTep' dy\a68(v8pov.
:

the double line of descent.

102. rwvSe: Stymphalians.

Ketvwv TC:

103. S&nrora irovT<S(xe8ov Return to Poseidon, sugSyracusans.

v0rv 8c
gested by the ship. With Trovr6p.(8dv, comp. P. 3, 6.
:

On

the voc., see 0. 1, 36.

TOIO: " Gold-distaff" is a poetic
Se after

97.

wjivwv

3,
.

Sfflot

= 8i8ov.

xpvraXaK-

way of sexing the sea (Bockh).

Amphitrite has, as her special province, the
91) and the great fishes, Kijrra, Od. 5, 422, and 12,
. av0os
Cf. O. 9, 52 avQta 8' vpvatv

105. 'Afj-cfHTptTds

waves (Od.

104.

ROSE.

Coin of Rhodes.

OLYMPIA VH.
DIAGORAS of Rhodes, most famous of Greek
victory here celebrated Ol. 79,

The poem

boxers,

won

the

(464 B.C.).
was composed soon afterwards, as

we may gather
Ataydpa KaTe/Sav, and was sung at Rhodes.
Diagoras was a Herakleid. In the third generation after Temenos a Doric colony went from Argos to Rhodes by way of
Epidauros. The leaders were descendants of Tlepolemos, son of
Herakles, and Pindar makes Tlepolemos himself the founder of
the colony. The Herakleidai occupied three cities of Rhodes,
and established a triple kingdom. Those who inhabited lalysos
were called Eratidai, and this was the stock of Diagoras, who
also counted among his ancestors a son-in-law of the famous
Messenian leader, Aristomenes. The royal power of the Eratidai
ceased after Ol. 30, and in the time of Pindar prytaneis ruled instead and it is supposed that the father of Diagoras, DamagGtos,
was such a prytanis. Of an illustrious family, Diagoras won for
himself unparalleled distinction as a boxer. Besides being victorious at many local games, he was successful at all the national
His sons emulated the
games, and so became a irfpio8oviKr}s.
His youngest, Dorieus, had a career only
head of the house.
less brilliant than that of his father.
DamagCtos won the pankration at Olympia, Akusilaos a boxing-match. The two sons
of his daughters were also victors at Olympia, and one of his
daughters enjoyed the exceptional privilege of being present at
the Olympian games. The statue of Diagoras, surrounded by
his three sons and two grandsons, the work of Eallikles of Megara, was erected at Olympia; and familiar is the story of the
Spartan who, when he saw Diagoras borne on the shoulders of
"
his two laurelled sons, exclaimed, Die, Diagoras, for thou canst
not mount to heaven" (Cic. Tusc. 1,46, 111). It is not known
whether Diagoras followed the advice or lived to see the downRhodes belonged to the Delian league. Two
fall of his family.
years before the victory here celebrated the battles of Eurymedon
from

v.

13:

<rvv

OLYMPIA VH.

183

were fought (466), and Athens was at the height of her power.
aristocratic government, the Athenians favored the
commons as against the Doric aristocracy of Rhodes. Diagoras's
son, Dorieus, fled to Thurioi, hut returned and fought against the
Athenians in his own ships, was captured, but liberated. Again
exiled, he went to the Pelopounesos, where lie was arrested by

Enemies of

the Spartans and executed. But these events befell

after the date of the victory celebrated in this ode.

many

years

The good fortune of Diagoras was proverbial. The Morere,

Diagora of Cicero's version of his story,- cited above, is in the
school-books. But if we had no evidence outside of this ode,
we should know by Pindar's recital that his career was brilliant,
as his home was brilliant
Rhodes, child of Aphrodite, bride of
the sun (v. 14).
No wonder that the golden beaker and the
foaming wine are used to symbolize the song in honor of such a
victor and such a home (v. 1, foil.).
But there must be shade as
well as light. Nemesis does not allow too much happiness, and
in the history of the line of Diagoras, Pindar finds enough trouble
for contrast, each trouble ending in higher joy.
So, should the
happiness of Diagoras ever be interrupted, there is good hope
of more than recompense.
Tlepolemos, founder of the house,
slew the brother of Alkmena passion had overmastered him
but Apollo sent him to Rhodes, where he received
(v. 27)
"sweet ransom for grievous disaster" (v. 77). The sons of Helios, lord of Rhodes, were bidden to raise an altar to Athena and
sacrifice to the Great Sire and the Warrior-maid.
Wise as they
Yet the
fire, and offered flameless sacrifices.
gods forgave; Zeus sent them gold, Athena cunning craft (vv. BO-

were, they forgot

Helios himself, pure god, was absent at the partition of the

yet he received a boon that he himself preferred to all
besides (vv. 54-76). In each of these three cases we have a good

SS).

earth

beginning followed by misfortune, and yet a good ending crowns

Diagoras was fortunate. Both opera and xdp/xara were his
he trod a noble path,
(cf. v. 44), but he might one day forget
v/3ptor f \6pav 686v (v. 90), but passion might overtake him he was
a prince among men as Helios was a prince among gods, but he
might, in his absence, be forgotten but should Nemesis have
aught against Diagoras, he may yet hope to find, like Tlepolemos, like the sons of Helios, like Helios himself, Xvrpov
all.

NOTES.

184:

The winds shift (v. 95), but the divine

oinrpds yXvKv (v. 77).
steers the ship to its haven.

helmsman

remarkable feature of the myth

is

the reversal of the usual

chronological order. We begin with Tlepolemos and end with

the emergence of Rhodes. The climax is in the rank of those
sinned, who have forgotten, who have been absent.
Note that the fault is less the higher we mount. No wonder
that an explanation has been sought of the triple shadow that
The Scholiast on v. 94 assumes that Difalls across the poem.
agoras had got into discredit by killing one of his opponents.
But this must have been in some previous contest, for in such an
event there would have been no victory, as is shown by the case
of Kleomedes (Paus. 6, 9, 6). The shadow may come from the
future, as has been assumed above, but there is danger of being
a npop.T)flfi>s fjLfra Ta irpdyp.ara, and to Diagoras the words TOVTO

who have

'

dpd\avov

fvpelv,

o TI vvv (v KOI TfXevra (ptprarov di>8pl TV\flv (v.

The
25) need not have been ominous.
close may bring good as well as evil.

changing breezes of the

The rhythms are dactylo-epitrite.

Of the five triads, the first is occupied with the introduction
the second, third, and fourth unfold the fortunes of the house
Tlepolemos, the Heliadai, Helios himself. The last triad turns
to Diagoras.
The divisions are all clear-cut, the triads do not
;

a rare thing in Pindar.

overlap

On the statement that this ode was preserved in the temple

of Athena at Lindos in letters of gold, see Ch. Graux, Rev. de
" a little
Phil. V. 117, who thinks that the offering was
roll ($tor
fine
of
leather, bearing on its inner
parchment
/3X/ov, volumen)
surface the ode written in gold ink."
2rp. a.

groom

1.

*io\ov

The father of the bride pledged the brideand then presented him with the

in a beaker of wine

beaker, evidently a formula of espousal. See Athen. 13, 35, p.

575 D. The <^tdXi? was not a drinking-vessel in Homeric times.

Combined with &tpq<rerat. diro has the

d4>vids diro x<l p<fe
connotation of "freely." Comp. diro yX&xro-ar, O. 6, 13.
IXwv;
2. icaxXaourav
For " pleonastic " ( Dissen ) read " plastic."
"Bubbling," "foaming." 3. 8wptj<rrrai P. has us d only here,
Homer has a>s tl with subj.
ebr ore once with the ind. (N. 8, 40).
:

OLYMPIA
once

(II. 9,

481), with ind. once

VR

185
Swp^o-frai is the

13, 492).

(II.

may be comgeneric subj., and the shift from subj. to indie., $q

pared to the shift with o>j 8' ore in Homer (e. g., II. 11,414), in
which "the most important point of the comparison is usually
,

expressed by the subjunctive, while details and subordinate inStill

cidents are given in the ind." ( Monro after Delbriick ).
6r)Kt produces the effect of an apodosis (comp. N. 7, 11: d Si
It is not
TUX*} TIS tpbow, /teAi<ppoi/' alriav poai<ri MOKTQI/ W/3oAf ).
a mere picturesque addition, but forms an organic part of the
comparison. However, as this use of &V is not absolutely certain
in P., in spite of vvv 6Y (O. 3, 43). it may be well not to urge it

The

here.

effect

not implicit.

4.

can be got at
irpoirivwv

all

p.an TO dyyelov \apl^r6ai

to home and so binding home to

O.

13.

1,

(Schol.).
ot

(r.

5.

ri^oo-ais

See O.

dvrl TOV

them that

as dforpov
:

6fj: So

a.

if

From home

6, 99.

T>V (v

ro>

with him."
"

to grace
Coincident with Swp^o-erat as an aorist
oi

6bp.fvoi.

Others,

vvas:

58

tvQa viv dp^sTroXtj/ drjcrfis.

toXwriv
is a prelude and a pledge of an

The present

a great boon
harmonious wedlock
called gen. of the source of emotion.
'Air.

nothing,

fv 8<: "Therein"
6.
P. 4, 189.
thereby."
often in P., as O. 8, 18: 6r\<tv 'OXvp-iriovlitav, 13, 98:

(pavep" ddpoa, P. 9,

6(i6<j)povos

is

sat at drink

Comp.

subj.

P.

home.

\apiv:

the sake of

CTu/iTriVoiTey,

the banquet."

0rj(T(a

OTifiiroaiov

"For

the same.

jrpoTriveiv ttrrl Kvplcos TO ap.a r<a KpdoticoOcv oiKoSc

(Schol.).
:

K<U

7.

= otma Kal iyu>.

now

as then,

Comp. O. 10

eivas, so-

(11),

94

&T(

Wicrap xvn$v Persius, Prol. 14, Pega&eium nectar. x->

"
ace. to the Schol., denotes TO avrd/iaTov KOI atcparov,
liquid."
.

KOI.

The Muses have given it d<pvfids dtrb ^etpd? But

not carried out, though it might have been. The
(ptaXa would have represented the maestro di cappella.
CompO. 6, 91, where Aineas is called y\vKvs Kparfjp dya<$>OeyK.T<ov doi8av.
Class for individual. Diagoras had
8. dvSpdo-iv . . viKwvTc<r<riv
been successful at both places. Y^VK^ V tapiriv <j>pcv(fe Follows
as an after-thought, like irdyxpvo-ov icopv<pav KTtdvatv above.
9.
" I cheer
l>do->co(jLai
them," but the equil\apovs Trotw (Schol.),
poise of the passage demands a graver sense, such as TI/*O>, corMourav

Soo-iv

the figure

is

"

responding to Tt/ido-mr (v. 5), pay homage." If IXapovs TTOI&> is

not for IXdovs (iXeoss ) iroio>. the Scholiast manufactured the sense
" cheer " on account of
the superhuman sphere of (

NOTES.

186
10. itaT^xovr(i)
oi>8(

viv

See P.

(poppiyya

Song

SfKovrai.

is

1,

96

f'x$pa &d\apiv

vira>p6<piai Koivutviav

Kart^a

iravrq. (pdris

p.a\6a<av iraiStov odpoicrt

the earnest of abiding good report, as the cup
\

the pledge of harmonious wedlock but Charts, the goddess

of the epinikion, casts her eyes now on one and now on another.
"
Looks " (with favor). P. 3, 85 Xaytrav yap rot
11. !iroirrevi
" That
0dXjuo
giveth life its bloom" (more
Tvpavvov dtpicfrai.
O.
30
1,
fully expressed,
airtp airavra rtv^ti ra pe tXt^a dvarols ).
is

similar formation

= a/ia, whereas dapd

is ftioddXpios,
is

"

dapaKis,

in

Hymn,

often

Ven. 190.

"

12. 0djia

The assumpK. Ingram in

(Bergk).

has been vigorously opposed by J.

&v . . . re O. 4 V 13. <jx$p|ufyi
3, 217-227.
The regimen is suspended until eV comes in with tm-fo-iv. (But
see note, O. 9, 94).
So the first negative of two or more may be
See P. 12, 19: av\S>v irdp(ptovov
ira}x<J>wvoio-i
omitted, P. 6, 48.
For tv of instruments, see O. 5, 19;
<rvv itvrecri.
fif\os, and 21

tion of this

Qdfjia

Herinathena, No.

N.

11, 17; 1.4, 27.

13. vir ajx<j>oTepu)v

'ETT. a'.

O.

4,

virb TrotKiXexpop/uyyo? aotfiar.

So O. 9, 89; N. 10,43. For the verb, see

Figuratively.
P. 3, 73, which there also is used absolutely. rav irovriav Depends on vpvew. rav irovriav is usu. combined with 'P68ov. As
itarepav

Still it is better to take the words

to the distance, see 0. 12, 5.
the daughter of the sea (rav novriav =. rav irovrov)
as they come

child of Aphrodite

With

bride of the sun.

'A<po8tYaf, comp. 2> Kpovif

So below -rrapa KaoT-aXta.

rav trovriav
15.

irai 'Ptas (O. 2, 13).

Traitf

irap"AX$y

In prose this would be

felt as per-

"
" in
sonal,
Alpheios's demesne," in Kastalia's home ;" here not
See 0. 1, 20. 16. irvy|ias airoiva: The full ace. force
so much.
in airoiva,

is felt

which has

alvos is the airowa, as the

8'

to be revived for

xP "

the

v/zi/os is

airoiva, I.

Slicrjv.

(4),

The

fvic\t<av

17. irapa KaoTaXi<j

epytav airoiva XP*I M*" vp.vrjo'ai TOV (o~\6v.
Aa(xdyrjTov:
11, 24.
prytanis, as Bockh infers from what
:

So N.

o85vTa See O. 3, 1. P.'s ^/Xeoa-ts of this word is negsome editions and lexicons. With the phrase comp. I.
33 X a\K(<f T "Apu fd8ov.18. rpiiroXiv So II. 2, 655 ot

follows.

lected in

(4),

'P68ov dp.(p(vtp.ovro 8ia Tpi%a Koo~nr]6ivT(S

dpyivofvra Ka/ietpov.
nymph to the island.
is

K.WOS

Argos.

o-r^i.a

With an
The "ship's beak" headland
'Ap-yet^: Rhodes was colonized frow

vaaov
19.

in Karia.

AtVSov, 'l^Xuo'oi' rt KOI

easy transition from the
|

{pplXy

OLYMPIA VH.
2rp.

20. J6tXij<rw

/3*.

187

8iop6w0 ai=c'dcXa'
>

8iop0a><ra>.

P. uses

more prosaic ^ovAo^m only once. rouriv

apxas Explained
by dno TXaTroXt'/xou, and magnified by 'HpaK\fos (vpvo-dfixi yivvq.
" That touches the common stock."
21. {wSv
Comp. P. 9, 101
rd y (v vv<p ncirova^ivov, 1. 1, 46
vvbv opdaxrai KUKUV, 5 (6), 69:
(vvbv a&Tfi Koo-fiov eo> 7rpo<ruy&>i>.
a-^lkktav Of public announcements. So P. 9, 2 (0(\u
8iop6w<reu
dyye'AXui/
yeyutvdv.
the

= 8if\0(lv opdas.

23. I* Aids

.-

The

line is

AXKfJiT)in)-\-ZfVS

omitted with the nearer in the

is

.e

II. 2,

658, the

mother was

we must be

ters

satisfied

'Ao-rvd^eta,

Ace. to
line, 'AorvSa/maf
but in these far-away mat.

with any feminine ending.

Comp.

'l(pi-

'A|ivvropiytvfia and 'l(pidj/acr(ra, TIfp<rf<p6vfia and IIfp(re'(pa<rcra.

8ai Amyntor, king of Armenion in Magnesia, overcome by He:

24. ajx^l

rakles.

Cf. I. 2, 43
(pBovtpal 6varS>v
There seems to be an allusion to

Kplpavrai

f (Xiridts.

tpptvas untyiKpffiairai
lures or nets.

26. vw Iv xai rcXcvr^ For the trajection of Kai, which

gives especial emphasis to the second member, comp. O. 2, 31 P.
7

'Avr.

/S

58 N.

Epexegetic infinitive. 28. Aucvimov . . .

MiSc'oe L. was the son of Elektryon and his concubine Midea,
and as Elektryon was the father of Alkmene, Tlepolemos killed
his father's uncle. See table, and cf. II. 2, 662 avriica irarpos eoto
10,

7, 81.

rvxeiv

<p(Xoi> /iijTpcoa

fe 8e6v

54.

eV

The

*Eir. /S*.

every

KdTfKTa
I

ijfijj

yrjpacrKovTa \IKV/JLVIOV

of motion to a person
person is the place.

is

oov

"Aprjos.

rare in Pindar, O. 2, 38

31.

and

O. 6, 41. cvwScos: Sweet odors rose

then from the opening covered by the tripod.
Involves ir\dv. flirt ir\6ov
WXf v<rf TrXeiv. Cf. P. 4,
32. Xpv<roK<5|iaf

now and

irX<Jov:

Bdrrov otKiorripa
33. d(J^>iOaXa<r<rov
^. B. oiKicrai.
vo^6v. Oracles delight in circumlocution for the saving of their
So P. 9, 59 S^dov ts dp.(piirf8ov. Acpvaias Dwellingcredit.
place of the hydra, forty stades from Argos, Strabo, 8, p. 368 and
6

xpffcrtv

NOTES.

188
371.

56

35. avtx':

P.

3, 1 1

4,

T^vaia-iv For the pi. comp. O. 9,

Kar aicpav We should expect e,
head the stage of her first appearance.

Comp. P. 4, 48.
249

36.

8, 60.

but Athena makes her sire's

So N. 10, 17: 'HpanXtos ov KCLT" "OXu/xTrov uXo^os "H/3a
39. 4>av <"l

Jl

y,

2Tp.

'YirepioviBas
'
15.
40. XP

Pp OTO S

An overdone
"

Dem.
it

6,

3 (with

verb of

will,

Od.

362

17,

(crn.

due to <iAda<r&u,
So even in prose. Cf.

av,

In

who has
Homer with a

&rpvv MS av irvpva Kara

p.vt]O"r^pas dyti-

(e. g.

10, 191: 'He'Xioy f

patronymic, like TaXaiovidas, O. 6,
service was the worship of Athena

vrapeo-Keuao-tfat),

often with eVi/ifXeio-flat

Od.

Duty." The
with burnt-offerings. 42. ws av
onus
which involves the " how " of an action.
:

to say nothing of Xen.,

Cyr.

1, 2, 5).

Formed like eyxfiKfpawos, P. 4, 194. 44.

AiSws As a personification. Reverence is
epaXev Gnomic.
the daughter of Wisdom. If knowledge were wisdom, it would

poi.

43. fyxp(S|j.<i

not be necessary to say " Let knowledge grow from more to more
Yet more of reverence in us dwell." The reverence here is the
|

^e

For

respect to the xpeos.

6vyarepa

personification see P.

5,

27

rav

TIpo(pa(Tiv.

'Aw. y. 45. lirl fxav f)aivci TI: Surprise is shown by tmesis and
mystery by TI, which goes with vt(pos. rt: "A strange.""
"
46. irape'XKei: The cloud of
dre'KjiapTa:
(Myers).
Bafflingly
" sails over and
makes nothing " of the right road,
forgetfulness
"
trails it out of the mental vision."
The
effaces it and so
changes proposed ruin the highly poetical passage. irpa.ypa.T<av
So P. 3, 103 a\a6(las 686v. 48. oWp|i(a) . . <J>\ovos
. . . oo6v :
Od. 5, 490 o-Tre'p/xa nvpos. ove'pov To the acropolis of Lindos,
where Athena was worshipped dnvpois Itpols. ov The effect of
the position is almost as if there were an interrogation point
On the position of the
after <p\oyos, and ov were the answer.
O. 3, 17; 10
49. aXoos
negative in P., see O. 4, 17.
rtpevos
6 (i^v
Zevy.
|av8xv: The cloud takes its color from
(11), 49.
the gold that it contains. 50. \pw6v The poem is full of gold,
wrt
vv. 4, 32, 34, 50, 64.
A metaphor turned into a myth.
Comp. II. 2, 670 Kai crfpiv (sc, 'PoSioty) decnrto'iov TT\OVTOI> KaT%fve
"
It snewed in his hous of mete and
Kpoviotv, and Chaucer's
drynke." r^xvav Depends on unraa-f and is felt over again with
"
"
Every art to excel (therein). Rhodes was a centre
K.part'iv.
of art from the earliest times.

p.dv,

OLYMPIA

189

VII.

y. 51. Kpareiv: Depends on uirao-f. upart'iv usu. absolute

with the ace. " o'ermaster," " surpass," P. 4, 245 N. 5,
oi<riv epirovrco-o-i 8'
52.
45; 10, 25: with the gen. only here.
The Greeks,
6|j.oi:a: "That looked as if they lived and moved."
like the Japanese, were fond of exaggeration about art and
artists.
So the Rhodians were fabled to have tied the feet of
their statues to keep them from running away. Michael Angelo's
"
Cammina " is a stock story. $cpov The statues were set up in
'Err.

in

P.

the streets. There is no reference to moving along the roads,

Si icXlo? Px0v: It was to this fame that
as Dissen thinks.
53.
Rhodes owed her prosperity. Pindar skilfully suppresses the
loss incurred by the neglect of the Heliadai. Athena transferred

her presence to Athens, but did not leave the Rhodians comfort8UvTi . . . T\^6ci: "To the wise man (to him that knows),

less.

e'en surpassing art is

no magic

of Rhodes, the Telchines,

The mythical artisans

out of the water with the
All folk - lore is full of

trick."

who came up

were supposed to be wizards.

magicians of this kind, and the devil figures largely as a craftsman in mediaeval legends. All these miracles of art, says P., were
island,

wrought by
them.

The

is no trick in any of
charge naturally brings up the
There are other renderings. " The

apurroTrovoi xt'ipts,
refutation of this

and there

story of the birth of Rhodes.

subtlety that is without deceit is the greater altogether," that
is, the Heliadai, who received their knowledge from Athena, were

greater artists than the Telchines, who were magicians. Yet

others refer daevrt to the artisan and not to the judge. Bergk
transl. in

prudente homine etiam maior sapientia fraudia

est ex-

54. ^OVTI . . . p-qaies : irpb HivSdpov 8f TOVTO oi>x loToprfro

56. ireXd-yei . . . irovriep: TTQVTOS is practically the deep
(Schol.).
sea: even according to Curtius's etymology deep water is the

pers.

"
"
only true KOTOS or
path for the mariner. Tre'Xayo? whatever
"
"
the
effect of expanse."
has
often
In the wide
etymology,
" in the
sea,"
open main."
,

its

2rp.

8'.

58.

?vSi$v

hStiKvvvai

is

the practical

11

60. a-yvov 0e<Jv: Notice the after -thought

"then and there.
position, which has the effect of a protest against the ill-treatment of Helios. 61. (ivcwrO^vTi: Sc. 'AfXia>. a|iiraXov=dj>d7raXoi>.

"
new cast." |UM*V As a verb of purpose, /iAXo> may take
the aor. inf. as well as the present, which is far more common.
Ai a verb of thinking it has the future inf., which is the
:

NOTES.

190

norm, though P. does not use

it.

See O.

62.

8, 82.

elirc

. .

Cf. O. 1, 75.
6pav: Instead of the usual finite construction.
Allusion to the name 'PoSos, the Island of the
oA/|op.evav ircS60cv
:

Hence also
Rhodes was famous

Rose.

'Avr. #.
3,

89

here.

The

64.

63. iroXii|Jo<neov, KT(.

/3Adore (v. 69).
for grain, and pasture also.

xpwafwniKa

"
:

With golden frontlet."

Clara

Comp. P.

A. only
See 0. 1, 26. 65. 6cv Spicov (ifyav Cf. Hesiod, Theog. 400.
formula is given II. 15, 36 Od. 5, 184 Hymn, in Apoll. 83
I. 2, 1

xpuo-a/iTruKwi' Moitrai/.

Adx<riv: Cf.

v. 58.

irro> vvv rdSe

yaia
Srvyo? v8(op core
66.

Qfoivi.

KCL\

vpvs virepdfv KOI TO

opKOS Sdvoraros re irtXti
" to take in
" Not to utter
falsely,"

Ovpavbs
1

/xfyttrros

Trap4>a.[iv

ftrj

So P. 9, 47 irap<pap.v TOVTOV \6yov. 67. iren^Ocurav

ea Ke<j>aXa
orav Trendy.
Comp. O. 6, 60. 68. rcXevraOcv So
for TeXevrao-aj/, Bergk.
X&ywv icopv4>ai
Comp. P. 3, 80. The

vain."

chief points of the compact were fulfilled, came true. 69. iv

dXaOeif ircTourai Coincident action with rt \( vradf v, a more vivid
expression for a\adf1s ytvoptvat. Comp. O. 12, 10 irapa yvupav
:

("fell out").
70. 6|ct.av

'ETT. 8'.

Kairos

6dais

aKTivwv

O.

24

3,

avyals dXtou.

VTraKovtfJLfv

?8oev

72. <ro$wraTa

yvp.vos avrw
:

Mommsen

transposes thus: tvda o-o^xorara /xt^^ft? rtKtv firra 'P68<a irorf

with an unfortunate juxtaposition of troc^wraTa and /wyoij/iar',
|

apo85a|tvov From
Schneidewin,
KdL|upov
Kerkaphos.
with inscriptions, for Ka/ipoiT 74. 'laXvaov: f (fia\.) is sus-

xdf is.

eirra

sire to

son.

. . .

iraiSas

Favorite position.

73. wv ets

75. 8ia . . . Saotra^uvoi Tmesis.

pected, but not proved.
"
" In their
honor," by their names."
:

up

(io-TTfp

Not

&).

icvio-aco-o-a irojiird

as

Ka/iaTwi/.

78. torarai

"
So I. 7 (8), 1 :
requital."
Troivfi, airowa,
for the affair of v. 29.
<n(i}>opas Euphemism
The offering is still fcept
historical present.
80. (i^Xmr TC
(Schol.), reXflrat.

2Tp. '._77. Xvrpov

\vT(>nv

76. <r^iv

l=yivfTai
It is

Mezger does, nor

forced to

is it

|av0aj ay/Xas-, P. 4, 149.

make

p.

depend on Miaaf <ro-a,

necessary to the sense. Comp. po&v

KpUns ijuj*' dtfXois N. 10, 23 a^Xwv
:

v<ri The wreath

97.
Kp:. For A^l thus used, see O. 9,
was white poplar ace. to the Schol. 81. icXciv^: 'lo-fyior is fern.,
The ellipsis of
82. oXXav br' aXX
O.
49, and elsewhere.
:

8,

OLYMPIA VIL
viicav is

"

not violent.

One upon another,"

icpavoats iv 'AOavais

sion.

'Ayr.

83. xaXicrfs

'.

191

So O.

The

13,

38

was a

prize

in

N.

immediate succes-

8, 11.

shield, for the fabrica-

which arm the Argives were famous. lyvw O. 6, 89.

T T' 4v 'ApicoSitj ?PY* The prizes in Arkadia were bronze tri"
pods and vessels, tpya being works of art." 84. OrjfJais The
or
of
the
Herakleia
lolaia
was a bronze tripod. cwojioi:
prize
" Wonted." 86. IlcXXava In Achaia. The
prize was a mantle,
O. 9, 104; N. 10,44: Vc 8e UeXXai/af eVifO-o-a/teyoi VU>TOV p.a.\aKal<ri
Ai-ytva: There is no warrant for the form AfytW, yet
Kpoicais.
would
be unbearably harsh, as we should have to supply
AfytVa
tion of

a verb of showing out of oi>x ertpov t^fi \6yov. ovx ZTcpov . . .

" Has no other tale to
" tale "
tell," the
being the
"
" shows the same number." XiOtva
" The
reck^a^os
count,"
oning on stone," of the o-rijXr; on which the victories were re-

2x" Xfyov

corded. 87. Zcv irdrcp Zeus is more conspicuous here than is

usual even in an Olympian ode.
See v. 23. 'ATojJvpiov Atabyron, or Atabyris, a mountain in Rhodes, with a temple of Zeus.
:

Strabo, 10, 454

88. rtjia |Wv Followed by Si'Sot T*. See

14, 655.
Cf. O. 13, 29.
Extension
O.4, 13.
vji-vov T6fw5v
'OXv|iiru>viicav
of the freedom involved in vp.vos 'OXvpirioviKas, for which see O.
:

3,3.
*Er. t.

89. iperav

= operas

K\eos.

0. 8,

6.

ewpovra :

Where

one might expect evpoptvov (P. 2, 64). iror'=7rp6f. 91. irarlpwv

This is poetry for " hereditary good
6p0al 4>pVts i$ a-ya6v
sense."
Comp. V. 72 f-rrra. (ro<^>a>Tara VOTJIJMT' eVt irpoTfpuv av:

$p&v irapa8ta(ifvavs Traldar. The opQai <ppfVS are rrarponapd'

Diagoras is ayados c dyad>v. See P. 8, 45. 92. xp v
The oracle of Diagoras is the wisiraprfvovv, imedfvro (Schol.).
dom of his ancestors, which is personated in him. (irj Kpvtrrc
Let it ever shine. icoiv<Jv: A common glory. 93. RaXXiavoxTos
Kallianax was a conspicuous ancestor of Diagoras. 'EpanSav
D. belonged to the Eratidai. 'E. depends on xapirtwiv. Each
" One and
joy of the Eratidai is a festivity to the city. 94. \u4.i
the same." 95. SiaiOvo-o-ouriv avpai: P. 3,104: AXore
TiToat
wfrnreTav (ivep.a>i>, I. 3 (4), 23 aXXorc 8' aXXoios ovpos.
the Introduction to the ode.
|

doroi.

OLYMPIA

VIII.

THE victory celebrated in this ode was gained Ol. 80 (460 B.C.)
by Alkimedon of Aigina. We know nothing about the victor
except what Pindar tells us. He was a Blepsiad (v. 75) of the
stock of Aiakos, son of Zeus. There had been much sickness in
the family (v. 85). He had lost his father, Iphion (v. 81) his
His grandfather was still living
uncle, Kallimachos (v. 82).
His brother, Timosthenes, had won a Nemean victory
(v. 70).
His teacher was the famous trainer Melesias, who is
(v. 15).
mentioned N. 4, 93 and 6, 74. There is much dispute whether
Alkimedon was an efadpos or not. See v. 68.
The song seems to have been sung immediately after the victory during the procession to the altar of Zeus in the Altis.
Pindar knew Aigina well, and the universal of the Aiginetan
odes is often so pegged in the knotty entrails of the particular
that it is hard to set it free. The victory is the victory of a
boy, and the dXfiTmjy, who is entitled to a fair share of the praise
in all the boy-odes, seems to have a disproportionate space alAs an Athenian, Melesias had a certain amount
lotted to him.
of odium to encounter, and P. found it necessary to vindicate
him by recounting the successes of Melesias as well as the successes of those whom he had trained.
Mezger sees in the ode a
;

jubilee-tribute to Melesias for the thirtieth victory of his pupils

a notion more German than Greek.

66)
After an invocation of Olympia as the mistress of truth, by
reason of the happy issue of the oracle delivered by the diviners
(v.

Zeus (vv. 1-10), the poet says There are

other blessings, but Olympia's prize is the chief. There are other gods, but Zeus is the patron of the Blepsiadai, head of their
race (v. 16). Themis, the glory of Aigina, sits by the side of
Zeus (v. 22). Apollo, son of Zeus, Poseidon, brother of Zeus, take
Then the poet tells the story
Zeus's son Aiakos .to Troy (v. 31).
at the great altar of

of Aiakos to

show what honor Zeus puts on

his son.

Aiakos

is

OLYMPIA

VHI.

193

a-vvfpyos to the gods (v. 32), and Zijvl y(i>(0\l(f> (v. 16) is echoed in
Zfvs ytvti (v. 83). So far the poem runs smoothly enough, and if
the poet had returned to the victor after despatching Aiakos to

Aigina, the ode would be less difficult; but the introduction of

the trainer jars us, and, in fact, Pindar himself apologizes for it
(v. 56).
Timosthenes, who ordered the ode Alkimedon is no-

where addressed, and his youth is emphasized required this

mention of Melesias, who must have been his trainer too and
so Pindar dwells on the importance of having an old athlete as
a trainer both for man (v. 63) and boy, both for Timosthenes and
This brings Alkimedon forward again, but he
for Alkimedon.
is soon lost again in the mention of his race
in the mention of
the dead sire, who hears in the other world the glory that has
;

come to the house.

The prose line of thought would be The blessing of Zeus on
Aiakos was on children's children and so the brothers, Timosthenes, trained by Melesias, and now Alkimedon, have gained
:

the prize, at Nemea one, at Olympia the other, both in games of

Zeus, and even in the lower world the gracious boon is not un-

known.

The poem is full of prayers, but Aigina was near the

when she would be past praying for.

The rhythms

point

According to Bockh the

and Lydian, in which we should
have the blending of sadness with manly joy.

mood

is

Of the

are dactylo-epitrite.

a mixture of Dorian

four triads, the first

myth the last

tains the brief

thenes, Melesias's patron,

who won
ST/J. a'.

O. 7, 70

who

introductory ; the second conare divided between Timosordered the ode, and Alkimedon,
is

two

the victory.
1.

Marep: P. makes

free use of family figures.

So
doidav irarrip *Op-

6 ytvf6\ios UKTIVUV irarrjp, P. 4, 176

O. 13, 10:

Kopov partpa dpa&vfjivdov, N. 5, 6 rtpfivav

ftiarav d/i7re'Xov TratSa, P. 5,
partp' olvavdas oTrwpaj/, N. 9, 52
28 'EiripaBfos dvyaripa IIp6(pa(rtv. These are not to be effaced,
as Dissen would have it. xPV(ro<rTe 4 vwv
So
*aXAi<rre(/>aj/cuj>.
O. 11 (10), 13: xpvfftas eXatar, and P. 10, 40.
2. tv(a): Always
(fxvs,

"Y/Sptj*

>

"where"
tion

in P.

by means of

3.

Ifxirupois

altar flames,

Pyromancy, divinawas practised by the lamidai (see

I

TCK(iaip<5p.voi

NOTES.

194
O.

irapairtipwvrai: irapd here

6).

shyness.

ap-yiicepavvov

produces the

The thunderbolt

is

effect

of reverent

figured on coins of

?x l X&yov; "If (whether) he hath any utterany decision to give."

interrog. also in P. 4,
.
5. (uuop.&'wv .
6. dprav
164.
0v(j.u>: "Eagerly seeking."
apera? <cXe'o?, as O. 7, 89 7. apirvoav Well chosen for a wrestler.

4. et TIV'

Elis.

ance to make,'

"

"
Accomplishment is accordnot
over-common
in Greek.
irpb
pass, impersonal
Xaptv cv<rc|3cas "In requital of their piety." 9. dXX(d): Invoca"
tion renewed with fervor.
evSevSpov
Nay." Cornp. O. 4, 6.
. . . aXeros: See
O. 3, 23.
10. <rre<|>ava<|>opiav Of the winner.
the wreath of victory.
11. o-bv Ye'pas: Such an honor as thine
The generic relative may omit av in P. This is, in
!<nniT(ai)
So O. 3, 11 6, 75 al. In eo-Tn/rat, e repfact, the original form.
resents the reduplication (for o-eo-Tr.), and is not dropped.
See
Od. 12, 349. 12. oXXa . . . ayafov. In prose aXXa dyadd. This
reflection is intended to console Timosthenes.
The neut. pi.
with verb pi. is especially appropriate here, as the notion is dis'AJ/T.

a.

averai: Impersonal.

8.

The

ed."

is

:.

tributive.

'ETT.

a.

15. TijiArOeves

voc. see O.

1,

36.

A brother of Alkimedon. On Se after

ir6r|*o*:

Here=Motpa.

16.

Zrjvl -ytvtOXiy.

man

has his 8aipav ytv(6\ios (0. 13, 105). He who has

Ztvs y(V0\tos has the highest. Comp. P. 4, 167 opicos a^w pdp-

Every

rvs

f<rrot

Zcvs

"illustrious."

of the

inf.

yfve6\tos

19. ?P>C[)

were

felt

irp^arov

dp<f>or(pois.

= Trpotpavrov,

Parallel with eVopai/, as if the dat. force

= ctyet)-

The

re

complements: appearance

and

Kara /ctSos 4X^YX WV ford with r.

reality are exhaustive.
20.
Tyrtai. 10, 9 : attr^vret rt ytvos, ttarn 8' dyXaov (I8os eXry^et.
t |Vir :
Causative, as O. 5, 8 : tKapvi-t.
Comp. P. 1, 32 : napv
:

Od. 8, 191 : 4>at^Kcr doXt^per/iot. 21.

8o\ixiipTjjiov
.
Zwrtipa . . . 0t'(iis O. 9, 16 2a>rctpa
Evco/ua, 0. 12, 2 2<oretpa
Tv^a. Aibs |eviov: Owing to the active commerce of Aigina,
many suits were brought by strangers before the courts, hence
the special propriety of ei//ot>. The probity of the Aiginetans
avffiitf viv.

was conspicuous.

So just below,

TrairoSaTroitrti/

Kiova

{-evens
\

22. irap8pos: So. O. C. 1384: Zrjvos A'K^ ndpfdpos dp"

oUricciToi: "Is honored,"
receiveth homage." N.
vopois.
The
8:
KOI
(viov
Aioc
do-Kemu
pcreonification is kept
11,
0e/*tr.
v.

up.

P. 3, 108

TOV dp<f>tirovr al(\ (ppavlv

Sat/ioi/'

OLYMPIA
23. *{ox*

&.

2rp.

Mf&iri*Y

read oBi with the Schol.,

pfirjj

VIH.

195

Wi . . . p^iqj I
Where there ia
" Where
there is much in the

Comp. O.

1, 2.

"

with Bergk.

heavy weighing in many ways."

balance and the balance sways much.
Aigina was a great
commercial centre; Aiginetan standards were known all over
Greece, and Aiakos, the son of Aigina, was a famous judge.
1'

P. 8, 98

Comp.
K.6fj.i,f

At

cat

tion of pfirrj

:
rroXtv rdv8f
Atyti/a, (pi\a partp, f\(vd(p<p ordXo)
This makes the poirf) significaKptovTi (TVV AtaKcS.
the more probable.
have to do with the scales
j

We

of justice and the Aiginetan talent.

Schol.

orav yap TO tv

r<a

tav 8f fSapv, Swipes.

25. 8wnroX& : More or less pointed allusion to the iraXrj of the
See P. 1, 18; 1. 1, 9. 27. iciova: O. 6,2. 8aivictor.
oXiepicla
O. 6, 8. 28. firavWXXwv : Coming time is a rising sun.
|ioviav

(vyw

(\a(f>pbv

fj,

fv^tpts

TTJV IvoTrfra

yvSvat

Neither time nor sun grows weary. But three or four years
afterwards (456 B.C.) the island was taken by the Athenians.
See Thuk. 1, 108.
'Ayr.

30. Awpiei Xau> TapLievojie'vav

/3'.

For the

dat. see 0. 12, 3

The

island obeys the rule of the

Doric folk, as the ships obey the helm of Tyche
1{ Alaitov
"From the time of Aiakos." Aiakos was an Achaian, but the

riv

KvfifpvSiVTai doai

vats.

Dorians appropriated the mythic heroes of the tribes they succeeded, especially as the chiefs were often not Dorian. Note
that we have to do with oracle and prophecy from the begin31. ireus & Aarovs
The partnership is well
ning of the ode.
known. II. 7, 452 (Poseidon speaks) TOV 8' [sc. ret'xor] eVtX^:

trovrai, TO tyu> Kal

Qoiftos 'ATrdXXwi/

evpvfUSwv

d0\r)<ravT(.

(i)pv<rdfvr)s (O. 13, 80),

firl

(iAXovT
P.
7, 61

. .

9, 57.

future.

Tvai (=
The

(TT'4>avov

33.

dyviav.
If a mortal

Jjv

Sri

7rireti|at)

pres., O. 8, 64.

"
:

^>o> Aao/ieSoirt 7roXi<r<ra/xJ>

Poseidon is also tvpv@ias (O. 6, 58) and

and EvpvirvXos is his son (P. 4, 33). 32.

Battlement."

The

aor. after

AAco, as O.

Not a harsh hyperbaton.

had not joined

P. does not use the normal

Comp. P. 2, 58 fvo-Tt<pdvw

= <rrt^>avnv.

viv

in the work, the city could never

have been taken

36. Xdppov . . . icaimSv : Cf. P. 3, 40 :

(Schol.).
\aftpov 'Atpaicrrov.
\dfipos in Homer is used of wind and
wave, river and rain ; in P. the sphere is different.

o-f'Xar

'En-.

f.

apposition,

37. Spattovres

much more

. . .

ol 8vo |iiv

. .

cts 8(^)

Distributive

vivid than the genitive use.

yXavnoi

it

NOTES.

196
glossed by <oj3fpo$0oX/ioi.
45
o<piv, O. 6,
yXauKWTra
.

For the
:

basilisk glare, see P. 4, 349

vc*ov

yXavit&Tres dpaitovres.

= vfaxrri.

38. <oXX<{|ievoi : The conative present is translated by the

itaireTov
should
Schol. ^ov\6fjifvoi tl(Tf\6flv.
KaT(Trrov.
have expected Kdmrerov. The two who fell were Achilles and

Aias; the one

(Schol.).

who

39. ov8i:

We

entered was Neoptolemos, son of Achilles

the spot."
drvj;o(i.eV
Hardly seems

"On

applicable to the representatives of Achilles and Aias. The

Scholiast feels this, for we find in the paraphrase eV &T rj tylvovro
Contrast the choked serpents
39. ^x^s paXov
dntdavov yap.
:

of N. 1,46: dyxopevois Se xpovos i^v^as curt Trvewev peXewv d<pdra)v.

"
With a cry " (of victory). Mythical serpents
40. Podcrais
make
mythical outcry. The aor. part, is not prior to the
may
leading verb. Of. O. 9, 15. 41. dvriov: "Adverse," with ripas
|

6pfuxvwv
StoXoytfopevos diavoovfievos (Schol.). Not
The Scholia give also 6pS>v, 6fa<rdfj.ti>os pointing to
a corruption in oppaivav.
possible translation is "Apollo
(Schol.).

satisfactory.

came rushing on and openly (dvriov) declared the prodComp. Od. 17, 529: tp-^eo, devpo K.aXf<r<rov, 1v avrlov aur6$
igy."
" About
42. a|i<|>l reals
^pyaaiais
tviirirrj.
(and by reason of)
"
Where thou hast wrought." The
the works of thy hands."
weak point is indicated II. 6, 433 Trap' tpiveov, evQa fj.d\i(rra
aXCoxcrai PraeKOI fTriSpopov eTrXero re't^os.
a/i.j3aTos (<m TToXts
. Aufe
44. irefw^fiev
The construction is
sens propheticum.
straight

lightened by (00710

Kpoi/t'So,

K. being the subjective genitive.

45. apgcrai. : Ace. to the Schol. a.

capture will begin with the first generation and (end)
with the fourth." Better fygercu, " will be swayed." So Hdt. 3,

2rp. y.

<

"The

83, dpx6fi<rofj,ai, like so

many

being late. Bergk

though lacking early proof, has a
vigorous ring. 46. TeTparois These numbers have given trouble,
BO that it has been proposed to read with Ahrens and Bergk

conjectures

prjgfrai..

-dyo-opai futures,

pdgfrai,

rtprdrois (Aeol.)
ilogy is this :

= Tpirdrois (Meister, Gr. Dial.

1,

43).

Aleucfo

l~~

A*ar

T"
Tlavoirtvs
'Extitis

The gene

OLYMPIA
The

VIII.

197

Schol. remarks that Aiakos is excluded in np&rois and inEpeios was the builder of the famous
Ttrpdrois.

cluded in

wooden

Telamon aided Herakles and

horse.

N.

capture of Troy.

36: Aao/w'Sovra

3,

'loXa irapa&rdras (o>v cirtpcrev.

note on O. 6,61. 47. HavOov:

See O.

P.

divine

Thermodon.
<fw Karaftas

20, 74

ov Sdvdov KaAeoveri

The codices have

T<ivvv

'I<r6fj.u>

fatiyf or
lived on the

Cf. O. 6,

58

*AX-

..

Cf. O. 2,

99

tni roi 'Aupdyavri ravvtrais.

50. diro'irfy.irwv

7, 81.

To Greece from Troy and

Xpvae'ais: SO O. 1,

who

roo(f>6pov AaXov tfeofyiara? (TKOTTOV.

48. 'Opcrorpiaiva: So also P. 2, 12; N. 4, 86.

fKaXfcrcrf

For the gender, O.

51. 8eip(o):

II.
tj

The

"I<rrpov: O. 3, 14.
fcir'

TJIMIY'

friends of Artemis,
from river to river.
goes
Apollo

'Ajiatovas

fJTTfiyfv.

Apollo

first

TeXa/tii/
is USU. Aortas.
Cf.
\

prepos. is often suspended in

Sdvdos, the
130, and elsewhere.

name of

6eoi, (ivSpts 8t 2Kdp.av8pov.

lolaos in the

fvpva-dfvfjs

The

94; P. 1, 14; P. 4,
the 2Kd/j.av8pos.

9,

<reuj>a

8'

41

"Bringing home."

so to Aigina.

av'

j(pv<rtaiaiv dv

'Aw.y'. 52. 8upa8(o): The Isthmus or "neck" of land (Schol.).

SaiTixXvTdv " Feast-famed." So Bergk for grftra K\vrdv, formed
:

like 6fp,nr\fKTois, N. 9, 52.

between the

53. repirvbv

ovSeV:

The

contrast

is

of the gods and the life of men. Apollo is happy

in three places, Poseidon in two.
But human beings are not
equally happy everywhere. Timosthenes was victorious at Nemea, Alkiinedon at Olympia. An Athenian would not be at
home in Aigina, nor an Aiginetan at Athens. This commonplace prepares, after a fashion, the way for the inevitable mention
of Melesias.
54. McXT)<ria. An Attic trainer.
See N. 4 and 6,
end. No favorite in Aigina, as we may gather from P.'s caulife

tious tone.

See note on O. 1, 2 WKT\ Trvp.

| aycvciwv lo'Sos
"Glory from training beardless youths." av&>pa|u>v vfivp: A bold
equivalent of dfvp,vrja-a. Comp. the use of diegifvai, 8ifg(\0e~ii>,
and Simon. Amorg. 10: ri ravra p.aKp>v 8id \6ya>v
dvidpauoii;
"If I have traversed in song to its full height the
glory of Melesias."

the

This

aor.,

is

the objection of the cavillers,

dramatically put in
in the fut.
P. uses the fut. only once

and not

certainly
15) in the protasis of a conditional sentence, and f l with
See O.6, 11. 55.
aor.subj.is generic.
poXlru: The 3 p. aor.
(fr.

VII.

4,

imper. with
sented to be.

puted.

The

is

much more common than

56. Kal

x*p<-v

sense seems to be

it is

sometimes repre

The whole passage

Do

is

much

dis-

not envy the glory of Mele

NOTES.

198

gained from his teaching art; he hath practised what he

If he taught boys to win, he himself won as a boy a
wrestling match nay, won afterwards, as a man, the pankration.
To train is easier for him that knows himself what strugFoolish it is not to learn in advance, for giddier are
gle means.
those that have not tried. So he, as teacher and as athlete, could
better tell what the prizers should do. By emphasizing Melesias'
sias

taught.

own

achievements, P. justifies Alkimedon in employing him, and

the wounded feelings of the Aiginetans. Nc|Mf . . .
57. Ipc'w: The old modal
xdpiv: Comp. v. 83: KOO-^OV 'OXv/xTrta.
use of the future
roiavruv, the same kind
l^w elireiv. Tavrov
of honor that Alkimedon gained a victory in wrestling.
tries to salve

dvSpwv (idxav Leop. Schmidt calls this a metaphor, as p. cannot

be used literally of a game. Still (v6vp.dxav (O. 7, 15) is used of
:

a boxer.
59. T& 8iSd|av6ai: Only a more intense 8t8a|m, "To get
into training." The two articular infinitives are noteworthy, as the construction is somewhat rare in P. The demon" This
"strative sense is still perceptible.
thing of teaching.
62. Kevva . . . cpya: The irah.rj, the nayKpc'iTtov.
Kivos: Melesias.
u
63. rpciiros:
Training." 65. 'AXxi^e'Scov . . IXtSv: In prose usu.
'Eir.

one's

y.

men

See P. 2, 23. 66. viicav rpiaKoarav MezTO 'A.\Kifj.f8ovra (Xtiv.

ger thinks that the apparently disproportionate space allotted to
:

is to be accounted for partly by this round number.

See Introd.
professional jubilee for the old dXfiTmjs.

Melesias

was a

It

67. TVX* . . . 8ai|iovos So P. 8, 53

x? 6e5>v, N. 4, 7
2rp. 8'.
trw Xapircav Tv\q, N. 6, 27 <rvv titov Se ru^a. OVK apir\aic<6v Neg.
a. often in tragic poets
68.
d/iaprcbj/.
expression of TV^WV.
T^rpao-iv The most simple way of fulfilling the conditions is to
suppose sixteen contestants, eight pairs, four bouts, the victors
in each bout wrestling off the ties.
Alkimedon, as the final
If an ?<f8po?, or
victor, would then have thrown his four boys.
" odd
man," is assumed at any point in the match, the calculation is more complicated, and the number may be as low as nine.
With nine contestants (four pairs and an e^fSpoy), the fourth
bout would have been wrestled by the victor and the t<f>(8pos of
the third. In this way Alkimedon might have thrown four boys,
provided he was not himself an ffadpos, which is an unnecessary
inference drawn by some commentators from v. 67 rv^a /xci/ Sat:

OLYMPIA
The

((fxftpos

199

VIII.

was considered lucky because he came with

fresh strength to contend with a wearied victor, but if Alkimedon was to be an ZfaSpos at all and defeat four boys personally
and not by proxy, there must have been at least five bouts. In

any

case, the (<pt8pos

seems to have drawn

lots

with the others at

the end of each bout, so that the same person was not necessarily
"
"
t(p&pos throughout. The reasonable plans vary according to

See P.

the editors.

8, 81.

hateful.

something

oirefoficaTo:

"

Put

off

from himself" as

Comp. 0. 10 (11), 43: vtlxos 8e Kprtr6v<av

YV ")I S Emphasis on the important element,
\

dirodto-ff anopov.
as in tT\a KOI Aavdus
Stpas (Soph.) a-Qevos i^udvcoj/ (O. 6, 22),
So N. 7, 73 aWatvi nplv
yvia being the main thing in wrestling.
dXt'w yvlov (pjrfo-tiv (of a pentathlete saved from wrestling).
Comp. II. 23, 726 KO^T mtiQfv K<a\ijira n>x<av, vnt\v(T( 8t yvi a.
69. v&rrov, are.
v. is the return to the town, art/iortpai/ yXcooxrav
refers to the jibes and jeers of enemies in the gate, (iritpvcpov
olpov to the slinking to the mother's house by the back way.
Comp. the parallel passage, P. 8, 81: rtrpavt 8' (fjurtrts tyodtv
:

KUKU <ppovt<av

(Tutp.drfO'tTi

Hv6id8i
2>pa-fv

Kpidr]

vo<rros

parep'

6p.S)s

dp.<p\

tiraXtrvos (v

ye'Xwv yXvKvs

d(8ay/jifvoi.

71. dvrhraXov:

irap

Kara \avpas 8' tx6pa>v dirdopoi Trraxr<rovTi, (rvpfpopa

There is a savagely boyish note of exultation in both

\dpiv

passages.
irpaais

rols ovrt
\

ovSt poXovrav

"That

v Trpa^ar, as P. 8, 52

wrestles with."

73. appcva

dvria irpd^ti =z KaKias Trpd(i.

74. oXX' 4(U: The dXe/Tmjj teaches, the poet sings,

'Avr. 8'.
the victor, being a boy, gets only a boy's share. 75. x<l P v wrv
. . . firiviicov
"The victorious prime of their hands," "the fruit
:

of their victorious hands," napirov ov al X f ^P ts ovrav fjveyKav.

Comp. P. 10, 23 ^fpcrii/ fj iro8S>v dp(Ta Kparfjcrais. Melesias is
praised, N. 9, end 8f\<p'ivi Kfv ru^ns 81 aXfias fiKd(oifjLi MeXryo-tay
The dative emphaBXeiJ/ioiSais
\eipu>v Tf Kal io-xyos Avioxov.
Cf. P. 9, 133
sizes the gain.
76. <JfXXo<^opv
n-oXXa p.(v Ktivoi
:

8inov <pv\\'

MSS. have
tpSdv

ejrt

KOI (TT<f)di>ovs.

epSopevov,

is sacrificial.

dv6pu>iTu>v

78. icav

nard.

Ip8o(tevwv

The

which is harsh. The expression Kara i/d/xov

So Hes. Theog. 416: KOI yap vvv are TTOV rtr
\

p8<t>v

If pa.

KaXd

KUTO vop,ov

IXdcrKijTai.

79. ov itdvis
On the free
iusta, often of funeral rites.
80. ovyY(5vwv KC&VO.V x^piv The
position of the neg., see O. 1, 81.
,

dust does not hide (from the dead) the noble grace of (their living) kinsmen. As the dead are not insensible of rites paid in

NOTES.

200

their honor, so they are not blind to the glory gained

by their

kindred.
'ETT.

$'.81.

'Epjta:

Hermes

an extemporized daughter
the well

is

^^OTTO/WTO?, and has a right to

who plays the same part as

'AyyeXt'a,

established 'H^w does, 0. 14, 21.

'!<|>Cv

KaXXifxa-

Iphion is supposed to be the father, and Kallimachos the

.
83. K<5o-|j.ov 'OXvprruji
Cf. v. 56.
r<f>i
uncle, of Alkimedon.
Y*vi ytvt i is not epexegesis to a~(pt. a~(pi depends on the combination yivei anraaev, " made a family gift to them."
See O. 2,
"
16.
eVi is
84. 4<rXa 8' lir' l<rXo
heaped on." See O. 2, 12
86. CVXO|MU: Asyndeton, as often in prayers.
Zeus
11 (10), 13.
Cf. O. 1, 115.
is invoked.
aj|)l KaXwv |Aoip<j: The dat. of the
"Of divided
8ix<5p<>vXov
thing at stake, as nepi with dat.
mind." Zeus is not to make (df^ev) Nemesis double-minded.
She is not to waver; she is to be a steady friend. P. 10, 20
(frdovepais f< 6(u>v
peraTpoirtais eiriKvpo-aifv, N. 10, 89 ov yvatpq
8ur\6av Biro \Zevs] /SovX^v. It must be remembered that matters
were cVi vpov dc/i^f in Aigina. Others, " Of different mind,"
"
" to rouse factious
hostile."
discontent" is too
81%. veiMta-iv 6.,
X<>

colorless.
-

eirt TI

87. o-ywv

Kal

TT^/*'

= eVaywj/.

ayet.

Comp. O.

88. ovrovg

2,

= TOVS

41

ovro>

Moto(a)

OLYMPIA
THE

IX.

is uncertain, and the Scholiasts are at

According to Bockh the victory was won Ol. 81 (456
B.C.), shortly after a Pythian victory, Ol. 80, 3 (458 B.C.), which is
celebrated in this ode together with the Olympian one (v. 13).
Leopold Schmidt finds that Bockh's computation agrees with

date of this ode

variance.

his theory of P.'s poetical decline.

Fennell puts the date Pyth.
30 (468 B.C.), ace. to one Scholiast, on the ground that at the
later date (456) the Lokrian oligarchy was threatened, if not
Cf. Thuk. 1, 108.
Besides his
Epharmostos had been victorious in all
the great national games, and was, consequently, a irepio8oviKT]s.
Pindar tells us all we know of him his noble personal appear-

overthrown, by the Athenians.

many

local successes,

(v. 119), his ancient stock (v. 58), his intimacy with Lampromachos, also a friend of Pindar's (v. 90).
The song was sung in Opus at a festival of Aias Oiliades.
The assumption of a banquet gives more point to v. 52. The
Lokrians are better known to us through the Epizephyrian representatives of the stock than by the members of the family that
remained in Central Greece, and for us Opuntian Lokris is more
lighted up by this ode of Pindar's (v. 24) than by the rude in-

ance

scriptions, which doubtless give a false impression of the people

(Hicks, Hist. Inscr. No. 63). Writing may be rude, and song,

which the Lokrians were famous, refined. The position of

the Lokrians seems to have been exceptionally
influential, and even one who knew nothing of Lokris and the
for

woman among

Lokrians could hardly fail to be struck by the predominance of

woman in this ode. Pindar is a manner of " Frauenlob," at any
"
das Ewig-Weibliche " is paramount. Archilorate, but here
chos does not suffice; we must have the Muses (v. 5). Lydian
Pelops is mentioned for the sake of the dowry of his bride,

Hippodajneia

Themis and Eunomia (v. 15) are the parenowned city, mother of the Lokrians (v. 22).

(v. 10).

tronesses of the

12

NOTES.

202

Opus, son of Zeus

his mother's
When Menoitios is mentioned, his mother is not
father (v. 67).
forgotten (v. 75) Achilles is only Thetis's son (v. 82).

The

city is the city of Protogeneia (v. 44).

and an Epeian heroine

(v. 62),

bore the

name of

The fundamental thought

is

TO Se

$va Kparurrov

atrav (v. 107).

matters not that in the previous song P. had sung ayi/a>/xoj> 8e

Here no Melesias is to be praised.
ro (iff irpopaOflv (O. 8, 60).
It

The

(f>vd

comes from God

vov ov (TKaiartpov

XPW

hence P. sings, avtv

fKavTov (v. 111).

Se dtov a-ta-iyafjitis full of the

The poem

strange dealings, the wonderful workings of the deities, of the Supreme, culminating in the story of Protogeneia and her son. The
fortune of Lydian Pelops (v. 10) reminds us of Poseidon. The
dowry of Hippodameia was a gift of God, as Pindar's garden of

song was allotted him by Fate

stowers of all that is pleasant.
to the will of Heaven (v. 30).

(v. 28).

Men

are

The Charites are the begood and wise according

If Herakles withstood the gods

themselves (v. 32), it is clear that there was a greater god within
him. That god was Zeus, and P., after deprecating impiety toward the gods, tells of the marvels Zeus hath wrought. Behold
the miracle of the stones raised up as seed to Deukalion and
Pyrrha. That is the decree of Zeus, moXo/Spdira Atos aura (v. 45).
Behold the deluge abated. That is the device of Zeus, Zqvbs
rtxvais (v. 56). Protogeneia is caught up (v. 62). Zeus interferes
again to give life to the dying house (v. 64).
Epharmostos has been singularly favored by nature and fortune.
Nature and fortune mean God, and the narrative of his
successes closes the poem with a recognition of the divine decree
that made him quick of hand, ready of limb, and valorous of eye.
The Lokrian or Aiolian (logaoedic) rhythms are light and festive.
They whirr like arrows (v. 12), they flame (v. 24), they
speed faster than mettlesome horse or winged ship (v. 25).
The first triad contains the introduction. The myth, the story
of the heroine who made Opus what it was, is announced in the
first epode, the theme of which is continued in the second triad.
After unfolding his moral (dya^oi 8e KOI o-o<f>o\ Kara tiaipov' avftpfs
(y(vovro), P. resumes the myth, v. 44, tells of Deukalion and Pyrrha and the stone-folk, and the union of Zeus and the ancestress
of Opus and the Opuntian nobles. About the city thus founded
gathered nobles of different Grecian lands, chief of them Menoitios,

father of Patroklos,

From

this story,

which shows what

OLYMPIA

IX.

203

God

can do, P. passes, at the close of the third triad, to the

achievements of the descendants of this favored stock, and, in
the last triad, recounts the exploits of Epharmostos.

The Schol. has preserved two

1. 'ApxA<5x ov H*'* '
2rp. a.
lines of this famous hymn to Herakles 2> xaXXtVtKc x a
"va
:

The
avros re KOI 'loXaor, al^p.Tjra 8vo.
called simply KO.\\IVIKOS, the burden being KaXXiVtKe,

'HpaK\(fS

hymn was
and

in the

absence of music TiyveXXa, an imitative word, represented the

"
lyre.
Comp. Ar. Ach. 1227. It was the See the conquering
hero comes " of the Greek, and was sung in honor of the Olympian victors at the evening procession, unless a special poem was
Has the effect of a participle, O. 2, 93. 6
ordered. 2. $vocv
:

The burden was repeated three times. KcxXaSw? One

of the onomatopoetic perfects which denote intense, not com" With its full
"
ringing burden," with its note
pleted, action.
rpiirXoos

Ace. to the Schol., one of the

in the absence of a musician.
In Ar. 1. c. Dikaiopolis himself chants the KO.\\IVIKOS without reP. keeps up this figure unusually long, as
serve.
5. eieaTa.p<SXv
See 0. 1,112; 13, 93 P. 1, 12, and elseit is especially familiar.
thrice swelling."

3.

aytp^vevo-ai

companions of the victor struck up

:

$owKo0Tp<Sirav The words swell with the theme.

"
We, too, speak of the red levin," Hor. rubente dextera sacra*
7. 4iriveifiai
iaculatus arces.
Only here in P. It has an artil"
"
"
( comp. eVt^Xe'-yow, v. 24), and is
sweep," rake
lery sound,
used chiefly of destructive agency. So of fire, Hdt. 5, 101 Pol.
Diod. Sic. 14, 51 of plague, Thuk. 2, 54 Diod. Sic. 12,
14, 5, 7
P. delights in the oxy12; of foes, Plut. Caes. 19; Pomp. 25.
moron. Comp. O. 6, 46 dfj.fp.fal t&>, and y\vKvv ourrov, v. 12.
" aim
" send arrow after
arrow at," " sweep
e., then, is not
at," but
8. dicpwnfpiov
with hurtling flight."
Kronion.
11. 'IinroSaRecalls 0. 1, 70. The Schol. notes that !8vov is not used
fiias
in the regular Homeric sense, as P. 3, 94, but as fapvti, " dowry."
where.

6.

Homer's micpbs otoror, II. 23,

12. yXvicvv . . . 6wrr6v
'Ayr. a.
" bitter
"
arrow."
867, or
biting arrow," was to P. as to us a
Hence the antithesis y\vicvv. 13. IIv0vd8(c): Epharmostos had
:

won a victory at Pytho also, Pyth. 33 Ol. 80, 3 (458 B.C.), ace.
One arrow for Pytho, a shower of bolts for Olymto one Schol.
xa xai irT^wv Here with reference to arrows that fall to the
pia.
'

ground without reaching their mark.

14.

NOTES.

'204:

See P.

2, 62.

XcX|>v The <p6pp.iy takes the place of

15.
properly used of the (p6p}jiiy, P. 1,4.
On the gender, comp. O. 3, 2 K\tivav 'Aupd:

j><5p|UYy'

the /3K.

eXeXi'W

tcXeivas 4

'Oircfevros

is
:

Pindar shows a special interest in the Lokrians (v. 23),

yavra.
and this has given rise to many historical fancies on the part of
scholars.

aini<rai

Aor., the result, as (\e\ifav, pres., is the pro-

Dissen puts a

cess.

full

stop after 'O7roen-or, and

makes

alvTj<rait

The family-tree of such ab16.

e'jus
opt. unnecessarily.
stractions often gets its branches twisted, but P. consistently
makes Evvopia daughter to Qep.is, 0. 13, 8. Ovydnjp . . . ol : " She
"
"

an

not
her daughter." N. 7, 22 is not
is daughter to her
a parallel (Erdmann). Xe'Xo-yxcv: The sing., v. 89. 21. <rr<J>dva>v
CUOTOI Cf. O. 5, 1
(rrefpavw aa>Tot> y\vKvv. The distributive plural
is genuinely Greek.
Comp. I. 3 (4), 48 TO>V dirfipdrmv yap &yv<a-

that

OTOI

Yet

(TtwTrai.

KXvrdv

aroi.

a.

'ETT.

aoiSais

"
:

23.

occurs only here and N.

To renown "

j>iXav

paXepos

is

rbv p.dXep6v, os vvv

45

("corot

tr6\w

Comp.

v. 89.

painfully dazzling.

<^>Xeyet /xe.

8,

f)pwa>v

(predicative).

p..

d. is

24. paXcpats
So. O. R. 190

"Aped
ahnost an oxymoron. P.
:

n
5,

... (p\(yovri Xaptrey, N. 10, 2 (pXeyerat S' dperat? fivpiais,

I. 6 (7), 23
<p\yerai S' loTrXoKouri MoiVaty, P. 11, 45 TO>V fv<ppocrvva
See note on v. 7. 26. vrronr^pov: Is the
re KOI Sd|' firi<j>\fyfi.
ship a winged thing (a bird) or a finny thing (a fish) ? Od. 11,
125
VTTO proves nothing in
per/id, rd re Trrepa irjvcrl TTf'Xovrat.
favor of oars, because viroirrtpos i& alatus quocumque modo et quaere

cumque corporu parte

(Tafel).

Transl. "

The condition

Winged."

28.

crdv

This is
merely formal.
the key-note of Pindar's poetic claims. Here he is tilling the
garden of the Charites. The flaming darts of song are changed
into flowers (avdea vp.v<ov, v. 52), with which the keeper of the
garden of the Charites pelts his favorites (P. 9, 133: TroXXa p.(i>
Kflvoi 8tKov (pv\\' tin KOI (rrf<pdvovs) as he showered arrows before.
Comp. P. 6, 2 apovpav Xapt'rwv, N. 10, 26 KOI 'lo-^/iot cal Ne/x a
OTTO
crr((pavov Moio-aio-iv ffttoK dpocrai. For the shift comp. N. 6, 31

TIVI (j.oipi8io) iraXd(ia

is

37: Hifpi8a>v dporais. 30. ayadol . . . Kal <ro<j>o(: The

brave and the wise, the hero (Herakles) and the poet (Pindar).
Comp. P. 1, 42 <cai cro<poi Kal X fP"' fttarai. KOTO, Satpov(a) == nor

TO|OW

It is,

v.

Irp. ^'.

31. fycvovrCo):

Empiric

aorist.

iirci:

"Since" (were

OLYMPIA
this not so),

"

IX.

205

"

Post
whereas," else." 32. <nci5raXov
p6ira\ov
Peisandros of Rhodes first endowed Herakles with
the Oriental and solar club.
x P<"v: See P. 3, 57. 33. avuc(a):
"
What time." P. 1, 48. P. rolls three several tights into one
the fight of Herakles with Poseidon in Messenian Pylos, because
the sea-god's son, Neleus, would not purge him of the bloodguiltiness of the murder of Iphitos the fight with Hades in Eleian
Pylos, because he had carried off Kerberos the fight with Apollo, because he had stolen a tripod to avenge the refusal of an
"
oracle. So the Scholiast.
Pressed."
dpt>i II. 0. 1, 17.
rjpci.Sc
34. iroXe)j.{;v TrfXe/ii^eov (Thiersch andBergk) is specious, but
we should expect rooi>. Homer does not use 7roXf/Lu'<|fu> of single
combat, but that is not conclusive. 35. pdpSov: Hades' wand is
akin to the caduceus of Hermes, with its well-known miraculous
power. Herakles could meet not only two, but three could
match his a-KvraXov against Poseidon's jagged trident, Apollo's
clangent bow, and Hades' magic wand, because he was supported
by his sire. Genius is a match for the divine, is divine. Herakles is a Kara Baifiov' dvrjp, as P. is a Kara Saipov' doiBos.
Comp.
v. 28.
Observe that P. only carries out the thesis dyudm Kara
The <ro<pot he leaves
8aip.ov' fyevovro with Herakles as proof.
untouched, as savoring of presumption. 38. dird . . pf\j/ov P.
A little more and he had
is overcome by his own audacity.
matched himself against all the gods and goddesses of song.
Comp. the sudden start of O. 1, 52 d(purra/xai. 40. TO" ye XoiSoBoth objectionable a very common use
DTjo-ai ... TO Kavxaa6au
of the articular infinitive. See O. 2, 107. XoiSopf/o-ai involves
.

Homeric.

In tense, Xoi8opijo-at matches ptyov. xavxavdai

sides.
and XaXayet go together, ov 8d \oi8opfjarai
8d pf)
ptyov.
So P. leaves the divine warriors facing
Kavxa<rdai
pf] XaXayet.
each other, and holds his peace about his own powers.

taking

.'.

.'.

"
"Air. '.
42. naviaio-iv vrroKptKei
Keeps in unison with the
discordant notes of madness." 43. irdXcjtov pdxav TC The combination of two substantives with re is common enough in this
:

poem, so vv. 16, 43, 46, 75, 89. It is very rare in model prose, and
henpe it may be noted as a curiosity that it is exceptionally common in Plato's Timaios Timaios being an Epizephyrian Lokri"
u
44. x w P' aflavdrwv ^.,
an.
apart from," aside from." $c*pois
" Lend."
npamrycvctas P. seems to have been very
Imper. opt.
familiar with local myths of the Lokrians.
The story as told by
:

NOTES.

206

Mezger, after Bockh and Bossier, is as follows: Deukalion and

Pyrrha, grandchildren of lapetos ( comp. Hor. lapeli genus}
escape the deluge by taking refuge on Parnasos. When the
waters subsided, by the devices of Zeus (v. 56), they descended
from the mountain (v. 46) to Opus, where, in consequence of an
oracle of Zeus, they founded the first town (v. 47), and made the
"
Stone people. To these belonged '' the hundred mothers from
whom the Lokrian nobles were descended, as, indeed, the prominence of women among the Lokrians generally is a significant
The royal race to which Epharmostos is supposed to have
fact.
belonged traced their descent from Deukalion and Pyrrha down
to Lokros in the male line, and from his adopted son Opus in
the female. Lokros was the last of his house, and the race was
about to die out with him, but Zeus carried off Protogeneia,
daughter of Opus of Elis, and granddaughter of Protogeneia,
daughter of Deukalion and Pyrrha was united to her in the
Mainalian mountains, and brought her to the childless Lokros,
Lokros called the offspring of the
her cousin, as his wife.
younger Protogeneia after her father Opus, and gave him the
The fame of Opus spread, and many settlers came to
throne.
him, none dearer than Menoitios. 45. aloXopp<vra Ai<5s A thunderbolt was the token on the coins of the Lokrians. 'Onovs is
''
supposed to be connected with the eye of God," lightning.
48. 6|x<S8a|iov They are of the same commonwealth, not of the
same blood. Comp. the Herakleidai and the Dorians. 51. <r^>iv:
"
Refers to Aaoi, in their honor." olpov Xiyw ot/xoy is more fre"
"
way yields more and
quently a figurative path. So Engl.
more to "road." Comp. O. 1, 110: 686s \6y<ov, and Hymn, in
. ver
Merc. 451 dy\aos ol/j.os doifijj? (Horn. oip,rj). 52. ami
pwv This is said by the Schol. to be an allusion to a sentence
of Simonides, who, in blaming P.'s new version of a myth, said,
;

75 (Bergk) : e^eXe'y^et 6 veos olvos OUTTW (ov TO, Schneidew.) nt8>pov dp.irf\ov 6 8e p-vdos 58f K.fvfo<$>pu>v. P. retorts by inMen want old
sisting on the difference between wine and song.
wine and new song, the former a universal, the latter an Homeric
sentiment, Od. 1, 352 TTJV yap doi8r]v p.a\\ov eVtAcXei'ovo'' avdpatiroi,
The story has so little
dicov6vT((rcri j/eomrn; dp.<pnrf\r]Tai.
fj TIS
warrant that it ought not to weigh, as it does with some, in fixing the date of the ode. Simonides died 456 B.C.
fr.

pvcri

'En. ft.

53.

Xfyow pv

pd? with a note of defiance.

Cf. P.

OLYMPIA

207

IX.

P. 1, 63.
The challenge does
3, 88
Ae'yovrai /idi/, and especially
not refer to the old tale of the deluge, but to the new version of
the line of Opus. I renounce the examination of the spider-web
speculations that have been spun about the relations of Elis and
" The
flood," which rises as the water that
Opus. 57. avrXov
rises in the hold of a ship, the regular meaning of avr\os.
Cf. P.
The earth appears as a leaky vessel. cXeiv " Drained."
8, 12.
:

KCIVMV

The

reference

is

much

disputed.

K.

=Aa>v (Dissen)

K.

&fVKa\i<avos Uvppas rt (Bockh), which is the more likely by reason

of the emphasis on 'lamTiovidos <pvr\as. 58. i^Urtpoi irpo-yovot:

Refers to Epharmostos

and

and

his family.

59. 'lairenovCSos

See O.

60. Kovpoi icopav Stress is laid again on the distaff side,

it is hard to resist the inference that the novelty of P.'s story

3, 14.

consists in dissociating Protogeneia from the Aaot, the child of

Deukalion and Pyrrha from their stone offspring ; hence &pxa0cv.
60. icopav . . . KpoviSav
Used by poetic extension for Protogeneia the younger and Zeus, the pi. for the sing., as in fr. IV. 3,
1 1 yovov imdrutv p.ev TT a r t p o> v fjLf\irtfJ,fv yvvainwv rt Kad/mai/
Bornemann's Kopas
c/ioXoi/ (of Dionysos).
faprdrov is a purely
ryxwp 101 pcwriXtjes: ey^wpiot is used in
arbitrary simplification.
"
purely native line of kings until . ."
opposition to eVaKroi.
:

61. irpiv 'OXvpri.os . . . IVCIKCV: The Schol. makes a

y.
stop at aif i, and considers irpiv an adverb, with yap omitted
But irpiv requires a standard of reference and
=7rpdrfpoi> yap.
aid forces a close combination, irpiv with the ind. always means
"
62.
until," which here marks the introduction of new blood.
Ace. to Schol. =\d6pa. Comp. II. 8, 512 /xj /xai/ dairovSi
JicoXos
yt vfS>v eVi/Satfi/ e* 17X01, with reference to an escape undercover

2rp.

full

of the night (8m VVKTO).

In Arkadia.

iv Scipais

Cf. 0. 1,46.

63. pl\to\

'

Cf. O. 6, 29.

64. Aoicpcp:

olv: "Time."

i^ii|/ais

MaivoXtuuriv

Not merely irpbs Aoicpov.

As a weight of sorrow.

65. fxev
Comp. P. 3, 15 <pt pov&a (rnepfia faov xadapov.
(^e'pfv.
68. iitoXcov^ viv . . . IfjipKv With the same fulness as O. 6, 56
:

KaTpdfu(v

KoXfivQai.

tion (Eustath. on

II. 2,

71. inSXiv wirotrcv: Ace. to

another tradi531), Lokros had been forced to yield to

Opus.
72. O^(ICOKTO Sc' /oi
For the dat. see P. 4, 124, where
a gathering of heroes, as also N. 8, 9. 73. "Apycot Then
at the head of Greece,
Notice the rt
6i)f3av Pindar's home.
'Axr.

there

is

NOTES.

208
.

rt here,

the Se

on

8e further

parallelism to contrast.
Maiva\iaifrw (v btipais.

'ApicaSes
IIuraTai.

By

games. 74. vldv 8"Aicropos

Patroklos
75. MVO(TM>V
:

On

change from
account of the joyance
reason of the Olympian
significant

11.11,785: Mevomor, "AKTopos vios.

is tenderly treated in the Iliad, and

So MfvoindSrjs,

often called by his patronymic.

II. 1,

307

9,

211

II. 11, 605; 16,

11, 608; 16,420; 17, 270; 18,93; Mevom'ov vtds,
76. TcvOpavros ircSiov: Comp. I. 7 (8), 49:
278. 307. 827; 18, 12.
6 [sc. 'A^tXXeiif] Kat MIHTIOV a/XTreXoev
at/xae TjjXe'cpou peXavi paiva>v
TTfdiov. Teuthras was adoptive father of Telephos
|

001/a)

(M>Xwv. Rarely, as here, with a simple ace.

(iaOeiv: Lit. "to show (so as) to (make
(N. 10, 36).
"
one) perceive," to show beyond a doubt." Comp. N. 6, 9 reSo. El. 1458 xaVaIdelv, So. O. R. 792
SjjXoxroi/i' opai/,
Kfwipei
82. y tvis : The MSS. have yovos, unmetri8(iKvvvai
opav.

and king of Mysia.

80. 8i|oi

Schneidewin QfTioyvrjros, Bergk y oos, Mommsen fiwos,

Bothe y Ivis, in which I have acquiesced, though y' is a poor

cal

piece of patchery, as often.

'ETT.

y.

"
sing.,

"

84. o-^r^pas

his," O. 13, 61

their,"

I. 2,

27

Homer

P. 4, 83;

P. 10, 38.

uses o-$eVepo? of pi. only.

5 (6), 33 I. 7 (8), 55 of

I.

The

Of
pi.,

how much

Scholiast remarks

more honorable Pindar makes the position of Patroklos than

Homer does.

This divergence from

Homer

in small matters

sign of independence of spirit, not of ignorance.

two, Achilles or Patroklos, was f'patmjs, which

the older, which the younger, was

much

Which of
e'pwfievo?,

is

the

which

See Plato's
Remember that

discussed.

Sympos. 180. 86. citjv: A sudden transition.

prayer is always in order, and many asyndeta fall under this head,
0. 1, 115. A similar shift is found N. 7, 50. P. suddenly remembers the heavy load he had to carry, the contract list of the vic"

Epharmostos, and prays for more power.

May I find
Compare Homer's petition to the Muses, goddesses of
Memory, before he begins the catalogue of the ships, II. 2, 484.
" For
"
ava-ycurOai:
my progress through all the victories of Epharmostos.
dvd gives the force of "all through." In N. 10, 19:
tories of

words."

/Spa^u

fjioi

operas.

dvayTj<Ta<rdai,ibe figure

(rrofi

essarily SO in

Here

I.

eV

(6),

56

Mourav

is

8( ftaxpov -rrda-as

tfiol

St^po), for

effaced; not nec-

dvayrja- acr 6ai

which

see O. 6, 22, keeps the

traditional "fit," whether

The
87. irp<J<r^>opos
figure alive.
"fit" (for the Muses), "fit" (for the theme), "fit for (eV) the
:

OLYMPIA

IX.

209

Muses' car," "fit to rehearse" (dvayfladai), gives neither satisfacIf Trpdcrcpopor can be understood as
tory sense nor sharp image.
P. is
npo(r(popav Trpo<r(pcp<av (cf. v. 116), the passage is perfect.
"
a bearer " of precious gifts. He would mount the Muses' chariot, passing through the long line of victories with a tribute of
praise to each, and for his attendants he wishes poetic Daring
and ample Power. 88. rdXfia: Comp. 0. 13, 11 r6X/ia re /xot
fiidfla yXoxrcrav opvvei \eyeiv.
89. IOTTOITO
In v. 16 the concord
(\t\oyxfv) is with the unit produced by re, here with the nearer.
For the form tW., see O. 8, 11.
irpo&viq.
According to the
Schol. Lampromachos was a npogfvos of the Thebans and a kinsman of Epharmostos. Pindar's coming is a tribute to affection
and to achievement. The datives are
8id with ace.
i]X6ov
In song. Comp. O. 7, 13: (care/Sav. 90. rijtaopos: To claim the
:

honor due.

p-Crpais

The pendent woollen ribbons of the wreath

hence, by synecdoche, the garland

itself.

91. Ip-yov: Cognate ace., being

VIKTJV.
2rp. 8'.
Comp. P. 8,
Poetic variation for Isthmus. x*f92. iv KopfvOov iriJXais
80.
:

Ki Not
:

in the

Homeric

sense, but

= ^ap/iara.

So

also Profess-

or Postgate (Am. Journ. of Phil. III., p. 337).

The "horrid"
(\Sgfiar) x<*PP- ai f r "contests" would not be endurable in P.,
who does not tolerate p-a^at of dyS>vfs, except in a figure (O. 8,
" Some."
. . . *v 'AOavais:
The omis94.
93. ral &:
"Ap-yei

58).

sion of the preposition with the first and the addition of it to the
second word occurs sixteen tiroes in P., according to Bossler's

count, but, as Bossier himself admits, all the examples are not
cogent, e. g. O. 7, 12 P. 4, 130 (cf. 0. 1, 2. 6). Clear are, e. g., P.
The principle seems to be the same as the
1. 1, 29.
1, 14
2, 59
;

95.
negative, for which see P. 3, 30 6, 48.
Bold brachylogy. " Reft of the beardless," of

omission of the

first

o-uXa0els a-ycveiwv

the privilege of contending with the beardless. Cf. O. 8, 54.

97. i|x<J>' opyvpiSeero-iv The prize consisted of silver goblets.
On
:

with dat., see O. 7, 80.

sleight of shifting balance."

ap(pi

"
98. 6|vpciri SoXw
With a quick
this
read
So. O. R. 961
By
light
:

99. airrwri
TraXaia orw/iar' (vi>d(i poiri).
Many a trick
ends in a fall for the trickster. 100. icvicXov: The ring of specta0. 10 (11), 80.
tors.
P. 4, 241
101.
Soxrq, PO: Of applause.
:

(Tfjiucpa

on the personal beauty of the victors whenever

he has an excuse. So O. 8, 19; 10 (11), 114; N. 3, 19.
wpaios

P. dwells

NOTES.

210

"Then again." 0. 13, 55 P. 8, 28 I. 3 (4),

102. re
Ilappaaiu <rrpaTw: At the Lykaia, in Arkadia, O. 13, 108;
. eviBiavov
The prize
N. 10, 48. 104. tjfvxpav
<t>dp|iaKov avpav
was a woollen garment (j(\aiva). Coiup. Hipponax, fr. 19 x\aivav
dcurdav (v xdfjiwvi (pa.pp.uKov piyevs. The games were the Hermaia, and were held, according to the Schol., in winter. ov6r(t)
Never generic in P. except with subj. 105. IlcXXdva: In Achaia.
ovvSiicos
Schol. paprvpd.
Comp. O. 7, 86 13, 109.
Comp. O.
*Avr. y.

11.

The

'loXdov:
AVKUIOV p<ap.6s.
celebrated near Thebes. Comp. I. 1, 16 foil.

13,108:

p.apTvpT)(Tfi

On

lolaia were

tomb of
Amphitryon was buried there also. 106.
'EXtvo-is: The Eleusinia, in honor of Demeter and Kore" (T
#!>),
are mentioned also 0. 13, 110 1. 1, 57.
a-yXataunv: The dat. avrw
"
still lingers in the mind.
Witness to him
and to his splen107. T& 8e 4>va Kpanorov airav The keydid achievements."
note of the poem. A natural reflection after the long list of
victories due to native endowment in contrast with the fruitless
efforts of those who have tried to gain glory by mere training
the -^f(pfvv(>l avSpes (comp. N. 3, 41), whose numberless ventures come to naught. 111. avev Si 6cov, KTC. "Each ungodded
is none the
each thing wherein God hath no part
thing
the

lolaos, see P. 9, 90.

worse (for) remaining quenched in silence."

See note on O. 3,
of P.'s terse participiality.
ri>

pf) (pva.

6.

good specimen
TO avev dtov

is

silence is to bury the 8i8aKTal dptral, but loud

opdiov apvcrm) is to announce the heaven-sent

Deep

proclamation (cf.
112. *vrl vP aXXoi, KT. Each thing must
valiance of this man.
have the blessing of God. Some roads lead further than others;
not all of us can prosper in one path of work. The heights of
skill are steep.
Of one Ephannostos has reached the pinnacle.
For this no silence, but loud heralding.
:

'ETT. 8'.

113.

68v

uAAa> p,fv yap eSaxe

voov (vpvoTra Ztvs.

0os

(AeXira:

TroAe/^ta

116. TOVTO

The

Schol. cites

II.

13,

730:

aXXw 8 tv <rri]6T<ri. rifffi

pya>
. ocOXov :
The nrWmor. Seev.
|

A howl

of defiance, as if P. were a watch-dog.

To us the word has a note of exaggeration. Hence Ahrens:
in its way than the dies diei
ydpvffai, but w. is not worse
apva-ai
eructat verbum of the Vulgate. 118. SaijAovC^i: Adv., dat/xoi/ta
119. ipwvr' aXicav: "With valor in his eyes."
poipq (Schol.).
87.

117. wpvo-oi:

So

trip

"look daggers." 120.

"At the banquet

8t8opKd>s, <poftov |3Arwi/, Engl.,

T' iv Sairl fiXicLBa: With Mommsen.

OLYMPIA

211

IX.

of O'iliades he crowned victorious the Aias-altar." This seems

" At
the banquet he crowned the altar of Aias
better here than

being in apposition with the adj. in -tor, as

(II. 5, 741), NftrroptTj napa vr/i
nvXoiytvfOt fta(ri\T)os (II. 2, 54). ftXid&a for 'OtXtaSa. Aias, son of
A o K p S> v 8' rrytpovtvev 'O t X TI o s
O'fleus, was a Lokrian, II. 2, 527
raxvs A.ia s- His effigy is seen on the coins of Opus. The post"
Crowned in comiir<rre<|>av<i>r*
script -rf comes in very well.
Rather "heaped wreaths
So Fennell.
memoration (em)."
O'fliades," the gen.

in Topyfiri K(<pa\r) 8(tvoio ire\mpov

upon."

BOXERS WITH OIL-FLASKS.

Coin of unknown

city.

OLYMPIA
THK victory celebrated

in this

X.

(XI.).

ode was gained by Agesidamos,

a boy boxer, son of Archestratos of Epizephyrian Lokris, Ol. 74

(484 B.C.). The following ode (11), composed on the same theme,
and produced at Olympia immediately after the victory, was put
after the longer ode in the MSS., because it was fancied to be
the TOKOS mentioned v. 11. This longer poem was sent to Lokris
some time afterwards. There is nothing to measure the interval
that elapsed, and the poet's expressions of contrition at the long
delay must be construed poetically. Hermann and Mommsen
assign it to the next Olympiad, De Jongh and Fennell, who see
in v. 15 an allusion to Anaxilas of Rhegion (see Introd. 0. 1),

would put

it

OL

76.

Liibbert has written an elaborate essay (Kiel, 1881) to prove

that Pindar gave this detailed account of the institution of the

Olympian games by the Theban Herakles in

distinct opposition

to the traditions of the Eleian priests, who referred the establishment of the games to the Idaian Herakles, and the Dactyls, his

See Paus. 8, 7, 6. Lobeck and others consider the

brothers.
Eleian legend a late invention, but Liibbert has proved the great
antiquity of Idaian sites in the Peloponnesos, and this theory
gives a more plausible explanation of the detail here presented
than the gratuitous assumption that the poet went into all these
particulars for the benefit of the Epizephyrian Lokrians, as if the
Epizephyrians did not have traditions of their own. As a champion of the glory of the Theban Herakles against all comers. Pindar appears in a very natural light.

The words which form the key

to the

poem lock

the third

antistrophe and the third epode together, o T t^f\fyx<t>v povos

akdOfiav eT7)Tvfj.ov Xpovos (v. 59). The poet begins by acknowledging a debt Time shamed him. The truth of the first Olymj

pian games was hidden: Time revealed

it.

The melody was

OLYMPIA

X. (XL).

213

long suppressed Time brought it at last, as welcome as the son

with whom the wife rewards the long-expectant love of the
:

aging sire. Time brings roses, Time crowns renewed effort.

So Herakles suffers repulse. So Agesidamos lias a hard struggle,
but both succeed at last. Xpovos yap (vfjMpfjs dtos (Soph.).

The poem was written in fulfilment of a promise, in payment

of a debt which the poet poetically feigns that he has forgotten
(v. 4). He calls on the bystanders to read the ledger of his heart
and see where his creditor stands written he calls on the Muse
(Memory) and Truth, the daughter of Zeus, to keep from him
the reproach of falsehood (v. 6). Time has brought the blush
of shame to him for this heavy arrear of debt (v. 7), but usury
can make good the failure of prompt payment (v. 11). The tide
of song will wash away the pebble-counters into the depths of
poesy, and the debt due to Agesidamos and to Lokris shall be
settled, and favor gained besides with Faithfulness, who inhabits
the city of the Zephyrian Lokrians, with Kalliope, who is dear^to
them, as also mail-clad Ares (v. 15). But the poet is not the only
one in debt. Agesidamos would have failed, as Herakles failed
in the fight with Kyknos, had not Has helped him (v. 19). So let
him pay his debt of gratitude to Has as Patroklos his to Achilles.
Native valor, training sharp, and God's favor can raise a mortal to
great fame. Only some few reach joy without toil, light without
darkness (v. 25). This tribute paid to Has for the training sharp,
the decrees of Zeus urge the poet to pay another debt the debt
due to Herakles for the establishment of the games hard by the
ancient tomb of Pelops and the heart of the poem is occupied
with a detailed account of the origin of the Olympian games and
the first celebration (vv. 27-85). Herakles is not the Herakles of
Peisandros (0. 9, 82) he is not a lonely knight-errant, he is the
leader of a host. The version here given bears on its face the
impress of a strong local stamp. It is not the common story,
that \9 evident and the poet draws a sly parallel between his
forgotten debts written on the tables of his heart, which Time
reveals to his shame (xpdi/or, v. 8) and the truth which Time has
;

The victors, so far as they can

v. 61).
be traced, are all in the belt of the Peloponnesos with which the
Lokris of the mother-country had affinity. Arkadia is prominent, Tegea is there (v. 73), and Mantineia (v. 77), and the conclusion bears the broad mark of the device of the Lokrians the
thunderbolt (vv. 86-91).
brought to light (Xpovos,

NOTES.

214
At the

close, P. sings

how welcome

ing, as a late child of one's old age;

the song must he in comand well it may, for song

alone gives immortality. And now he has fulfilled his promise.

He has praised the Lokrians, he has praised the son of Archestratos, a vigorous prizer and a Ganymede for beauty (v. 115).

The debt is paid, as debts should be paid, with cheeriness, if

not with promptness. The Aiolian (logaoedic) rhythms are gay,
The poem ends fitly with KuTrpoyevet. Meager calls atlilting.
tention to the recurrence of xdpiv, vv. 14, 19, 86, 104.
Of the five triads, the first is occupied with the introduction,
the fifth with the conclusion. The story of the Olympian games
takes up the central three. There is a little overlapping, but
not so

much

as usual.

1. Toy 'OXvfimoviicav
Prolepsis.
2rp. a.
tives naturally seek the head of the sentence.
:

iar reference to
e. g.,

P. V. 789

reading and writing, esp.

ffv

iyypdfyov

rr\> p.vr)p.o(Tiv

Emphatic accusaavdyvwre

common

Famil-

in Aischylos,

SfXrots (ppfvatv.

Conip.,

Choeph. 450, Bum. 275, Suppl. 179; Soph. Triptol. fr. 8:

We have here a hudts 8' ev fyptvbs 8(\Toi(ri TOVS tfjMvs \6yovs.
morous search in the poet's ledger. 4. iiri\^Xa0(o)=:e7rtXeX;o-p,ai
further,

Mor(a): The eldest of the old three was Mv^r]. 5.

With a touch of repentance for the em\e\ada. He had
Hence what folforgotten, and so had lied, or seemed to lie.
lows (pvKfTov ^evbeciv fvnrdv. Memory is to find the place, and
(Schol.).
'AXdLOeia

Truth
fying
{evov

is

to discharge the debt.

a like hypallage, comp. P.

255

fy>9

= SiKaia

"

(Schol.).

Recti-

hand ;" the hand that scores off the debt. 7. Iviirov aXirrfIs much more poetic than a^iro^fvav with ^eu&eW.
For
6,

UvOioviKos

vpvw

fyo-avpos, P. 4,

vfifTtpas aurivos oX/3ov.

The morrow to which I had long

has come at last, and has revealed to my
shame my long arrear of debt. 9. Karourxwc : The aor. as a perfect.
The shame is not in the debt this, too, is a 6f68fiarov
but in the delay. Cf. P. 9, 112. Po8v Conip. O.
Xi>(os (O. 3, 7)
The column of figures grows downward,
13, 62: fjadiiv K\apov.
'Air. a.

postponed

8.

4 ji&Xwv xpovos

my payment

deeper and deeper as interest is added to principal. 11.

Not a separate poem ( see Introduction ), but payment

T^KOS

in full

with usance added.

So Schneidewin for the unipar' wv
Bvmuv of the better, the dv&pvv of the inferior MSS.
:

metrical

OLYMPIA

X. (XI.).

writes ovcn-atp, " beneficial ;" in

Hermann
"a good round

215

the mercantile sense,

Mornmsen, ye TOKOS dvp>v. So also

Mezger. Fennell, who desiderates proof for &/ with imper. in
One might be satisfied with Homer's ovv and imP., has 6par<a.
xj/a4>ov: The Schol. refers ^. to eVt/io/i</>dj/, "the accumulaper.
In view of the technical use of ^a<f>ot as " a
tion of censure."
counter," it seems more natural to refer it to the debt; but as
the 7rt/io/u.</>d consists in the accumulation of the fiadv \pfos thus
12.
rolled up, there is no great divergency in the two views.
I. 6 (7), 19.
13. Jira TC This
itvpa: The tide of song, as N. 7, 12
interest."

parallelism is characteristic of P. Comp. O. 2, 108. How the

wave will wash away with its flow the rolling pebble, and how
" How and
will
this new tide of
debt.

song

how " = " as

What is due

pay

my growing

"
Koiviv \6yov
The general account."
Thus only
to the victor and the victor's home.

so."

does ydp get a clear reference. 14. 4>iXav ... Is x<*piv: "As a
loving favor," and thus get' thanks for blame. TOTO|UV: Pindar
not unaided by Molo-a and
'ETT.

a.

15. 'Arp^Kcia:

Not the same with *AXd#a above.

d\7)0(ia is truth, as

"candor;" tn-pfVeta, "truth," as "straightforwardness," "unswerving accuracy," a business virtue. Fides

In 'Arpe'/ma there may be an allusion to
iustitiaque (Dissen).
the uprightness of Zaleukos, the Lokrian lawgiver. The Lokrians love honesty. I am honest. They love song. I sing. They
16. KaXXuJira: Afterwards esare warlike. I will tell of war.
"
Stesichoros, who bore the weight of
pecially the heroic Muse.
the epos on the lyre" (Quintilian), was of Lokrian origin.
17.
:
Kvxveia:
See O. 11 (10), 19: (rrparov ai\p.ardv.
as in 'oBva-a-aa (Aeolic).
Kyknos was slain by He-

XaXiceo? "Aprjs

The

short

a,

rakles in the grove of the Pagasaian Apollo because he had

seized the victims destined for the Delphian shrine.
So Stesi-

choros.

nexus

The poem was doubtless

familiar to the Lokrians.

The

not over-clear. It is tolerably evident, however, that

the victory of Agesidamos was gained after a hard struggle.
In the first encounter Kyknos was aided by his father, Ares, and
Herakles fled ace. to the proverb, ovSe 'HpaK\jjs irpos Svo. But
our Lokrian Herakles, Agesidamos, found his one adversary too
much for him, and he would have failed, had it not been for the
is

help of his trainer. Has, whether that help was the training itself
or encouragement during the struggle. The parallel of Patroklos

NOTES.

216

and Achilles with Agesiclamos and Has gives reason to suspect

that the adversary was an ingens Telephus of a boy (O. 9, 76). De
Jongh sees in this an allusion to the struggle between the Lokri19. "IXq,-. The mention of the
ans and Anaxilas of Rhegion.
trainer (d\fiim)s) is a part, often a large part, of the contract.

See O.8,54.

21.

'AxiX

ILvrpoicXos

The Lokrians took an

es-

See O. 9, 75. Patroklos was almost

universally considered the older of the two, after Homer, II. 11,
trainer is called a
22. frjiais
787.
OKOJ/O, I. 5 (6), 73.

pecial pride in Patroklos.

:

Nam

The same

figure is used by Xenoph. Cyr.

" Born to achievement."
Cf. N. 7, 7
ipT<j:

1, 2,

$wr'

10. 6,41.

P.'s
apera <pi6f is
reconcilable with the
:

contempt of the SiSa/cral aperai (O. 9, 108) is

value of training (doctrina sed vim promovet insitam).
2rp.

out

24. OTTOVOV

/3'.

toil."

An

"no joy with-

iravpoi rive?: Litotes for

airovov x^PA"1

would not be

Connect

singable.

"
above, a joy that is a supreme light to life."
"Above."
25. irprf:
Pwirw <{>aos Comp. O. 2, 62 dvSpl (ptyyos.
26. d-Yva: The place, as in Homer, and not the contest.
27. <rd(uiTt
O. 1, 93. irdp O. 1, 20.
9f'|iiTts
Ota-pot, with Atof.
"
28. pa>[j.wv e|dpi8j>v:
Six-numbered of altars" (e. with dy>va),
" with altars six in number."
di>T)pidp.ot with the gen. is not par-

<paos*with x^PM

allel.

Hypallage, as with ^ev8ea>v fvnrav dXiro^fvov

be scarcely more harsh.

On the

would
The passage

(v. 6),

six altars, see O. 5, 5.

30. Krearov Kteatos and Eurytos, sons of Poseidon,

corrupt.
had attacked Herakles and slain most of the army that he had
brought from Tiryns, and so prevented him from exacting the
pay due him from their uncle, Augeias. In requital, Herakles
lay in ambush for them near Kleonai, as they were on their way
from Elis to the Isthmus, slew them, marched against Augeias,
and put him to death. With the booty thus acquired he established the Olympian games.
See 0. 2, 3. apvpova Physically.
Such an apvuw was Absalom, 2 Sam. 14, 25 From the sole of
his foot even to the crown of his head there was no blemish in
him. Such an apvpuv was Aigisthos, Od. 1, 29.
is

. . .
fiicrfiov vrrlpf3iov: Chiastic pothe end of the verse, \drpiov
dvri
rijs Xarpdas, the well-known menial service of cleansing the stalls.
"
That he might exact of Augeias, despite unwillingness and o'erweening might, the wage for hia menial service." Some com-

'Ayr. f?

31. Avry&iv Xdrpiov

sition, especially effective at

OLYMPIA

X. (XL).

217

See O. 3, 7.
viri
33. irpowro-oiTo
inrepfiiov with pta-Oov.
KXcwvav: In Argolis. Kleonai was on the crest of a hill. Hence
bine

34.

UTTO.

icai

KSIVOVS

*ai,

" in his turn."

'HpaicXeTis

The name

of the subject kept back to the close of the period, as often in

I. 5 (6), 30. 35. 40.
Cf. also 0. 1,
P., O. 6, 9 ; 13, 17 ; P. 12, 17
26; 3, 20. lt>' 68<p: An offset against the ambush of the Molio;

nes.

'ETT.

MoXfovc?

38.

/3'.

The Siamese twins of antique

who calls them, II.

The name M. came from the

monsters, however, in Homer,

piiavt

MoXi'oi/f TralSf.

fable,

no

11, 750, 'AKTO-

mother's side

(nrcp^ioXoi Like uncle, like nephews, v. 31 : Avye'ai/

KOI p.dv pdv gives a solemn preparation for the
vTTfpfttov.
doom of Augeias.
{cvairaTas : So lason is called e ivanaras by
oirtOcv
Medeia, Eur. Med. 1392. 39. 'Eircuiv poaiXcv?: Augeias.

of the house.
.

40. <rrpcw Almost personifies

ov iroXXoV=:ov TroXv v<rrpov.
"
Transl. pitiless." Note also the vividness of the dat. (O.
:

Trvpi.

41. 6x TOV Fire and axe are not enough. The river-bank
has yielded, and the doomed city settles into a deep channel of
woe. 42. 4av iroXiv Effective position. If irarpLba is treated as an
44. airo9e'orfl(ai)
Cf. O. 8, 68.
adj. with TroXii/, the color is lost.
46. Oavaror
45. vara-ros: "Last of the three," and so "at last."
alirw: Homer's alirvv 5\f6pov.
He fell into the same oxtros with
:

6, 35).

the city.
47. cXo-ais: Orig. A'Xo-aty.

2rp. y.
oXo-os:

49. <rrafl|iaTo:

"Laid

off."

Not

yet a grove (O. 3, 18), and not necessarily a grove

Iv Ko6ap<j>:
50. irepl Si ird(<us == nfpKppdf-as (Schol.).

(Schol.).

" In the
open."

ing meal"

52. 8<Jpirov Xvo-iv " Resting-place for the even53. Ti|uurais: Coincident action.
Cf. O.
(Fennell).
:

7,5.
'AVT. y'.

54. |iero

was consecrated

"

Among."

Cf. P. 3,
Kpoviov.
Asiat. Aeol. and Dor.

Kpovov
as:

old time
3, 24.

is

an

One of the

six

double altars

and Alpheios. See O. 5, 5. 55.

67 rj rwa AaToiSa KfK\r]^tvov. 56.
57. vi^>dSi: The snow of the
e<or.

to Artemis

offset against the

58. irapeVrav

sun of the time of Herakles.

The Moirai were present

O.

to help, as at the

birth of lamos (O. 6, 42). -\v . . . r(e): O. 4, 13.

opa: "As was
meet." 60. aXdLOciav irr\ru\>.ov dXijtfeia, orig. " candor," needs the
reinforcement of "reality." TO er^rv/ioi/ is TO Svras ov. Truth
K.
:

NOTES.

218

proved to be truth to reality. The broidered

but the true record prevails (apepcu 8' VtXOITTOI pdprvpfs cro(pa>TaToi).
Things will right themselves nay,
have righted themselves and Time, the Recorder, is Time the
Herald. Nothing can be more evident than P.'s championship
of the Lokrians against false traditions.
to impression is

tales (0. 1, 29) perish,

'ETT. y.
61. Xprfvos
See v. 34. icoT^poo-cv Fulness and accuracy are both implied in Kara and in (ppdfa. 63. dicpcSOuva:
For the word, see O. 2, 4. The "firstlings" were Herakles'
share, and this he separates from the lots of his companions.
64. <rvv 'OXvfimaSi: The Schol. transl. by V 'O.
This effaces <rvv.
To resort to li/ 8ia Bvolv, " with the victories of the first Olym"
The first Olympiad " is " the
piad," is a coarse expedient.
"
first Olympic contest
(Bergk). 66. rfe 8^ P. gets out of the
tedious dependent form as soon as possible.
68. \tipea-vt.: Is
:

by naXa, V. 73, and jrvyfj.as, v. 74. iroo-iv re ical apfxari

Closely joined by re *cat, on account of their kinship in speed
afterwards distributed into iroa-a-l rpfx<av, v. 71, and dv iirirouri,
satisfied

v. 76.
69. wywviov 4v 8<S|^ 0^uvo evx<>9
Much disputed. The
contrast between eV 86q and tpy<a must be insisted on: 8oa,
"
"
"
usually glory," is
opinion P. 1, 36, and N. 11, 24 e'/iov 86av.
"
"
fv 86a depevos
setting before his mind the glory
irpodepevos,
((VXQS) of the games. The Schol., however, makes V 8oo B. fv\os
:

= S=v8oov
8'.

2rp.
(j.ov.

70. oraSiov

. .

dpi<rrev<rcv

Of. P. 5, 21

Comp.

"A

straight stretch"
71. Aucvjxviov
See O. 7, 29.

ev9vv T5vov:

the Schol.
of Alkmene,
15, 4,

itaOeXwv

vofiicras TO viicfj<rai.

first

cousin of Herakles.

with Pindar's crrparov

O. 4, 22 : VIKO>V 8po-

72.

Oiv6

Mi8e'a6cv

So

Nephew

According to Pausan.

fjXiKiav pfipaKiov,

\avva>v.

ev^or fXo>v.

not the 8iav\os.

he was killed in Sparta,

3,

not very consistent

Midea was

in Argolis.

The name of Oionos's grandmother was Midea. See O. 7, 29.

73. "EX|>S Who afterwards killed Hyllos, the son of Herakles.
Paus. 8, 5, 1. 74. ArfpvicXos: Unknown.
4>ep: Imperfect of vision, what Shilleto calls the panoramic imperf.
Comp. O. 8,49:
:

T&OS

'A.VT. 8'.

'

" Prize."

77. SOJAOS

P.

9,

128;

Mentioned

Choliambi of Diphilos:

in the

8t ira>\ovs <as o Mavrivfiis 'Sfjpos

6
wXtpofiiov
'AX</>ftc3.

27.

1. 1,

'A\tppo0iov.

os irpoTos ap^ar* T}\a<Tf*

Halirrhothios, son of

OLYMPIA

X. (XI.).

219

Poseidon, and so an hereditary charioteer. 78. 4>pd<rTwp Unknown, as well as Nikeus below. P. is following local records.
:

79. p.dico?

So Ambros.

for

eSiice

= panpav

d' 'EviK(iis.

('ppi^f ptyiv (Scbol.).

ircrpy

In

I. 1,

BJ Niicevs

24, cited as a parallel

the dat., Christ reads alxp-ais

X^P a icvicXwoxus
alxp-ds.
80. vnrtp airdvTwv
8, 189: rdv pa (sc. 8i(TKov) irtpicrTptyas.
u
" Above "
rvjipix< a
</ibeyond." So N. 9, 54 I. 2, 36.
" shot
81.
irapai9v|e: Tr.,
past;" the cheer flashed by.
rLaxoi.
See P. 1, 87, note. For the last two contests the irfvradXov was
for

Od.

See

afterwards substituted.
(<fi

ficd<rT(p

1. 1,

26: ov yap

r\v

irfvratffkiov dXX'

P. sticks to his record.

Ktlro re\os.

fpyp,ari

It

whole description was composed to

save the neglected memory of Doryklos and Phrastor and Ni-

would not be strange

keus.

Iv 8' ?<nrepov

if this

"

fv ('(p\(g(t>,
jtyXcgcv
lighted up." Comp.
uioon, hence eiwiriSos o-cXdvas, was a necessary
part of the institution. The light of the moon meets the shout
of the army.

O.

The

3, 20.

full

"

Rang with song." This use of the pascommon in Greek. Cf. Eur. I. T. 367 avXtlrui

84. dciStro

'ETT. 8'.

sive is not very

nav pf\a6pov, Heraclid. 401 ^t^TroXeiTat 8' aarv. 85. riv fyKw|j.iov
" Like
ap.4)i rp&rrov
banquet music." A curious use of dp.(pi,
which makes the tune the centre of the song. 86. apxats
"
The beginnings of yore," the establishment of the
TrpoTe'pais
:

games by Herakles.

Seems

4ir6(itvoi:

to hint at deviation

on

"As

a namesake grace of
we will sing forth the thunder ... of Zeus."
The victory is Olympian, let us sing, to grace it, Olympian thunder. Perikles the Olympian was Perikles the Thunderer. x"P lv

the part of others.

the proud victory,

lirwwpiav \apiv.

the result of Kf\a8r)a-6p.(6a fipovrav. 87. viicas So P. 1, 30 rot)

See P. 1, 50.
e "nratp-fv
KcXaStjcnSfwOa
a-yeptSx 01*
"Bolt of the firehand." Hor.
89. irvpirdXafiov ^eXos
(Schol.).

is

fir(M>vvp.iav.

Od. 1,2, 2:
derbolt

is

rubente

dextera, sacras iaculatus arces.

|

The thun-

figured on the coins of the Epizephyrian Lokrians.

90.

dpapdra: "In every victory fit emblem."

"
Mezger, after Priese, makes it in which dwells omnipotence."

iv fiiravn Kparei

92.

X^8<ra

"

Swelling."

O.

9,

K(X \a8<as

93. ri . . . <f>dvv
Neut. pi. with verb pi. gives more
2rp. ('.
Cf.
individuality and more life.
distinguish the strains.
P. 1, 13. For <pdvev of music, comp. So. O. R. 186 iraiav dt X dp.:

We

NOTES.

220
it e

94. wrc

So Bockh for wore. 95. vt6raro<i T& -iraXiv " The

So O. 12, 11 e/wraAu/ Ttp^ios, P. 12, 32 ?/*-

reverse of youth."
TraAiv

97. irotfxcva

yva>p.as.

"

98. 4iraKr6v aXXorpiov

Master."

One thinks of " this Eliezer of Damascus."

pwraros Out of the almost epic fulness of

99. Ovqurnovrt <mryc-

this passage it has

not foolishly, been gathered that Agesidamos had become old while waiting for Pindar's song. In one sense, yes
:

falsely, if

ot 8e Trodfvvres fv
fjfjiaTi yrjpdo-Kovo-iv.

The

late

is

song

as

welcome

as a child of one's old age. Nothing more hateful than to die

and leave no heir of one's body. Nothing more hateful than to

die and leave no memorial of one's hard-earned glory.

As the
child keeps up the name, so the lyre keeps up the fame.
have no right to assume that Agesidamos was on the brink of

We

The poet simply declares that he

such disaster as oblivion.
the grave.

'Aw. ('. 102. Kevea irvcv<rais

breath in vain." Cf. N. 3, 41

"
:

secure from any

is

and

his strength

Having spent

wav, and

oXXor' oAXo

P.

2,

61

"

Semi - personification.

Procures for
Toil naught but a little pleasure," the fleeting glory of the unThe fame is spread
105. cvpv: Predicative.
sung victory.
"abroad " by the fostering Muses.

7raXat/ioi>eZ tuvfd.

'ETT.

107.

f.

{rvve4>airT<$|Avos

"

Embraced,"

"

'

("5x&<P

y<*

In contradistinction to the Muses.

108. ajx<|>irtrov
"Lending a helping hand."
took to my heart." What was promise is per:

109. Karappe'xwv : Cf.

formance.
57 'A\Kfj.ava <TTf(pdvoi(ri /3aAXa>,
:

I. 5,

21

pawtpfv

evXayt'ais,

Kal u/uj/w.

paivca 8f

Above

P.

8,

dva-

nda-a-d suggests roses.

Ipa-niv: The son of Archestratos is not
old enough to have lost his bloom. 110. etSov: Here no figure.

The poet promised when he saw him, and then

iXica

"

Cf. v.

blended

;"

68

see P. 10, 41.

Death
ddvaros avails.
"regardless," "rathless."
Aphrodite.

114. KCKpafxc'vov

^fipeo-ort.

1 15.

is

av<uS&

forgot.

xP

"

Endued," literally
p6pov Theogn. 207
:

a true Xaar dvaiSrjs " unabashed,"

ovv KvirpYcvct With the favor of
,

OLYMPIA

XI. (X.).

FOR the occasion of this ode see the Introduction to the

preceding one, where Bockh's view has been followed. Leop.
Schmidt calls it a promissory note, while the old arrangers imagined it to be interest on deferred payment. This is the first
Olympian victory celebrated by Pindar, and Schmidt thinks that
P. shows great satisfaction at receiving the commission.
This
may be true, but Schmidt does not succeed in explaining why
P. should have postponed the execution so long.
The thought of the poem is, " Song, God-given, is the true complement of God-given victory." There is a time for all things
time for winds, for showers. The time of all for song is when
success is achieved by help of toil then 'tis a beginning of fame
hereafter, a sworn warranty of great achievements.
High above
envy is dedicated this praise for Olympian victors. This glory
my tongue would fain feed full, but 'tis God alone can give a
heart of wisdom. This glory I can sing as an adornment over
and above thy olive wreath and foster the name of the Lokrian
There revel, ye Muses, for I will be bound that it is an
stock.
hospitable race, acquainted with beauty, wise to the highest
Nor fox nor lion changes nature.
point, and warlike.
;

The rhythms are Dorian (dactylo-epitrite). Leop. Schmidt remarks on the inferior impressiveness and majesty of the rhythms
as compared with other poems.
However that may be, the proportion of dactyls is unusually small, though about the same as
in 0. 12, which belongs to the period of full maturity.
Bockh
says ad Lydiam declinat harmonium.
:

The strophe

sets forth the importance of the song, the antistrophe the divine calling of the poet, the epode the noble stock
of the victor. Thus this brief poem contains all the elements of
the finviKiov except the myth. To this effect, Mezger.

NOTES.

222

Pindaric approach by parallels,

1. "Eariy otvOpcSirois, KT(.
2rp.
of which the type is given O. 1 (init.). See also O. 3, 42, aiid
comp. N. 3, 6 Si^j? 8f Trpdyos a\\o piv oXXov, dOXoviitia 8(
dve'pnov: The wind is not necessarily sug/ioAia-r' doidav (piXfl.
gested by the voyage of Agesidamos, but wind suggests rain. In
Greece navigation and agriculture go hand in hand. Hesiod
3. iro8wv: A common
puts agriculture first.
personification;
hence less felt, though not wholly effaced. See note on 0. 8, 1 ; N.
So with Christ for irpda-a-oi. Schol., Har4. irpd<r<rci
4, 3
9, 52.
tung, Bergk have Trpao-o-)?, but P. prefers the pres. indie, in the
generic condition. The opt. protasis with universal present in
the apodosis occurs P. 1, 81. 82; 8, 13. 14; I. 2, 33. 34, but the
circumstances are somewhat different. 6. T&Xcrai: Cited as an
example of the schema Pindaricum (agreement of a plural subject with a singular verb), of which there are very few examples
:

Here we read, with A, dpxd, and the example disappears.

This syntactical figure gives no trouble when plural nouns
are mixed with singulars or neuters of course, disjunctives do
not count, as P. 10, 41, q. v. nor much when the verb precedes,
for the singular is the general and the plural the particular.
Comp. fr. IV. 3, 16. In P. 10, 71 there is a various reading, nt'ivIn Plat. Gorg.
TCU for Kcirat, in P. 4. 246, rt\f(rav for rAeo-ey.
500 D, for ft eon B has
t'ortv, which points to eoroj/ (HirIn Aischyl. Pers. 49 oreirrat rests on a correction of
schig).
" A certain
irwrriv Spiuov
the other MSS. have a-rt vvrai.
of
deeds
Cf.
N.
16
:
for
9,
emprise."
pledge
mighty
Spictov
moTov. These songs are to be the beginning of future renown
and a witness to great achievements. They are called a pledge
because they bind themselves to prove what has been done. On
in P.

shifting gen. (\6y<av)

'AJ/T.

and

7. A48dvtjTos:

word was a puzzle

dat. (aperalr), see O. 6, 5.

The

here.

"

gloss iro\v<p66vriTos shows that the

Beyond the reach of envy," Bflckh

who says that images may be taken down, but

hymn cannot be destroyed. 8. o-yKeirai The best MSS. have

after the Schol.,

the

but SynfiTai is established by the Schol. and the sense.

The song is an dvddr)pa,O. 13,36; 1.4 (8), 17. TO. (i/v: Schol.:
ravra ra KaTopdo>fj.ara Kai TO. e y*o>pa TUIV (t> 'OXvprriq rCMJapcdtw.
cyKetrai,

As

often,

/j.4v

with chiastic
9. iroijwuviiv

and

8e attack different

effect,

P.

"Tend,"

members of the

antithesis

ajicWpa: Plural of the chorus.

"cherish," "make our care." Comp. also
1, 21.

OLYMPIA

223

XI. (X.).

The figure is not to be pressed. 10. IK

P. modestly acknowledges his dependence on God.
P. 1, 41 e*K dea>v yap fta^avat ird<rai ftporeais dperals.
avijp

the use of @OVKO\( iv.

6eov 8(f):

Comp.
O.

the

66.

1,

to-coy

6p.oius
ical

So von Leutsch, who has expiscated

and

avrco rc5 rpoirco (rto avrai rp.)

it

out of

axrirfp KO\

6/j.oicas

of the old Scholiasts. " We are fain to sing thy

but
our
success depends on God, as well as thine." The
praise,
old MSS. have 6/xtos 2>v, the interpolated eVraet after Sicmavros of
the Schol. Mommsen reads : irpcnriSfo-a'iv o/ico? 2>v urdi, KT.

av

vfviKTjKas

13. lifl <rre<j>dvj>

"Over and above," "topping." So 0.
'ETT.
Mommsen retains
3,6: xairauri
^ev^dtprts eiri orf<pavoi.
O. 8, 1
xpvtrlas eXaias
dp<pi of the Ambros.
%p- figurative.
<pv\\ois eXatai/ xpvcreois, P. 10,
Xpvtrotrrf(pdva>v dedXow, N. 1, 17
40 8d(pva xputrea. 15. iXfywv " Caring for;" hence " praising,"
:

vp.vS>v

(Schol.).

17. C|t|uv:

Scholiasts, the MSS.

" I and the Muses."

So Bergk and De Jongh

The

/xtv.

Comp. Od.

fjLvf)(Tr6ai oio) (sc. fjfids).

be forced (in spite of O.

viv,

60)

7,

after the

subject of d<pi(o-0ai

12,

212

"We,"

is

en<pvyop.(v xal irov rowSe

in anticipation of (rrparov, would

with reference to the return of

18. |"|8(): For the one

Agesidamos to his home, unnatural.
vovoi 8' ovrt yr^pas.
So. Phil. 771 e/cdira
neg., comp. P. 10, 41
:

P.TIT'

anovra, Eur. Hec. 373

\tyovaa

pr)8e SpSxra.

The

neg. ^^, as

swearing (0. 2, 102j. direfparov xaXuv, Kre. : The

Epizephyrian Lokrians well deserved this praise. For their
after a verb of

poets

Xenokritos, Erasippos, Theano

see the classical diction-

The

AoKpiKa aa-para reflected the passionate and erotic

character of the people. The poems of Nossis, preserved in the
Anthologia Palatina, are well worth study. 19. olxparav: Esaries.

is their victory over the Krotouiates on the banks

of the Sagra. Cf. 0. 10 (11), 17. r& Y*P *pH '
The
equable dactylo-epitrite rhythm allows this separation of article
and substantive (Stein). Cf. O. 7, 13(?); 12, 5; P. 12, 20. 20.
d\uirt]g This need not refer to d<poa-o^>ov. Perhaps only the lion-

pecially noted

^<

"

"

Still comp. I. 3 (4), 65.

21. 8ioXXa|avro:
Change
(gnomic aor.). So with Lehrs, v. Wilamowitz-Moellendorff, Schroder (Am. Journ. of Phil. XII. p. 386). The MSS. 8ia\\dairro,
"May change," the so-called potential optative without av. However, the examples commonly cited for this opt. in Pindar, N. 3,
20 P. 11, 50, cannot be considered stringent. O. 3, 45, the opt. is
imperative. In prose Sv is necessary, and Hartung writes here
StoAXaatvr' av rjQos, which is forbidden by the digamma.

part holds.

OLYMPIA Xn.
ERGOTELES of Himera, an exile from Knosos in Crete, won the
The SoXt^o? is variously estimated at

SdXtxof, Ol. 77 (472 B.C.).

seven, twelve, twenty, twenty-four stades, most accepting the

last.
Crete was famous for its runners (Xen. An. 4, 8, 27 8 6 A t:

f^rjKovra tQeov), though the Cretans

X v &* KprjTfs 7r\fiovs
seldom took part in the Greek national games. After the victories mentioned in this ode (v. 17), Ergoteles won another
17

Olympian

(Ol. 78), and two

itself tells us that

Nemean

contests (Paus.

6, 4, 11).

he had been driven from Crete by

political faction, and as Sicily was the land of promise to the
eastern Greeks, and especially those of Dorian stock, we may
dispense with a closer investigation. From the Scholiast we
learn that he arrived at Himera when a quarrel between Gelon
and Hieron was at its height. Himera was hardly more quiet
than his old home, but he succeeded in acquiring citizenship
and the jealously guarded right of holding real estate.

The poem

The twelfth Olympian is a short occasional poem. It has no

room for a myth, unless we consider the simile of the homefighting cock an equivalent (v. 14). The simple thought is the
domination of Tyche'. At the beck of Tych6 ships are piloted
on the deep, stormy wars and councils guided on land. Men's
roll through seas of idle plans, now high,
now low. The future no god hath pledged, no man hath seen.
The hoped-for pleasure is reversed, and from the battle with a
sea of trouble men pass in a moment's space to joy profound

hopes are ships that

(vv. 1-12).

So Philanor's son, like some home-fighting cock, would have

had only homely fame, and the garland for the swiftness of his
feet had shed its leaves unheralded, had no hostile faction bereft
him of his Knosian fatherland. Now he hath gained a wreath at
Olympia, two at Pytho, two on the Isthmus. Now he magnifies

OLYMPIA
Nymphs' hot
own (vv. 13-19).

the city of the

acres of his

225

XII.

Now

baths.

he dwells amid broad

The sea plays an important part in this ode, as might be expected for many reasons the distance that separates Ergoteles
from Olympia, the distance that separates his old home and his
new. There is something symbolic of the vicissitudes of Fortune
in the numerous antitheses.
The poem rocks like a ship. The
deep, the land wars, councils up, down no pledge from God,
no foresight of man pleasure reversed, pain redeemed.
Himera and Ergoteles are paralleled. The city and the victor
mirror each other. The fortune of Himera is the fortune of Ergoteles.

The rhythms are dactylo-epitrite. Bockh calls the mood a

mixture of Dorian and Lydian. The parts of the triad are clearcut.
The first deals with the domination of Tyche', the second
reinforces the theme of the uncertainty of human plans, the third
makes a practical and comforting application of these reflections
to the case of Ergoteles.

2rp.

1.

ZTJVOS 'EXcvOcpiov

Zds

'E\fv6epios

was honored

in

other Greek states, but esp. in Himera, on account of the great

victory gained over the Carthaginians, and the new deliverance
from the rule of Thrasydaios. See Introd. to O. 2. 2. cvpvcrOeW(a) Proleptic. Not used elsewhere in P. of a city. d|x<|>iir<5Xci.
:

"

Keep thy sentry-round about."

the Homeric Hymn in Cerer. 420

Tyche", ace. to
a Nereid; ace. to Hesiod
Notice the sea atmosphere.

SuSreipa
is

Tv\a

(Theog. 360), a daughter of Okeanos.

Only ace. to Pindar himself (Paus. 7, 26, 8), T. is one of the Mot" At
3. TIV
pat.
thy beck." The dat. of interest is by implication the dat. of agency.
Comp. P. 1, 73: apx<? dapao-favrfs.
"
6oa
0o6s is used of actual speed, WKVS of inherent.
dor) vavs,
velox navis, a thing of life
axela vnvs, celeris navis, an expedi:

Jebb, on Soph. Ai. 710. Ships refer to war

and peace, then follows war (TroXe/xot), then peace (ayopai). So
the balance is prettily held. 4. irrfXcpoi Seas of blood, through
.
which Himera had passed. 5. Ko-yopa!
In pub(3ou\a4>dpoi
tious conveyance."

lic

councils

it

was a formula

to

commence ayaQy

TVXJ] (Paley).

at -yt jiev avSpwv . . iXiriSts

Article and substantive are rhythmically near, though syntactically far removed. Cf. O. 11 (10),
. .
. ra
6. iroXX' avw .
19.
8(4) : O. 11 (10). 8.
jiiv
8(0 Ad.

verbial, as N. 9, 43.

waves by

ships.

The

ly'mir

ficTapwvia

world

is

= ^itrewpa *at aipoutva

K2

ploughed by hopes as
(Schol.).

The

NOTES.

226
>

waves of falsehood dash high and then

Not

fall

back.

KllAtVSoiTt

ruXivSerr(t)

7. ovupoAov: "Token," "pledge."

The figure is not
'AI/T.
wholly dropped. We are now voyaging on a merchantman.
The plural in sympathy with r&v fj.(\\6vTo>v
9. 4>po8ai= yvaxTfis.
See O. 9, 21. 10. eireoev: Empiric aorist. The
(
irtpl rS>v //.).
metaphor is from dice: del yap (v IT iirr overt v ol Ato? *cv/3oi.
11. piraXiv jiv T'p\j/ios
Instead of the mechanical TOJ /*>. See
:

Comp. O. 10

v. 5.

yvd>p.ds

= trapa

(11),

figure.

paW

Familiar

is f$advir\ovros.

95

12.
yvupav.
Cf. O. 7, 53:

proverbially rich.

vforaros TO wdXiv, P. 12, 32: e^TroXtv

oX<us Recurrence to the nautical
:

a<9v, O. 13, 62: fraBvv K\apov.

the adj. belongs to the sea sphere,
32.
Gen. of price, " won
irtjixaros

*Ae'oj-

Still

Cf. O. 2,

TreSa, Aeol. and Old

joy for anguish." ircSdjwi^av
/xerry/xet^ai/.
Dor.
fjifrd.
Etymological connection is denied.

14. iv8op.dxas ar* aXeKTtop

*ETT.
ar'
breviloquence (
Villemain
/ia^ou dXfKTopos Tip.d) hardly noticeable in English.
tells of a translator who agonized over the unpoetical coq, but be
:

remembered that the Hepo-ucos opvis was really more poetical to

the Greek than it can be made to us. Aischylos does not shun
the comparison (Eum. 861). Cock-fights were popular in Greece.
Pindar knew the cocks of Tanagra as well as he knew the poetess
of Tanagra the cock was sacred to Athena (Paus. 6, 26, 2), and
it

Himera stamped her coin with a cock,

ace. to

some

pun on 'lp.4oa

honor of Asklepios. 15. &icAefc: Prolep

(jj/iepa),
The rt/xa thus becomes a flower. It has
tic.
Kare^vXXopdTjo-e
been noticed that P. draws few of his figures from the world of
A A'ts Spipt'ta according to Eu16. OTOO-IS dvridveipo
plants.
It has been inferred from this that the
Kvftxrios
stathios.
Knosians of that time did not take part in the Olympic games.
O. 7, 81.
Notice the sigmatism of the line. 17. <rr<J>avw<rdnevo
acc. to others in
:

Mommsen writes

Su'*, as

the Scholiasts

know

noth19.
ing of a second Pythian victory; but see Pans. 6, 4, 11.
6epfio . . . XovrpcL : The glory of Himera, still there and called
The figure is not fully felt, else it
Termini. pcurrdtcis
tyo'ts.
would be absurd. It is nothing more than eVae/peiv, O. 9, 22.
18. 8l

IK

Comp.

I.

3 (4), 8: xpr) 8

Kw/iafeur' dyavals

\apiTKTaw ftacrrdcrai.

wop* oUfiats dpovpais : On napd with dat., see 0. 1, 20, and comp.
further Od. 18, 383: ovvtKa nap navpoitri. KOI OVK dyadoiaiv 6p.t\f ir.
Characteristic

is

the stress laid on

OLYMPIA
THE thirteenth Olympian commemorates the victory of Xenophon of Corinth in both stadion and pentathlon, Ol. 79 (464
B.C.).
Xenophon's father, before him, had won a foot-race at
Olympia, Ol. 69 (504 B.C.) hence Tpio-oXv/Mrtoi/ucav outov (v. 1).
Indeed, the whole house of the Oligaithidai, to which Xenophon
belonged, was illustrious almost beyond compare in Greece for
their successes at the different games. The wealth of the family
is shown by Xenophon's vow to consecrate a hundred
eraipai as
Pindar's tpyarit Moura
ifpdfiovXoi to Aphrodite, which liberality
did not fail to glorify. See fr. IX. 1.
;

The splendor and wealth of Corinth were proverbial, and as

the seventh Olympian glitters with the light of the sun, so the
thirteenth reflects the riches of & SKfiia KApivQos (v. 4).
The
impression of the poem is that of a semi Oriental bazaar.
seems to be profuse in the admired disorder of its warec.
But there is, after all, a certain Greek symmetry. Victor and
victor's city mirror each other as elsewhere (0. 12), and the hero
of Corinth, Bellerophon, sums up the highest of both. For
wealth and success, without wisdom, without courage, are vulThe sister spirits of Law, of Justice, of Peace, daughters of
gar.
Right, are the guardians of Corinth's wealth (v. 7). The achievements of the games abroad are balanced by inventions at home

first

It

(v. 17).

The dithyramb first rose upon the air in Corinth. The

was first planned in Corinth. The tem-

bit that rules the horse

summit first received the adornment of the king of birds in

Here are three great inventions matching Eunomia,
Dika, and Eirena matching the three Olympian victories of the
The Muse with the sweet breath and Ares with
Oligaithidai.
ple's

Corinth.

his embattled hosts of youthful warriors are both at home in

Corinth (v. 23).
if Corinth claims tht
If Corinth abounds in wealth, in art

NOTES.

228

honor of invention, her sons prosper, too. Keep, O Zeus, the

people unharmed, fill the sails of Xenophon with a favoring
breeze. &nav 8' tvpovros tpyov (v. 17) is true of him. He gained
the pentathlon and the stadion in one day, which mortal man
never attained before (v. 31). Then comes a long list of the victories of Xenophon and his house, until the poet finds himself
in feud with many concerning the number of these honors, and
swears that he cannot count the sands of the sea (v. 46). The
time has come to put a bound, and so he returns to Corinth and
the story of Bellerophon (vv. 63-92), forerunner of Xenophon
who mounted the height of heaven on a winged
steed, so that it might have been said of him as of Xenophon
tells

Bellerophon

dvTff36\r)(rv

T>V

dvrjp

dvarbs

ovir<o

ns

Trporepov (v. 31).

The myth concluded, the poet again tries to sum up the

achievements of the Oligaithidai in a few words, but the line
stretches

beyond

his sight, pda-a-ov* q

ISepev (v. 113).

Swim

out of this sea of glory with nimble feet. In highest fortune, as

in trembling suspense (0. 8), there is but one resource, and that is
Zeus, Perfecter, give reverence with enjoyment (v. 115).
prayer.
So the spirit of control regulates both the end and the beginning of the ode. The dominant thought is orerai 8' ev aoTa>
|

(JifTpOV (V. 47).

The measures are logaoedic.

The distribution of the five triads is not the common one.
The first triad is devoted to Corinth, the second to Xenophon,
the third and fourth to Bellerophon and his ancestors, the fifth
to the Oligaithidai.
Mezger calls attention to the fact that the
P. was evidently deepsubjects fall strictly within each triad.
laden with his commission, which must have come from the

whole house, whose praises he distributes as best he may. The

later successes, Xenophon's and his father's, are put first
the
earlier, those of the Oligaithidai generally, are put last.
;

Srp.

ning.

a'.

So

1.

TpiaoXvuirioviKav

Notice the

also O. 10 (11), 1: TOV

pomp

of the begin-

'O\vpiriovinav

dvayvatrl

Comp. O. 2, 1 dvai<p6ppiyyfs v/ij/ot, another grand openThe opulent word suits the opulent (oXea) Corinth.
ing.
Xenophon was victorious twice (v. 30), his father once (v. 35).
2. OOTOIS
Cf. P. 3, 70
/3a(7i\fvs
irpavs darols, ov <p0ovtav dyatiols, fivois Sf Gavfiaarbs iraTrjp.
d. is more common
than TToXinjs in P., because a. is less technical and has to do
.

Hoi.

OLYMPIA

XIIL

229

with the natural rather than the political position. The difference is briefly expressed in [Dem.] 59, 107 fjv ovre oi npoyovoi
:

It would
d(TTT)v KareXnrov ovff 6 8fj[J.os TroXIrti/ eVotijeraTo.
"
"
not be safe to make doroir the humbler citizens here, although
it

would include them.

3.

6pdirovra:

A word involving

kindly

The Schol. cts

yvwro[uu.: Disputed.
"
yvuxnv aa>, I will make known," for which yvS>vai (O. 6, 89) is
"I will learn to know Corinth," means "I
cited, but in vain.
service.

See P.

4,

287.

So De Jongh. This is the language of one

never seen Corinth and is to make the acquaintance
of the city on this happy errand of praise. Of course this is
4. 6X(3iav
Noted from Honiei
figurative, as is Kartftav (O. 7, 13).
5. irp<JOvpov
As one comes
on, II. 2, 570
d(pviov re Kopwdov.
from Olympia, Corinth is the entrance of the Isthmus. Bakchyl.
IIoTcisays of Corinth IleXon-os XtTrapaj vda-ov 6f68p.aroi dvpai.
Saves
Comp. N. 6, 46 UotreiBdviov rtptvos ( of the Isthmian
s
games). The form HOT. is Corinthian (Fennell). See Cauer, Ho. 81.
Refers only to men, and not to the iro\vtv<u vtdviHfidovs f'v d<pvd(p K.opiv0<a of the famous skolion.
AiKa
6. Evvopta
Elpijva The same genealogy is given
in Hesiod, Theog. 901 Sevrtpov fiydyero (sc. Zeus) \iirapf)v Ge'/ttj/,
will visit Corinth."

who had

r)

TKfv "QpaSj \~Evvoit

The seasons

IYJV re

A / JCi} y

are distributed thus

T( Kal

Eunomia

E Ip
is

TJ

17

v Tfda\vlav.

preparation (seed-

Dika, decision (harvest); Eirena, enjoyment (festival).

that needs timing (O. 4, 1)
they are the regulators of wealth, and prevent the growth of
vppis, which owes its origin to the wedlock of baseness and prosOn the chryselephantine statues of Themis (standing)
perity.
and the Horai (sitting) at Olympia, see Pans. 5, 17, 1. Koovyvi]Ta
7.
Sing., not dual, as is shown by the apposition see O. 6, 45.
With v. 1. 6|i(JTpoiros, " of like character." This seems
6p.oTpo4>os
to require the MS. ownfraXifc above. Much tamer than the reading
given here. Tap.Caiav8po.o-i: Slur-mav-intoone. Mommsen writes
for the fern. (O. 14, 9).
8. xpwnu.: See O. 11 (10), 13.
time)

The Horai preside over everything

MXovTu: Of a fixed purpose, P. 1, 62; 0. 11 (10),

Full personifi10. "Yppiv, Kopov p.aWpa
cation to match the other. Theognis reverses the genealogy, v.
153: TiKTti rot Kopos vftpiv orav Kama 8\f$os fTnjrai, but that
makes little difference, as, according to Greek custom, grandmother and granddaughter often bore the same name. It is a
'Avr.

9,

and

a'.

9.

so of a wont.

NOTES.

230

"
mere matter of *Y/9oi? Ko'por "Y/3pir
12. riOeio
Straightforward." (v. with ToX/wi, net ace. pi., as Mommsen says, with XToX/m is semi-personification, and the figure is not unlike
ytiv.
that of O. 9, 88, where rdX^ia is ->ne of the two attendants P. deI have hosts of fair things to
sires to have on his progress.
Such is my nature.
tell, and I must go straight to my errand.
:

The poet apologizes

for

plunging into the thick of his

13. ajuixov .
pot: Ethic dative.
tbo singer, y< a
vfijAiv Sc: I

fjOos:

praises.
Cf. O. 11 (10), 21.
14.

am
and yours the recipients of the
favors of the Horai. 'AXdra Aletes ^ ,s a Herakleid king of
iroXXa \v, . . . iroXXa t (1) Both are adverbial
Corinth.
no\:

Symmetry keeps the second

XaKis.

<ro(f>i<rfuiTa (v.

17).

15. virepeX6<SvTv

from going with

The gen. absol. without a
TroXXa

denied for Homer.

In P. the construction is to be
watched.
Undoubted, however, seem to be P. 8, 43 2>8' tlirt
&s ap ai>8d<ravros. Here
fjMpvaftfvcav, and P. 4, 232 (= N. 10, 89)
the shift from the dat. to the gen. is easy, easier than making
Upois lv ac'OXots O. 8, 64 <
V7rtpf\d6vra>v depend on ayKdiav.
subject

is

oirav 8'
17. apxata: "Prom the beginning."
This has a 'proverbial ring. "All the work belongs to the
inventor" (i. e. the credit for it all). Often quoted. Best commented by an epigram on Thespis pvpios alcov TroXXa irpocrfvprjfrft
. .
18. TO.! Auvv<rov
\S.Tfpa' Tafia 8' ffnd (Schneidewin).
'ETT. a'.
i

Xapircs:

Explained by the Schol. as

at coprat at TO eVaywyoi/

19. poTjXaTqi: Refers to the prize of the victor in the

dithyramb. Some think of the symbolical identification of
Dionysos with the bull. See Hdt. 1, 23, for the history of the
dithyramb, first performed in Corinth by Arion of Methymna
during the reign of Periander. The Bacchic joyance is the main
thing, and we must not hold P. to a strict account when he
attributes the origin of the dithyramb, as he does elsewhere, ace.
to the Schol., now to Naxos and now to Thebes.
20. T(S -y*P
P. 4, 70: ris yap dp^a, KTf. linreiois 4v eireoxrtv (xcrpa: p.. here is
t^ovo-at.

"check," and so "bit," as the Schol. explains: ra "iirnfia ptrpa

The myth turns on the praise of A.dr}va XaXtvIrtc,
y

TOV xaXti/ou.

who had

a temple in Corinth, Paus. 2, 4, 5. The selection of the

word points to a more perfect control gained by the Corinthian
21. vooicnv . . . SCSvpov:
bit, not the out-and-out invention of it.

The words would seem

to

mean

naturally that

two eagles were

OLYMPIA
"
placed as uxpurq/Ka, or

finials,"

231

XIII.

on the temples, one on either

The pediment was called arrdr, dcra/xa, and the Scholiast

supposes that the name was due to the eagle here mentioned.
gable.

Another explanation is that the Corinthians filled the pediments,

naked before, with the figure of an eagle, which subsequently
gave way to groups of statuary. The name atros for the gablefield is commonly referred to the resemblance of the pediment to
an eagle with extended wings. Bekker, Anecd. p. 348, 3 atrov
See Aristoph. Av. 1110,
fj.ip.flrai <r^^/ta dnorfTaKoros ra irrtpd.
and the passages there collected by Blaydes. 22. iv &: With
Mowr' aSvirvoos: We have no right to refer
avflci, "And there."
:

with Dissen to the older poets and musicians of Corinth exThe Corinthian helmet (Hdt. 4, 180), the
23. *Apt|
Corinthian trireme (Thuk. 1, 13), are well known, and the story
of Periander, the history of Corinth in the Persian war, may be
read in Herodotos.
this

clusively.

2rp. ft.

24. Cirar(c) :

Ag. 509: viraros re

neg.

With *OAv/r?a? (Pennell). Comp. Aisch.

x<paf

compounds of verbals in

Zfvs.

25. &|>6<5vT|Tos

-TO? often are.

Cf. O. 6,

67

Active, as
:

-^(vSftav

ayvaxTTOv. 26. i$96vt)To Y^VOIO== M^ vfpetrqoys (Schol.). Hdt.

28. cvOwc: Natural metaphor
1, 32: T& delov irav e<r
(pdovepov.
for a nautical Corinthian, O. 7, 95.
8af>vos: The 8aip.a>v here is
See P. 5, 122: Atos rot voos fityas
the 8aifjLd)v yevedXtos (v. 105).
Kvpepva Baifiov' dv8pS>v <pf\<t)v. 29. &|<u fl foi : The dat. is used
with 8fa<r6at because the giver is interested as well as the receiver.
When the giver is a god, he is waiting to be gracious.
When he is a man, the acceptance of the present is an honor.
\

See the Pindaric passages P. 4, 23; P. 8, 5; 12, 5; I. 5 (6), 4.

Cf. H. 2, 186: 8'aTo ot a-KrJTrrpov.
fyKwpiiov reO^v : Cf. O. 7, 88:
a-yei : The processional notion of the K>P.OS
Ttdfibv 'OXvpTTioviKav.
comes out. This Ttfyos is also a TTO\V<PI\OS ore'ras (P. 5, 4).
30. irevT<U0Xp : The memorial verses of Simonides run
nal Hvdol Ato0(i>i/ 6 *tXtoi>os iviita
(1) aX/xa, (2)
See a long discussion of
(3) 8 1 o- K o v, (4) a K o in- a, (5) TT a X rj v.
the irtvraffkov in Fennell's ed. of the Nemean and Isthmian odes
IX.-XX. 81. rfiv: See O. 2, 25. The hyperbaton is easy with
the demonstrative relative r<ui/=2>i/.
:

*AVT.

/3*.

33. <rt\{vv :

of pine, then of parsley

The Isthmian wreaths were

( I. 2,

16

N.

4,

88

),

at first

made

then pine was re

NOTES.

232
The

stored.

mean

parsley of the Isthmian games was dry, of the NeParsley had a funereal as well as a hymeneal sig" does
34. OVK dvTi|oi Lit.
not go against the grain,"

green.

nificance.

OVK fvavTioisrai (Schol.).

the o in -oio=ou. Cf. P.
Cf. 0. 12, 15

d(6\vv

aiy\av

Tlv6ia>v

37. oraSfov

1,

39

N.

9,

55

Homer does

1. 1,

not elide

36. atY Xa iroSwv:

16.

aiyXa comp. P.

3,

73

KW/XOI/

dvditiTcu: Cf. O. 11 (10), 8.

Olympic feet. SiavXov : The double

(rrftpdvois.

Six hundred

With

7ro8a>i>.

rtpa

35. 0c<rrdXoi(o)

stadion, round the turning -post and

" Within
the circuit of a single sun."

dcXiw

back.

djjuf*'

lv(:

Here dptpi has the peculiar inside use O. 2, 33, "with only one sun about it."
38.
"
" crowns
of vicep-ya:
icpavaats Iv 'A.: See O. 7, 82.
Victories,"
tory."

iroSapKTjs

ajicpa:

Comp. the Homeric

The day sympathizes with the

victor.

SovXiov

40.
ft'.
Depends on the general notion of gainIf the exact verb of the previous sentence were to be supAthena Hellotis was honored in
plied, we should have ejrra.
Corinth by a torch-race. djJw^idXoMn II. rcdpoio-iv The Isthmian
"
games. 41. pucpdrepai, KT. : Too long would be the songs that
Similar self-checks are
shall keep up with the victories of," etc.

'EXXwria

'ETT.

ing.

247; N.10,45; I. 4 (5), 51. 42. Tep^: Ace. to the

was the brother of Ptoiodoros and so uncle of
Thessalos (v. 35), Eritimos was son or grandson of Terpsias. To
judge by Pindar, Ptoiodoros was father of Terpsias and Eritimos.
The Scholia give two names not in P., but it is hardly worth

found P.

4,

Scholia, Terpsias

while to attempt to reconcile the two accounts, or to explain the

44. x^P1 01 ? ^ v Xe'ovros : The Nemean games.
Cf. N.
divergence.
A dash, rather than a comma, after
Xe'oiros'.
fiordva
6, 47
" As
for all your
\fovros would give the feeling of the passage
with
achievements I am ready to contend
many." No matter
how many come against me, I can always match them, as your
victories are like the sands of the sea for multitude.
46. irovnav
t|rcu|>a>v api9p.6v: Comp. O. 2, 108: ^a/x/xof dpid(j.ov
"

2rp.

y.

47.

lircrai:

Used absolutely

= firofifvov

(<mv, "is

There is a limit to everything. The poet puts a bit in

his own mouth. Comp. v. 20.
Enough of the house, now of the
state.
48. vorjo-ai Sc. TO /ierpov.
So the Schol. ToCro 5 avro
meet."

TO

fvnaipov re e'ort Kai apurrov.

tral thought of the poem.
Cf. Hes. O. et. D. 694

vorjtrai

TTJS

<rvp.p.fTpias

The

cen-

OLYMPIA

233

XIII.

49.
irSat- naipos 8' firl ira<rtv apitrros.
metaphor is nautical ; P. 2, 62 ; 4, 3 ;

f iSios iv
N. 6, 37

<rrXcfe

KOIV<
:

The

I8ta vava-ToXfovra

In the fleet of the common joy, P. is an I8i6a~ro\os vavs

one that is independent of the rest he sails his own course
of poetry (Kayser). His mission is to celebrate the victor's famhe is to learn to know Corinth, he is to praise Corinth,
ily, but
he is to forget for a while the I8iov in the KOIVUV. 50. JMJTV re ...
Afterwards distributed into SiVix^oi/ plv
ra 8t
ir<J\|i<Jv -T
nor (v aXicq. Comp. Pindar's praise of Sparta, fr. XI. 62, 1 tv

eV(Ko>/ita.

ftouXat yepovratv KOI v(>v

dv&p>v

dpicrrcvoicriv al^pai.

52.

Swrv<(>ov: Both Sisyphos (the

Kopiv9u>: In prose irtpl Kopivdov.
Archwise) and Medeia (the Deviser) were held in higher esteem
2. depends not so much
in Corinth than in most parts of Greece.
s 8cJv
The popular
on yapvatv as on the echo of it. See v. 40.
and false etymology of 2urt>$os derived the name from aios 6e6s
53. ovr$: ip#i, not aura,
and trv<p6s
6e6<ro<pos.
<ro(p6s hence
There is no compound reflexive in Pindar, as there is none
sibi.
The middle and the emphatic pronoun show the unin Homer.
naturalness of the action from the Greek point of view. The
story of Medeia is told P. 4, 218 foil.
:

55. TCI 8i K<U

'AIT. y.
Adverbial, comp. O. 9, 102. Two examples of wisdom are followed by a double line of martial deeds.
" In the
iv a\Ka
fight," closely connected with irpo Aaptidvov
iir* ap.4>6Tepa
There was Corinthian blood on both
57.
Tfixfvv.
:

The Trojan

by Glaukos, grandson of
Bellerophon (see note on v. 67), happened to be the more satisfactory, and hence P. turns that outward, according to his rule, P.
"
Decide the issue of battles." 58.
3 83.
|Aaxav rdfiveiv re'Xos
riv (xiv . 'Arpt'os The Corinthians were vassals of Agamemnon,
Their leaders were not especially distinguished. EuII. 2, 570.
chenor, the son of Polyidos, the Corinthian seer, chose death- in
battle rather than by disease, and fell by the hand of Paris, II. 13,
sides.

side, represented

60. FXawov Glau59. KopiitoKTcs . . . eip-yovrcs Conative.

kos appears often enough in the ranks of the Trojans a brave,
but flighty fellow, II. 6,119 foil, (where he makes himself immortal by exchanging armor with Diomed, v. 236
^pvo-fa xaX*f tW,

663.

eKOTo/ij8oi'

fweafioivv)

7,

13; 12, 102

(summoned by Sarpedon

to

61. Httpdvas: Peihelp him), 309; 14,426; 16,492; 17, 140.

o-^er^pov See P. 4, 83.
reiie, a famous fountain in Akrokorinthos.
62. Pa0vv: "Rich." Comp. 0adi>7r\ovros.
irarpis: "Ancestor."
:

NOTES.

234

'ETT. y.
64. nayewrov: Homer says nothing of the Pegasos
myth. P. follows local legends, which he seems everywhere to
have studied carefully. Comp. N. 7, 105, AIDS Kopivdos, with the
commentators. 65. irpiv ye: " Until," which the conjunction irpiv
always means with the indie. O. 9, 61.
xpv<r*H iri"ca Of the
'

whole headstall.
66. Q 6vipov 8' avruca rjv {map: "Out of a
dream there was forthwith reality," the sober certainty of waking
67. AioXiSa: The genealogy is Aiolos-Sisyphos-GlaukosBellerophon-Hippolochos-Glaukos. P. drops, or seems to drop,
Hippolochos. See II. 6, 144. 68. <J>i\Tpov: So v. 85: </>ap/xaKoi/.
Transl. "charm."
69. Aa|iaij>
irarpC: "Tamer-father," Poseidon, of whom Glaukos is the double. viv: Anticipates ravSee N. 5, 38.
opyocvro: Black bulls are
pov (rare in Pindar).
fact.

generally sacrificed to Poseidon, and the Scholiast is puzzled

into explaining dpydevra as evda\7J Kal /ie'yaj/, but in P. 4, 205

red bulls are sacrificed to the same god, and P. was doubtless
following local usage.

The
71. KVtt<r<rovTi Of sleep at once sweet and deep.
used of Penelope's slumber (Od. 4, 809), when she sees
the vision of Athena, disguised as her sister, who addresses her
8'.

2rp.

word

is

.
EvSfts, IIiji/eAoTma
72. avo. 8' fira\T(o)
.

6p9ui iro8i

Athena addresses Bellerophon.

dviira\To: Sudden change of subject.

just as

Dat.of manner, though

we tr. "to his

feet, erect."

KoipavtSa: Polyidos the seer; see note on v. 58.

" At his
Xpij<rios :
bidding," viz. that of Polyidos.
80. K\ii<raTo:

'AI/T. 8'.

Sc. Ho\vi8os.

75.

76. iir& KCIVOV

Srav: Repraesentatio

(mood of the original speech), common in repeating laws, oraA Delphic word for bull
81. KapTaiiro8(a)
cles, and the like.
Oracles had a vocabulary of their own, which was wide
(Schol.).
open to parody. Faia6x4> Comp. 0. 1, 25 (Kyaa-devrfs yaido83. Kov<|>av
Predicative, "as a light (little)
Xos Ilo(T(i8dv.
:

thing

"

= (?

Kovfyov

often z=7rot^<rat.

had

failed,

paicov irpatf

84.

and now
:

TI.

KrUriv:

Here =tpyov, just as

/criVat is

6 Kaprepos Even the strong Bellerophon

was glad to use the mild remedy. 85. fxpKCU.

A variation

of ^tXrpov,

v. 68.

v^wi

Dissyllabic.

"He played the weapon'ETT. y.

86. Iv^irXia . . . cirai^cv
87. 'A|ia(ov{Swv Comp.
play." So N. 3, 44 advpt fitydXa epya.
O. 8, 47 : 'Afiafopac (viinrovs, where they are represented as favor:

OLYMPIA
of Apollo.

ites

e'pij/xaj

Si'

On the gender comp. O. 1

on account of the height. K<i\iru>v

88. alO^pos \|n>xpas

u
aidfpos.

1 '

Chill,

235

XIII.

much right as the " deep bosom

"
Shakespeare's bosom of the air," R. and J. ii. "2
(Cookesley). ip^pov So with Hermann for (prjpov. 90. XijioiThe king
pav: In Homer (II. 6, 179 foil.) the order is different.
of Lykia bids him slay the Chimaira first (17 8' tip' fijv ddov
'

Bosom of

the ether," with as

of the ocean."

oiS'

yfvos

dv6pa>ira>v

XeW,

irpoa-df

oirtdev

8f

Spdwav,

fJL(<r(rr)

then he attacked the Solymoi, and finally slew

irvp
Purposeful variation.
(KdTfTTf(pi>v) the Amazons.
<rav: 11.6,182: 8eivov dtroirv(iov(ra
irvpos ptvos aido
The name of this mountain-folk
SoXvjiovs Not an anticlimax.
of Lykia was enough, according to Homer, II. 6, 185 napria-Trjv
tie

x</i<upa),

8f) rfjv

91. 8iao-uira.(ro(J.at

ye p-dxyv (pdro bvp.fvm dv8p>v-

CTWTT-

for

Dependent on the verbal element in p.6pov.

He fell from his winged steed when attempting to fly
(iopov
to heaven, and was crippled. Homer says of him simply, II. 6, 201
<rta)7r-

Fo\.

(Aeolic).

TI

TOI 6 Kair TT(8iov TO 'AXrjiov olos

dv6p<air<av d\(tv<ov.

92. WKOVTCU,

aXaTO

ov dvfjibv KaTf8a>v, TTUTOV

"
historical present, are his
I

Not

shelter."

2rp.

93.

t'.

again.

He has

)i

8'

v6vv aK6vrv, KT{

The poet checks himself
TroAAa ^i
(cf. O. 2, 91
.

darts enough

but he has a definite aim (O. 2, 98: emx* vvv

and would not speed too many darts beside the mark (P. 1, 44:
The figures grow out of ro^orav
95.
)
dySavos
crrparov.
^e'X?;),

TOI

iroXXa p.

" These

many,"

"

all

these."

icap-rvveiv

x^poiv

"
:

To

the vigor of my two hands." Notice the dual

noun \fpoiv, so rare in P. See O. 6, 45. But such duals crop out
even in post-classic Greek, where the dual is practically dead. 96.
yap Accounts for ra TroXXa /SAta. P. was evidently embarrassed
by the instructions he had received, and took care to distribute

speed with

all

the masses by taking up the victor in the first part and the victor's
97. c|Jav O. 9, 89 %\0ov
(pparpia, the Oligaithidai, in the third.
98. 'Ifffljtoi: The poet is
(TOI/J.OS (fiav.
Tt/xdopoj, N. 4, 74: Kapv
often spoken of as being present at the scene of the victory, so
:

unnecessary to supply rd from what follows. N. 9, 43

So Mezger, with whom I read Travpat y ?7m. dflp<j(a)
is a
He cannot go into details. 99. cfopicos: "Under oath."
peculiar word (tgopKos I8ia>s, says the old Schol.), but that is
that

P.

it is

1, 79.

no reason
Christ

it into
t^opnos ('' six-times sworn") with
lircWrroi: "Will add continuation."

for clianirini;

ap. Mezger.

NOTES.

236

"
with
dSvyXaxro-oy, which involves speaking,
sweet
had
overcome
sixty-fold
messages." They
sixty times,
is merely a
thirty times in each of the two places, unless
round number. 100. a8v-yXw<r<ros Notice the short u before yX.
c|Y|Kovrdici

With

its

'Aw.

102.

e'.

tjStj

irdpoiOc

The only Olympian victories scored

were those mentioned in the beginning. 103. TT() When the

time comes. 105. 8a(|ov -yeWOXio?: See v. 28. ?piroi: We should
"
say have free course." On the opt. see 0. 1, 115. 106. 'EwaXfy
Supposed to refer to a family cult. A mere guess. 107. dvj<ro-wv Looks very much like dvdo-arwv, a gloss to 5va. Bergk reads
Still we may comp. Homer's dva8(8pop.e mrpr).
'Apicdo-i (ftdcra-ais).
This king-altar might look as if it were leaping into the air, on
account of its commanding position on Mt. Lykaion, from which
almost all the Peloponnesos was visible. See Paus. 8, 38, 5.
108. AvKaiov Sc. Aidy.
:

109.

'ETT. e'.

Mfyap(a)

O.

HAXava: In Achaia,
7, 86.

110. 'EXevois: O. 9, 106.

AiaiciSav

O.

7, 86.

N.

Sucvciv:

9, 1.

Aigina, O. 7, 86.
111. ra(
Xiirapa MapaOwv: O. 9, 95.
.

aXros

Atrvos: At Aitna and Syracuse. 112. Evpoia: The names

of the games at the different localities are given as follows At
Argos, Heraia or Hekatotnbaia at Thebes, Herakleia and lolaia ;
at Sikyon, Pythia at Meat Pellene, Diia, Herniaia, Theoxenia
gara, Diokleia, Pythia, Nemea, and Alkathooia; in Aigina, Aiakeia, Heraia, Delphinia, or Hydrophoria: at Eleusis, Eleusinia,
Demetria; at Marathon, Herakleia; at Aitna, Nemea; at Syrain Euboia, Geraistia (in honor of
cuse, Isthmia, as at Corinth
113.
Poseidon), Amarynthia (in honor of Artemis ), Basileia.
First appearance of this construction.
p.do-0-ov' $ us l8|Av:
oXX' ayt
"Stretching beyond the reach of sight." 114. ova
"Up!" The poet addresses himself. iKvtvo-ai Imperative
" Swim out " of this sea of
infin.
victories, which is to P. a
115.
sea of troubles, even if they are sweet troubles (0. 1, 19).
Zcv Te'Xci() Conip. P. 1, 67 ZeC re'Xet'. The special cult is supposed to have been brought from Corinth to her daughter, Syr0' vir'

alSw 81801: Moderation is needed in

acuse, and thence to Aitna.
The poem closes with a wish for singer
this flood of prosperity.

The poet wishes for himself a happy

for victor, as does O. 1.
discharge of his perplexing task (e'/o/eCo-at), for the victor the enjoyment of the fruits of his victory, which can only be assured
and

by

OLYMPIA

XIV.

ORCHOMENOS, in Boeotia, was a very ancient city, the home of

the famous Minyai (v. 4), where the Charites were worshipped
The poem, as we have it, contains
from the earliest times.
scarcely more than an invocation and exaltation of the Charites,
and an announcement of the Olympian victory of the boy Asopi-

who won the single-dash foot-race, Ol. 76 (476 B.C.). This

victory Echo is bidden report to the father of Asopichos, who is
now in the abode of Persephone. While the poem closes well,

chos,

the massive structure of the strophe gives the piece the effect of
a torso.

The song
(icavfa

is

supposed to have been sung in a procession

17) to the temple of the Charites for the dedi-

i/3&>jra, v.

cation of the wreath.

The metres are logaoedic. The mood is said by the poet

himself to be Lydian (v. 17). The soft Lydian measure was especially suited to boys' voices (irptirti rfj ra>v irai8a>v ijXiK/a, Aristot. Pol., end, p. 1342 5 32), and was in favorite use for prayers
and plaints, and consequently well adapted to the close of the
poem, in which the dead father of the victor is mentioned.
Poets have admired the ode greatly
plained of its difficulties.
2rp. a.
It

1.

Ka<|uriv:

On

while editors have com-

this Kephisos, see Strabo 405. 407.

is found in
Attika, Salamis,

was a common river-name, and

Sikyon, Skyros, Argolis. Xaxoto-ai atrc Bergk writes TatVe for

an-* of the MSS., which Mommsen defends, -at in Aaxourcu
being shortened, as often in dactylic poetry. The Pindaric pasand 8, 96) have been emended,
sages cited by Mommsen (P. 5, 72,
the latter with good warrant. Bockh reads Xa^oi<rai/. On the
KaXXiirwXov On account of the paslot (Xaxor). comp. O. 7, 58.
Comp. the praise of the Attic Kephisos in Sophokles,
turage.
:

NOTES.

238
0. C. 668
Xiirapas

17

I. 2,

(viinrov,

20

and

*re.,

tvf,

and 677: (vunrov, evna>\ov.

Elsewhere of Athens, N.
2, 3.

used of Thebes, P.

X. is

in the

avoi Kal

famous fragment IV. 4

doi8tfj.oi,

'EXXuSos

2>

rai

it

3.

4,

apa

K\(tvai 'A$ai/ai, Sai-

(pti<Tfj.a,

Mornmsen has 'Ep^o/ievov, the

change is advocated by van
Herwerden also. Miwav Minyas was the son of Poseidon and
His descendants, the Minyans, were the Vikings of
Kallirrhoe.
ra -yXvic^a) re ... <ai is
Greek legend.
5. rd re repirva K<U
4. 'Opxo|ivov
irroXifdpov.
local form, after Cavedoui. The

usually employed to couple opposites or complements, as Mommsen notes. If TO rtpirvov is the transient diversion (Schmidt,
Synonym.), and TO y\vKv the immanent sweetness, there would be
6. avercu : So Kaydifference to justify the combination.
ser for yiverai.
Pporois
"For," only incidentally "by." The
"
Schol. correctly yivtrai /ecu o-vpftaivfi.
7. o-o^os
Skilled in song."
See 0. 1, 9. 116. d-yXaos: Of victory, which is often represented as
sheen (comp. 0. 13, 5 : dyXaoKovpov, 14 ayXaiav), and Aglala is one

enough

of the Graces.
<T(p.vuv

134:

cf. fr.

8. a-yvav:

VI. 1

So Kayser,

trtfJivav

Xapirav

MSS.
and Eur. Hel.

to save the metre; the

/xe'X^/xa

Tfpnvov,

For

&yvav, see Sappho, fr. 65 (Bgk.): ayvai

62 (Bgk.). Xapirwv arcp: See P.2,42. 9.
ovSi
Koipavc'oia-iv x-=ovdc Koipaviouriv ovrt ^opovs ofrt datrar.
The first neg. omitted. See O. 11 (10), 17. <c. SiaKotr/xovo-i
Tapfcu:
(Schol.), "consent to be the lords" ( /coo-pji-opes ).
Mommsen inclines to ra/iiai, a theoretical fern. form. Cf. 0. 13,
7
AIKO. KOI 6poTpo<f>os Eiprjva racial irXovrov, and Eur. Med.
a-ffivdi

Xdpirfs.

XopiTr,and Alkaios,
.

fr.

TO/* t a s Zevs (v 'OXv/xTrw. Even in prose, Isok. 11,

T>V aixp&v 6 Zevs rap.ias eWi'v. 10. 6/p-cvai
. . .
Schmidt
6p6vovs
suspects the statement of the Schol.
Leop.
that the thrones of the Muses were placed at the right hand of
Apollo in Delphi. 12. i&oov . . . rifidv: d. is more poetic as a
KtK/uVia v8ara calls up the
adj. than as an adverb.

1415
13:

TroXXwi;

roii/

opfipcov KOI
:

proleptic

image of
2rp.

/3*.

vScn-a dfvdovra.

13.

of victory (see
(Kw/iot).

The

909 'A y X a
:

^iXT)<r{|M>Xirc
t'pdv,

tr)
.

The honor of Zeus

is

"

as a river."

'A-yXata: AglaTta was especially the mistress

as Thaleia presided especially over feasts
three Graces were first fixed by Hesiod, Theog.
14.
a X / T) v r fparftv^v.
> T( KOI E u
o <r v v 17 v
ir<Jrvi'

v. 7),

<p

IpcurtpoXirc

As one might shift from <ptXeti/ to

Toying with synonyms was
icpariaTov Zeus was the father, Eury:

the weaker to the stronger.

not impossible for P.

Btfiv

OLYMPIA

XIV.

239

nome, an Okeanid, the mother, ace. to Hesiod (Theog. 907).

vvv
So Bergk and Mommsen (for tirdicooi vvv of
15. JiraicooiT
the MSS.) from a supposed eTnjKoc'o), not an attractive formation.
Other conjectures are: eVaKooi ravvv, Herm., Dissen, but we
must have imperative or optative tnuicoos yfixv, Herm., Bockh,
Schneidewin.
17. ieov<j>a Pipuvro: So Horn. II. 13, 158: Kov<f>a
AvSw
noo-l 7rpoftL$us.
'Aawirixov Diminutive from 'Ao-coTror.
. . . iv
Mommsen recognizes a kind of tv 8ia Bvoiv, to
Tpc5irj
which figure P., indeed, comes nearer than does any other Greek
" the
" With
tune," and /ieXeVaty is the verse.
poet, but rpdTra) is
Lydtan tune and meditated lays." eV, of the flute, O. 5, 19; 7,
18. *|ioXov
12; N. 3,79; of the cithern, P. 2, 69; 1.4 (5), 27.
See O. 7, 13: Kart^av. 19. Mivvcia- Aeolic accentuation, as in
:

Orchomenos

0. 10 (11), 17.

Kvicj/fta,

is

so called to distinguish

from the Arkadian city of the same name.

20. <rev ftttari

it

Thaleia,
not because she is xopv^aia generally, but because this is the K21. 1X0^, fa^ol
Ahrens
jtoy, of which she has special charge.
writes Z\vd', metri causa. With the passage comp. O. 8, 81,
:

-.

where 'AyyeXi'a, a daughter of Hermes, is supposed to discharge

the same office. Echo belongs to the Orchomenian sphere,
by reason of her passion for Narkissos, son of Kephisos.
XXeoSajiov Father of Asopichos. 8<|>p' I8owr(a) / lost. vliv
:

22.
.

. .

Sri: Prolepsis for art ... vlos. Comp. P. 9, 121.

23. K<JXiro
irap*
So Bergk for v86oio. On Trapd, see 0. 1, 20. 24. *<rrecvStifois
:

4>avcoo-e

The middle

(O.

7, 15),

though natural,

is

not necessary.

So P. 10, 40 Ko/xa? ava^travrt s.

Xairav represents I avrov.
Cf. P. 9, 135
TroXXa Se Trp6(r6tv irrepa it'^aro Nucar.
irrepotcn,
Wreaths are wings, because ihey bear the champion aloft, 7
:

9ovri (O. 9, 88)1

PHILOKTRTBS.

(After

(em.)

PYTHIA t
THB victory commemorated

in this

poem was gamed Pyth. 29.

3 (474 B.C.).
Hieron had himself proclaimed as a citizen of Aitna in order to please the city founded by him, Ol. 76,
1 (476 B.C.), to take the place of Katana.
In the same year he
i.e. Ol. 76,

had gained a

victory over the Etruscans off Cumae, thus crowning the glory of the battle of Himera. The great eruption of
Aitna, which began Ol. 75, 2 (479 B.C. ), and continued several
years, figures largely in this poem, which has been much admired and often imitated, notably by Gray in his " Progress of

Poesy."
Pindar's poems are constellations. There are figures as in the
heavens, a belt, a plough, a chair, a serpent, a flight of doves, but
around them clusters much else. The Phorminx is the name of
the constellation called the first Pythian. In the first part of the
poem the lyre is the organ of harmony, in the second the organ
of praise. In the first part everything is plain. Apollo and the
Muses are to the Greek the authors of all harmony, artistic, poThe lyre, as the instrument of Apollo, is
litical, social, spiritual.
the symbol of the reign of harmony over the wide domain of
Zeus. Everything that owes allegiance to Zeus obeys his son
Apollo, obeys the quivering of the lyre's strings. So the footstep of the dancer, the voice of the singer. Even the thunderbolt, the weapon of Zeus, is quenched, the bird of Zeus slumbers,
the wild son of Zeus, violent Ares, sleeps a deep sleep. This is
the art of the son of Leto and the deep -bosomed Muses (vv.
1-12).

All those that Zeus hath claimed as his own are ruled by harmony. Not so those that he loves not. When they hear the
sound of the Pierides, they strive to flee along the solid earth
and the restless main. So he who now lies in dread Tartaros,
enemy of the gods, Typhon, reared in the famed Kilikian cave.

His hairy breasts are pinched by the high sea-shores of

Kym6

PYTHIA L
and

Sicily,

241

and Aitna's heaven-mounting column pinions him

whose inmost recesses belch

Aitna, nurse of keen snow, from

purest streams of unapproachable

fire,

rivers that roll sparkling

in its whirl

smoke by day, while purple flame by night bears

masses of stone down to the surface of the deep, plashing. These

Terrible are they a
jets of fire are upflung by yon monster.
marvel to behold, a marvel even to hear from those that have be-

Such a creature is that which lies bound by peak and

back is goaded by his craggy couch (vv. 13-28).

held.

plain, while his

not be of those thou lovest not, may we find favor in

O Zeus, lord of Aitna's mount the forehead of this
fruitful land, whose namesake neighbor city the famed founder
glorified when the herald proclaimed her in the Pythian course
by reason of Hieron's noble victory with the chariot. As men
who go on shipboard count as the first blessing a favoring wind,
an omen of a happy return, so we count from this concurrence
that the city will henceforth be renowned for wreaths of victory
and chariots, her name be named mid banquet-songs. Lykian
and Delian lord, thou that lovest the Kastalian fount of Parnasos,
make this purpose good, make the land a land of men (vv. 29-

May we

thy sight,

40).

Apollo and the Muses dominate dominate as the inNow Zeus himself comes forward. Apollo
mentioned no more, but the prayer to him, v. 40, is matched

So

far

terpreters of Zeus.
is

by a prayer to the Muse in

v. 58.

Zeus, Apollo, the Muses, have now led us up to the praise of

Hieron. The achievements of mortals are all due to the gods.
Men are bards; are valiant and eloquent through them (v. 41);

and

through them, Hieron has the virtues of his high posiall the so-called counsels addressed to him are
merely
indications of what he is, or thinks he is, or tries to be.
In
praising his hero Pindar picks out first the quality that had recently distinguished him, and this success was won 6(S> V 7raAa/*ats
The future lacks nothing but forgetfulness of toils and
(v. 48).
pains. Greater prosperity, greater wealth, it cannot give. It can
tion,

so,

and

only administer (OUTO>, v. 46). When the forgetfulness of the bitter

past comes, then the memory of all the glorious achievements of
war, with all its proud wealth, will return. May our hero, like
Philoktetes of old (v. 50), have a god to be his friend and beneBut the song is not for Hieron alone. His son, Deinofactor.
menes (v. 58), shares the joy in the victory of his sire ; his son is

NOTES.

242

king of the city Aitna, which Hieron built for him, founding it
with god-sent freedom in the laws of Doric stock, after the prinMay this harmony between
ciples of Doric harmony (v. 65).
people and princes abide, and may father pass to son the keynote
of concordant peace (v. 79) peace within and peace from barbaric foes without.
Zeus keep the Phoenician and the Tyrrhenian battle-shouts at home, now that they have seen the fell
destruction of their ships, the punishment of their insolence, beKyme that weight that rests upon Typhon's breast. For
1

fore

what Salainis to Athens, what Plataia to Sparta, that to the

sons of Deinomenes is the day of Himera (v. 80).
But brevity is best. Twist the strands tight. Less, then, will
be the blame, for surfeit dulleth the edge of expectation. Others'
blessings and advantages are a hateful hearing yet envy is better
than pity. Hold, Hieron, to thy high career. Still guide the
people with a just helm. Still be thy word forged on the anvil of
truth.
No sparkle of dross that flieth past is without its weight,
coming from thee. Steward of many things thou art. Faithful
witnesses there are many for right and wrong. Firm abide in
generous temper. Wax not weary in expenditure. Let thy sail
Let no juggling gains lure thee. After morbelly to the wind.
;

tals liveth fame alone as it revealeth the lives of the departed to

speakers and to singers. Kroisos' generous kindliness perisheth
brazen-bull-burner is whelmed
not. The cruel soul of Phalaris
by hating bruit; no harps beneath the roof-tree receive him to
Good fortune is first then
soft fellowship with warbling boys.
good fame. Whoso hath chanced on both and made both hia
own hath received the highest crown (vv. 81-100).
;

The mood is Dorian, the rhythms dactylo-epitrite.

Of the five triads, the first two deal with harmony the third
and the fourth have to do with Hieron's work as a founder, his
work as a warrior, with the sweet music of a concordant state,
;

the sweet silence from the barbaric cry, have to do with Aitna
and Himera. The last triad avoids the weariness of praise by

disguising it under sage counsel, with the intimation that Hieron

has not only been prosperous, but has gained the fair voices of
the world.
1. Xpv<r^o <|>6p|u-y: Cf. Hes. Scut. Herd. 202s iptpotv
2rp. a.
A(6f KOI AijTovr vlos xpwtij] (popfiiyyi, N. 5, 24:
\

PYTHIA L

243
rr\dicrp<f

7rat8a ft6ir\oKov.
Our violet is the
" black " is
iov piXav of the Greeks, and
the nearest translation ol
u
2. <rvv8iitov . . . KTcavov
to-.
Joint possession."
00-19
The
dancer's foot listens and obeys the throb of the cithern.
3.
"
doiSoi The singers of the chorus.
4. irpooifuuv
Preludes."
:

io-ir\oKd(iov

Cf. O. 6,

30

dfipoXas TCvxtJS
TOI 6 (poppifav dv

= dvaftoXas

iroifi,

fid\\fTo KO\OV

5.

dva

o-Kairrcp

familiar figure.
Atdr.

wiceiav:

Auk

So.

Comp.

Of the

eXtXiJojic'va

155

1,

alxnarav Ktpavv6v
"

K. is

personified,

fj

Quiv-

at.

spear-

So avdepa xpwrov (O. 2,

eagle on the sceptre of Zeus is a

The

Od.

"

dtiSdv.

ering." O. 9, 14 <popfj.iyy' f\t\iu>v.

better as a subst. than as an adjective.
wielder Thunderbolt." 6. &cvdov irvp<fe
79).

Cf.

dj/a/SaXXfl.

766

fr.

KVUV
See note on O. 12, 3.

crKqirropdfitw aifrbs

inherent quality.

Contrasting epithet to heighten

7.

'Arr. a'.

ipx*

olwvwv: Cf. O. 13, 21: oluvtiv /Sao-tX/a.

8.

Od. 19,538: ateros dy/cvXaxfiXi/r. KVWOVWV; This

is a deep sleep with fair visions.
See 0. 13, 71. 9. vyp&v vwrov
The feathers rise and fall like waves on the back of the sleep-

oYKvXy

ttpari

ing bird in response to his breathing. 10. pnraio-i p. often of

winds and waves. So P. 4, 195 Kv^drmv pnras avty-utv rt. Kara:

<r\6}i*vo*

= KaTfxopt vos

There is no aor. feeling. Cf. Od. 11,

and Thompson's notes on Plat. Phaidr.
piaTos'Apris To match alxparav Ktpawov above.
With dvpov, O. 7, 43. "Lets his heart (himself)

334 Kr}\r]()p.(p
238 D, 244 E.
:

11. loivei:

S'

to^oi/To,

dissolve in deep repose."

12. KT|XO:

Comp.

O.

1,

112;

2,

91

9,

46 for the same metaphor. 4|fr: With the pecul"With the

iar poetic use, rather adverbial than prepositional.
So P. 8, 34 tp.d dp.(p\
environment of art," " by virtue of."
pa0w<5Xirv: Like @a6va>vos, of stately and modest
fio^ai/a.
beauty. The deep girdlo and the deep folds might be due to
amplitude or to dignity, or both. /3a0vKo\nos of Mother Earth,

5-12; 1.4

(5),

P. 9, 101.
'ETT. a'.

13. irc<j>XrjKc

Emotional perfect
pres., though on
"
"
hath made his own."
IT.

the theory that <iXor means own,"

drvtovrai: On the concord, see O.

The
2, 92; O. 10 (11), 93.
conjures up strange shapes. Poav: Of music. O. 3,
14. yav
8; P. 10, 39; N. 5, 38.
d/iat/idxeToj/ with TTOVTOV throws
up as a complementary color o-rtptdv, "solid," with yav. For
neuter

6Wa

NOTES.

244

"furious," "restless," see II. 6, 179, where it is used

of the Chimaira. The sea is the favorite haunt of monsters.
On K. with the second member, see O. 9, 94. 15. atvtj
icaT(d)
O. 8, 48 N. 5, 37 1. 1, 32.
Taprapcp So 'lo-fyos is fern, in P.
16. Tv<|>ws
See II. 2, 782, where his bed is said to be flv 'Apt/xots,
which is in Kilikia. Cf. Aisch. P. V. 351 rov yrjyfvfi rt KiXiKimv oiKTjTopa
Tv<p>va. In this passage,
tKaToyttapavov.
dpaifjidKfTov,

-.

too long to quote entire, Prometheus prophesies the eruption in

language that seems to be a reflex of Pindar's description. 17.
KiXiKiov . . . avrpov
P. 8, 16: Tv<ps KiXt.
TroXuiroXvwpx>v

Behind and above

not immediately
The whole region is volcanic. Ischia, the ancient Pitheover.
kussa, where Hieron established a colony, was rudely shaken by
an earthquake in 1880, almost destroyed in 1883. 19. K(V . . .
na\ \6ovbs
ovpavia Aisch. P. V. 349 KIOV ovpavov
aipoiv
20. irdvercs . . . TuOijva
T. is adjective enough to take
fptiScav.
an adverb. ri&ijva Kithairon is xiovorpo<pos, Eur. Phoen. 803.
18.

6pv\r)Tov.

VTTP Kvfias

2rp.

21. 4pv-yovroi jUv

0'.

iroTa|toi 8(V)

Aisch. P. V. 367

TTOTapol Trvpos. oyviJTaTai The commentators see in this epithet Pythagorean reverence of fire. The reverence of fire is Indo-European. For pev
8e, see 0. 11 (10), 8.
(Kpayf)(rovTai irare

Trorauoi

22. iroyai

"

roll," itpovvoi
up," Trora/W,
. . . iv
opc^vaicnv : Cf. O. 1, 2: VVKT\

up

fv

Measured from the top of the mountain.

TYV

All carefully used.

"
are " shot
in

tcpovvovs

"
Trayai,

well

afUpaio-iv
24. fJaOeiav

jets.

apepq.

"Far below."

<rvv iro-

Effective position.
This personification
25. 'A4>ai<rroio
so vivid to the Greek as it is to us.
See note on P. 3,

was not
39.
(4),

26. rc'pas

68

phrase.

OVOTOS

Oowjido-iov irpoo-iScaOai

p,ev I8f<r6ai.

davpa

aKovtrai.

vel even to hear."

the anovaat to the

For the
a

inf.,

comp.

I.

common Homeric

"
nai is naturally
even,"
" It is a marvel of
marvels to see, a mar-

0avpia Sc KOI -n-apeovTwv aKovcrai.

and goes with

I8e(rdai is
:

This makes Trpoo-tSeV&u refer to the <pXo,

(TVV irardyw.
So Schneidewin. Trapfovrcov

(for which we have the variant irapiovTatv) is genitive absolute

without a subject, " when men are present." P. uses the construction somewhat charily (see note on 0. 13, 15), and Cobet's
"
to hear of from those who have seen," would be
irap I86vra>v,
seductive in prose. P. does not happen to use irapd thus.
'Ayr.

/3'.

27. otov:

Exclamatory, O.

1, 16.

28.

<rrpnvd: The

PYTHIA
bed of the monster
Asyndeton
so

is

is

is alva

common and

245

I.

29. ettj, Zcw, rlv eirj

Taprapor, v. 15.
natural in prayers (see 0. 1, 115), and
:

The
the suppression of the dative (rjp.iv).
30. \itTwtrov
rises from the plain as the forehead from the face.
transfer of the designations of parts of the body to objects
:

mountain

The

in nature is so

common

Whatever

as not to need illustration.

original personifying power this transfer may have had seems to

have faded out in Greek poetry (Hense, Adolf Gerber). TOV . . .

bnawpiav

Cf. O. 10 (11), 86:

ir<ovvp.iav X^P 1 "
8' 4v Spofiai
Dissen compares 0. 1,

32. IlvOidSos
8a>i>

tv Spo/ioty,

claimed."

but there rav

"

vnr^p:

'O.

By reason

depends on

/cXe'os.

KaXXivficov

of."

vinas ay(pa>x ov

94

rav 'OXv/wrta-

aWeiirc

" Pro-

apfxaai: P. 11,46:

(V ap/xatri KaXXi'i/iKot.

"
Seafaring." P. refers to a belief
In this case a good beginning makes a good end34. is irXrfov .
ovpov Connected by the rhythm. foucrfra
ing.
"Likelihoods" for " likelihood" Cf. O. 1, 52 faopa, P. 2, 81
35. TVXIV In Thukyd. also the regadvvara, P. 4, 247 /xaxpa.
ular construction of duos is the aor. inf., never the fut.
1, 81, 6
'ETT.

of the

/3'.

33. vavo-i^opijrois

craft.

tiKos 'A.drjvaiovs

p^Tf

SovXfOcrai

/iijTt

So

KarairXayfivai.

1,

6 Si \6yot " This (faithful) saying."

121, 2; 2, 11, 8 ; 3, 10, 6, al.
"
With this good fortune to rest on."
36. ravrai? lirl |VVTVX(<U?
"
viv
37. XownSv : So Xotirov alti, P. 4, 256.
Belief."
8<${av
:

iro\it>.

38. <rvv ei^xivois 6.:

'"Mid tuneful

revels."

39.

AVKU:

Delius et Patareus Apollo, Patara being

3, 4, 61
In solemn invocations the gods are appealed to by
AdXoi*
names which remind them of their favorite abodes.
avoo-o-wv The participle here and in cjuXlwv is almost substantive.
For the elision of AoXoi', see 0. 13, 35. 40. McXifo-ais " Deign."
Attic distinctions do
P. uses ^ovXofMi but once ( fr. VIII. 1 ).
not always apply to the earlier period, but be it noted that
(0(\& or 6(\a> is the higher word hence regularly 6>v faXovros.
ravra The implied wishes and hopes. vAp Local dative, the
range of which is narrower even in poetry than is commonly
supposed. evavSpov ndi^fv must be understood with this as
well as with voa>. A slight zeugma, T. being there "put" or
"
"
Herm. reads t vavSpovv.
take," and here make."

So Hor. Od.

in Lykia.
:

41. fiaxavat: Sc. fieri, "ways and means."

2rp. y
"Achievements." 42. <ro4>oi: Specifically of poets. Cf. 0.
.

1,

9;

NOTES.

246

P. is thinking of his class in <ro0oi, the

being
put in another by the force of rt.
TTfpiy\oxr(Toi
irtpi-yXwoxroi.
Supposed to refer to the rhetorical school of KoSee O. 2, 96.
f$tfv.
rax, who began his career under Hieron.
Gnomic aorist. P. identifies 0ti<m with 6e6s. See 0. 9, 107. 111.
44. p.t)
PO.XCIV: fXirofuu takes /xij as involving wish; fiaXdv
P.

1,

12

N.

7, 23.

and

be

may

. .

P. 10, 55) or aor. (N. 4, 92). The negative favors

P. 4, 243 the neg. ovKt'ri indicates the read-

fut. (cf.

the aor.

(^17 /3dXot/u).

xa ^ KO 7r *P?ov
'

ing irpdrdai.
anovS" fare

xa\Koirdpaov

N.

which P. handles
javelin,

it is

71 ewro/ii/va> p.fj Teppa Trpoftas

The tongue,
doav y\5xr(rav.
the missile here also. Being a

boldly, is
See O.
forged, v. 86.

(axrei TIS /3oXoi) is

6, 82.

WO-CIT(C)

Cf. O. 6, 2

felt.

hardly

7,

opcrai

The

a>s ore.

ellipsis

dywvos

{> "Outside of the lists,'' so as not to count. iroXapf See

"
P. 3, 57.
avrCovs
45. d(i.v<ra<rO(ai)
Cf. P. 6, end.
Surpass."
:

refer to

Supposed to

Simonides and Bakchylides.

It is

con-

jectured that there was to be a contest of poets. 46. el yap . . .

A wish that runs over into a condition. See O. 1, 108.
6 was xp<$vos
All time to come, O. 6, 56 N. 1, 69. owrw " As
evWvoi
heretofore."
Cf. N. 2, 7
(vdvTro^nos aldw. The nautical
cvOvvoi

image was

in the poet's eye.

still

v 6vv f

Cf. v.

34 and 0. 13, 28: Stvo-

Kap.aTttv 8' iirCXeuriv

Victory
brings serenity (0. 1,98); breathing space (O. 8, 7); tranquillity
Hieron suffered with the stone. irapewrxoi: See 0. 1,
(N. 9, 44).

<f)a>wos

ovpov.

Scu'/iovo?

39.

'AJ/T.

y.

48. avix'

u What time."

P.'s

usage does not mili-

tate against the rule, rjvtKa or* : : Kaipos xpovos.

See O. 7, 35 ; 9,
" Gained " in
33.
the usu. sense of the middle of this
tipwricovTo
:

111.
The active "find" can be used in similar
connections (so P. 2, 64, and elsewhere), and, in fact, the active,
being the general, is often used where the particular middl
might be expected. The plural of Hieron and his brothers.

verb.

Tipav:

So P.

Ttpr)

3,

is

something

practical, and does not correspond to

49. Sp4irci: Active, O. 1, 13; P. 1,

"honor" pure and

simple.

49

48;

P. 4, 130

IX.

P.

The

6,

active

fr.

XL

72,

Middle, N.

2,

fr.

IX.

1,

a^pxov: O. 10 (11),
87 i/tVcas dyepwxov. d. only of persons in Homer, who does not
use it in the same sense ace. to the lexicographers. To P. the

fr.

2, 1.

is

colder.

50.

word must have carried with it the ytpas notion denied to it by

modern etymologists. The booty gained at Himera was immense.

PYTHIA
vvv Y

F-

av

247

I.

statement that defies contradiction.

Cf. v. 63.

The type of a suffering hero. See the Philoktetes

of Sophokles. " At that very time Syracuse contained the famous
-

-<jiXoKTi)Tao

statue of the limping Philoktetes

by Pythagoras of Rhegion, of
which Pliny says that those who looked at it seemed to feel the

pain (xxxiv. 59). Even if we hesitate to believe that the sculptor

intended an allusion to Hieron, we may well suppose that Pindar's
'*
comparison was suggested by the work of Pythagoras (Jebb).
TV . . 8i*av Notice the rare article with SIKOV, " wise." 51. fcrrpaAn aor. pass., where the middle would seem more natural.
Teu0T]
"
Cf. (nopfvdr). We can understand the passive of Philoktetes who
was won to the war," not so well of Hieron. <ruv 8' oLvd-yKq. " Under the pressure of necessity." The comitative, personal character
of a-vv makes it a favorite preposition in poetry, keeps it out of
"
fawned him into a friend."
model prose.
<JuXov
Predicate,
.

not Pindaric. 52. *a( TI liav piryaXdthe proud citizens of Kym6 (Cumae), who
were forced to beg help from the tyrant. According to Euripides, Odysseus and Diomed, according to Sophokles, Odysseus
Rauchenstein's

vwp

p.r)

<p[\ov is

TIS is referred to

and Neoptolemos, were sent

for Philoktetes.

Odysseus was

evi-

dently not a favorite with P. (N. 7, 21 8, 26), and

may be a sneer. (UTapdo-ovras So Kayser for the MS.
<rovras or ptTaXXdcraovras.
Comp. O. 1, 42: /ifTajSaerat. Bockh
gives p.eTap.fifiovras ( Hesych., Suid., Zonaras ) but while the
;

admissible on general grounds (O. 13,59; P. 4, 106),

we should not emend it into a text. p.fTap.(va-ovras would be
nearer, but it has even less warrant than Wakefield's ^ravda-crovt'v
rar, a future formed on the aorist of vaia> (P. 5, 70
*Apyti
present

is

( v

av(

'HpaK\(ot fxyovovs).

53. To|rav The bow of Philoktetes, being the chief

'ETT. y.
are not to look for any corrething, could not be left out.
spondence to this in the history of Hieron. 54. npidpoio inJXiv . . .
TTOVOVS Aavaois
Chiastic not only in position, but also in sense.
:

We

For the shifting

otrticvci ficv

stress

xp<"Ti paivwv,

on npidfioio and
aXXa fioipiSiov fjv

ticiple to finite verb, see O. 1, 13.

ble, possibly as 6ts.

irovovs, see

O.

6, 5.

55.

On

the shift from par56. 0e6s: As one short sylla:

Couip. Qfp.va(rrns, QtSupos in Megaric in-

*
Schnei119).
104, and G. Meyer, Gr. Gr.
scriptions (Cauer
dewin suggests tids vurfjp. 6p6<aTr)p does not occur elsewhere.

Comp.

N.

1,

14: Zcv?

nartufvafv

'S.tKfKiav

opdaxrfiv.

NOTES.

248
57. \p6vov

and

. .

" season."

58. Aivo|x^vei

Kaipov
"

To

With the

usu. differentiation of " time "

"
give the season

is

" to

give in season."

Hieron had appointed his son, Deinornenes,

re-

"
59. iroivdv
O. 1, 9.
ReKeXoStjo-ai
gent of Aitna (v. 60).
ward." So in a good sense N. 1, 70; Aisch. Suppl. 626. The
reward is the K\a8os. 60. Atrvas fJao-iXei In Greek one is king
of the Aitnaians, rather than king of Aitna. The gen. of the
So of the old
place has something of the iure dimno stamp.
house of the Battiads, P. 4, 2 /SacriXJji Kvpdvas
Of. N. 8, 7.
:

2rp.

8'.

61. r4>:

"For whom."

by Chromios. See N.
the ode was sung, not

9.

Deinomenes was succeeded

iniXiv Kcivav: *.

seems to prove that

at Aitna, but at Syracuse.

OcoSjxaTtp nv
62. 'YXXtSos orders: There were three

See O. 3, 7.
Doric tribes 'YXXety, IIa/*<vXoi, and Avp.dvf s. The Ila/i^vXoi and
Av/iai/e? were the descendants of Pamphylos and Dyman, sons of
Aigimios. The Herakleidai did not belong to the Doric stock
proper, and so are distinguished from the descendants of Aigimios, P. 5, 72 'HpdK\eos eicyovoi Aiyi/Luov T(.
Comp. also fr. I. 1,
3 "YXXov re KOI Atyi/uoC.
So 'YXXts (rrddfia and Alyip.iov redfjioi
cover the ground of the Dorians, official and actual. 4v v<S|xot
"
63. xal jwiv
Cf. O. 2, 83 /3ovXai? ev opdai<ri 'PaSapdvdvos.
Ay,
and I dare swear." A clear intimation, if such were needed,
that the Herakleidai were not real Dorians. This does not make
jXcvOcplq.:

it

all

necessary to change the MS. Aapttt?, v. 65, to

belonged to the Awpievs a-rparos, fr. I. 1,4.

They

AuptW.

64. vafovres:

from the old home of Aigimios, they

6 (7), 12. rf^la-w: See O. 6, 69. 65.
The occupation of Amyklai was
Iffxov: "They gat" (O. 2, 10).
a memorable event in Doric annals. I. 6 (7), 14 e\ov 8' 'A/xvK\OS AlydSai. We must not forget nor yet exaggerate Pindar's
personal interest in all this as an Aigeid. 66. XtvKoirwXwv The
Dioskuroi were buried at Therapnai, on the left bank of the EuThe white color of the steeds of the Dioskuroi is fixed
rotas.
. can theby the myth. So Cic. N. D. 3, 5, 11 Tyndaridas
riis a Ibis
obviam venisse existimasf White horses be-

Though they dwell

are

still

a Awpts

far

diroiKia, I.

longed to royalty, P. 4, 117. White was not a favorite color for

horses in Vergil's time (Georg. 3, 82), but that does not concern

Even in the Apocalypse

mounted on a white horse.
us here.

(19, 11) the

KING OF KINGS

is

PYTHIA L
'Ai/r. 8'.

67. Zev Te'Xei(e)

Zeus,

God

249
of the Accomplishment, in

whose hands are the

aUi Se:
issues of things. Comp. 0. 13, 115.
On 8f, after the vocative, see 0. 1, 36. The infinitive may be
used in wish and entreaty, but 81801 roiav for 8e roiavrav would

be more natural.

Mommseu's

on

86s roiav for rotavrav is based

the Scholiast's irapdtrxov. roiavrav alcrav refers to the first line

of the strophe, d(o8p.aTa> <rvv fXtvdfpia. " Grant that the judgment of the world may with truth assign such a lot to citizens

and kings."

'Aji^va: Amenas, or Amenanos, "the unsteady"

(mod. Giudicello), a stream of varying volume, which flowed
through the city of Aitna. 68. SiaicpCveiv Is used of legal deof marking off by metes and bounds, O. 10
cision, O. 8, 34
Xcfryov: See O. 1, 28, where 6 aXadrjs \6yos is kept
(11), 51.
69. <rvv TOI
apart from ftporvv (pans and 8f8ai8aA/ii/oi fj-vdoi.
:

"

The posiWith thy blessing."

70. vicjJ T* iriTcXX<S|icvos
"
and with a son
tion favors the close connection with a-itv riv,
riv

to

whom

he gives commands."

The regent who

receives Hie-

ron's behests, being a son, may be expected to carry them out in

his spirit.
Ye P"P wv: A. significant concession to the new city,
which at once becomes something heroic and divine ; " by pay71. XCao-opwxi veWov Asyndeton in prayer.
" In
72. 6$pa . . . 2xm,
apcpov
Proleptic.
peace and quiet."
instead of fx*iv> the temporal final sense of ttypa being hardly
6 4>oivi{
KO.T' oticov
Hdt. 6, 39 e l%( /car' owcovs
felt.
6^77 is intr.

ing honor due."

= Poenus, Carthaginian.

form of expression, which

i Tvpo-avwv T' a\aXaTiS: This forcible

is built on the same lines as $t'a
'Hpa-

K\eos, vOfvos T)ni6v<ov, is made still bolder by the participle

vavowrovov . .
as if 6 aXaXa^coi' Tvpo-avos had been written.

i8ebi/,
.

irp6

Best explained 6Vt f) vftpis fj trpo K.vp.r)s vav(ri(rrovos tyfvtThere is no Pindaric warrant for the use of vftpit as " loss,"
TO.
"
damage." The reflection that their overweening insolence off
Cumae had brought groans and lamentations to the ships (cf. P.
Kvjias

28) would silence their savage yell and keep them quiet at
home. The Etruscans must have been especially prominent in
this famous engagement Diodoros does not mention the Phoe2,

nicians (Carthaginians) in his account (11,51).

irp6 Kvjias:
Brings up the image of the v/3pioT7jf already depicted (v. 18).

Typhon symbolizes every form of violence, domestic (2tXt'a)

or

foreign
'ETT. 8'.

73. ola:

See 0.

1, 16.

L2

ipxp= Hieron.

The

dat. with

NOTES.

250
the aor. partic.
74. piXeO':

ayKvpa, as

I.

is

easy, as the aor. is the shorthand of the perf.

is peculiar, as if the dXiKt'a were an

The middle
5 (6), 13:

/SoXXrr' Syicvpav.

'EXXdS':

75.

Where

Greek was spoken there was 'EXXar. Here Magna Graecia is

I|&KV: The image of the sea-fight is half
specially meant.

" From
Salamis I shall try to get for my
kept up. dpt'o(iai, KTf.
reward the favor of the Athenians," i. e., when I desire reward
from the Athenians I shall seek it by praising Salamis. P. climbs
up to Hirnera by parallels, as is his wont. See O. 1, init. 77.
For the shift, see v. 55. Bockh's e'ucW lightens the con*pe
struction if we take it as a present, denied for classic times but
comp. Theogn. 492 Soph. O. C. 596. irp& KiOaipuvos jwlxav: Knit
"
"
together. Trpo, in front of," at the foot of." The battle of Plataia is meant, where the Lacedaemonians distinguished themselves especially.
78. rawn: Refers to 2aXa/i>os (=TT)S V 2aXa/Auu
"
"
paxis) and trpb K.i6aip>vos /xa^ay. Not simply where," but in
and by which." 79. evvSpov aterdv: Cf. O. 12, 19. irapa 8e <rav
OKTOV, '1/ie'pa, would not be unpoetic nor un-Pindaric.
Gen. of 'l/ie'pay, the river.
rcXlo-ais: Participle; dpfo^ai
must be recalled.
80. an4>' apcr: v. 12.
Kaftdvrwv: Rather
strange, so soon after Kdjwv, in view of P.'s TroiKiXi'a, though the
Greeks have not our dread of repetition. See P. 9, 123,
:

2rp.

108).

il
lf thy utterance prove in
himself with a wish (O. 1,
"Twisting the strands of many

81. Kup<5v: Adverbial.

The poet to

('.

season."

J>6e-y|aio

ireipara oAivravvo-ais

things into a brief compass." The contrast is fKTfivtiv Xoyov,

See Intr. Ess. p. xliii (note).
Tfivtiv, aTToreiveiv, fKTiviv, fj.ciKpdv.
8?. ?ireT<u: <'Is sure to follow."
Indie, apodosis, as I. 2, 33; 4
In moralizing passages the metaO. 6, 74.
jujfios
(5), 14.
:

phors follow in rapid succession not so much mixing as overlapping. A defence of P. in this regard that should flatten
his language out so as to make the metaphor disappear would
"
be worse than a confession of the worst. airb
IXiriSas
Satiety with its gruesomeness dulls quick hopes." alavrjs, of doubtful etymology, is used of *6pos again I. 3 (4), 2. The hopes speed
to the end the poet, by lingering, wearies, and not only so, but
rouses resentment at the blessings of those whom he praises.
This prepares the return to the praise of Hieron, which is
couched in imperatives, a rhetorical form strangely misunderstood to convey a real sermon. 84. d<rrwv 8' inoa: " What citi.

PYTHIA

6, 7), and the

an ill-hearing, and oppresses their soul
heard from citizens" has in its favor P. 11,

Citizens are naturally envious (O.

zens hear."

good fortune of others

"What

in secret.

251

I.

is

is

Pro85. icpcWwv . . . oUripjiov <fedvos

KtiKoXoyoi 8t TToXmu.
86.
verbial. Hdt. 3, 52 tfidovcfcrdai Kpifrvov ecrri fj oiKTipfcrdai.
KaXa: " Hold to thy noble course." irapiti possibly sug(it) irapui

28

gested the following metaphor. Notice the large number of

present imperatives, as in the irapaivto-is of Isokrates ad Demonicum (1). v(ia . . . orpa-nJv P. 8, 98 fXtvdtpa ordXw irdXiv rdv8t
:

On

&

xaXv

see O. 11 (10), 17.

ou|/ew8i
irpis axfiovi
yXwo-aav: This is counted as one of P.'s harsher metaphors, in
non enim solum acuenda ndbi*
spite of Cic. de Orat. 3, 30, 121
Kopifc.

(rrp.

lingua eat. P. might have continued the

figure just given, for the tongue may be considered a rudder
(comp. P. 11,42 with James 3,4), but the vibrating tongue is to

neque

procudenda

and

he has atovff
\a\Ktvf grows out of
" true anvil " refers in all likelihood to the
vupa. The
shaping
of the arrow or javelin on a part of the anvil designed for that
purpose. The figure is reflected in the next sentence.
Pindar a javelin (comp.
S)Tf

xa\K.oirdpqov opcrai

icjjXt^v. 12),

6oav y X

>

<r cr

in N. 7, 71

a v.

"
never so." irapcuWinm P. is
'Air. e'.
87. ct TI itai <{>.
jcat,
thinking of the sparks that fly from the anvil, sheer dross it may
be (<j)Xavpot>), but " surely you must know, coming from you, it
rushes as a mighty mass." If the figure is pressed, the moral
"
is
Hammer as little as possible," but the figure is not to be
"
pressed. (peptrai, is reported," the common rendering, is too
:

faint

after

irapai9v<r<rei.

88.

rapta

higher word

than

"
steward," in Engl. Comp. 0. 14, 9. a^o-nfpois Is good and
" worse."
"
89. viav6i . . . irapji^vwv
Abide
bad," as Q&rtpov is
Contrast to Phalaris. 90. etirtp
in the full flower of thy spirit."
TI 4>iXcis, KT(.
Arguing on a basis of conceded facts. axoav aSctav
. . . K\VIV
A good explanation of the idiom ev aKovtiv. fit| K<|ivc
"

" Be
Sairdvais The Christian exhortation,
not weary in welldoing," is addressed to well-doers, and Hieron's expenditure was
doubtless liberal enough. It does not follow that he hoarded
because he was <pi\dpyvpos. Of the virtue of generosity Eroisos
was the model soon to be adduced. 92. lorfov avcprfcv The sail
Cf. I.
(so as to be) breeze ful. (so as) to belly with the breeze.

Xav

2,39: oi8f

TTOTS

eviav

. . .

ovpos

itrTiov dp.<pl
Referred by some to " cour-

(fjLTrvfixrais vir(<rrn\'

Kp8ero-(iv)

NOTES.

252
tier arts,"

but

we come

until

it is

keep the generosity side uppermost

better to

Tr. "juggling gains." No mean savgrasping at unworthy gains on the other.

to Kroisos.

ing on the one hand, no

positive exhortation stands between the two negatives.
The commentators note P.'s familiarity. What other
4>iXos
word was possible for a Greek gentleman ? 6iri06nPpoTov Sensitive as Hieron is to the voice of the world about him, he is
far from deaf to the acclaim of posterity.

The

93. diroixo(JiV<i>v

'ETT. e'.

aoiSois

Of.

N.

33

6,

a TT o i x o p

(-

va>v yap dvepatv dot Sat Kal Xdyot TO. KaXd cr(j)iv epy KOfii(rav.
:= /St'oToi/, which is the parallel, O. 2, 69.
|xavvci:=a7ray\

Usually interpreted of prose-writers, the

but it may refer to panegyrists. Comp. not
only N. 6, 33, just quoted, but the same ode, v. 51 i^ardai irdvroQfv \oy io i (r iv ejri 7rp6<ro8ot vd&ov evtcXea rdvde Kocrfjidv,
Kpoio-ov A romantic figure, if one may say so, in Greek history,
though, perhaps, Lydian influence has not been sufficiently emphasized. That a Greek with such close relations to Delphi as
Pindar bore should have given a niche to Kroisos is not strange.
94. Xo-yiois

t.

early logographers

"

95. rbv Si ravpw \a.\xeu icavGenerosity," as often.

takes the dative of instrument by virtue of its transparThe
ently verbal nature. v6ov: Ace. of specification to vrj\(a.
prose laws of position are not to be pressed, rbv 8e may well
be "the other," and the rest in apposition. Tavp<p xaXx&p A
survival or revival of Moloch worship.
96. <l>dXapiv: See Introd. O. 2.
Kar^xei: Evil report weighs upon the memory of
apcToL

rijpa: K.

Phalaris as Aitna

upon the body of Typhon, though Kare'^et may

be used of a weight of glory, O. 7, 10 6 8' oX/3ios ov </>a/uu KartKOivtovIav . S&ovrai
K. is construed
X o VT dyadai. 97. viv .
after the analogy of faw tttxovrai, which we have Eur. I. A.
1181
<r*
8f6</>' 77 [SC. 7rpo(a<m]
eya> KOI irai8fs at XeXet/i^tVat
9 ^- idpowri Depends OU
p.f0a bftv tfv (Tf 8ff;acrdai xp f( v
We might expect the present, but
99. rb 8J iraOciv cv
noivvvlav.
the notion of achievement will serve. N. 1, 32 e5 re traQdv *ai
(IKOVO-CU.
Scvr^pa |ioip(a) So So. O. C. 145 speaks of irpm-njs puWith the sentiment comp. I. 4, 12 8vo de rot fads aa>Tov
pa?.
:

fjLovva TToifiaivovri

TOV SXtrviO'Tov fvavBti crvv

oX/3<

e? TIS cv Tratr^wv

\6yov (<r\bv aKova-rj. 100. 4yitvp<n) KCU X^j (dfj.<J)6repa).

verbs show a combination of luck and will.

The two

PYTHIA
THIS

Theban

IL

victory, gained not at the Pythian games, but at the

lolaia or Herakleia, is probably to be assigned to Ol.

75, 4 (477 B.C.), in which year Hieron had, by his interposition,

saved the Epizephyrian Lokrians from a bloody war with AnaxThe poem, with its dissonances, echoes
ilas, tyrant of Rhegion.
the discord of the times. Hieron was just then at enmity with
his brother, Polyzelos, who had taken refuge with his connection, Theron, the friend of Pindar, and a war was impending.
The strain makes itself felt amid all the congratulation.
It is a strange poem, one in which divination and sympathy
can accomplish little. Only we must hold fast to the commonsense view that Pindar did not undertake to lecture Hieron.

"

Great Syracuse," the poet says, " rearer of men and horses, I
bring this lay from Thebes in honor of Hieron's victory with the
four-horse chariot, gained not without the favor of Artemis, goddess of Ortygia, thus wreathed with glory. For Artemis and Hermes, god of games, aid Hieron when he yokes his horses and calls
on the God of the Trident. Other lords have other minstrels,
other praises. Let Kinyras be praised by Kyprian voices, Kinyras
beloved of Apollo, and minion of Aphrodite. Thou, Hieron, beloved of Hermes and minion of Artemis, art praised by the voice
of the virgin of Epizephyrian Lokris, to whose eye thy power
hath given confidence. Grateful is she. Well hath she learned
the lesson of Ixion, whose punishment, as he revolves on the
winged wheel, says Reward thy benefactor with kind requitals."
So far the opening (vv. 1-34).
In P. 1 we had one form of /3pu, sheer rebellion, typified by
Typhon. Here we have another typified by Ixion, base ingrati:

Typhon belonged from the beginning to those ocra /xi)

Zfvs (P. 1,13). Ixion was one of those who tv/ievt'o-o-i
nap Kpovidais y\vKvv tlXov ftiorov ( v. 25 ). Ixion was another.
tude.

7Tf<f)l\T)Ke

NOTES.

254

but a worse, Tantalos. Tantalos sinned by making the celestial

meat and drink common (O. 1, 61). Ixion sinned by trying to
pollute the celestial bed (v. 34). Each was punished in the way
in which he had sinned.
Tantalos was reft of food and drink
(note on O. 1, 60). Ixion was whirled on his own wheel, became
his own iynx (coinp. v. 40 with P. 4, 214).
Ixion's sin was of a
deeper dye, and so, while the son of Tantalos came to great
honor (0. 1, 90), the son of Ixion became the parent of a monstrous brood.

This

is the myth (vv. 25-48).

indeed, not a little remarkable that in every Hieronic ode
there is a dark background a Tantalos (O. 1), a Typhon (P. 1),
an Ixion (P. 2), a Koronis (P. 3) and the commentators are not
wrong in the Fight-with-the-Dragon attitude in which they have

It

is,

put Hieron. Who is aimed at under the figure of Ixion no one

can tell. The guesses and the combinations of the commentaHieron is a manner of Zeus. He was the Olymtors are all idle.
pian of Sicily as Perikles was afterwards the Olympian of Athens,
and the doom of Tantalos, the wheel of Ixion, the crushing load
of Typhon, the swift destruction of Koronis, the lightning death
of Asklepios were in store for his enemies. The Hieronic odes
are Rembrandts, and we shall never know more.
Passing over to the praise of Hieron, the poet emphasizes with
unmistakable reduplication the power of God. " God decides
the fate of hopes, God overtakes winged eagle and swift dolphin,
humbles the proud, to others gives glory that waxes not old
This be my lay instead of the evil tales that Archilo(v. 52).
chos told of the Ixions of his time. Wealth paired with wisdom,
under the blessing of Fortune this is the highest theme of
"
song (v. 56). The key of the poem lies in this double 0os.
God is all-powerful to punish and to bless, and Hieron is his
vicegerent.

The praise of Hieron follows, his wealth, his honor. His champion, Pindar, denies that he has ever had his superior in Greece,
and boards the herald-ship all dight with flowers to proclaim
his achievements

now

in war,

now

in council;

now on

horse,

and now afoot (vv. 57-66). But as we gaze, the herald-ship becomes a merchant - ship (v. 67), and the song is the freight a
new song, which forms the stranger afterpiece of a poem already
strange enough. This afterpiece is an exhortation to straightforwardness. The Archilochian vein, against which Pindar pro-

PYTHIA

H.

255

tested semi-humorously before (v. 55), stands out.

The ape (v.
72), the fox (v. 78), the wolf (v. 84), are contrasts dramatically
introduced, dramatically dismissed. "Let there be no pretentiousness, no slyness, no roundabout hate. Straight-tonguedness
is best in the rule of the one man, of the many, of the wise.

Follow God's leading, bear his yoke. Kick not against the
There lies the only safety. May such men admit me
pricks.
to their friendship " (v. 96).

The difficulty of the last part lies in the dramatic shiftings

the same difficulty that we encounter in comedy, and especially
in satire.
If there are not two persons, there are two voices.
The poet pits the AIKOIOS Aoyoy and the "\8iKos Aoyos against
each other in the forum of his own conscience. The AtVcato? Adyos speaks last

and wins.

A.

Show

B.

But the monkey, which

thyself as thou art (v. 72).

is ever playing different

parts, is
a fair creature, ever a fair creature, in the eyes of chil-

dren

(v. 72).

A. Yes, in the eyes of children, but not in the judgment of

a Rhadamanthys, whose soul hath no delight in tricks
(vv. 73-75).
B. If

the
ers

monkey finds no acceptance, what of foxy slanderThey are an evil, but an evil that cannot be mas-

tered (vv. 76, 77).

A.

But what good comes of it

"

to Mistress

Vixen

(v. 78).

"
I swim like a cork, I alsays Mistress Vixen,
"
ways fall on my feet (vv. 79, 80).
A. But the citizen that hath the craft of a fox can have no
B.

Why,"

weight in the state. He is as light as his cork. He

cannot utter a word of power among the noble (vv. 81,
82).

Ay, but he wheedles and worms his way through.

tery works on all (v. 82).
A. I don't share the confidence of your crafty models
B.

B.

My own

A.

Nay, nay.

creed

is:

Love your

friends.

An enemy

Flat-

(v. 82).

circum-

vent on crooked paths, like a wolf (vv. 83, 84).

No monkey, no fox, no wolf. Straight speech
is best in monarchy, democracy, or aristocracy.
A
straight course is best because it is in harmony with
God, and there is no contending against God. Sue-

NOTES.

256

come from cunning or overreaching, from

envious cabals. Bear God's yoke. Kick not against
the pricks. Men who are good, men with views like
these, such are they whom I desire to live withal as
cess does not

friend with friend (vv. 86-96).

The rhythms

2rp. a.
8, 1

&>

similar position, O.

xpv(ro<TTf(pdva>v at&\a>v 'O\vfi.Tria, P. 8,

Athens

Qvyartp.

pe-yiOTOTToXt

one, the praise of Hieron one, the after-

myth

MeyaXairoXus w ZvpaKooxu

1.

parfp

The introduction occu-

are Aiolian (logaoedic).

pies one triad, the

play one.

The

is

'

called at /ieyaXo7r6Xief
especially appropriate in the case of
is

(P. 7, 1).
epithet
Syracuse, which, even in Hieron's time, had a vast extent.
"
That haunteth the thick of war." The martial
pa0viroXe|xov
:

character of Syracuse

movements then on

is

emphasized on account of the military

foot.

2.

avBpwv

iirirwv re:

See 0.

1,

62.

"Fighting in iron-mail." Here we seem to have

XpM in the Homeric sense. So I. 5 (6), 27 ^oX/co^ap/iav ts
7rdXe/xo>, where the notion of rejoicing would not be so tolerable
cri8apoxap(xav

as in P. 5, 82

See 0.

(voi.

^aXKoxap/iai

'nnroxdpfias (0. 1, 23) is

"

doubt-

Orig.
gleaming," then vaguely
"bright," "brilliant," "famous." P. uses it of Thebes (fr. XI.
58), Athens (N. 4, 18; I. 2, 20; fr. IV. 4), Orchomenos (0. 14, 4),

ful.

Egypt

(fr.

9, 92.

IV.

9),

3. Xiirapav

Marathon

The wideness of

(O. 13, 110).

its

application takes away its force. <|>epwv Figuratively, as elsewhere /zdXoi/, P. 3, 68; ej3ai/, N. 4, 74; 6, 65. Comp. v. 68.
4.
eXtXixSovos: Used P. 6, 50 of Poseidon ; in Sophokles of Bakchos
5. 4v 4 Kpar&ov: Comp. P. 11,46: ev
(Antig. 153).
apfuuri KaXXt:

VIKOI.

6.

TTjXavy&nv: The wreaths send their light afar, like the

of O. 6, 4. Only the light is figurative, as the
figurative, O. 8, 1.
Comp. O. 1, 23 and 94. 'Oprvyiav:

Trpoo-wTToi/ TTjXavyes

gold is
See O. 6, 92.

Artemis, among her

in the Peloponnesos
her worship is connected especially with the Kladeos and the
Alpheios ("Apre/xis 'AX^ftwa). She has charge of rivers not only
as a huntress, but as the representative of the Oriental Artemis.
Pursued by Alpheios, she fled under the waters of the Ionian
sea, and found rest by the fountain of Arethusa in Ortygia, where
7.

irora^as

numerous functions,

is

'Apre'|uSos

a river-goddess,

& temple was raised in her honor.

and

Of course, Arethusa and

Arte-

PYTHIA

257

II.

mis are one (comp. Telesilla, fr. 1 08' "Aprfjns, 2> tcopai, (pevyoi<ra TOV 'AX^edf), but when Alpheios and Arethusa were united,
Similar is
Artemis, the virgin, and Arethusa were separated.
the case of Kallisto.
Comp. with this whole passage N. 1, 1
:

K\tivav 'SvpaKoacrav ddXos 'Oprvyia,

AaXov Ka<rtyvf)Ta. Note also that the brother

'AX<eoG,

ffivov
'Apre'/itSor,

of Artemis appears in the corresponding sweep of the antios OVK artp

O. 3, 26 AaroCy 'nriroaoa dvydrrjp, fr. V.
strophe.
Hieron has a trinity of helpers, "Aprtfjus
linruv
2,2:
(\dreipav.
TTOTa/i/a, 'Eppijs (vayuvios, and KXuT07r&>Xor IlocreiSawi' (fr. XI. 33,
:

whose enmity was so fatal to Hippolytos, favorite though he

was of Artemis. 8. icctvas The preference for mares comes out
i
distinctly in the famous description, So. El. 702. 734.

2),

N.

Plastic.

Pindar.

tv \tp\

hrC:

9.

a'.

'Aj/r.

Ioxaipa

52

1,

irouciXaviovs

(instrum.).

In

Homer

xc P'

8i8vp.a

"

With

Ttj/ao-o-wi/,

instead of ^e

With broidered

For

Tt8t]<n.

reins."

sing.

comp. O.

9, 16.

The word occurs only here in

"
Variously interpreted. As we say, with

To^eaipa.
:

both hands," to show readiness. According to others the reference is to Artemis and Hermes, ^. 8. being an anticipation, like
the plural in the schema Alcmanicum. 10. Iva-yuvios 'Eppjs: Familiar function of Hermes.
Hor. Od. 1, 10 quiferos cultus homi:

num

recentum

voee
\

strae.

See O.

6,

78:

formasti catus
f8u>pr)(rav 6fS>v

TToXXalcrti' ''Epp.av evtre^ewr, 6s

8r)

ai-yXacvra

11.

aiyakofvra.

ie6o-(iov

v:

K.

So for

ay

et decorae
|

more palae-

KapvKa Xirals 6v<riais

u>

va

TroXXa

f\fi fiolpdv T dt6\cav.

"reins and trappings."

er in the Aeolic poems.

Comp.

fjvia

Cf. v. 86;

eV, like Lat. in, originally took the ace., as

5, 38; N. 7, 31.
well as the locative-dative. *tvs (ds) was formed after the

P.

analogy of ', with which it was constantly associated in contrasts.

By that time the -s of e| had lost its abl. force. Comp.
ills like cis, ndra like uj/co, oTria-dtv like
irpoa-dfv, (p.Tro8a>v like <WoOn the preposition with the second member,
8<av (Brugmann).
see O. 9, 94. ircurixaXiva " Obedient to the bit." Only here, as
if the chariot were the horses.
In the few other compounds
:

irfia-i-

O.

is

active.

6, 22: a-dtvos

KOTa|eu yvv jj

Hieron.

dpo-orpiaivav
evpvpiav O. 6, 58.

r)p.iov(av.

12. <r6^vos ITMTCIOV: Cf.

:

Poseidon

is

so called,

icaXc'wv 6<5v
48 N. 4, 86.
Comp. the
13. aXXois
story of Pelops, 0. 1, 72 anvev ftapvKTvirov Evrpiaivav.
8 TIS, KTf.
Pindar now passes to the praise of Hieron's services

O.

8,

NOTES.

258
As

to the Lokrians.

is

his manner, Kinyras is introduced to

favorite of Artemis and of

"I have praised Hieron,

balance.

Hermes, for his victory with the chariot. The Kyprians praise
Kinyras, the favorite of Apollo and Aphrodite, for his royal and
The Lokrian virgin praises Hieron for his sucpriestly work.
IWXeo-a-tv: Gnomic aorist. "Pays," as a
cessful championship."
"
.
The meed of a melodious song."
14. evaxx
tribute.
Z\wov
airoiv' dpcras
Contrast this clear accus. with the fading x<*P lv >
.

8i<r)v, which needs the article to vivify it (P. 1, 50).

15. KeXaSe'ovn: O. 1, 9.
See O. 7, 16.
dp.<j>t Kivvpav:
Kinyras
was a fabulous king of Kypros, priest and favorite of Aphrodite.
He was a great inventor, a kind of Jubal and Tubal Cain in one
a Semitic figure, it would seem the man of the harp, "^33,
with whom we may compare Anchises, another favorite of Aph^aXeli-' evQa KOI
rodite, of whom it is said, Hymn, in Ven. 80
tvQa Sicnrpvo-tov Ktdapi<av. The introduction of Kinyras, lord
of the eastern island of Kypros, as a balance to Hieron, lord of
the western island of Sicily, leads the poet to mention Apollo in

the faded

this non-Pythian

ode

(see Introd.) as a balance to Artemis.

is the merest fancy.
16. xP v
Ta:

genealogical connection

Voc. used as nom.

"

Elsewhere

x/jvo-oKo/xas,

"own," "made

O.

6,

41

Xi

7, 32.

"

own," marked him

'Air<5XXv: Aphrodite and Apollo
for his own."
See P. 1, 1
So esp. in P. 9, 10, where Aphrodite reare often associated.
l<J>iXT)<r(c)

If <pi\os

is

his

ceives the spouse of Apollo.

'ETT.

a.

17. itrCXov:

"cherished."
"

leads," or ncg.

"

Lit.

"Tame

"Minion," "favorite,"
"Is in the van,"
cannot be kept back." So N. 7, 23 oo<f)ia Se

o-yei:

Without an

pet."

object.

irobapos
Trapdyoi<Ta fj.vdois. Comp. also O. 1, 108.
Echo of airoiv' operas. For iroivf), in a good
ufj.fijrriKr) (Schol.).
"In reverential regard." Cf. O.
6mr,o|ieVa
sense, see P. 1, 59.
tcXfTTTfi

Cf. O. 2, 13 2> Kpovif irdi, P. 8,

19: SfvdpKeiov vlov. Hieron was the son of Deinomenes, and his
See
son, after the Greek fashion, was also called Deinomenes.
P. 1, 58.
Zc<|>vpa . . . -irapO^vos: The Lokrian women held an exLokrian nobility followed the
ceptional position in Greece.
2,

OTTM/.

18. Aeivo^veit irat

(comp. O. 9, 60) and Lokrian poetesses were famous.

But here we have simply an expression of popular joy, such as
virgins especially would feel, and Lokrian virgins would freely
"
express irpi 86j/.v Why irpb 86p.a>v ? Why haven under the
distaff side

PYTHIA

IL

259

Why

anything that gives a picture ? P. 3, 78 Marpi,

irpodvpov <rvv Haul p,(\irovrai 6ap.d. 20.
We might expect the pres., but the aor. of atSpaKeio-' aa-<J>aXc's
tainment is here the aor. of recovery, " having gained the right
hill ?"

rav fcoCpat Trap' (p.oi>

:

to fearless glance."
For fear as expressed by the eye, corup.
1221
fill. Ai. 139:
Trrrjvfis o>? op. p. a TreXeiar, O. R.
7Tt(p6^T]pai

at>(irvfV<rdT'

Vc

(rtBtv KOI KartKoiprja'a rovpov op. pa.

The inner obj.,

Kith verbs of seeing, is familiar. So 8pipv pXfndv, 8(ivbt> St'pKfPindar has opavr dX/cdo (O. 9, 119). 21. tyerfiais: "Be'I{iova The story of Ixion
hests," usu. of exalted personages.
and his wheel has often been told. So in a famous (corrupt)
passage of So. Phil. 676 \6y<a ptv ff)Kovo-', oirama 8' ou pd\a TOV
n(\arav\(<Tp<av Trore T>V Aior *li'oi;a(?) Kar apnvKa (airvya?) 8)j
trQai.

8oopd8a 8(o~piov a>s ZXaftev (others e/3aXf v ) 6 TTayK.parr)s Kpdvov

The only important points that Pindar's narrative suppresses are the purification of Ixion from bloodguiltiness by Ztvs
KaOdpo-ios himself, and the intimacy of Zeus with the wife of
Ixion.
The former would not have been altogether consistent
with v. 31, and the latter would have given a sinister meaning
ravra Namely, TOV fvfpyirav
to dyavals dpoi^als (v. 24).
ri-

Trair.

23. iravr^: Here "round and

"Teaches."
round." icwXivSrfjievov Instead of the more prosaic inf. See O.
24. ap.oi.pcus iroixo|Uvovs Tivcaflai Notice the fulness of
3, 6.
22. Xfyciv:

vfo-dai.

the injunction, eiroixoptvovs, " visiting," " frequenting." "To

requite the benefactor with ever-recurring tokens of warm gratitude."
25. irapa KpovtSais Zeus and Hera.
26.
2rp. 3'.
27. Ipouro-aro P., like
Great," as P. 11, 52 paKportpca (?)
oX/3a>.
Homer, has no fjpda-dr). TOV
Xdxov Comp. 0. 1, 53. evvoi The
.

"

of the joys of love. Cf. P. 9, 13: eVt yXvutpals tvvals, fr.

IX. 1, 7 (parfivals (v ( v v a t s, P. 11, 25 (vvv\oi irdpayov K olrai.
28. d/Arav
See P. 3, 24. 29. ovijp He had presumed
Srav.
Elsewhere iu a good sense.
as if he were a god.
30. 4|aipcrov
There is a bitterness in the position, and in t\t also, as it recalls
v. 26 y\vKvv Xbj/ fi'wrov.
Not historical pres. He
31. rtX^Oovri
8n re A double shift. On p.iv
T& \uv
5n
is still in hell.
32. ijt^vXiov aljia. He slew his father-inTt, see O. 4, 13.
law, De'toneus. irpwrurros Aiscli. Eum. 718 TrparoKTovoto-i irpo<r-

pi.

Tpoirdis 'li-iovos.

coals,

covered

it

OVK arep re'xvas

He filled a trench with live
slightly, and enticed Deloneus into it when he
:

NOTES.

260

came after the ?8va. 4ire'|u| Ova-rots: f.-=intulit (ignem fraude

mala genttbw intulit), but livelier, "Brought the stain of
kindred blood upon mortals," "imbrued them with kindred
blood."
'Ayr.

33.

/3'.

|AryaXoKcv9e'e<r<rtv

OaXapois

Stately plural.

Active more usual in this

icar' avr<5v, KTC.
Not naff avrov. P. does not
sense (N. 5, 30).
use the compound reflexive. See O. 13, 53; P. 4, 250. "To
measure everything by one's self," i. e. " to take one's own measure in every plan of life." This is only another form of the
homely advice of Pittakos to one about to wed above his rank
P.. like many other poets, lias a genius for
rav Kara <ravrbv eAa.
glorifying the commonplace. Comp. Aisch. Prom. 892 on upequal matches. 35. evvoi 8i irapdrpoiroi . . . irore tea! TOV IXovT(a)
The MSS. have iron /cat TOV IKOVT. The quantity of IKOVT will

So O.

29

7,

P. 4, 160.

34. iireiparo

rests on II.
fit, an aorist IKOVT
marred by nai. Bockh's norl KOITOV

not

9,

414, the sense of

iKf-rr^v is

but coarse
not bad, in view of P.'s

IOVT is ingenious,

Schneidewin's f\6vr is
harping on tlie word (vv. 26 and 30). The aor. is gnomic, and eVei
"
Unlawful couchings have many
gives the special application.
a time plunged into whelming trouble even him that had won
them." Comp. the case of Koronis and Ischys (P. 3, 25). 38.
wp&rev: "Was like unto." Only here in P. with this sense.
"
39. Svre The reinforcing relative,
her, whom." P.'s use of core
does not give ground for any supersubtle distinctions. 40.
ZTJVOS -n-aXafiai: More delicate than the other story that Hera
played the trick on him. Schol. Eur. Phoen. 1185. xoXov irfjjia:
P. perhaps had in mind Hes. Theog. 585 KaXbv KUKOV (of Pan"The four-spoked bond" is the
dora).
TcrpaKvajiov . . Sco-p-ov
"four-spoked wheel." The magic lynx ("wry-neck"), used in
love - incantations, was bound to just such a wheel.
Cf. P. 4,
214 TroiKiXav tvyyo T tr p O.KV a pov Ov\vfj.Tr66(v iv a\vr(o (i>tKovr

is feeble.

aicra KVK\(J>

p.aLvd& opviv KuTrpoyeVfta (frtptv

irpSjTov dv6pa>iroi<ri.
It was poetic justice to bind Ixion to his own iynx wheel.
Endless are the references to this symbol of mad love.
See Theokri"
'
|

Pharmakeutriai.
not eVpa^aTo, I. 4 (5),

tos'

'ETT. 0'.

$irpo|<
8.

Effected,"

brought about," and

1, 13.

8-y': A renewal of the close of the last

with effective position. The breath is nafc-

41. civ SXcOpov

line of the antiatrophe

See note on Sptnuv, O.

PYTHIA

261

II.

On the position of oy\

fleoyidj/.
He received the message and delivered

urally held at
avSe'lar'

see P. 11, 22.

it, not in words,

but by whirling on the wheel (v. 23). Mitscherlich's avfai^ar has

found much favor. 42. avev . . . Xapiruv n^api?, " Unblessed by

the Graces.'' Cf. avtv faov, O. 9, 111. 43. p5va KO.I fiovov nai unusual in such juxtapositions, and hence impressive. No mother
:

no offspring like this. avBpao-ir^di/tfpajTroif.

Without part or lot among men or gods.

like her; so, too,

ycp<ur$6pov=Tip.iov.
v6|xois

= rols

44. rpdufxncra

vop.iofj.fvois.

Dor. for

rpe'cpoKra.

So

P. 4, 115; 1.1,48; 7 (8), 41. K&ravpov: This name, of obscure

origin, was applied to his descendants, properly 'l
45. Mo.YVT|Ti8<r<riv : P. 3, 45 Mdyvrjn
Kwravpw. 46.
With a like figure we say "spurs." See P. 1, 30. oTpards: Is
in apposition to the subject of tyivovro.
"Out they came a
.

host marvellous to behold."

irarpos:

asm

"The dam's

48. TO, (iarp69v

\v

KOLTCD, TO, 8' vircp6c

down, the upper side the sire's."

natural to the Greek as mother's milk not so

as

is

Chi-

side

to us.

is

often used parallel with

"
49. Oeis . . . ovverai,:
God accomplishes for himself
2rp. y.
"
"
every aim according to his desires." ftXnis, pleasure," wish,"
shows here its kinship to wlup. tiri as in eV evx?, P. 9, 96.

The wish
50. 0<J

is
:

crowned by fulfilment. The middle dvixrat is rare.

The emphatic repetition gives the key to the poem.

8
5s.
See introd.
KI\
irapap-tipeTai
wa.ptCKa|u|rc
SWK() The gnomic aorist often varies with the present. Many
examples in Solon, fr. XIII. (Bergk). See also Tyrtaios, fr. XII.
(Bergk). In the absence of an aoristic present, the Greek often
uses an aor. for concentrated action in the present with a conSo
scious contrast to the durative. See Plat. Phaidr. 247 B.
.

. .

here

fKap.^,
irTp^VT(a)
alerov
N. 3, 80
Kt'^t,

proverbial.

7rape'8&)K(f)

are finalities, irapap.fiftfrat is proCf. P. 5, 111

ravvirrfpos altros.

= ravvTTTfpov.

cess.

N.

6,

(a)

alfTos &KVS tv iraravois.

72
"

Many

For the connection,

(p I v I

Ktv
\

51. SeX^ivo
ra^os 81 oX/xa? et
So P. 4, 86. 52.

Also

a one," tel.
see introduction.

53. Saxos

aSivrfv: "Excessive," "I must avoid the repu(Etym. Mag.).

tation of a biting calumniator."
54. IKOS luv
P. was two hundred years later tlian Archilochos. 55. \J/oYepov 'ApxiXoxov: A.
is a synouym for a virulent and ill-starred satirist.
From such
casual mention we should not imagine that the ancients placed
:

NOTES.

262

Homer. 56. iriawinevov Not to be taken

There is nothing unhealthier than unhealthy fat,
and there is no necessity of an oxymoron. Conip. Shakesp. M.
of V. i. 3, 48 I will feed fat the ancient grudge T bear him. Archilochos is a fat and venomous toad that lives upon the vapor of a
A reference to Bakchylides is suspected, but the
dungeon.
name does not fit the metre here. r& irXovrciv
opwrrov The

A. only lower than

ironically.

Schol. interprets TO Se fairvyxfbftv IT\OVTOV pera <ro(pias apurrov,

and so Aristarchos einrorp-oTaTos (crriv 6 ir\ovra>v KOL aofplas apa
:

we combine

TVXQ with a-otplas and irorpov with

Wealth, with the attainment of wisdom, is Fortune's
best."
The position 4s bold, but not incredible. Others, with a
"
disagreeable cumulation, <rvv T\>x a TTOT^OV o-o(pias, with the attainment of the lot of wisdom." But the two genitives cited
from P. 9, 43 vocpas Utidovs Itpav (piXordrwv, are not at all parIf
allel, the relation there being that of a simple possessive.
Archilochos were alone involved, a-o<pias apurrov might well
mean is " the best part of the poetic art," as " discretion is the
better part of valor," but aocpias here must be applicable to Hieron as well.
so that
"

'Apr,

57. viv

exis

Sc. TO TrXovreti/ p-era o~o<pias, viv

may be

So. El. 436. 624.

neut. sing. Aisch. Choeph. 542, or pi. P. V. 55
fV8etat, ay pr^vm (Hesych.), "for showing them with
ireirapctv
" so that thou canst
Others read
free soul,"
freely show them."
;

= Sovvai,

TTtiroptlv

which would make viv refer

"
Prince." Used of Zeus P.

to TO irkovrdv

24 <fpawS>v
"
Battlemeuted." .This is an early
evore^dvwv:
use of (TTtfyavos. Comp. O. 8, 32. orpoTov Sc. TroXXov (rrparov.
59. irepi rip^: IT. with the dat. of the stake, as, to some exalone.
.

58. irpvravi

6,

irpvraviv.

even in prose, "when wealth and honor are at stake."

So with 8r)pinp.ai, 0. 13, 45 papvarai, N. 5, 47 (fyuXXaToi, N. 10, 31
On the preposition with the second memfiox#i'f, fr. IX. 2, 6.
61. xavvj. irpairtSi iraXaifxovct xcvca: "(With)
ber, see O. 9, 94.
tent,

flabby soul, his wrestlings are all in vain." 62. evavBca The ship
<rr<5Xov:
of the victor is wreathed with flowers.
Cogn. ace. to
"
"
if.^' iper$
dvapa<rop.m (Dissen). <rr. as prow is more poetical.
O. 9, 14 dfji(pl TraXaifffjicuriv <pop[uyy' eXeX/fwi'.
63. iceXaB^wv
O.
:

2, 2.

ve6ran

trfivrtpai.

pav KaXwi/.

(Uv, ure.

Contrast chiastic,

v.

65

/3ovXal 8t irpt-

" Boldness
in." Cf. N. 7, 59
iroX'|iv
64. cvpciv
See O. 7, 89, and comp. P. 1, 49.

Opacros

ToX-

PYTHIA
65. tiriroo-daurvv avSpc<r<ri:

'En. y.
(5), 32,

263

II.

O.

I.,

These achievements

of lolaos.

3,

refer

I. 4
mainly to Himera.

26, of Artemis,

Sc. rj Kara TTJV vfOTrjra, Or, as the Schol.

ffovXal 8i irp0-pvTpai
"
Elder than thy years." P. 4,
says, vTrtp TTJV vfdrrjTa f3ov\vr).
282: Ktlvos yap ev irauriv vtos, (v 8( /SouXatf Trp(<rj3vs fyKvp:

110: uptwova p.fv dXtKias voov

"
Tliy counsels, riper than
me
with
an
utterance
that runs no risk of chalfurnish
thy age,
lenge to praise thee in full view of the whole account," through
P.

crais (Karovratrfl j3iora,

>

and

lie is

If

evjSovXi'a.

Comp.

I.

The two exhaustive

the whole count.

tues.

5, 109.

66. aietvBvvov Ip-ol f iros

(pepfifrai.

excellences are dpda-os

wise as well as brave, he has all the vir12 8vo 8( rot fads aatrov p.ovva Troip.ai.vovn
:

(5),

TOV aXirvurrov fvavdfl

crint

oX/3&),

et
|

TIS

fv irda-^tav \6yov (<r\6v

"

('
e rovroav palp f(piKOi.To KaXtav.
67.
fX fls
xaipc: So N. 3, 76: x a 'P f <f>&os, where we have, as here, praise
of the victor, farewell, and commendation of the poet's song.
nSSc \Uv: This would seem to indicate that the /iAo? here sent

aKoixrrj

was

irdvr'

from the

Kaoropfioi/, but P.'s handling of /xeV and

not to say tricky, that Bockh has a right to set
up the antithesis Trt'/iTrmu p.ev r68( p.(\os, adprjcrov 8t TO KaoroKara l>ovi<ro-av IjtiroXdv : K., " like." Phoenician ware was
petov.
69. ri KcumSpciov Comp. 1. 1,
costly, being brought from afar.

different

8t is so peculiar,

tvappo^ai viv vp.va>. The Kacrropctoi/

was an old Spartan battle-song, the rhythm anapaestic, like the
the mood Doric, the accompaniment the flute. P.
jfifiaTTipia,
uses it as a linrfios VO/JLOS, in honor of victory with horse and

16

fj

Kacrropf to)

fj

'loXaoi'

chariot (Castor gaudet equis); the mood is Aiolian, and the

accompaniment the <pop/iiy. Some suppose that the K. was an-

poem to be sent at a later time, hence adprjaov, as if the

prince were bidden descry it coming in the distance: others
that the K. is the last part of the poem, which P. made a present
of to Hieron, together with a batch of good advice. The figure
other

of the Phoenician cargo runs into the antithesis. The Doric

king might have expected a Doric lay, but this Kastoreion, with
Aiolian mood, is to be viewed kindly (0f\<av aBprja-ov) for the
sake of the Doric (poppiyg Apollo's own instrument. Comp. O.
its

1,

100: epf 8(

TTQ,

70.

crrf<pavS)(rai

and yet 1, 17:

x*P tv Before
'

Ktlvov iirirdtp

vi>p.a>

Awptav

OTTO (popp-tyya iraa-<rd\ov

its genitive only here in P.
lirraicTvirau

old Terpandrian heptachord.

y\(t)<rcrov xpv<r(<a TrXd/crpo)

N.

5,

24

8io>K<i>v.

The

tpoppiyy 'ATroXXwv crrrd71. avr6|ivos

Absolute.

NOTES.

264
"Coming
Pindar's

to meet it, receive it"

the Phoenician ware
power of parenthesis is great. The farewell

again.
(v.

67)

suggested the commendation, or, if need be, the justification of

his poem, and he now returns to the characteristic of his hero.
An unprepared break at v. 72 is not likely. 72. -yeW olos r<r!
|xa6wv: The necessity of connection makes p,ada>v refer to the
" Show
thyself who thou art, for I have
praise of the victor.
taught it thee." Some take padvv as part of the wish or command, ytvoio
pddois lias no satisfactory analogy in Pin/jiadtov
.

grammar, nor does it give any satisfactory transition. P.'s

contempt of mere mechanical learning, as shown O.2,95 paQovrfs
8t XajSpoi
aKpavra yapverov has suggested a combination with
iridwv ( Bergk ), in which the learned ape is contrasted with
daric

Rhadamanthys, who

is

doubtless TroXXa (Idas (pva (O.

2, 94),

but

the position of roi in padow ica\6s rot is hardly credible, to say

nothing of the quotation by Galen below. iri6v A young ape.
" In the
irapa irauriv
judgment of children." The ape was
a favorite in the nursery then as he is now. Galen, de Usu Part.
.

1,

22

KaXos TOI

iridr/Kos

irapa iraurlv met, <?7<ri TIS

TO>I>

iraXaiav,

af earriv advpp-a yeXotoj/ irai^ovrav irai8a>v TOVTO

Instead of irapa 8e 'Pa8apdvdvi, P. changes the form of

dvap.ip.vf]O'Ka)v vfj.as

TO fcoj>.
the antithesis.

2rp.

ape

is

8'.

73. Kd\ds

Child-like

and

The
lover-like repetition.
Greek fable by Archi-

said to have been introduced into

lochos, and the mention of the ape here may have called up the
image of the fox below without any inner nexus. An allusion
to the Archilochian fable of" the Ape and the Fox " seems to be

out of the question. " Show thyself thyself. Care naught for
the judgment of those that be mere children in understanding.
v Wirpayev
Thy judge is Rhadamanthys."
Hhadamanthys
owes his good fortune to his judicial temper. Conip. O. 2, 83
:

'Pa8ap.dvdvos\ ov Trarrjp e^ei [Kpdi/oj] eroi/ioj/

avrw irdpedpov. Of the three judges in Hades, Aiakos usually
the first met by the new-comer is in P. only the great Aeginetan
/SouXalr tv 6p0a1<ri

I. 7 (8), 24, where he is represented as a

judge over
Minos does not appear. <{>ptvwv
xapirov So N.
Famous in Aischylos' description of Amphiaraos is the
10, 12.
line S. c. Th. 593 ftadflav a\oKa 8ia (ppevbs KO pirov /j.evos.
74.
Iv8o9cv: The wiles of the deceivers do not penetrate the deep
Half exclamatory. If with the
soil.
75. ota: See 0. 1, 16.

hero, except in

the

SaifjLovts.

PYTHIA
"

MSS., Pporwv,
of whisperers
"

!"

265

II.

Such things (arrarai) always sort with the acts

So t^rai, O. 2, 24. If with Heindorf, Pporw,

Such things always

Pporwv Used like

liaunt a

man by

the devices of whisperers

!"

SO that ^idvpoi ftporoi

^i6vpta~rai,
" To
76. d|i4>oT^pois
but /3. is hardly so colorless in P.
both
the
and
his
slandered
TB
friends,
prince
8ia/3aXXo/'i/a>
parties,"
:

dj/Spwi',

KM TW

trpos ov Sia^aXXercu (Schol.).

viro4>aTs

Bockh has

VTTO-

Bothe vTTo(f>a.Top(s. "Secret speakings of calumnies"

for "secret calumniators" does not satisfy.
We want a muse,
Some MSS. have viro<J>dmi(s from <pau/o>.
subst.
77. Apyais:
P. has proudly compared himSee P. 1, 89. a-reWs
vrai/Tf Xa>?
self to the Aios opvis dtlos, O. 2, 97, and it may be well to remember that the eagle and the fox were not friends, ace. to the fabu"
"
list Archilochos, and that the
eagle was the totem of the Aiakidai and of Aias, Pindar's favorite, a straightforward hero (N. 8,
23 foil.). 78, foil. The usual interpretation gives the whole pas" But
what good does this do to the fox (the
sage to one voice.
whisperer). I, Pindar, am a cork not to be sunk by his arts. I
(fravTifs,

know it is impossible for a crafty citizen to utter a word of power

among the good, and, though by his fawning he makes his way,
do not share his confidence. My plan is love thy friend and
cheat thine enemy the enemy alone is fair game. The man of

straightforward speech hath the vantage-ground everywhere,

under every form of government." In the introduction I have

suggested two voices.

of Huschke for KepSet.
1068.

First Voice

game ?"

The pun

"

iccpSoi

To me convincing emendation
popular name for fox, Ar. Eq.

K(p8o> is a

But what doth Master Reynard gain by

in <fp8ol

K<fpSeo-<ri is

his

The prov-

obvious.

erb aXormjg SoopoSoKemu is taken from Kratinos' parody (2, 87

Mein.) of Solon's celebrated characteristic of the Athenians, fr.

11,5 (Bergk)

tls

vpeow

pfv

f/cao-roy

d\<bire KOS

t^veo-t /3at'm.

Second Voice " His gain is to be an apaI am a cork that is always

%ov KUKOV (v. 76). He can say
atop, though all the rest be under water. I am a cat, and always
fall on my feet."
Fenuell, who, like the others, understands the
"
The net is the band
poet to speak of himself, allegorizes thus
of contemporary poets the heavy purts are those of poor and
79. are -yap

SXfios

precarious repute, who try to drag down the cork, Pindar."

Toil of the sea. So Theokr. 21, 39 BaXwbir *>?
80. mccvas Irlpas: The
Ka.Tf8ap6ov tv tii>a\ioi(ri irovoitri.

clvdXiov ir6vov

a/i<pdrep<H

above mentioned

the whole world outside of the

NOTES.

266

The comparison

is not so homely in Greek

could hardly he used with us in elevated
poetry, but Aisch. Choeph. 505 Traides yap dv8pl K\j]86vfs O-&TT]Qavovri <pf\\ol &' >s ayovai BIKTVOV TOV K ftvdov KAGxrrfjpa
ptot
"Our withers are unwrung" might be as im<T(povT(s Xi'j/ou.
aXpas With dfidimo-ros.
possible for an un-English poet.

slanderer.

t<\X&?
"

as in English.

Cork

"

'

'AVT.

81. First

8'.

Voice

"

But you

are, after all, a

mere cork.

You have no weight. A deceitful man cannot utter a word of

power among the good (the conservatives)." aSvvara So 0. 1,
32. d0T<5v
52 airopa, P. 1, 34 eoiKora.
a. is much more fre:

quently used by P. than TvoXirrjs, as he prefers a-Tparos to Sdpos.

See O. 6, 7. Second Voice " Well, what of that ? The deceitful man fawns and makes his way thus."
IMIV: Often used to
meet objections. Cf. P. 1, 63. <raivwv: Specifically of the dog.
See P. 1, 52. 5,-yov The MS. ayav has the first syllable short, dyrj,
"bend," is not the doubling of the fox, but the peculiar fawning
way in which the dog makes an arc of himself. J. H. H. Schmidt
reads av8dv and comp. for 8icur\(Kfi P. 12, 8: ovAtov Qprfvov 8iaBiairX^Kci Commentators comp. Aischin. 3, 28 dvriSiaTT X e K e i.
Tr\(Kt irpos TOVTO tvdvs, but there the metaphor is from the twists
and turns of wrestlers. Here we are still with the dog. 83. ov /ot
pcrlx" Gpao-cos First Voice: "I do not share his confidence." 6pd:

good sense, v. 63. <J>i\ov w\ 4>i\civ, Kre. Second Voice

do not deny the claims of friendship it is only mine adversary

eror in

"I

that I seek to circumvent."

Others think this perfectly consist-

ent with the antique morality of a man like Pindar. Comp. I. 3

(4), 66
xpfj 8e rrdv tpSovra p,avp>crai TOV f^Qpov, Archiloch. fr. 65
:

(Bergk)

tv 8' eVi'crrajiat

TOV KCIKWS

peya

p.f

8p>vra 8(ivols

dvrap.fi-

" Let
my adversary play
supposed to say
the monkey, the fox, the dog I can play the wolf." Requital in
crooked ways of requital are not Pindaric. 84.
full is antique
It is more than that:
vnro6cv<ro|Mu Incursionem faciam, Dissen.
it involves overtaking.
The persistency and surprise of the

P.

faa-dai KaKols.

is

wolf's pursuit are the points of comparison.

85. oXX(o) AdThe First Voice closing the
86. iv=('s: See v. 11.
debate. v6\u>v: " Constitution," " form of the state." tvMy\wrIn opposition to the 68ol o-KoAwu, o-KoAtai aTrarat (fr. XI. 76,
<ro*
"
Comes to the front." 87. irapa ropawiSi: As if
2).
irpo^c'pci:
& Xdppos arpariSs: Milton's "fierce democratic."
irapa Tvpdvvois.
:

verbial.

88. ol o-ocfxu:

The

aristocracy.

XPT

1r

P^

^* v

^K

<p^i'

PYTHIA

H.

267

The

neg. OVK, as if he were about to say oXXa tpipdv f\a<f>pi)t

As it stands, it looks like a licentious OVK
vyov.
with the inf., of which there are very few. The connection is

(irav\(viov

in the introduction.
Though the straightforward man
has the lead in every form of state, yet his enemies have sometimes the upper hand, and we must not quarrel with God for
this.
But the envious do not wish him to have anything at all,
and so they overreach themselves, and come to harm.

shown

89.

'Err. 8'.

"

"

4v^xi:

As

in So. O. C. C80:

KUTO-OV

dve'xovo-a,

K(VWV: The fortunes of the

JfBwicev
As there is no metrical reason for not using
whisperers.
Si'Scao-iv, we may accept a contrast between continued and concentrated action.
See v. 50. 90. UUvei O. 2, 15 7, 43 P. 1, 11.
<rrd9fuxs orafyu; is ypappTi, N. G, 8. The Schol. thinks of a measuring-line. The measuring-line huj two sharp pegs. The measurer
fastens one in the ground and pulls the cord tight, in order to
stretch it over more space than it ought to cover (irfpi<r<ras).
In so doing he runs the peg into his own heart. Hermann finds
an allusion to the play 8ieAKvo-riV8a, still played everywhere.
This would make (\*6p.( vot reciprocal, " one another," and <rraa whence-case, but for irtpia-a-as we should have to read
On the other interpretation, <rrd$/xaj is the gen. of the
Schneihold, as in P. 9, 132 irapQtvov KtSvav %(p\ ^ f t p 6 r e\o>j/.
. .
dewin has noticed the play on (\Kop.(voi and (\KOS. 91. !

upholding,"

holding high."

TO,

KapSia

As

if

"

one's heart

"

for " their heart."

92. 5<ra

TV-

Xiv: rvyxavto often takes a pronominal neut. ace. $povr8i p|Tiovrat " Are planning with anxious thought."
93. <f c'fxiv . . .
Yet another animal. This whole fabulistic passage seems
tvyrfv
:

to point to court pasquinades.

reference to Hieron's secret

"
police of wraKovorai',
eavesdroppers," and 7roraya>yi'8
(-8a),
Aristot.
Pol. 5, 11, is to me incredible.
94. irori
"tale-bearers,"

A homely proverb familiar to us from

ic^vrpov
XaKTiJe'fifv
Acts [9,51 26, 14. Doubtless of immemorial antiquity in Greece,
Aisch.P.V.323; Ag. 1624; Eur.Bacch.795. 96. i&ivra
.

Cf. O. 3, 1

7, 17.

PTTHIA
THIS poem, which
Hieronem,

is

is

not so

HI.

much an

f-mvliuov as

classed with the eniviKia because

it

a Consolatio ad

celebrates the vic-

Hieron gained with his race-horse &fpei>inos (v. 74) at

Delphi, Pyth. 26 and 27 (Ol. 73, 3, and 74, 3, 486 and 482 B.C.).
According to Bockh, the composition of the poem belongs to a
much later period, 01. 76, 3 (474 B.C.). Earlier than Ol. 76, 1
tories that

(476 B.C.) it cannot be, for Hieron is called Alrvalos (v. 69), and
Aitna was founded in that year. Later than Ol. 76, 3 it cannot
well be, for in that year Hieron won a chariot-race at Delphi, of
which no mention is made in this poem. Bockh thinks that the
ode was composed shortly before P. 1, probably to celebrate the
Hieron was suffering
recurrent date of the previous victories.
(comp. P. 1, 50), and hence the blending of copgratulation and
consolation.

The

" historical " allusions to

scandals in Hieron's

family and to the quarrels of the court physicians are

all

due to

the fancy of the commentators.

The

drift of P. 3 seems to be plain enough.

Hieron is victobut suffering, and he must learn that the gods give two
pains for one pleasure, and be content to have only one against
To expect more is to reach out to what is not and cannot
one.
To this lesson the poet leads up step by step. So in the
be.
very beginning of this ode he himself sets an example of the im"
Would that the old Centaur,
patient yearning he condemns.
the master of Asklepios, the great healer, were alive !" A poet,
Pindar longs for the control of leechcraft, and does not recognize
his own ambition until other examples of disappointment pass
before his eyes.
Such an example is Koronis, mother of AskleThis was her sin she had one love, she wanted yet anpios.
other (v. 25). Asklepios himself comes next. He was a leech
of wide renown a benefactor to his kind but he was a slave
This was his sin, and, like his mother, he perto gain (v. 54).
rious,

PYTHIA

269

III.

And now the poet draws the moral. " Mortals

(v. 57).
must seek what is meet for mortals, and recognize where they
stand, what is their fate." The wish is renewed, but this time
ished

with a sigh.

The poet

is not satisfied with paying Hieron his

he yearns to bring him the master of healing
and gain a double share of favor. It must not be he cannot
cross the water with this double joy (v. 72). He must be content
to stay at home and make vows to the goddess at his door (v. 77).
This lesson Hieron and Hieron's poet must divide tv trap' 'crX6j>

homage

in music,

Make

(rvvdvo baiovrai fiporols

ddavaroi (v. 81).
the best of it.
Look at Peleus. Look at

88).

They heard the Muses,

TTrifJiara

That is the

rule.

Kadmos (vv.

87,
as Hieron heard Pindar's songs.

One married Harmonia, one Thetis (vv. 91, 92). Both saw the
sons of Kronos banqueting with them, both received bridal gifts
of the gods. But three daughters brought threefold sorrow to
Kadmos. True, one daughter's couch was shared by Zeus (v. 99),
yet this is only one joy to three sorrows.
Against the bridal of
Thetis set the death of Achilles (v. 100), an only son, and so more
than a double sorrow. "Enjoy, then, what thou mayest while
thou mayest in the changing breezes of fortune, in the ticklish
balance of prosperity. This be our creed. Fit thy will to God's
will.
Pray for wealth. Hope for fame. Fame rests on song.
Nestor and Sarpedon the one who lost his noble son, the other
"
lost to a divine sire
live on in lays. Few achieve this
(vv. 102And so the poem ends with the tacit pledge that Hieron
115).
shall live on in P.'s song as they in Homer's.

The rhythms are dactylo-epitrite (Dorian).

The distribution of the elements is different from that of an
ordinary (iriviKiov. The myth, with a slight introduction, takes
up nearly half the poem. Indeed, the whole ode is a picture-

We

gallery of mythic troubles.

Asklepios,

who were guilty

with

have at

full

less detail

length Koronis and

Kadmos and

Peleus,

who were innocent; and, in mere outline, Nestor and Sarpedon

Nestor, who was lord among the third generation but to see Antilochos die Sarpedou, who was mourned by Zeus himself. But
;

all this

sorrow

is lost in

the light of poetry.

1. Xcipwva: Cheiron was the great mythical healer

ST/J. a.
and teacher; he gave Machaon healing drugs (II. 4, 219), and

taught Achilles medicine

(II. 11,

832).

The Xtipaixs of Knitinos

NOTES.

270
was a plea

for a return to the old training, of

See N.

the mythical example.

Centaur

is

3,

43,

Comp. N.

called, P. 9, 32.

foil.

43

3,

which Achilles was

4i\vpi8av So the
<S?t\vpas eV 86pois.

Contrast to KOIVOV f tiros. Something

ajMT^pas d-iro -yXwo-0-as
more was expected of the poet than such an every-day utterance.
P. apologizes, as it were, on the ground of the naturalness of the
wish. It was on everybody's tongue then. P. 5, 107 av8pa ndvov
\e y 6 p.(vov fpea>. 4. yivov
ftraivfovri. (Tvvfroi
Kp6vov Cf.
N. 3, 47 Kpoviftav K.tvravpov. IlaXfov His cave was on Pelion
(P. 9, 30), a mountain full of medicinal herbs. *>ip(o) = 0%>(a)
" Centaur."
So called II. 1, 268 2, 743 as well as P. 4, 119.
"
d-yporepov
Upland," as in Chapman's Homer, with the same
2.

note of ruggedness 5. dvBpwv <|>iXov:=:(iXai/0pG>7roi>: A contrast to

Cheiron was 8iKai6raros Kevravpav (II. 11, 832).
his name, <kr)p.
0pc'v|/v

. . .

re'icTovo:

dp. like

must be lengthened

rd/ieSov,

"

5t'Sa|j/,

bred."

to save the metre.

P. 4, 184: irodovt 11,88: rptoSov.

The

103:

irov-

6. yviapictifi

Comp.

O.

7. Tjpcb'a:

6,

So

rjpmas, P.

1,53.
8. 4Xcyi5a: The myth was taken from the 'Hotat of
'Ayr. a.
Hesiod, a KcwaXoyo? ywaucuv, or list of heroines to whom the
gods had condescended. The story of Koronis is an especially
good exemplification of the difference between epic and lyric

" The
Epic narrative is developed step by step.
result
in
main
and
follows
briefly
advance,
lyric poet gives the
it up by a series of pictures, each of which throws light on
9. irplv TcXeWai
"Before having
the preceding" (Mezger).
narrative.

brought to term," "before she had borne him the

Eur. Bacch. 100: erentv
6(6v.

XP^01*

men.

11. *v OaXdp,?:

The MSS. have

P-l>

1-

8'

10-

With

full time."

reXeo-ay ravpoKepoav
'ApWju&os: A. kills women, Apollo

&vina Mdipai

Sa/xelo-a,

an additional touch of color.

tls 'A.i8a(o) 86p.ov tv 0aXd/jua Kare'^a,

which would

"
give a quibbling tone, went to Hades without leaving her chama
is
nor
ber ;"
lingering death implied by eV 0aXa/x<a. Artemis
is expected to kill queens eV ^e-yapoio-t (Od. 11, 198); Artemis

smites Aribas' daughter, who stole Eumaios, by hurling her into

the hold of the pirate vessel (Od. 15, 479) and it was meet that
the wanton Koronis should be slain eV 6a\dp,a> not in her cham"
12. Yiverai :
Proves." diro<j>Xavber, but in the bed of Ischys.
;

13. opirXaKiai<ri
p({aurd viv: Sc. rov ^oXov.
common in Pindar, dvoptais (P. 8, 91 N.
;

Homeric
3,

20;

I.

plural, not
[4],

29)

is

PYTHIA

271

III.

not exactly parallel. <uvt]<rev ya\u>v: Cf. Eur. Or. 1092 j}s
KOI XtKTp" firyi>fa-(d).
TTOT' fivea-a), and 1672
y' (irrjvto-a (Dind.
14. aKipK<5fx<j. So the best MS., and not dxfpcreKd/ia.
Comp. Ov.
Trist. 3,1, 60: in ton si Candida templa dei, and the description of lason, P. 4, 82. A. is ever young.
:

'ETT.

a.

15. cnr^pfia

. .

ica9ap6v

because divine.

*.,

16.

Koronis
Tpdircfcav wjx<j>iav
Subj. of eXOeiv is rpairf^av.
should have waited until the birth of the son of Apollo, and then
\0eiv:

have married.

The gods were

17. iro(i4va)v la\a.v vucvaiwv

On

tolerant of

P. 12, 19

human

successors.

av\a>i>

Trdp,<pa>vov /xe'Xor.
TroXvs 8' vpivmos opapct

II. 18, 493 :

avXol <pdp/uyye'y rt
opxjjcrnjpe? fSiveov, tv 8' Spa roifriv
Cf. P. 1,73.
18. *a: Loose reference to vp.fvaia>v.
$or]v tx ov
19. (nroicovpitCT*(aO : "Such petting, playful strains as girl-

the shield of Achilles,

Kovpoi

8'

mates love to utter in even-songs." In the even-songs of the

''
"
bridal the maids were wont to use the p'et name, baby name
in
alluof
the
while
bride,
they indulged
playful
(vTroKopitr/ia),
20. tiparo TWV &irc(vT<ov
Nikias warns the
sions to her new life.
Athenians against this SvaepatTas tlvat T>V aTrovruv (Thuk. 6,
13). Lys. 12, 78: T>V airovrutv frndvpav. Theokr. 10, 8: ovSa/xa
ota Kal iroXXol irdair fovrat v.
rot trvvffta TT o 6 e <r a t TWO.
Pindar unfolds a moral as Homer unfolds a compari0ov, KTf.
A reference to Hieron and foreign physicians (dirtovrav),
son.
which Hermann suggests, is altogether unlikely, not to say abA common shift, as in " kind who ;"
surd.
21. frvXov . . . Saris
with
the
22. oloxwwv: "Putting shame
follow
we
plural.
only
on." -iroirraCvfi ra iropo-u 0. 1, 114 p.r)KeTi irdirrcuvf IT op <riov.
:

TV

23. (icrofwivia

P. multiplies synonyms to show the bootlessness

The seekers are " futile," the object is " unsubstan" unachievable." Cf. 0.
and
6.

of the quest.
the hopes
Cf. N. 11, 47 KcpdcW 8e

tial,"

2rp.
2, 10.

82,

1,

14,

perpov 6rj ptvt

\pr)

"
24. fox*
Caught." On the ingressiveness, see O.
roiavrav jiryaXav
Keep the words separate. d/^Tav

f.

Note fhe quantity. 25. Xtjjia KopuviSos " Wilful Koronis."

Cf. O. 6, 22
a-dtvos ^/utoj/wi/, 1,88: OtVo/iaow
It may be of some significance that
ftiav, and note on 8, 68.
she was the sister of the wilful hero Ixion, who came to his bad
end by dvai irapdrpoiroi (P. 2, 35). l^vov Ischys, as we are told
below (v. 31). 27. <ncoiroV Used of the gods (O. 1, 54), but esp.
arav.

P.

2, 28.

NOTES.

272

of Apollo. O. 6, 59 roo(p6pov AaXov dtoftpdras (rnorrov. |MjXo

See Eur. Ion, 228 eVt
X o i <r i firj irdpir' ts
acr^a/croitrt
/x 77
r^aaais (Aeolic) =TVX&V. Comp. TOOI>.
28. AoCas
fivxov.
There is, perhaps, a play on Xo|6? and evdin-aros, " crooked " and
:

'

8<iitc(

KOIV>VI
Hesiod says (fr.
"straight." KOIVOVI (Dor.)
prjvvrrj.
Pindar delights to depart
90) that a raven told it to Apollo.
from the popular version in little points that affect the honor of

the gods; hence the emphasis laid on the irdvra ficravri i/do>.
. . .
As it were " in the courts of." He did not go
v<S<{
out of himself. The Schol. dulls the expression by napa rot) i>6oi>

irop(a)

yvw[Mv iriOuv

irvdopevov.

The

iTfia-as.

For the MS.

conviction on
this use of yv. O. 3, 41
4, 16; P.
ment" to "heart."
29. fia-avn
;

tj/evS&ov 8'

larafjn ftpaxvv.

deceived.

yvutpq irtiridmv.

mdrnv

ace. yvatpav gives the finer sense.

Apollo forced
his will, his heart.
So also Mezger, who cites for

46

Cf. P. 9,

:"

f l8oTi.

rbv ov defUTov -^(vSa. ffiyel v.

30.
the omission of the former negative,

ore,

On

tpyois ovre povXais:

comp. P. 10, 29. 41.

Fennell prefers "judgCf. P. 4, 248: olpov

ovx airreTai: Neither deceiving nor
4, 84.

'Aw. ft. 31. ElXarCBa: Ischys, son of Elatos, seems to have

been a brother of Aipytos (O. 6, 36), who was an Arkadian lord.
"
ivfav Koirav
32.
Koirav fvov.
Couching with a stranger."
Homer's a^at/iaxeToy suits all the Pindaric
33. o|Ku|xaicr<j>
:

See P. 1, 14. 34. Aaxe'peiav In Thessaly. Van Herwerden has called attention to the resemblance between Koronis
of Lakereia and Hesiod's Xaxepufa Kopwr/q (O. et D. 745). Kpr||i.voi8aioiv : Specifically of "bluffs."
O. 3, 22: Kpijfwols 'AXfaov.
jiwv : Where we should blame her mad passion, her X^a.
N. 8, 3 TOV fjifv Afitpots ava.yte.as X'P*7 '
o KOKOTTOIOS (Schol.).
Jfrepos
:

passages.

So often after P., ir\(ov Gartpov

"
The 8aip<av erepos is one of the notes by
vi dyada r) Qarepa.
which Bentley detected the false Phalaris. See Letters of Pha36. o^d: See
laris,'p. 247 (Bohn and Wagner)," C. D. Morris.
O. 3, 21. iroXXiv . . . vXav: Inevitable expansion of the moral.
trtpov

r,

8"

rep air.

'

See v. 20. The sentence is proverbial, as in James 3, 5

O.
37. <nr^pjuiTos
o\iyov irvp fi\iKT)v v\rjv avairrti.
a irvpbt
<nrp/ia . . . <f)\ay6s, Od. 5,490: (r ire pp.
:

38.

*E?r. ft.
:

P.

TCXI
1,

25

. . .

Iv $vXiv<(>:

On

the pyre.

'A^aiWoto upovvovs.

I8ov,

7,

48

39.

The person of Hephai-

PYTHIA

273

HI.

stos is little felt, but it can always be brought back as in 'Hc/xn"

sparks," Alexis, fr. 146 (3, 452 Mein.). 40. ovtcert
Apollo has been struggling with himself. Cf. 0. 1, 5. 41. djiw
crrov Ki/vts,

= fpuv, and does not refer to Koronis.

ly/wYepoi/, but f][j.(T(pov
Our " would be a human touch. Here it is the selfish " my."
iXeVo-ai: The MSS. oXe'trai.
P. 4, 27: dpols = e'/iolf
o\((rdcu
would not be so good. He had killed the mother, and so was
about to kill the child. 42. (xarpos ffapci? crvv ira0(j, The same
The ill-fate of the mother
principle as Xiy/ta Kopaw'Sos (v. 25).
"

43. PCI|XTI. 8' Iv irpwru : An exaggerathe ill-fated mother.

tion of rpirartf, which Aristarchos preferred, after II. 13, 20 : rpis
8e Terparov Jxe-ro reKfjiwp (Scliol.).
fj.fv optar lew (Hocrfi8>v),Tb

See note on O. 8, 46.

TptYo>.
Bergk suggests rtprca (Aeol.)
There is no good fern. 44. Sityaivc Imperfect of vision,
vcicpov
in an intercalated clause.
So the best MS. Sittpave would be
:

an unusual intransitive, " flamed apart," literally " shone apart,"

"
opened a path of light." The flames were harmless to him.

The old

45. Si8a|<u:

final infinitive.

46. dv9pwirourvv

More sym-

pathetic than dvdpo>ir<ov.

2rp.

y.

waovs
in

47. avTo<|>vTv

In contradistinction to wounds.

48.

The sphere of partnership and companionship is wider

Greek than in English. We usu. make the disease, not the
:

See Lexx. under o-iWt/u, <TVVOIKO>, a-vvSunstroke. Perh. " Summer fever." 51.
TOVS |wV:
?a-ycv: "Brought out," still used by the profession.
Resumes the division indicated, v. 47. paXaicais ciraoiSat? : Incantations were a regular part of physic among the Greek medsufferer, the

vaiw.

companion.

50. 6epiv<

icine-men.

irvpt

The order

ov irpos larpov <ro<pov

is

the order of severity.

7rw8ar

dpodv

So. Aias, 581

jrpos Top.>vri

irf)p.aTi.

. . . irCvovras . .
P. breaks what seems to him
ircpdirruv
the hateful uniformity by putting irivovras instead of a causative,
such as TrtTTt'o-Kwi/, or an abstract, such as Trorotj. 52. irpoo-ave'a:

dpi^^irwv

"Soothing potions."
irepam-wv . . <^LppiaKa: "Swathing with
simples." Plasters and poultices are conspicuous in early leechcraft.
So N. 11, 40: Trepoftots.
ir(pd-m<i>v (Aeolic)
irepid7rra>v.
.

53. TojAats lorao-cv ipOovs : TO/JLI'] is the regular

surgical word
for our " knife," and the pi. gives the temporal effect of -ripvw.
P. makes in eerrao-ti/ a sudden and effective change to the finite

verb, so as to be done with

would be

feeble.

it.

To punctuate

Comp.

M2

0. 1,14; P, 1,55.
l<rras
and make TOVS pi*

at f^aytv

NOTES.

274

on eorao-e v is to efface the growth of

. Tour fle
irpoa-avta depend
the sentence and the rhythm. The methods are in the durative
tenses, the results in the complexive (aorist).
.

54. S&erai:

'An-, y'.

"Is a thrall," "is in bondage."

Scirat

"lets itself be enthralled by." The instr. dative

55. Irpairev . . . K0|xurai
P. 9, 47
is the regular construction.

would mean

eipaTTf

The

irap<pdp.fv.

prose

irporpfTTfiv

has lost

its color.

aydvopi: Of. P. 10, 18 dydvopa TT\OVTOV, and O. 1, 2 ptydvopos

One cannot help thinking of xpripara ^p^piT* dvrjp (I.
nXovrov.
:

2,

See Plato's criticism of this passage, Resp. 3, 408 B. C.

Hippolytos, son of Theseus, ace. to the Schol. Comp.
Verg.Aen. 7, 765-774. Kojuorai: N. 8, 44: rtav -^vxav Kopigai
57. aXttK^ra Sc. davdrco.
ov fj-oi Svvarov.
Xe P^ O. 9, 32 o-KvraThe addition of " hand " does not give the
\ov TtVa|e x f P * "
same vigor in English.
ap.<j>otv: The Hesiodic fragment tells
58.
only of the death of Asklepios (Athenag. Leg. p. 134).
"
lve'o-Ki.|J/v
Brought crashing down." 59. Ovarais <f>pa<rCv Depends on cotKora, and is not dat. of manner (Dissen) to /uzareW/ici',
modesta mente. Cf. 1. 4 (5), 16 6va.ro. dvarola-i 7rpm. 60. ri irap
iroS<fe: P. 10, 62: <ppovri8a rav Trap irodos ( I. 7, 13: TO ... irpo
TroSds), "that which stretches from the place of the foot," "our
As Archilochos says yinearest business."
otas cip^v auras
Gen. of the owner.
oitrat
S' otos pva-fjibs dvdpuirovs x et>
11).

56. avSp(a)

"

61. ^>Xa t|nx a: P- i 8 addressing himself and swinging

*E7r. y.
back to his theme. " Asklepios sought to rescue a man fordone.
We must seek only what is meet, see what is before us, what are
Seek not the life of the immortals, my
the limits of our fate.
soul ; do the work of the day, play thy humble part to the end.
And yet, would that I could bring the double delight of health
and poesy ; would that my song had power to charm Cheiron
Then the unreal would be achieved by the real, health which I
cannot bring by poesy which I do." <p!Xa ^v^d of Hieron would
be too sweet
It is more likely that P. is taking a lesson to
!

PIOV aOavarov =. TO ff-ofioiovtrdai TOIS dfois (Schol.).

62. TOV 8' cfiirpaKTov avrXci paxavav : " Exhaust all practicable
"
means," drain each resource." 63. cl 8i . . . ?vai(c) Wish felt

himself.

in the condition.

64. peXiyapvcs vp,voi:

The

So O. 11

(10),

4; N.

3,

plural is part of the shyness with which

the poet alludes to Hieron's disorder. Ocpixav v<J<rwv: "Fevers."

4.

66. dvSpao-iv

PYTHIA

275

HI.

"

Some one called (the son) of LatoArotS, ire.

1\ TI*
the great
ides, or son of the Sire ;" Asklepios or Apollo, son of
Sire Zeus.
Bergk suggests fj TraTepa 'An6\\a>. 68. ai v . . .
poXov This shows that the poem was composed in Greece, and
67.

'loviav

not in Sicily.
(P. 2, 6), called

See P.

OdXaovav

69. 'Ape'Oovo-av

'loviov iropov.

N.

1, 1

Elsewhere (N.

4,

53) called

The famous fountain of Ortygia

afjarvtvpa vf^vov 't&faov.

Alrvoiov &ov

1.

2Tp.S'.

"Rules "without an object.

70. v^wi.:

Tl.iarots:

Seems

mean here the rank and file of the citizens (0. 13, 2). dyaOot?
The optimates, doubtless, for they are "the good" to a Dorian.
^- * Y'ctav
72. x^P lTa' = x PWra
xpvo^av: See P. 1, 1 and
to

comp. Lucian's De lapsu inter salutanr(e) On the effect of re in twinning the two xdpiTes,
cUOXwv XIvOuov Depends on crre(pdvois. So N. 5, 5

for the praise of health,

dum.

Kwp.5v

see 0. 1, 62.

Km

Se
.

and O.

p.ovcriKas fv da>ra>,

&8vfif\fi KeXaSijo-w.

lustrous crowns.
nikos.

The

74. 4>ep^viKos

plur.

O.

75.

fapl

on account of the

1, 18.

ayXatfrrai

eiri

(rrf<pdv<o

lends additional lustre to the

victories of Phere-

4v Kippq, iror^:

Kirrha was the

The victory was won

Out of construction.

Cf. O. 1, 14

11 (10), 13: Kocrftov

The song

Delphian hippodrome.
before.

cufyXav <rrc<{>dvois

iraynpariov (rretpavov.

at least eight years

Elsewhere in P. with

Ace. to J. H. H. Schmidt, <pdos is the light

of joy (O. 10 [11], 25 I. 2, 17), (ftfyyos, for which we here have
v, is the light of glory (O. 2, 62 ; P. 9, 98; N. 3, 64 ; 9, 42).
ace.

and

inf.

JMXOS

"Well," since that may not be. *ii5!avow to," not simply " pray." W^Xw: See P. 1, 62.
78. Marpi Magna Mater or Rhea (Kybele is not mentioned in
Pindar). The worship of this Phrygian goddess was hereditary
'An-.

77. AXX(d):

8'.

" Offer a
:

in the flute-playing family of P. (see P. 12), and he had a chapel

in front of his house dedicated to the joint service of Rhea and

who sang

by night to the two

Eumetis and Protomache. The Scholiasts tell us that Magna Mater was rS>v voo-av
Welcker takes Kovpai with nan', and conavf-TjTiKT) KOI p.fi(OTiKT).
But there is an evident connection
siders them to be nymphs.
ow Ilovi: Cf. fr. VI. 1 &
between the (IO\TTT) and the eVcvx^.
Pan.

Among

the

deities, are said to

icovpai,

have been

irapQevia
P.'s daughters,

Ildv,
. . .

trf^vusv a8vru)v

Kopv<t>dv

<pv\a, Marpos /ieyoXar orraSe'.

"
The right point (the lesson) of sayings."

80. X<5-y*v
j

NOTES.

276
"

The

Learning."

Jv

wap'

eo-Xbv, Kre.

lesson

is

ever before him.

One and two

It is

a proverb.

81.

So we have not

are typical.

to

do with avoirdupois or apothecaries weight in Spenser's " a dram

of sweete is worth a pound of soure " (F. Q. III. 30).
82. K<5<rfiw
83. TO. ttaXa. TpAj/avres <f|<o Another proverbial locu=Ko<rfj.ia>s.
tion "turning the fair part outward " (of clothes), as we might
1

"

"
putting the best foot foremost (of shoes).

say,

84. TIV Si . . . lireroi Thy i v eVXdj/ is great.

85.
'ETT. S*.
As the Biblical "look upon" (with favor). Comp. O.
8e'pKTai
oXXore 8' oXXov e-noirTtvei Xdpis. " The eyes of the Lord
7, 11
:

upon the

are

N.

42

4,

Comp. O.

86. ci TIV' avOp.:

righteous."

& [xryas mSTjxos

ar<|>aXtjs

avai;.

TTOT/LIO?

54.

1,

= a7mu<rror.

Pro87. fyevT(o)
IlTjXei . . . KaS^u)
eytvero Aor. with neg.
verbial examples of high fortune and noble character, O. 2, 86.
Mourav The
O. 2, 10. xpvo a 1 r ltwv
89. ot'ovToi.
ffxetv
:

'

''

'''

Muses

so styled again,

I.

90. 4v

2, 1.

Trp6<ppa>v 8f Kal Ktlvos adS" e v II a

8pu

Pelion.

N.

Cf.

5,

22

MOKTO.V 6 fcaXXioros %oThetis was a favorite theme

t

a>

The marriage of Peleus and

with the poets. See N. 4, 65, quoted below. Catullus makes the
Fates sing at the wedding (64, 322). 91. bvW The indie, of a
With the indie. Snore has very much the sense
single occasion.

pos.

of

Comp. O.

fivlKa.

V.

fr.

37;

1,

92. NTJP^OS

1, 6.

9,

104; P.

8,

4J

11, 19;

The sea-gods were

6 (7), 6;

I.

oracular.

So Posei-

(0. 6, 58). So Proteus and Glaukos. For Nereus as a prophthe commentators cite Hesiod, Theog. 233, Eur. Hel. 15, Hor.

don
et,

Od.

1,

See also P.

15, 5.

9, 102.

94. Kp<5vov iraiSas . . . iSov, *re.

N. 4, 66 fi8tv 8'
2rp. e'.
fVKVK\ov e8pav, ras ovpavov jStHTiXJ)* s TTOVTOV T ((f>(6[j,fvoi, KTf.
95.
Aio . . . x*P lv: Here "thanks to Zeus." 96. rrao-av 6pOav Kap"
Siov
Raised their hearts again," " raised their sunken hearts."
:

op6av being proleptic,

"

erect."

ace., as afpaipfio-Oai in prose.

Cf. O. 2, 25.
99. 0vwv<f

101.

'Aj^r. ('.

rCic-rev:

all in dactylo-epitrites),

41

(tcvos:

with two
Agaue, Autonoe.

fpfinaxrav,

Ino,

P. uses the imperf. seven times (nearly

the aorist nine times. See note on O. 6,

II. 22, 359

fj^an rw art Ktv at ndpis KOI *ot/3or
102. icawi(<rd\6v fovr oXetrwcrti/ eVt Sxai^o-t irvXr/a-i.

T<5ois

'AjrcJXXo)!'

98. [J^pos

al rpeis

See O.

3, 6.

104. TVYX* VOVT> *^ iraax^(icv=:iiTv^oi)i^r' ev

PYTHIA
Comp. O.

2,

56

oXX' f'ovTttv (v iraddv, <re.

277

III.

"
TO 8t rv\(~iv, success," and N. 1, 32 :
aXXore 8' aXXotai, KTC. O. 7, 95 aX:

106. irdp.iroXvs
So Dissen
XOT' aXXotai 8iai6v<T(roi.(riv avpai.
" in all
its fulfor os TroXiif
Others aiiKtros
n. with eVi/3pi'o-atr
"
ness."
imppurais
Coming down with weight."
:

"I
107. trpiKpos ev 0-p.ncpois, tcrt. : (Tfj-iKpols is neut.
when my fortunes are small, great when they are
See O. 3, 45. 108.
P. puts himself in Hieron's place.
great."
"
T&V OJI^CITOVT' alel . . . 8ai|Aov( a)
shifting fortune." Though
'ETT. ('.

will be small

My

prosperity is a no\v<pi\os tVe'rcr, excessive prosperity is dangerous, and the wise man must be prepared to do homage to the
"
fortunes that attend him from time to time.
<j>pcurtv
Heartily."
109. ioxijo-w So aa-Kflrai 0e>is, O. 8, 22 ; N. 11, 8. a. of honor
:

and homage, while

flepaircvwv is

p-axavav:

"To

Cf. V. 62

rav ffnrpaKTov avrXft

the extent of

my

used of service.
power," "with all

icar'

my

Ipav

110. el 8^ poi ... &pc'ai

p,a^avd v.

might."
:

Hieron might be expected to say &pt^tv. P. looks upon such

111. cvpc'otiai: "Gain."
fortune as a dream. See note on O. 6,4.
With a solemn indefiniteness, that is yet made
P. 1, 48.
irp<5<r
The
sufficiently plain by the mention of Nestor and Sarpedon.
"
"
among them that shall call this time ancient (Dante),
Trpoo-w is
where songs shall make thee what N. and S. are to us. 112.
:

A model prince, though mentioned by P. only here

and P. 6, 35, Mecrtrapi'ov ytpovros.
Sapirr|8(5v(a)
Lykian Sarpedon balances (Pylian) Nestor. One shining light is taken out
of each camp. Sarpedon, we are reminded, was the grandson
of Bellerophon, B. was from Corinth, and Corinth was the metropolis of Syracuse.
But P. is thinking of Homer and the looming
figures of Nestor on the Greek, Sarpedon on the Trojan side.
NeVropa:

Some
(parts

quiet mischief in this, perhaps (N.

"whose names

are in every

mouth."

ovOpwirwv 4>aris
talk of the town "

7, 21).

= (punas, hominum fabulas, comp. " the

113. TcVroves:

So Kra-

tinos (Schol., Ar. Eq. 527): re /troves fvira\dp.o)v vp.vu>v.

114.
So Lat. pangere. 115. xp v ' a TcXc'Oei Cf.
ap|io<rav: "Framed."
:

N.

4,

6:

pfjfui

8'

(vp(<r6ai (v. 111).

fpyfjidratv

xpovubrepov

fjiarcufi.

irpa{a<H)(<u)

PYTHIA

IV.

ARKESILAS* IV., son of Battos IV., king of Kyrene, won a

466 B.C.).
Pythian victory with the chariot, P. 31 (01. 78, 3
This victory is commemorated in the fourth and fifth Pythian

odes.

P. 5 was composed to celebrate the return of the victori-

ous 7ro/ri7, which took place, as has been conjectured, at the time
of the Kdpvtia, a festival which fell about the same time as the
Pythian. The fourth ode was doubtless composed to be sung
at a banquet in the royal palace, and seems to have been prepared at the urgent request of one Damophilos, who had been
exiled by Arkesilas for participating in an aristocratic rebellion.
That he was related to Arkesilas, that he was akin to Pindar, is
little more than conjecture.
"Urgent request" means in Pindar's case a lordly recompense.
The poem was a grand peaceoffering, and the reconciliation had doubtless been quietly arranged in advance.

Not only in size, but also in many other respects, the fourth
Pythian is Pindar's greatest poem a prime favorite with all
Pindaric scholars. The obscurities are few in proportion to the
bulk, the diction is noble and brilliant. The aesthetic value is
great, for in this poem we have a whole incorporated theory of
the lyric treatment of epic themes, the Argonautic expedition in
points of light.
After a brief invocation of the Muse, Pindar tells how the
priestess of Apollo bade Battos leave his sacred island, Thera,
and found a city on a shimmering hill in Libya, and thus bring
to honor the prophecy of Medeia (vv. 1-9).
In the Prophecy of Medeia, we learn the story of the wonderful clod that a deity delivered to the Argonaut Euphamos
where the Libyan lake Tritonis empties into the sea. Washed
overboard, this symbol of sovereignty followed the wet main to
* Doric form of Arkesilaos.

PYTHIA
Thera, whence the descendants of

279

IV.

Euphamos

should, at the bid-

ding of Apollo, go forth and possess the land promised to

their

ancestor (vv. 10-56).

Such is the prophecy that was fulfilled by Battos, the founder
of Kyrene, and it is to the descendant of this Battos in the
eighth generation that Apollo has given the glory of the victory

theme of Pindar's song (vv. 57-69).

Then follows the Quest of the Golden
Fleece, or the Voyage of the Argonauts, which constitutes the
in the chariot- race, the

So

far the overture.

bulk of the

On

poem

(vv. 70-256).

voyage the Argonauts had shared the couches

From such a union came the stock of
Euphamos, which went first to Lakedaimon, thence to Thera,
and from Thera to Kyrene (v. 261).
Here the poem seems to pause. A stop at Kvpdvas (v. 261)
would satisfy mind and ear. But P. continues with an afterthought participle, which emphasizes the importance of right
counsel, and prepares the message that he has to deliver. The
message is one that needs delicate handling, and, like the wise
their return

of Lemnian heroines.

woman

of Tekoah, P. clothes it in a parable the Apologue of

Lopped Oak (vv. 263-268).
The answer is not given at once. The king is a healer that
knows well the art of the soothing hand. The king is one that,

the

under the guidance of God, can put the shaken city on its true
foundation. He has only to will and it is done. Let him then
take counsel, and consider what Homer said, that a fair messenSuch a fair messenger is the poet's
ger makes fair tidings.

Muse (w. 270-279).

The way being thus prepared, the name of Damophilos is mentioned for the first time, and the praise of the banished noble-

man is blended with an appeal for such forgiveness as Zeus accorded the Titans. " Let him see his home again let him take
his delight in banquets by Apollo's fountain. Let him make melody on the harp. Let his days be days of quietness, himself all
harmless, by the world unharmed. Then he can tell what a well"
spring of song he found for Arkesilas at Thebes (vv. 281- 299).
;

As the fourth Pythian is thrown out of line with the other

odes by its size, and as this characteristic determines the handling of the poem, the distribution of the masses becomes a matter of leading importance and cannot be relegated, as has been

NOTES.

280

done elsewhere, to a mere summary. Pindar nowhere else goes

beyond five triads. Here he has the relatively vast structure of
If the introduction bore any proportion to the myth,
thirteen.
or to the introductions of the other poems, we should have a
"What do we find ? The poet seems to
large porch of song.
enter upon the theme at once, as if he were composing an epic
and not a lyric. The ringing relative that so often introduces
the myth makes itself heard almost immediately after the invocation of the

Muse

(v. 4).

We

slip

out of port in a moment, and

find ourselves in the midst of the returning Argonauts.

But

longer than it seems. The first three triads

constitute an introductory epyllion the Prophecy of Medeia
which bears a just proportion to the rest. Only if the usual
measure were observed the myth would occupy seven triads and
the conclusion three (3+7-J-3), but the story runs over into the
eleventh triad, when the poet chides himself as having lingered too long (v. 347), and the slow imperfects give way to the
rapid aorists. He calls on Arkesilas (v. 250) in order to show
that he is hasting to Kyrene, and the emphasis laid on the guidance of Apollo prepares the conclusion. Notice that the story
of the Argonauts makes the same returning sweep to Arkesilas
and Apollo as the Prophecy of Medeia (w. 65, 66). Apollo is
an oracular god, and speaks in riddles. " So read me," the poet
"
"
(v. 263). After this riddle is given,
says, the riddle of Oidipus
" fulfil the word of Homer "
Both Oidipus and Homer,
(v. 277).
be it noted, are Apollinic. The answer to the riddle is Damophilos (v. 281); but it is not until the poet has claimed the good
messenger's credit, according to the word of Homer, that he
brings forth the name. The poem closes with a commendation
of the banished nobleman, and with the evident intimation that
the introduction

is

song was made at his desire (v. 299).

The myth itself (vv. 70-256) is natural enough.

this

enough that

It is natural

of Arkesilas, Pindar
and the introduction of

in celebrating the victory

should sing of the founding of Kyrene

the Argonautic expedition may be justified on general grounds
but this is not the only time that Pindar has sung Kyrene. In
P. 5 Battos and the Aigeidai come to honor, in P. 9, the heroine
Kyrene, but there is no such overwhelming excess of the myth.
In the length of the myth nothing more is to be seen than the
If the poem was to be long, the myth
costliness of the offering.
must needs be long.
;

PYTHIA
There are those who

Damophilos

parable.

which

281

IV.

see in Pindar's Argonautic expedition a

lason.
Then Arkesilas must be Pelias

is

is incredible.

Damophilos

is

anybody

else, anything
sooner the mystic clod
that Euphamos received (v. 21). The tarrying of the soul of
Phrixos, the drifting of the clod, the long voyage of the Argonauts, may be symbolical of the banishment of Damophilos. He
could not rest save in Kyrene (v. 294). The true keynote, then,
is the sweetness of return, the sweetness of the fulfilment of
prophecy and of the fruition of hope long deferred. The ancient
prophecy came to pass, and Battos founded Kyrene (w. 6, 260).
The word of Medeia was brought to honor in the seventeenth
The ships should one day be exchanged
generation (v. 10).
for chariots (v. 18).
The clod, following the watery main, was
borne to Thera, not to Tainaros (v. 42), and yet the pledge failed
not.
lason came back to his native land (v. 78). Everybody
comes back, not lason alone, else the moral were too pointed.
Let Damophilos come back. Let there be one Kyrenaian more.
The measures are dactylo-epitrite ( Dorian ), and the grave,
oracular tone is heard in rhythm as well as in diction.
" As this
poem, among all the Pindaric odes, approaches the
epos most closely, so the rhythmical composition reminds one
of the simplicity of an hexametrical hymn. Four times in succession we have precisely the same pentapody,

Sooner the soul of Phrixos

else.

(v. 159),

|_^^|_s^v^|_A,

l>^|

the close of which reminds us of the hexameter, which, like it,

prefers the trisyllabic bar towards the close. Another example
of this will be sought in vain throughout Pindar. These five

pentapodies are followed by nine tetrapodies, interrupted only

by a dipody in the middle of the strophe, where there is usually
most movement " (J. H. H. Schmidt).

"Srp.

a.

ais dvpms.
=OTT}I/<H.
evfinrov:

2.

Hapcpov . . . 0ro|ievi So N. 1, 19: earav 8' eV avXctP. " floats double." The Muse is his shadow. <rra/j.o
So S/*ei/ (v. 39) z= #71/01. ovBpl <j>iX<{> : See on P. 1, 92.
1.

Comp.

v. 17.

Kvpiivas: See on P. 1,60.

'ApiccaiX? :

The

position gives zest to the postponed proper name.

Comp.
P. 8, 42. 3. AaroiSawriv : Comp. N. 6, 42 : a8o>v tpvta-i AQTOVS (of

a victory at the Pythian games)

9,

parepi KOI

8i8vfi.ois nai8ftr-

Apollo and Arte

mis, together with their mother, presided over the Pythia
<rtv

Tlv6u>vos alneivas 6/xoxXapotf {jroirrais.

NOTES.

282

"
Freshen the gale of songs *
avi)s
N.
31:
firfmv.
P. makes
ovpov vpvwv.
6,
(Fennell).
otipov
much use of nautical metaphors and similes, but as the Battiads
were originally Minyans, a manner of Vikings (O. 14, 4), there is
a special Argonautical propriety in this use of olpov. 4. XPV WV

Hence

games.

6<j>eiX<J(ivov.

There were two golden eagles on the 6fi(pa\6s at

Delphi, the white stone navel, at which two eagles, sent from
east and west, had met, and so determined the centre of the
earth.
5. OVK airoSdpov
Tv\6vras When
alrjT&v in one MS.
the god was present in person the oracle was so much more
.

alrjTwv

Cf. P. 3, 27 ei> 8' apa pyXoSd/co) HvQStvi T6<r<rais.

potent.
Apollo
was a migratory god, now in Lykia, now in Delos (P. 1, 39).
:

For Apollo's sojourn among the Hyperboreans, see P. 10, 30

foil.
Bockh
Ipa, an Aeolic form
tVpeia, which Christ gives.
and others, ipia. 6. xp^wcv oiiucrnjpa Bdrrov " Appointed by an
oracle Battos (as) colonizer." Comp. O. 7, 32 TT\OOV ein-f, where

the verbal element

is felt,

ovre TrayKapircw <PVT>V

= Saint Eirene).

a verb of will,

N.

8,

36.

It is

VTJTTOIVOV.

7.

as here.

Upav

vacrov:
|

KTwro-etcv =. KTIO-OI.

hardly so purely

a>s is

used rather as

P. 9, 63
Thera (Santorini

Kapiro<j>6pov Aif3vas

As

here

xpw fv ls
10

final as in 0.

8<ppa, P. 1, 72.

Comp.

(11),

558

II. 1,

31;
T

ot'o) Karavtvo-ai tr^TVfiov a>s 'A^iX^a

Tip,T)<rr)s, oXftrrjs 8e TroXe'as
8. opy 1 '
eVt vqvfflv 'A^aiwi', and L. and S. ed. 7, s. v. STTVS, end.
"
v6cvri pa0T$
shimmering hill," an Albion Mamelon. P. 9,
<r'

59 i ox&ov

Kyrene was

a/i0i7re8oj/.

For description and recent

Journ. of Philology, V. 31

built

researches, see F. B.

on a chalk

cliff.

Goddard

Am.

in

foil.

"

"

"

Bring back safe," redeem," fulfil."

unto me void." The MSS. have
made dyKOfj.i<rai6'. P. nodyKopio-ai ff, of which the editors have
where uses the middle of Ko/u'a>, nor is it necessary here. 10.
As this is not equivalent to <ri>v (fiSopq KO\
ep8o(j.a KOU, (Tov ScKaT(f
Cf. O. 13, 58 y/et (p[\ca
<ri>v Sfjcara, P. 1, 14 is not a parallel.
It is idle to count these seventeen generations.
ffiiv 'Arpeos.
6ijpau>v: "Uttered in Thera," the dXtVXaim>r ya of v. 14.
041*Animosa. Others think of non sine dis animosa, and conVTJ
'Ayr.

Cf.

"

a'.

9. oYKo|i.(0-ai

my word

shall not return

"
"
"
"
bold," brave," highinspired." It is simply
a
There
is
as
suits
such
heroine.
no
such
curious
spirited,"
adaptation of epithet to circumstance as we find in the hive-

sider

Medea

work of Horace

(apis

Matinae more modoque).

\

13.

K^tXvre

The

PYTHIA
speech ends,

and

v. 56.

The

lo.

IV.

283

14. 'Eireufroio loipav

Epaphos, son of Zeus

Scholiasts notice the blending of

nymph and
is very
easy here, as pifrv and (pvrtva-fa-dai are

country, which
often used of persons.

N. 5, 7
V 8t Kpovov KUI Zr,vos fjpuas alXpards <J>vTfv6fvras ra<rSe yds. 15. aort'wv piav: This root, which
is to
spring up out of Libya, is Kyrene, metropolis of Apollonia,
"
Shall have planted in
Hesperides, Barka, etc.
(jwrcuo-coftu
her" (Pennell), as one should say "shall conceive and
bring
forth."
P. has no fut. pass, apart from the fut. middle.
|i\tio-i|*Pporov: Only here in Greek.
Comp. Od. 12, 70: 'Apyd> naa-i
:

16. Iv'AjtfUDvos Oc(U6\ois

Hi \ova-a.
to Zeus Arnmon (Schol.).

The whole region was

sacred

The dolphins were to the

and we must not spoil poetry by in"
"
"
troducing the notions of fisheries and studs," as some have
ivrl ScX^vwv, are.

17.

'E?r. a'.

Greeks the horses of the

On the

done.
(Taiov
8i

6a\a<rspeed of the dolphin, see P. 2, 50 6(6s

8f\<p1va, and N. 6, 72
df\(plvi Ktv
ra^or
:

irapapdpfTai

O. 12, 3.
Ooas
18. ovia T' CUT'
fiKdoipi Mf\ij(riav.
Stypovs re ( V 8ia Svotv, in the extreme form assumed

(i\fjLas

c'pcT|iuv

sea,

can hardly be proved for Greek, and di/i'a Stypovs rt is

not dj/i'a 8i(pponv. The correspondence between "oar" and "rein"
is not to be pressed, the "rein" being rather "the rudder" (TTTJThe two spheres of ship and chariot have much in
SdXioi/).
common, and borrow much from each other. vttpao-oio-iv vu>\tn.v

here,

of ships, P. 1, 86 vm^a 8iicai<a TnjSoAia) crrparov, of reins, as here,

I. 1, 15: dvia
Subject "they," i.e., "men."
vupdo-avrfa).
ocXX&roSas For the metonymy, comp. P. 2, 11: ap^ara irdo-i19. Kivos opvis
^dXiva, and O. 5, 3
dicapavTOTroBos dirrjvas.
"That token," the clod of earth (v. 21). opvts and olatvos are
familiarly used without too lively a sense of the bird meaning.
See Ar. Av. 719
opvw 8e vop.ifT( irdvd' ocramp irtpl fuivrdas
8iaKpivd, and Professor Postgate in Amer. Journ. of Phil. IV. 70.
20. TpiTwv8os Iv irpoxoats The geography of the Argonautic
expedition will always be misty, and the mistiness is essential to
its poetry.
On their return from Kolchoi, the Argonauts passed
by the Phasis into Okeanos, thence to the Red Sea, carried their
ship overland twelve days, reached Lake Tritonis, in Libya, and
found an outlet from Lake Tritonis to the Mediterranean. The
Okeanos is not our Ocean, the Red Sea is not our Red Sea, the
:

Lake

Tritonis that

we know

is

inland,

and Pindar

is

poetry.

NOTES.

284
"

A god taking to himself the likeness of

dWpi f ci8o(j.^v<|>
man." No ambiguity to a Greek. 6t& depends on 8f^aro (v. 22),
which takes the dat. of interest (see 0. 13, 29), just as irpia<rdai,
" take off one's hands."
"
Ar. Ach. 812
TTOO-OW
buy," and so
21. 9tta

ra ^oipt'Sia; Xe'yt. A gift blesseth both. The god

Poseidon was masking as his own
is supposed to be Triton.
son and speaking to his own son (v.45). -yaiav: An immemorial
"
With our Saxon ancestors the delivery of turf was
symbolism.
a necessary solemnity to establish the conveyance of land." 22.

irpla>p.ai

<roi

irpupaOcv
" As a

Because he was

23. afo-tov

rrpwpfvs.

. . .

cKXaylc Ppovrdv

sign of favor he sounded a thunder peal."

eVc

v(<p((t>v
is,

8f Pot dvrdv(Tf ftpovrds alcriov <pdeyp.a.

Aeolic participle,
24. a-yicvpav

2rp. ft.

fr.

pp6vTaip.i=ppovrS>.

In Homer's time there were no

Comp. v. 197
Bergk reads

ayitvpai,

\a\K6^wv The flukes bite

hence "jaws" of an anchor, which is itself a bit. Comp. Lat. dens
25. Kptjfj.vavTwv
ancorae.
Commonly considered a gen. absol.
with avroij/, or the like, understood. Not an Homeric construcSee 0. 13, 15, and below, v. 232
tion, and sparingly used in P.
trori

tvvai.

only

With

KpT)p.vdvro)v.

eVe'roo-o-e takes the ace. P. 10, 33, but it is

&s ap av8d<ravTos.
hard to see why it cannot be construed with the gen. here, as

fTTfrvx* in prose.

On

lirro<r<rc

Sc. 6t or dvipi d86fj.fvos.

eVe'ri^e
BciSeica . . . <j>^pofuv
is
3, 22.
(p.
:

the change of subject, see O.

numbers

usu. take the aor., but the imperfect is used when the action is checked, usu. by the aor., sometimes by the imperf. There are numberless passages from HooXX" ore rirparov rj\6(v
mer on, Od. 2, 106 &s Tpitres p.ev e\r)6e

Definite

imperfect.

ZTOS.

Cf. H. 1, 53.

54

9,

470. 474

Od.

3,

118. 119. 304. 306,

al.

228 V>TOV yds, and Homer's tvpta

Here we have a desert sea of sand. 27. elvdLXiov
vS>ra daXda-a-rjs.
p.i$8<riv: Medeia was not
8<5pv: Consecrated oracular language.
above an allusion to her name. av<nro0-<ravTcs Usu. " drawing
26.

VWTWV

spif (ion

Cf. v.

Mezger

P.

28. oioir<iXos:

3, 41.

574.

8a(xwv

tr.

"

ashore."

shouldering."

An

The god of

^trfpois
(pois,
Homeric word, II. 13, 473; Od. 11,

v. 21.

ajiois

irtf Si|av 9r]Kd^cvos

after the Schol., for irpoa-o^w 6r)K.dp.evos.

So Bergk,
"

having put on." In resuming the story P. amplifies it. 30. Sr(e)
"
"
"
The hospitable."
As," such as those in which."
vep-yrai
irfp(i) ^Ka/ifi/or,

I.

(6),

70:

tv(av

(vtpyfcriais dyairdrai. 31. Stiirv" JirayytXXovri

arc found in Od. 4, 60, where Menelaos O-/TOV

The model words

ff airTfcrdov Kal

\aipfrov.

PYTHIA

285

IV.

"

aXXa Y dp
But it might not be for." Cf. O. 1,
Is an assigned reason, true or false.
33. EipvirvXos Son of Poseidon and Kelaino, and king of Libya (Schol.).
Poseidon (Triton) assumes a name like one of his own attributea
'EwooiSa: So v. 173. In
(vpvfiias (O. 6, 58), fvpvp.fba>v (O. 8, 31).
32.

'Air. 0'.

55.

irp^<J>aats

Homer

evvoo-iyaios, eVo(ri'x$wj/.

pendent on
a partitive
"

Trporv^ov,

on

what came

34. apovpas

which comes

Is

not

felt

as de-

an after-thought, but as

in as

3o. irporv\6v
What presented itself,"
"
36. oi8' airi0rjo^ viv
Nor did he fail to
"
nor did he disov8" ani^ari fiv (dat.),
'

&pirdgais.

to hand."

persuade him." Herm.

obey him," the subject coming up emphatically in the second
clause the fjpvs (Euphemos) being set off against the god (Euryp37.

ylos).

avrtpdo-ais.

AH: The position speaks for dependence on %elp

See O. 2, 16. pwXaxa: More special and technical

than yalav (v. 21). Saipoviav: " Fateful." 39. ivaXtav Pa^ev: So
Thiersch for eVaX/a fia^-tv vvv aX/xa. The adj. (esp. in -toy) for the

and

prepos.

subst.

So

viraiQpios

(O. 6, 61).

Comp.

TreSapo-toi

The eVaAisch. Prom. 710; dvpaiov ol^vt'iv, So. El. 313.

Xia /3wXa would thus match the eu/dXioi/ 86pv and take its own
riiv a\p.a: Comitative-instrucourse.
pSfM* =/$pcu. See v. 1.
vaiovo-i,

mental use of

by which
'ETT.

/3'.

it

o-vv.

The

See P. 12, 21.

into the

was washed
40. coire'pas

clod went with the spray

sea.

When men wax

tired

and

careless.

Protest.
Coincident with Papev.
*| p-av
wrpvvov
41. Xv<riir<J&T. with dat., like KcXcvco in poetry.
''I, Medeia."
"
KOIS
Who relieve their masters of their toils." So also Schol.
"
II. 24, 734.
Reliefs," "relays," would be to us a natural translation.
43. irpiv upas
First and extremely rare use of irpiv as a
el yap oucoi viv pdXt
Wish passing over into condipreposition.
tion.
44. "Ai8a aT<J(ia This was one of the most famous enA half-brothtrances to Hades.
45. viis lirirdpxov IToo-eiSaajvos
er of Eurypylos on the Triton theory.
This Poseidonian origin
accounts for the Battiadai's love of horses. 46. TIKTC: See O.
A Minyan of Orchouienos (see O.
KacJHcrov irap' 6x9ais
6, 41.
14), and so an interesting figure to a Boeotian poet,
irap a^dais
airoplvav

as Trapa Kpr)nvol<riv, P. 3, 34.

47. TtrpoiTttv iraiBwv . . . alpa
The blood (offspring,
65) of the fourth generation (T. TT. eVfyeii/o/xei/wv need not be
gen. abs.) is the fifth generation, the time of the Dorian migra-

2rp. y.

N.

3,

NOTES.

286

48. trvv Aavaots The Danaoi (or Achaians) were the old inhabitants of the Peloponiiesos,
who were driven out by the general unsettling known as the
Dorian conquest. K(C) . . XafJc One of P.'s few unreal condiSee O. 12, 13. 49. |ovicrravTai Prophetic present, as O.
tions.
The order is the line of invasion,
AoKeSoiptovos, KTC.
8,42.
though such coincidences are not to be pressed. 50. vvv ye:
tion, or the return of the Herakleidai.

Regularly vvv

prophecy

"

Se.

fulfilled, V.

As

oXXoSairav

is."

it

252

p.iyev

Aa/xi/iav

yf VCUKUV

The

*6vei yvvaiK&v

These murderous brides are often mentioned in

dv8po<p6t>(i)v.

classic poetry.
See O. 4, 17.
61. TLv8c . . . vao-ov
Ev<pap.os.

See P. 2,64. Subject is

range of the terminal ace. is
not wide. For eXdtlv with 86p.ov, see 0. 14, 20 with peyapov, P.
4, 134; with jrf8iov, P. 5, 52; with Afivav, I. 3 (4), 71; with a
iKeo (P. 9,
person, I. 2, 48. For p.o\(lv, see O. 9, 76 N. 10, 36.
55; N. 3, 3), IKOVTI (O. 10 [11], 95), a^ero (P. 5, 29), dcpi^rat (P.
evpijo-ei:

P.'s

8, 54),

tgiKtro (P. 11, 35) hardly count, as these verbs are felt as
" reach."
ot icev . . . rlKuvrai : The plural agrees with

trausitives,

the sense of ytvos. KCV, with the subj., as a more exact future,
where in prose the future indie, would be employed; an Homeric construction, nowhere else in P. vvv rtjiqi 0cwv 6., subjec"
tive genitive, favor of the gods." Cf. v. 260.
52. fyara Battos
:

(Aristoteles),

who

is glorified

in the next ode.

iceXaivc<j>&ov

Ky-

rene had rain, the rest of Libya none. Hence K. by contrast

rather than absolutely. 53. iroXvxpvo-w So. O. R. 151: rds TTOXvxpva-ov Uvd&vos. The presence of Phoibos is emphasized,
:

as v.

54. ojivcum
uyyt\i(us, O. 3, 28.
5.

'Avr.

y.

55.

Karapavro

the floor (Od. 22, 2

fiavra,

Doric

Od.

= dvapvavfi.

4, 680.

XP^V

= ayaydv (see 0.

The threshold

SXro
I

O^juamv

8'

"

With

PI. as

much higher than

is

eVt p,tyav ouSoj/)

wWp<j>

Oracles."

hence,

KCLT

ov8ov

56. d-ya-y^v

Karaftavra.

NtCXoio irp^s . . . T^MVOS KpovCSa:

"
To the Nile precinct of Kronides " (Zeus Ammon). With NetThe
Xoto Ttfievos, comp. O. 2, 10 oucrj/ia Trora/ioi)
OIK. Trora/iioj/.
1, 3).

Schol. combines N- Kpovifta, and considers it equivalent to Ai6?

57. ^ pa
NeiXou, but there is no Zei>s NtiXos in the sense meant.
:

The Homeric

750; Od. 12, 280)

well suited
to the solemn, oracular passage. lir^wv orixes " Rows of words,"
" oracular verses." On the absence of
Vt, see 0. 1, 1. lirralar:
Only here in P. Not the usual tone of the word, which is ordiasseveration

(II. 16,

is

PYTHIA

IV.

"to cower," as in So. Ai. 171:

narily

287
<riyfj

irrff^tiav

3<p<avoi.

The attitude here assumed is that of brooding thought. 59.

vU noXv(ivdo-rov Aristoteles - Battos (v. 52). <rJ 8': O. 1, 36
" In consonance with this word "
cv Tovrc| Xfyw
(of prophecy).
:

60. wpOuxrcv

"Exalted,"

"

juXkrcras

glorified."

"The bee"

the Pythia. Honey is holy food. Cf. O. 6, 47.

ovro|iaTy
KtXdSu " Unprompted cry." He had only asked a remedy for
61. fc rpfe: The consecrated number.
his stuttering tongue.
avSdaaio-a The original sense of avdav is not lost, as is shown
is

by jcfXa&a,
Herodotos,

"

loudly bade thee Hail 1" The oracle is given by

155 : BOTT' eVi (p&vfjv r}\6(S ava 8e (T *ot/3of

4,

p.r)\orp6<pov

"

Slowness of speech." Barror

63. 8v<ri>p<5ov <f>wva :
His real name was 'ApioroCf. ftarrapifa.
Herodotos (1. c.) says that B. was the Libyan word for

'ETT.

'.

"

means
T(\T)S.

stutterer."

iroivd: apoifit)

"king."

where

Od.

else in P.

f)

9 /xaXa 8%

wre

Adverbial.

K(oi<riv

av6r)(Tfv

Arkesilas

was

is.

^ jxaXa

rose

id)8os

make

No-

I. 3,

vision.

36:

(poivi-

in the flower, the rosy flush of his youth.

65.
"
These children " are the descendants of
A. is the eighth bloom. " Eighth in the line
:

66. 'Air<5XX<ov

Others

the flower by excellence.

is

Battos, to whom
of these descendants blooms Arkesilas."
after the Greek fashion.
fUpos: P. 12, 11
5, 15.

8ij

7raXai'<paTa deo-faff

<foivucav()c'|iov fjpos:

The

p68ois.

iraiai TOVTOIS, KTC.

O.

fie

There of a painful revelation, here of a joyous

iicdvfi.

ficToL:

pos.

64.

Xvcrt? (Schol.).

507

9,

a re IIv6u
.

A complex
"

Iiriro8pop.(as

dfj.(piKri6vo>i>

"

depend on

Battos
:

counted in

is

,rpirov Kao-iyvrjrav p.e-

hence tiropfv. Comp.

Glory in chariot-racing."
;

tVTroSpo/ii'ar.

dfi<f>i,KTi6va>v

"
the surover," O. 8, 54.
dp(piKTu>va>v, not 'A^WCTVOVWJ/,
rounding inhabitants." This is understood of those who lived

is

around Delphi, but

Libyan
appdraiv

Muses "

it

would apply with more

rivals of Arkesilas.
firia-rdTcu.

67. airi

So. El. 702: 8vo

" I will
. . Swaa)
:

force to the

{vyvrvv

At'/3vey

assign

him

to the

theme for song. The meetness lies in a7rd, often

used of that which is due. Cf. I. 7 (8), 59
&>!' apa KOI ddavdrois,
as a

fit

ye (p>ra KOI (pdiptvov vp.vots 6fdv 8t86ft.v. avr<5v Ipsum.

Euphamos in contrast to TW fuv, his descendant, Arkesilas, the
|

e'crXov

See 0. 11 (10), 8.
69. <rfunv: The
I.
5, 12: daiptav <pvrti>fi $6av
65, shimmers through.

8e shifting, as often in P.

house of Euphamos.
dd\\fi, v.

$VTv6cv:

NOTES.

288
2rp.

70.

8'.

Bergk reads

Se'laro:

Without an

dpx*) 'Ke'aro.

object, as ayei, P. 2, 17.

71. KfvBwvos: The dangerous quest,

The Argonauts were riveted

i/auTtXi'a.
Kparepois . . . aXots
to their enterprise as the planks were riveted to the Argo, which
the

the figure, but we must not forget that Hera

them (v. 184), and so may be said to have driven the
The passages cited certatim by the editors do not really

may have suggested

inspired
nails.

These are
help, such as Aisch. P. V. 64, and Hor. Od. 1, 35, 17.
not the nails of necessity, but the nails of passion
the nails
that fastened the lvy to her wheel, just as the proverb rj\ov
clavum clavo pellere can be used "of the expulsive power
17X0),
of a new affection." aBdfiavros On the gen. see O. 2, 79. d. iron
of the source, not of
of special hardness. 72. ! a-yavwv Al.
the agent. So Thuc. 1 20. AloXiBov Here is the genealogy of
:

e'

lason that seems to be followed

AtbXof -f- 'Ei/apea

(v. 108).

(Schol. v. 142).

Kprjdevs
(v. 143).

(v. 142).

Aicro)!'

<frfpT]S

(v. 118). (v. 126).

Tupo>

Afivddatv

CApvddv)
(v. 125).

IA2QN

"A8p.rfros

(v. 126).

-f-

Ilocrfi&Siv

4>p

(v. 136). (v. 138).

or

(v. 160).

_J
IlfXtas

Me'Xa/Mroy
(v. 126).

NijXevs

(v. 71).

(v. 175).
Pelias perished by the latter means, d., "inflexi"
73. tjXOe 8c foi . . . top?: On the double
invincible."
ble,"
The relation
dative, see O. 2, 16. foi depends on dv^a Kpvoev.

&Kap/7TTois

not that of apposition. Of. P. 1, 7 foi

ITWKIVW
Kpvdev: "Blood-curdling."

is

v. 37.

TTVKVOTIITOV

and above,

Kpari,

. . .

6v|up

O. 13, 52:

not only
138: /SaXXero KprjTrlfta o-o(pa>v
74. \Uirov &|i,4>aX<Sv
See note on v. 4. tuStVSpoio . . . jiaTt(n-foiv.
Gaia was the first tenant of the oracle. Aisch. Bum. 1,
pos
2 Trpwroi/ fitv ti>xfi Trj8t irpftrftcvco 6(u>v TTJV TrpuropavTiv Taiav,
and the 6p.<pa\6s was a reminder of her. N. 7, 33 napa peyav
op.<pa\bv fvpvKoXirov poXaiv x0 v $< Cf. P. 6, 3; 8,59; 11,10.
'Sicrvcpov p,fv

"wary," but "crafty."

7ra\dfj.ais cos 6e6v.

Comp.

Pelias

v.

is

PYTHIA

289

IV.

76. alirtivwv awo araOpwv On Pelion, where he was brought up

by Cheiron. <TT. is used in its special Homeric sense. evSeUXov:
The Homeric signification "far-seen" suits Kronion after a fashion (O. 1, HI), but not lolkos, whereas "sunny," an old interpretation, suits Kronion perfectly (O. 3, 24), and is not inapt for
lolkos, as opposed to the forest shade of Pelion and the cave of
the Centaur. P. was not always clear himself as to the tradi:

tional vocabulary.
'AJT.

used

78.

8'.

f ire

air'

{ivo

Even

lason was both.

wv

Only passage where airt is

sometimes omitted,
As Homer's heroes.
SiSvfiauriv

atrrife

in prose the first eire is

79. alxfiawriv

80. a TC . .
8vo Sovpe.
a|ufl 8^: re ... 8<r,
re (O. 4,
again P. 11, 29, the reverse of the common shift, p.ev
Ma-yviJTwv taixupio?
close-fitting dress was necessary
13).
for hunters in a dense forest.
81. irapSaX^j,: So Paris, II. 3, 17:

Od.

1,

256

t^tav

ca!
7rap8aXer/j/ apoicriv t^w Kal Kap.Trv\a rda
i<pos
avrap 6
But Paris was brought
ird\\<av.
Sovpt 8vta KdcopvOpeva ^aXica}
up on Mt. Ida, not on Mt. Pelion, and P. has blended his colors.
Philostratos II. (Imagg. c. 7) gives lason a lion-skin, which is a
symbol of the Sun, who was Medeia's grandsire, jrarpos "HXtos
$pio-<rovras o^ppovs =: (ppi<ra-fiv iroiovvras
jraryp, Eur. Med. 1321.
"
"
shivery showers." But aa
(Schol.).
"Shivering showers
"
"
may
bristling showers
fyfipos is a orparor d/ieiXtxo? (P. 6, 12),
|

well represent bristling spears.

had not

icate their first

sneer at him,

83. airav

6v(T<r.

mida> (P. 1,

above.
L.

&

87;

S.

tccpOcWes
for Greek

II. 7,
:

62: <m'x

He was

tyxto-t

still

Kdprj KOfioavrfs 'A^atoi,

Achaian origin, despite his strange

vwrov KaTaiOvoxro*' For ace. Comp. P. 5, 11 Karaihis

p-dnaipav

e'<rri'ai>.

5, 11),

<rl>T*pas

Others think of the

v. 98.

and the vindication of

attire.

Comp.

a boy, and
youths were wont to dedHence Pelias'
hair to the river-gods (Schol.).

82. ov8J KO|xav .

shorn his locks off

nfQpiKvtai.

As

"flared

c'5s.

drapftdroio.

P. seems to associate ai6v<r<T<a with

all

down

his back."

Comp. dyXaoi

84. iroppaKToio (not in

Herrn. reads oTapfjivKToio after Hesych.

See O.

9, 78.

I. makes trial of his unaffrighted soul

Tapp.va<Tdai (pofirjdrivai.
ust as, on one interpretahis soul that cannot be affrighted
tion, Kyrene makes trial of her unmeasured strength (P. 9, 38).
j

85. Iv a-yop^ irXi^Oovros oxXov In prose, Tr\Tjdo\icrr]S dyopds, from

10 o'clock in the morning. Gen. of time, from which the gen.
:

absol.,

with

pres. part., springs.

.N

NOTES.

290

86. 6iri5o(iv**v
Not gen. absol. " Of the awed be" For
all
eprras
that," though they knew not that he
the heir. TI . . . ical -nSSt " Many a one (&>8e 8e ns ewreo-Ke,

'En.

8'.

holders."

was

87. Ov TI irov: Half-question,

Horn.), among other things this."
" It can't
half-statement.
be, although it ought to be."
Comp.

Ar. Ran. 522, and the famous skolion of Kallistratos *iXra#'

otiBe pav
ov Tt TTOV TfdvrjKas.
Swearing often indicates a
:

-.

'A.pfj.68i,

doubt which one desires to remove (P. 1, 63). Apollo's hair is

the first thing suggested by the TiAo/ta/xoi
dyXaoi (v. 82).
Ares is next (?K7rayXos, v. 79) but not so beautiful as Apollo,
.

then the demigods. ir<S<ris 'A^po8iAres, for Hephaistos is not recognized by Pindar as the
husband of Aphrodite nor is he by Homer in the Iliad, and the

though Aphrodite's lord

TO:

episode of Od. 8, 266 was discredited in antiquity. 88. iv 8^:

And yet who else can it be, for Otos and Ephialtes are dead ?
The Aloeidai were buried in Naxos and had a cult there.
Nd$<{>
:

89. *flrov

'E<t>ia\Ta

Homer calls them

TroAi/

KaXAiorous /xera

ye K\VTOV 'GpiWa (Od. 11, 310).

According to him the brothers
were slain by Apollo for threatening the immortals with war.

According to another account, they slew each other by the device

of Artemis. The comparisons are taken from the Artemis cycle,
as lason is clearly a hunter.
'E^idXra: For the voc. comp. v.
175; P. 11, 62. The voc. naturally gives special prominence and
interest, but it must not be pressed too much, as has been done
with Harp6K\is liriTfv and Efyiaie <ru/3a>ra. Metre and variety
have much to do with such shifts. 90. KOI jtdv. It is hard to
believe Tityos dead with this gigantic youth before our eyes;
hence the oath by way of confirmation, as v. 87. TITV^V T. was
slain by Artemis. Od. 11, 580 Aijro) yap rp^Kija-f Ator Kv8prjv TrapdKOITW IIv$a>8' fpxop,fVT)v 8ia KaXXi^dpov Ilai/OTrijos
Those who
wish to moralize P.'s song see in these figures warning examples.
It would be as fair to say that Tityos was introduced as a com.
pliment to Arkesilas, whose ancestor he was (v. 46). 92. 5$pa
:

A bit

of obbligato reflection without any

personal application. The Greek moralizes as Shakespeare quibrav 4v Svvara) ^iXoTaruv See P. 2, 34.
bles.

cparai

eparai is subj.

e'.

2rp.

96.
T'

Greek seldom comes nearer than this to ev 8ia 8vo1v (v.

Mules were a favorite team among the Thessalians as well

ainjvg,:

18).

The lower range of this word, as O. 2,

qjxKJvois |ecrr
Comp. O. 8, 61: av lirirots.

94. -yapvov

ivo, 8' T](u6vot.s:

PYTHIA
as

among the

96.

Sicilians.

8{tTcpJ

291

IV.
:

lason had lost his

left

shoe

KX&rrwv
in crossing the Anauros. See v. 75.
Ka^inrrutv. Cf. O.
The Greek associated the dissociate radicals of these
6, 36.
97. Iloiav -yalav There is something disrespectful about
and yalav is not especially courteous. The Homeric formula

words.
iroiav,

dv8p>v ; irodi rot, TTO\IS t]8e roKrjfs ; Pelooking neither to the right nor to
the left of him, his eye riveted on the unsandalled foot, and seeing nothing of the OTTIS on the face of the multitude. 98. av0pciirv
"
. . .
iroXias . . . yaarpos
\a.p.a.iytvttav
Groundling wenches."
No father is mentioned (contrast Homer's roKfjfs), and the mother
is an old drab, by whom lason was "ditch-delivered."
The insinuation that she petted her child is not impossible, though to
less prejudiced eyes lason could not have suggested a ftafj.ft.d" Sent
"
"
99. 4{avtJKv
Kvdos.
forth,"
spewed forth," spawned."
is

(Od.

1,

lias

had come

170)

ris irodtv (<T(T

irporporrcLBav,

100. Karajudvais

Ironical.

101. 0ap<nf(rais a-yavoiai Xoyois

Both lessors that
'Aw. f.
lason had learned from Cheiron boldness of action, gentleness
102. apcty&n
This form, only here in P., becomes
of speech.
common in later times perhaps " was moved to answer." CC,
:

(<TTpaT(v0T) (P. 1,51).

May be an

oureiv:

undifferentiated

fut.,

equiv. to a present. But the future

/*AXeu/ oia-ttv is defens/" that I am
ble,
going to show myself the bearer of CheironV
training." Cheiron's great lesson, reverence for Zeus, and reverence for one's parents (P. 6, 23), is the very lesson which lason is
about to carry out. In restoring Aison he is obeying Zeus.
103. XapiicXovs Chariklo was the wife and Philyra the mother
of Cheiron (P. 3, 1). icovpai . . . a-yvat Repels the iroXia yacrnyp,
the old drab who is supposed to have spoiled him. 104. ffpyov
:

. .
cliruv: Zeugma for iroirjaas.
105. evrpdireXov The reading of
the old codices, eWpaTrcXoi/, might mean " to cause concern, shame,
"
"
deanxiety." (vrpaTTfXov (Cod. Perus.) would mean
shifty,"
"I have never said nor done aught that was not
ceitful."
straightforward." eVrpaTreXov ( Schol. ), "out of the way," "in.

So with Bergk after the gram106. opxav ayKO|u!;<i>v

marian Chairis for the MS. dpxaiav KO/X('W. dyKopifav " To get
back," .pres. part, for fut. (dy)Ko/i(a>i> has been suggested, but

solent."

See 0. 13, 59.

unnecessary. The conative present will serve.
is read, notice how far the adjective carries in the
equable dactylo-epitrites. Cf. 0. 11 (10), 19. trarpcis Pelias had
is

If dp\aiav

asked for his mother, lason proudly speaks of his father.

NOTES.

292
'ETT.

109. viv: Sc. np.dv.

t.

Xevicais TriOijo-avTa 4>pa<r(v

"
"
variously interpreted.
White," i. e. envious." Others comp.
\firya\tos (II. 9, 119: (ppecrl \fvya\trjcri mQfjcras), \vypos, Fennell
"
Xvo-o-a (X vKy a),
yielding to his mad desires." 110. apx8iicav:
is

"Lords by primal

right," "lawful lords."

112. tcaSos

0T)icd-

"Having made lamentation." 113. ju-ya KWKVTU: So p.iy8a

with dat, II. 8, 437. 114. ir^iirov: With the iinperf. the thoughts
pcvoi:

See note on O. 2, 23. cnrap-ydvois ev irop4>v115. WKTI Koivd(rirdpyava are also KpoKurra, N. 1, 38.
"
wavres 68dv:
Having made night privy to the journey." Time
follow the motion.

The

pcois:

often considered a

is

The

1,

inf.

as O. 6, 33

companion (O. 2, 11).

iro pa aiv e iv 86/j.fv

rjpan,

White horses were

117. XevicfiMrttv:

"Si-rp.

s.

66

XevKOTTebXooi/

The MSS. have

(=d(piyij.vos av

118. ov |ivav

Tvv8api8dv.

rpeUJKv
rptfpeiv
EiXart'Sa flp(<pos.

See P.

princely.
'iKoip.av

aXXcov:

ov gdvav ucot/x' av
ko/iay, which is unmetrical.
"
"
I can't have come to a strange land
would

ftrjv),

be easy, and an aorist IKOI/U is supported by IKCO^I, II. 9, 414, and

The pure opt. might
2, 36, where the codices have IKOVT'.
stand here as a half-wish, a thought begotten of a wish, "I hope
it will turn out that I have come to no strange land," ov being
adhaerescent. Bergk has written ov pav tlvos IKG> yalav oXXcoi/,
which does not explain the corruption, ov p,dv does not occur
aXXwv =z d\\orpiav. Cumulative.
in P., though ouSe pdv does.
119. 4>iip
Only of the Centaurs. P. 3, 4. 120. eyvov
6!)p.
121. -iro(x<jx5Xv|av For the plur. see P. 1, 13. The dualfyvaxrav.
istic neut. plur. often retains the plur. verb, and there are two
streams of tears here. 122. &v irpl \|rvxdv: " All round (through)
his soul"
Kara TTJV eavrov ^fv\^ v (Schol.).

by P.

'Avr.
<riv

O.

s'.

3,

124. Ka<ri-yvt]Toi

39

'Ep.pfi>i8ats

Aison's brothers.

fXddv

Qrjpavi r

See

Kv8os.

v. 72.

<T|H-

The brothers

"At the report," "close on

125. KOTO. icXe'os
"
the report." Comp. Kara. Tt68as, at the heel of," " following."
Most memorable to us for his part in the
4>pT]s See v. 72.
Alkestis of Euripides, where he declines to die for his son Adwere an accession.

inetos: ^alptis 6pS>v <p>s, irartpa 8 ov ^aiptiv 8oKfls; 'Yirep^Sa:

fountain in the ancient Pherai, near lolkos, Hypereia.
See

commentators on

II. 2,

734

6,

457.

126. IK Si Mco-crdvas

sene was distant, hence an implied antithesis to

'ApvOdv

= 'A/iu^awj/, as

f'yyiis

'AXKfidv for 'AXKfjLaiw (P. 8, 46).

Mes-

^iv.

PYTHIA

293

IV.

famous seer, son of Amythan. Od. 11, 259; 15, 225.

cf. P. 11, 35: 2rpd<pM>v e't127. dv|i4v: Must depend on iKtv
but it would be easier to have IKOV (suggested by Bergk),
KfTO
and dv^rtoi (Hartung). IKOV would then be in the schema Alcmairo:

See

nicum.

v. 179.

It is

wholly inconceivable that dvc^iov should

^v Sairbs
At a
H-oipq.
(piXtovrts.
common, banquet. 129. apju^ovra: Cornp. N. 1, 21:
The Thessalians lived well, as we know from
app.68iov df'nrvov.
Euripides' Alkestis, Plato's Kriton, and other familiar passages.

depend on

shared,

i.

evptveovrfS

e.

Stretched joy to its full extent," " kept it

130. Spairciv: N. 2, 8: 8piirto-dai KaXXiorov
up
height."
The aor., on account of the definite number ( v. 26 ).
awToi.
Otherwise we should have expected the present part., as the
action is coincident with rdvvtv.
irao-av

. . .

rdwcv

"

to its full

'EJT. s'.

132. irdvra: Ace. pi. with TraptKoivaro.

In contra-

distinction to V. 116: KffpaXaia Xdywi/.

0^|vos
iroir)<rdfi.(vos.
"
Speaking in sober earnest.'' <nrov8aiov : Before v. 129 it was
all

(i>(ppo(Tiiva.

sides with him."

133.

irnrovT(o)

Figuratively.

"They took

136. Tvpovs
See v. 72, and note the contrast to TroXiar
yaoTpdr, both at the time of bearing. irpafcv . . . Sapov Cf. v.
"
"
101.
by nature rj^pos, by culture (J. H. H.
irpavs,
gentle
"
Schmidt). 137. iroTwrrdtwv Comp. the Biblical "distil (Deut.
138. paXXero KprjirtSa: P. 7, 3:
32, 2), and Homer's ptev au8j.
Kpr)iri8 doidav ^aXeV^at. The metaphor shifts rapidly, but the
notion of drink - offering is not foreign to that of laying the
foundation. Ilai II. Stately genealogical address, with effective position of vocative.
Poseidon was worshipped
IIcTpaCau
in Thessaly as the Cleaver of the Rock, because he had opened
a way through the rock for the Peneios. On the TT'S, see v. 150.
cpao-nr\oKa.(iov

134. JjXOov

(tryapov: v. 51.

>

2rp.

IKTOV

C'.

5'

139. wKvrepai

"

Are but too

fparrwv 6vrepai paviai.

feast," the

next morning with

N.

swift."

140. ftripSav

"
:

11,

48

Day

dirpo<r-

after the

nexj day's reckonruled our tempers by

the law of right (&>)."
Cf. v. 275.
142. jtia P<ws
v<f>atvciv
Not common, yet not surprising after the frequent use of heifer
ing.

141. 6fLi<ro-a|ievovs 6pY<*s

all its horrors,

'

"Having
:

Samson's heifer ") everywhere for a girl or young married

Cf. Aisch. Ag. 1126 (Kassandra speaks)
Sirext TTJS /3ooy
143. 6p<urv|M]Scii ZoXpxovct
rov ravpov.
See v. 72. S. imitated
("

woman.

NOTES.

294

Zeus's thunder and lightning, and

144. Ktivwv 4*Tv9e'vTes

was struck by lightning

256

v.

for his

Ev<a/iou <weu0e'i>.
aOe'vos acXiov: The sun rejoiceth as a strong man to run a race.
xpvacov v in Homer, v common in P. 145. Motpai 8' d4>urravr(<u),
pains.

The Fates withdraw ... to hide their blush " (Dissen).

This has a modern sound, but is better than Rauchenstein's,
" The Fates avert their
faces, if enmity among the members of
a family obscures reverence (die heilige Scheu)." Hermann reads
aidoi, and makes the Fates revolt against concealment.
KTf.

"

The historical Thesssilians were faX. Hell. 6, 1, 9. 149. |av6o$ " dun\^ airovpais
apcTcpwv TOKC'COV, KTf. This is hardly jrpavs oapos, according to
modern ideas, but lason warms as he goes on. CompTv. 109
with v. 101.
150. irXovrov maivwv " Feeding fat thy wealth."
P. has an especial fancy for TV- alliteration.
151. irovci: "Irks,"
a rare transitive use. ravra irop<n5vovr(a)
Sri ravra iropa-vvfi.
152. Kai axaiTTOV jxdvapxov ical Opovos
The verb of ravra is not
exhausted, and there is no need of a nominativus pendens. Kprj'fan. g.

mous

148. aKovrcoxriv

aKovTKrrai.

OctSas

Aison.

was famous.
K a s <rKo\ids.
8t,

which had

. . Xaois
The Thessalian cavalry
Solon, fr. IV. 37 evdi/vei 8 8 1154. TO, \Uv : Notice the lordly indifference to TO.
already been disposed of flocks and fields.

153. lirmiTais

evOwe

Sfcas

'ETT. f
155. avooniiJ
To which the di/aor^OT;, avaoT^trj;?, of
the MSS. points, ai/cumui?, the opt., is a rare sequence and cannot be paralleled in P. As there is no touch of a past element,
See
dvcurrair) would be a wish, and detach itself from \va-ov.
Am. Journ. of Phil. IV. p. 425. vewrepov, itself threatening, is re" I will be such " as thou
inforced by KOKOV.
156.*Ero|H TOIOS
wishest me to be, will do everything thou wishest. Coinp. the
.

Yet Pelias be157. Ynp ai v K^P*

phrase iravrolov yevfcrdm.
longed to the same generation with lason, ace. to Pindar (see v.
72), although not ace. to Homer, who makes Aison and Pelias
half-brothers (Qd. 11, 254 foil.). This makes the fraud transparent.
Notice also his vigorous entrance (v. 94). It is true that
his daughters cut him up, in order to restore his youth, but
that does not prove that he was as old a man as Aison.
158.
:

r6v

K. "is swelling," "is bourgeoning."

"
only
wave," but also the swelling bud." (J.
H. H. Schmidt). 159. Kop.t|ai This refers to the ceremony of ova8'

avOos tjpas KV|UUVCI

not
the "

KVfia is

PYTHIA

295

IV.

f, by which the ghosts of those who had died and been

buried in foreign parts were summoned to return home and rest
in their cenotaph.
So we might translate *., " lay." 160. iX66vras We should expect (\66vra, sc. TWO. But there is a ij/iaj in
:

Pelias' conscience.

162. parpvias: Ino

2r/>. rf.

form of the familiar legend

"

Leukothea, ace. to the

ace. to P.,

Demodike

common

(Schol.).

164.

Whether

there is aught to be followed up."

Dreams might be false, for they come through the gate of ivory
as well as through the gate of horn, Od. 19,562.
irpvvei: Sc.
el

pcTaXXarrfv

'An-oXXwv, a very natural ellipsis

vat iro}iirdv: Almost as one
7ro/zjrdi>

Od.

\f<rys

(tovapxeiv
KOI dpovos.

p.6vapxov
was the father of

'Air.

rf.

their

3, 2, 23. 5, 6.

irpo^o-civ

= tav

rt-

common

= 5ri

170. erfvTO irX6ov

Comp. the use of (ppovpav

T&CO-OV

pcwriAtWp^v Comp. V. 152: KOI

167. Zevs 6 ycvc'OXios Cf. O. 8, 16.

icat

(TKairrov

Z.

165.

290; 10, 18.

6,

nporj&m.

whenever oracles are mentioned.

word, "a ship-home-bringing."

Qaivfiv

ancestor, Aiolos.

mv.

Svra>s

among

168. KpiOcv

171.

the Spartans, Xen. Hell.

There may be an allusion to

fire-signals.

rpcts

172. 4XiicopXc<|>dpov Of Aphrodite,

Herakles, Kastor, Polydeukes.
fr. IX.
2,5: 'A<po8mzs e'Xi/co/3Xf fyapov. Cf. Hesiod. Theog. 16;
:

Hymn. Horn. V.

173. 'Ewocr8a:

19.

Of the sons of Poseidon

Euphamos, ancestor of Arkesilas, is from Tainaros (v. 44)

Periklymenos, grandson of Poseidon, brother of Nestor (Od. 11,
(v. 33),

286), is from Pylos.

alScoOcvrc? aXtcdv

Notice the chiasm.

They are all Minyans.

" from selfparlance,
respect,"
"
oXcaj/ being an equiv. of
self," as ^airav (0. 14, 24), as x6p.as (P.
"
a\Kiiv is
10, 40).
repute for valor," a brachylogy made suffiIn

modern

ciently pl/iin by <cAe'o? below.

in the sense of military honor.
KOI

al8S> Biaff

tvl dvp.(a.

reference to the top-knot.

alSus and
II. 15, 561

alo-xvinj
:

are often used

S> <f>[\oi,

dvtpes

etrrt,

See also v. 185. vi|rixaiTai: Hardly a

Poseidon's sons were all tall (the unit

of measurement being the fathom), and if they were tall, so was

their hair.
Cf. olofavos (So. O. R. 846), eWo/xTrd&ai/ (O. C. 717).
175. IIcpiKXv(iv(e) Comp. v. 89.
P. has no special interest in
Periklymenos. cwpvpia: A title in the Poseidon family, O. 6, 58;
176. i 'AirdXXwvos
P. 2, 12.
Orpheus is the son of Oiagros (fr.
X. 8, 10 hence
'A. may be taken as 'sent
Cf. Hes. Theog.
by.'
:

'

NOTES.

296

94.
aoiSav iranfp Even in prose the speech-master at a symposium is a irarfjp Xoyov (Plat. Sympos. 177 D). 177. 'Op<|>cvs First
mentioned by Ibykos of Rhegion, assigned to the Argonautic expedition by Simonides of Keos.
:

178. ir^iirc; See v. 114.

'ETT. r).

xp^o'op*'"' 1 ?

*s

xP V(r PP airis

an

Homeric epithet of Hermes. 179. 'Extova

."Epvrov: Hold-fast
and Pull-hard, sons of Hermes and Antianeira. KexXdBovros A
.

peculiar Doric perfect participle with present signification (comp.

The Schol. makes it Tr\r}6vovTas, " full to
Trt(pfHKovTas, v. 183).

overflowing with youth." The anticipation of the plural is called

vxwa 'A\Kpavt.K6i>. See note on v. 126. II. 5, 774; 20, 138 Od.
;

'A^fpovra HvpXpXfyfdwv re ptovtrtv

fls

10,513:

Zrvyos vtiaros

we remember how

if

carries its

the better
na-yyaiov

"

The

etrriv d-rroppag.

K.a>Kvr6s ff, os

becomes much

figure

distinctly the plural

8fj

easier

ending of the verb

and here Ktx^abovTas recalls vlovs. rax&s So

MSS. for TaX fa>s. Cf. P. 11, 48: 6oav d/cTiva.
180.
On the borders of Thrace and Macedon. vaierdovres
they,"

"Dwelling, as they did," far to the north, while Euphamos dwelt

in the far south.
Cf. P. 1, 64.
181. OVJA^ -ycXavct: Comp. O. 5, 2:
Notice the cumulation. evrvev O. 3, 28 evrv
Kapbiq yfXavtl.
183. ir<j>piKovros
184. ir<50ov cvSaicv "Hpa
See V. 179.
avayKa.
Hera favored the expedition, as appears from other sources. Od.
12, 72 "Hpi; irapiire^fv, eVe! (plXos qtv 'lT)<r<av.
:

'.

2r/j.

N.

9,

44.

186. rav axCvSwov

The

article

auova: alatv is fem.

has a contemptuous

fling.

P. 5, 7;

So. Ai.

473

"

yap avdpa TOV panpov xpfleiv /Stow, your." irapa (iarpi

Comp. the slur cast on lason (v. 98), and P. 8, 85 nd\6vra>v irap
lirl ical 0aveiT{)
Even if death
O. 1, 83.
7T&rrovT(a)
parepa.
187. ^appcucov
las
were to be the meed (like eVt pio-da).
"
"
"
apcras (pappaKov TWOS is either a remedy for or a means to."
Here it is the latter. It is not " a solace for their valorous toil,"
but an "elixir of valor," as we say the "elixir of youth." 189.
" Reviewed."
191. M<JCoincident action.
Xlgaro
4iraiv>]o-ais
:

alcrxpbv

The epfioKov was more

famous soothsayer.
i(ip<JXov
modern, but P. had in mind the famous talking-plank in the ship
Argo. 192. ayicvpas: The same mild anachronism as above, v.
The anchors were suspended at the prow, v. 22 and P. 10,
24.

t|/o

52.

On

the two anchors, see O.

6, 101.

PYTHIA

297

IV.

193. <j>id\av: Corap. the famous scene in Thuk. 6, 32.

So O. 13,77: Zijuos fyxtnapavvov.
'P avvov
195.
So ($<ppova and $tX/ai/, v. 196.
povs: Proleptic.

'Aw.

0'.

194.

yx

llt

avtfitav pnrai is common enough everywhere.

our author, P. 9, 52; N. 3, 59; fr. V. 1, 6; So. Antig. 137.
common of the waves. Fr. XI. 83 novrov /Jurat.
p. not so
Ko\i He called on Zeus, and then on the other things that he
feared or desired. Nothing is more characteristic of the heathen
mind than this meticulous prevision. Zeus answered for all.

piiras ave'p.uv T(

So

in

wrim: No vartpov

lightning was
used in poetry
to form periphrases with abstract nouns (Bockh), very much as
a. ear. =: dveTrvf v<rav, for which see
Troida-dai is used in prose,
dvfirvfv<rd T' K crtQfV .KOI KarfKoi^tra rovfibv
So. O. R. 1221
"
They drew a free breath again."

198. <frOyna

199. ajiirvoav

secondary.

The

irporepov.

coraorav

Icrravai is

khrrwv: Not the Homeric

201.

'Err. ff.

present formation from (went (Curtius).

to the dipping oar, that cannot get its
*A(-(ivos,

afterwards

204. JWavr(o)

Evf-eivos.

but a new

cVt'nra>,

202. aicopos Gives life

fill.
203. 'A{eivov The

= Ka6i8pvo-av.

Cf.

P. 5, 42 Ka6f<T<ravTo (MSS.), where, however, we read tta.6T<rav.

205. ^oivwro-o .
a-ylXa ravpwv Cf. V. 149 /3oov av6as aye'Xay.
For the sacrifice, see O. 13, 69. 81. 0pr|iKwv: Hieron, the seat of
:

the altar, was on the Asiatic shore and in Bithynia. The Bithynians were Thracians (Hdt. 7, 75), but Thracian had a nobler sound,
such as Norse has to us, a sound of the sea. So. O. R. 196 r6v
:

K\v8a>va, Antig. 588

Pflcr (rai<riv (pfftos v(pa\ov fTri8pdp.T) nvoals.

p TI K

dTro^tvov oppov

ov

dv<nrv6ois orav

206. vedicrwrrov

Built by the sons of Phrixos. Xtowv The best MSS. have Xi'0tvov, which is a gloss. This shows that the old readers connected
:

it

with Btvap.

0^vap

I.

(4),

74

fiaOvKpTjfjivov iro\ias

aXoy

tt-tvputv

Qivap, where it means the hollow (depth) of the sea, as it elsewhere means the hollow of the hand. Ace. to the Schol. TO KOI'207. 8<nrrav ...
Xco/io TOV /3a>/i.ov ro vTroSf^o/iej/ov TO 6vp.ara.
vawv: Poseidon.
2rp. i.

208. <ruv8pofxwv .
See P. 1, 14.

a|juxip.aKCTov

irtrpav

The famous Symplegades.

The winds come like

210. orfyes:

of armed men. Contrast P. 6, 12. tiXcvrdv " Death."

Long a notable demarcation for the Greeks. 212.
KcXaivwirccro-i
See Hdt. 2, 104, on the dark skin of the Kolchiana.

files

211. *eUriv:

NOTES.

298
ptav ja|av
213. irap(d)
|

= " Joined battle,"

"
:

"fought hand to hand with."

avr

In the realm of."

Contrast to their previ-

Aphrodite. Cf. II. 21, 470:

214. irouci\av tvyya See P. 2, 40, and
TTorvia 6r)pS>v (Artemis).
add N. 4, 35: Ivyyt 8' eXfco/xat rJTop, and Plaut. Cistell. 2, 1, 4:
versor in amoris rot a miser.

ous adventures.

inJrvia

f)t\Euv:

216. |Muvo8(a): "Maddening."

217. Xiras: "Suppli" the
Cf. O. 6, 78 Xirals 6v<rilitany of incantations."
Some prefer to consider \trds as a substantive in apposition.
ais.
Sc. dvai.
So TOVTOVS imreas e'Si'8af j>, TOV
licSiSd<rKT)0-cv <ro4>6v
218. iroOeiva ...
vlbv iTnrea f8i8daro, avrovs yevvaiovs fe8i8ai;as.
'fan-,

t'.

catory,"

'EXXds

'EXXay

irodovfj.fvri

= irodos

'EXXaSos.

219. icaiop^vav

The metaphor of the oXtn-o? KVK\OS lingers. She is a wheel of ^ J

*
fire, lashed by Peitho, who is Aphrodites first maid of dishonor.
So Aisch. Ag. 385 (of an unholy love) /SiSrai 8' & rdXaiva niidm.
220. ircipar' ac'OXwv : " The achievements of ( the means of
achieving) the labors." 221. avTiTojxa: Magic herbs were shred:

ded

222. KaraivTioxtv

"

Od.

o>p><ra

252:

virvov roS' avrinoKirov

They pledged

They vowed sweet union

sponderunt.
223. fxi|ai:
4,

Ag. 17:

as in Aisch.

(rffivtiv),

fjivctv &KOS.

evre-

(themselves).

Be-

in mutual wedlock."

promise, as a vow, takes the aor. of the future.

.
.
/njj
ava^vai. With /il|ai cf. P. 9, 13:
.

vvov yajtov p.i\6fvra.

On

ev

with piyvvvai, 0.

1, 90.

So Apoll. Rhod. 3, 1285 dSdpavros

" Pressed
"
S. transl.
hard." L.
alleged !"
Applies strictly to aporpov alone, not to the oxen, which would
"
require f<rn)<rev. Transl. KOI, with." 225. favOav See v. 149 :
=:
av0as dye\as.
yevvuv
/3oa>f
ytvyuv i u is semi vocalic (conirve'ov :
See G. Meyer, Gr. Gr.
147.
Monosyllabic.
sonantal).
'ETT.

224. aSajxavrivov:

t'.

rit|i\|aTo

Spm-pov.

&

See G. Meyer, Gr. Gr.

Sometimes written irvtvv.
WXooxrcv: Apoll. Rhod. 3, 1307: eiXxei/ Vi/cpaTe'o>f
o<ppa

TTf\d<r(TT)

fvy\rj ^a\Kfir).

6p0as

8*

117.

227.

iravri

vdevei

avXaxas, are.

"
:

Straight

was driving." The process and

228. ivd: With <TX%(
<""'
opoyviat

stretched he the furrows as he

the result side by side.

would mean " a fathom at a time," not " fathom high."
Sons apx l va<^ He disdains to turn to lason.
POO-I.XCVS,
'

229.

230.

arpw|ivdv: "Coverlet."
2rp. M'.

231. 0v<rovs>: " Flocks."

232. ov8urovTos: Gen. abs.

PYTHIA

IV.

299

of participle without a subject. See v. 25. icpoic&v: A royai

See N.I, 38: tcpoKorov a-rrdpyavov.
color, as well as purple.
233. WXci =. (F6\fi.
Plupf. of eiXeo.
Comp. topya and the
So he does not say
rest.
4$T|Aais: P. suppresses the details.
that Medeia bade lason not plough against the wind. Even
here we have to do only with the Kt<pd\aia \6ya>v. For the pi.,
So N. 8, 3 ^epo-ti/ dvdyKas.
see O. 3, 28.
234. ava-yicas cvreo-iv
Comp. Hor. Od. 1, 35, 17 naeva Necessitas claws trabales et cu:

manu gestans aena. 236. alavls: P. 1, 83. 237. tvjcv: His

anguish was inarticulate (d^xui/^rw
a^ei), but his amazement
forced from him the whistling lv of astonishment.
neos

:
Cf. P. 8, 20 : iroiq IIapva<ri8i.
fpcirrov
241.
p((povra). Homer has only an aor. fpc^a.
'AeXiov eavfjLcurros vl6s Od. 10, 136: KipKrj eWXoKa/AOS, 8fivff dt&s

'Ayr.

ta'.

Tjpf<pov (I. 3,

240. iroias

72

'

6\oo(ppovos AiTjrao

'HtXi'ot
242.

^KTawaav

o.

B^pfia

Poetical condensation.

fKyfyarrjv

dp<f)a)

<ffvcircv,

ev8a

Prolepsis.
Phrixos had slain the

ram with his sacrificial knife in honor of Zevs Acxpixmot, flayed

243. tjXircTo
As
him, and stretched the skin.
irpd|c(r0ai
.

contains an element of wish it may take the aor. irpd^a<r6ai (with the MSS.) instead of the future, but P. uses the first
aor. only here, and the neg. ov favors irpdr6ai (P. 1,43), unless
we write ndvov tee. Comp. P. 3, 43. The subject of <npd. is
Easier irpdf-. as fut. pass, (note on v. 15) with oi='ldo-ovi.
'lao-ova.
Perh. irtirpdgeo-dai. 244. X6xw. The grove of Ares. ti\tro . . .
The dragon guarded it
ffvvtav. "Was sticking to the jaws."
thus when he saw lason approaching. 245. vavv tcpd-rci: The
X7ro/iat

absence of the article does not exclude the Argo, which is never
The antecedent of the relative
lost sight of (irdai /ie'Xovo-a).
does not require the article. 246. rcXeorav &v . . . criSapov Picturesque addition. The finishing of the ship was the beginning,
the finishing of the dragon the achievement, and there the main
:

story ends.
'ETT. to'.

From

247. |wucp<i:

this point to the

For the plur. 0. 1, 52 P. 1, 34 N. 4, 71.

end of the story proper (v. 256), P. has
;

nothing but aorists, whereas the statistics of the myth show the
proportion of imperf. to aor. to be 1 1.78, which is unusually
KUT' Ajia{iT<Sv: The
See Am. Journ. of Phil. IV. p. 162.
high.
point of this is heightened by the existence of grooves in the
:

NOTES.

300
Greek highways,

"

in the old groove."

xaipos yap

presses."

Spa

"

<nvdirTci

248.

tVei'yet (Schol.).

p.'

a-yrjjiai.

"

Time

= ^ye/ia)?

Poetic art" (O. 1, 116). Poetry is a path (O. 9,

aromas
249. y\avKwiraL O. 6, 45.
Tt'xvois
51).
By putting him to sleep.
250. 'Apiceo-iXa: The poem is soon to
PI., as O. 9, 56; P. 3, 11.
:

dp,i.

Cf.
personal. <rvv aura: "With her own help."
0. 13,53. <j>6Vov:
expect <povov like rpotpov, but comp. Eur.
"
1. A. 794
TOV KVKVOV 8o\ix a ^X fVOS yovov.
Her
the death
of Pelias " seems violent. In the story of the return, the pas-

become more

We

sage through Africa

251. Iv

(v. 26).

is

presupposed on account of the overture

"They (the Argonauts) entered the

(J.CYCV:

stretches of Ocean." 252. Aapadv

O. 4, 20 A adv8po<jx$vwv
p.vid8a>v ywaiK&v. 253. de'OXois Funeral games in honor of
fw' So Kayser for
Thoas, father of Hypsipyle. See O. 4, 23.
's
I. 7 (8), 53
fv a s
dvSpeiav.
Kpicrtv, on the strength of the Schol.
.

fKTap.av Sopl.

laOaros

d|i|>Cs

"About

Such a
(for) raiment."
This does not exclude the wreath

prize is mentioned 0. 9, 104.

mentioned O. 4, 24. Note dptpis

2rp.

t/3'.

254. eV dXXoSairats

=
.

dp,<pi

only here.

dpovpais

Familiar symbolism.

So in the marriage formula eVt iraidav yvqa-iuv dpor<a. Eur.

Phoen. 18: p,T) a-rrdpf TCKVUV aXoKa 8aip,6vav /3/a. The fulfilment
echoes the prophecy. Cf. v. 50: d\\o8airav
yvvaiK&v tv
\X(riv. 255. TovraKis =z rare. P. 9, 15. vjieT^pas dicrivos SX^ov
Run together (so-called hypallage). " Your radiant prosperity,"
.

due to Hermann. The MSS. have aKrlvas. p.oip(8iov

The rhythm connects it with a-mp^a), and p,. (nrtpp-a is as easily
understood as p.6ptp,os vlos (O. 2, 42). But the standing phrase
with 3/zap. 256. f\
p.6pvip.ov rfp.ap forces the other combination
is

"

Or, shall I say ? night." The plur., as often of," night258. tj0e<riv: "Abode."
See v. 251.
257. |iiX WvT
watches."
See P. 5, 74: 06 tv (Sparta) ytymttpivoi "IK.OVTO Qrjpav&f <p>Tfs
KaXXUrrav
259. AaroCBas The next ode
Qrjpav.
Alyttdai.
emphasizes the agency of Apollo. Aip^as ireSiov Cf. v. 52 /cevvv np,d
260. <nv 6ewv riftais Cf. v. 51
\au>e<pf(i)v irtbimv.
ICOOTW \fwo9p6vov . . . Kvpdvas: Ka&rv for acrrv with Har0t)v.
VVKTCS

tung.

More about Kyrene

'AJ/T. t^'.

in P.

262. ipOdpovXov

. . .

9.

!<f*vpop.e'vois

An

after- thought

balances a-vv dewv rip-dis,

participle (P. 6, 46) which recalls fyi/u,
and, like o-vv 6tS>v ripais, gives at once the cause and condition

PYTHIA

301

IV.

of success in administration, " by the devising of right counsel."

These words link the conclusion to the myth, and op66ftov\ov p.fjTiv
prepares the way for the wisdom of Oidipus and the saying of
Homer. The Battiadai are a wise race; they can read riddles
and apply proverbs that bear on the management of the state.
Neither text nor interpretation is settled. A full discussion is
impossible in the limits assigned to this edition. I give first a
close rendering of Christ's text, which I have followed: "Learn to
know now the wisdom of Oidipus. For if a man with a keenedged axe hew off the branches of a great oak and put shame

on

comely seeming, e'en though its fruit fail, it puts a vote

itself, if at any time into the wintry fire it comes
at last, or together with upright columns of lordliness being
stayed it performs a wretched toil in alien walls, having left
desolate its own place." 263. yvuQi . tro^iav Twisted by the
its

concerning

interpreters to
Ol8iir68a

<ro<f>iav

mean "show
is

whom

thyself as wise as Oidipus." TOV

as definite as ru>v 8' 'O^pov KOI r68( (rwdtpe-

Theban

lore was native, is repeating a

mistake not, a parable of Oidipus
in exile.
264. ilepctyrj \Uv So Christ after Bergk, who has also
changed alaxvvoi into ala^vvrj. d ydp with the opt. would not be
consistent with P.'s handling of this form. On the other hand, el
with the subj. is found in comparison O. 7, 1. 265. 81801 i|>a<t>ov
irtp auras The onk is on trial. 81861/01 ^(f)ov is equiv. to nt^n^j"
"
It puts its own case to the vote."
Enables one to judge
&iv.
of it " (Jebb), and so shows its quality. On irtp*, see O. 6, 38 on
P., to

vos.

all

parable of Oidipus, and, if

" If at last it comes into

avrds , P. 2, 34. 266. et irore . . \oio6iov
the wintry fire," i. e., shows its good qualities by burning freely.
.

Although
building.

cannot bear

it

Trore

fruit, it is

for burning,

good

\oia-0iov like irore

XP

good

for

V<

? vartpy (vv. 53, 55),

ipciSoplva : The great

267. <n>v 6p9ats .

XP V<P ( v 258).
oak forms a beam, which, stayed by the help of the upright columns, bears up the weight of the building. According to some,

Trare

the

beam

KIUV,

horizontal

is

and the

oTovov

according to others,

The weight of the

it,

too, is

an 6p6a

268. (i.6x0ov

K/OVC? 8fa-rr6(rvvai its fellows.

8v-

building. oXXois . . rt.i\t<rw oXAotr

" walls of a
house," only the
oXXorpiW T. cannot be the
" walls of a
The
oak
is
city."
supposed to be the people, the ofot
the princes of the state of Kyrene, or the oak is the Kyrenaian no-

and the branches the members. But nothing seems clearer

than that the oak is one. Who is the oak ? lason. But as lasoo

bility

NOTES.

302

would be the type of Damophilos, Arkesilas would be Pelias,

which is monstrous. Are all these accessories of fire and column
mere adornments ? Or is " the fire insurrection and the master's
house the Persian Empire?" Is this an Homeric comparison,
or a Pindaric riddle ? Why should not the wisdom of Oidipus
'

'

refer to the case of

Oidipus himself? Oidipus is uttering a parable for the benefit of those to whom he had come as an exile.
The parallel between the exiled Oidipus and the exiled Damophilos is one that would not insult Arkesilas, and the coincidences
in detail between the oak and Oidipus are evident enough. Like
the oak, Oidipus has lost his branches, his sons (ofous), who,
according to one version of the legend, perished before their father, his comeliness has been marred (Oarjrov ei8os), the place that
knew him knows him no more (tov e'p^oxrato-a ^wpoi/), and yet,
though his fruit perish (*ai ^divonapnos e'oara), he can render
services to an alien state, such services as are set forth in the
Oidipus at Kolonos of Sophokles. By drawing a lesson from
the mistaken course of his own people towards one of their
great heroes, Pindar acquits himself of a delicate task delicately,
and then, for fear of making the correspondence too close, breaks
off.

'

But why

this parable

Thou

art a timely leech.'

8' lanfp: In any case an interruption to a

"
That knovbecoming awkward. lirucaip&raTos
ILucLv This is a Delphic vicest how best to meet the time."
tory, and the mention of the Healer is especially appropriate, as

270. laoi

t'.

'ETT.

parable that

is

the dpxaytras of the Battiadai, P. 5, 60. 272. p^jStov . . .

In such passages P. delights to change the figure, o-eto-at
and firi x^>P as suggest a building, Kvfifpvarfjp forces us to think
of a ship. The house suddenly floats. So. Ant. 162 ra fiev 8?)

Apollo
o-citrai

is

TroXeof d(r<pa\>s deal

X&pas

ecrtrat

TToXXaJ (rdXo) (TflcravTfs &p0(ticrav irakiv.

" For
275. T(V == <roi.
I|v4>aivovrai :

= opdaxrat.

web of these fair fortunes is weaving to the end."

achievement of this restoration is at hand, is in thy reach.

the

rXaOi:

The

iraper. instead of the conditional

u>

firi

thee

The
276.

rXgs, as v. 165.

277. TWV 8' 'Opipou There is nothing exactly like it

Homer, but we must remember that Homer was a wide
term, and P. may have had a bad memory. The nearest, and that
:

2rp. iy.

in our

not near, approach

\os aia-ipu

fib?/.

is II. 15,

<ruv9fivos

207 eV0X6j>
Od. 17, 153
:

KOI TO T{TVKTCU. or ayyee'/xeto 8t avvQto pu

PYTHIA
"take to heart."

303

IV.
"

"Further," cherish." &rt*"

successful
279. ayyeXios 6p6as
to
a
private understanding bemessage." Everything points
tween P. and Arkesilas as to the restoration of Damophilos. D.
Xov io-Xdv

P.

278.

means

Sp<rvv():

himself.

paid for the ode, and one is reminded of the Delphic oracle and
the banished Alkmaionidai. It would be very innocent to suppose
that P. was really pleading for a man whose pardon was not assured.

iirfyvw

"

With

irpcmi8(av,

had knowledge

of."

yiyvaxrKot

occurs with gen. in Homer. II. 4, 357 yvS> ;(a>o/ie<oio, Od. 21, 36
yvu>TT)v oXXTjXwj/, 23, 109 yj/werd/ie^' dXXjjXwi/. So also Xen. Kyr. 7,
281. iv iraioiv Wos Cf.
2, 18 tyvo) KOI /xdXa aroira ffiov TTOIOVVTOS.
N. 3, 80 WKVS eV Troraj/olf, So. Phil. 685 taros tv y icrois ai/qp. It
does not necessarily follow from this statement of Damophilos'
:

he was really young.

versatility that

use of the participle in predication.

Qvs

(Ka.Toi>TaTT)s.

283. ip^avitci

voice of the calumnious tongue.

the word, here the deed.
*Avr. iy '.

sense.

286.

285.
o-uBJ

action "

282. tytcvpo-ai?

Adjective

Trpfo-ftvs tyic. e. jSiora

.

fanfe:

He hushes

=irpi<r-

the loud

vppovra: Above we have

284.

rots oyaOois : Doubtless in the conservative

" Not
paicvvwv rt'Xos ovS^v:
postponing decisive

a hint, if one chooses, to Arkesilas, but on my theory

Arkesilas had decided. i -y*P
pte wpbs ivBpuiruv With Pin"
The favorable season."
daric freedom
6 naipbs 6 Trpbs dvdp&iruv.
287. Ofpd-irwv 8c Pot., KT(. The Greeks conceive Time and man
:

as

companions

(6 xpovos crwutv, Soph.).

See O.

2, 11.

If,

as

He-

siod says, Day is sometimes a stepmother, sometimes a mother

to a man (O. et D. 825), so a man may be a son or a stepson to

Time an attendant (Btpdnvv), as Patroklos was on Achilles, or

a mere drudge. A dtpd-nav is one who has rights, who can avail
himself of an opportunity without servility. 288. TOVT' aviapora" A sorrow's crown of sorrow."
289. im-is fx"v ir^Sa " To

TOV

w iro&a
stand without," Vr6r KoXatv, as Aisch. P. V. 263: irrjudrav
"
"
KCIVOS "ArXas
He, an Atlas," a second Atlas," which
e^e t.
recalls very prettily v. 267.
290. 4irS " Far from, reft of."
291.
Ti/ravas: The comparison shows that Damophilos has been at
least indiscreet.
I Q the introduction stress has been
xp^v<?
laid on the fulfilment of prophecy, long postponed, yet unfail:

ing ; and, if the catch- word theory is worth anything, it is at

least to be noted that \pov<a occurs four times, each time at the
end of a verse (vv. 55, 78, 258, 291), where the position demands

NOTES.

304
Whoever chooses

stress.

" at last " is

'ETT. ty'.

to hear in

it

the sigh of Damophilos

welcome.
293. ovXofie'vov vovcrov :' vo<ros is a common word for
294. icpdvq,: The great fountain Kyr6 or "ring,"

any misfortune.

295. Iic8<5<r0ai irpos rjpov: As he is eV Traurlv vtos,

K.vpr)VT).
he can give himself up to the enjoyment of youthful pleasures.
"
To attain quiet." For the dat. see P. 8, 24
296. nnx'
01-y^tv
T
oi>8(.
46.
297.
&iraW| 8(0
9,
pi (0
Comp. P. 8, 83 ovrt
298. icai K ^.vOijo-aid' oiroiav, ure. The real apodosis to the wish
299. cvpc ira-yav This fountain that
in v. 293: ei/xfTat
et yap.
he had found in Thebes was the ode that P. composed for him
.
in honor of Arkesilas, the ode we have before us.
irp6<r^arov
Cf. P. 5, 31. This does not seem to favor Bockh's hypoth{cv<oOc(s
esis that Damophilos was an Aigeid and a connection of Pindar.

whence

PYTHIA

V.

THE fifth Pythian celebrates the same victory as the fourth

B.C.), and was sung in the festal proces(Pyth. 31, Ol. 78,
The charioteer, who
sion along the street of Apollo at Kyrene.
plays a conspicuous part in the ode, was Karrhotos (Alexibiades),
brother of the king's wife.
For the legendary portion of the story of the Battiadai, Pindar

3466

two odes, is our chief authority. Herodotos

space in his fourth book (c. 150, foil.) to the
early history of the house.
The founder of Kyrene was Aristoteles, surnamed Battos, descendant of Eupheraos, the Minyan, of Tainaros. From Tainaros
the family went to Thera, and in the seventeenth generation fulfilled an ancient oracle by the occupation of Kyrene, which had
been settled five hundred years before by the Trojan Antenoridai.
himself, in these

has given

much

Kyrene was founded Ol. 37 (632 B.C.), and the throne was filled
by eight kings in succession, an Arkesilas succeeding a Battos
to the end.
The rule of the Battiadai seems to have been harsh
revolts were frequent and the Arkesilas of this poem was the
last of the kings, and fell in a popular tumult.
This ode seems to be the one ordered by the king the preceding ode was a propitiatory present from a banished noble;

man, Damophilos.
In the fifth Pythian the theme is stated in the very beginning.
Wealth wedded to Honor and blessed by Fortune hath a wide
sway (v. 1, foil.). The word oX/3or is repeated with a marked
So we read v. 14 no\vs 5\f3os dp.(f)ivffj.frai, v. 55
persistency.
:

oX|3of

(fjiirav

we have

TO.

Kal

TO.

^duaipav fa-riav

fjLUKap (v. 94).

vepuv, v. 102

But Honor

(T<f>bv

SXfiov.

(v. 11), paitap (v. 20),

is

not

less loved.

As

variants,

paKdptos

We have

(v. 46),

vvv v8ogia

(V. 8), ytpas (vv. 18, 31, 124), \6yv>v ^fprdrutv pvapfjov (v. 48),

dperdv (v. 98).

There

is

a a-vyytvfjs utydaXpos

(v. 17),

a/

NOTES.

306

rpaewoTarov (v. 56). But above Wealth and Honor is the

blessing of God. The power is given of God (v. 13). The glory
must be ascribed to God (v. 25). The men who came to Thera

o/i/ia

came not without the gods (v. 76). God makes of potency performance (v. 117). The higher powers aid at every turn Kastor
of the golden chariot (v. 9) Apollo, god of the festal lay (v. 23)
Apollo, leader of the colony (v. 60); and, to crown all, Zeus
himself (v. 122). This iteration makes the dominant thought
plain enough, and there seems to be no propriety in classing the
"
poem among the most difficult of the Pindaric odes."
After an introduction, then, which has for its theme the power
;

of prosperity paired with honor under the blessing of Fortune,

as illustrated by Arkesilas' possession of ancestral dignity and
his attainment of the Pythian prize (vv. 1-22), the poet is about
to pass to the story of Battos, founder of Kyrene, in whose career

But Pindar pauses perare prefigured the fortunes of his race.

force to pay a tribute to Karrhotos, the charioteer, before he tells
the legend of Battos, just as in O. 8 he pauses perforce after the
legend of Aiakos to praise Melesias, the trainer. Such details
were doubtless nominated in the bond. This time the honor is
paid to one who stands near the king, and it needs no apology.
The trainer has but one sixth of O. 8, the charioteer has one
The transition is managed here with much
fourth of P. 5.
in O. 8, which shows the jar of the times.
art
than
greater
Karrhotos represents the new blessing of the Pythian victory as
Battos represents the old blessing of Apollo's leadership.
The story of Battos is briefly told, as is the story of Aiakos in
O. 8. True, he put lions to flight (v. 58), but it was Apollo's doing, and Battos is as faint in the light of Apollo as Aiakos in the
He was fortunate while he lived,
light of his divine partners.
and honored after his death (vv. 94, 95), but we are not allowed
to forget the thought of the opening, v. 25 iravri p-tv Qtbv alnov
which is reinforced by the close also.
vTTfpridffMfv, a thought
The rhythms are logaoedic in the main, but the strophe has a
long Paionian introduction of sixteen bars (I. n.). Comp. the
:

and see Introductory Essay, p. Ixxiv.

The introduction proper (Arkesilas) occupies one triad, one

structure of O. 2,*

is

given to Karrhotos, one to Battos, the fourth returns to Arkesilas.

* Details for both odea in

J.

H. H. Schmidt. Kunstformen, IV. 497-607.

PYTHIA

V.

307

On the union of ir\ovros and

1. 'O irXovros cvpvatitvifc
2rp. a'.
(ptpfi
optra, see O. 2, 58 : 6 p.dv TT\OVTOS dptrdis 8(8ai8a\fj,(vos
:

rcav rt KOI

See O.
it

1,

T>V\ xaipov.
22.

ica0ap$:

as xadapov

2.

As dptrd

used of (ptyyos.

is

Blended withrrwedded

Kpa|ievov:
is

to.

"

honor," so nadapd is used of

P. 9, 97 Xapirtav Kt\a8vvdv
:

The
XI. 3 nadapov d/w'par crtXas
poet strikes the keynote of the ode: "Wealth with Honor" as
a gift of God, who appears here as 71-617101.
3. irapoSrfvros . .

pr) fie XtTrot Ka.6a.pbv

(pfyyos,

fr.

There is a festal, bridal notion in both words. For dvdy f iv, see II. 3, 48 Od. 3, 272 4, 534. 5. 6e<$|>p(e) This string is
harped on. So v. 13 Qfocrftorov, V. 25 iravri p.tv 6tbv alnov vTTfpri6ffifv, V. 60
dpxayeras 'ATroXAwp, v. 76 ov dtatv artp, v. 117 6tos
" Wealth blent with
6. viv
re Foi ... Tf\d tivvaa-iv.
Honor;" but
KXvrds
viv may be TT\OVTOV and avv v8otq a variant of dptra.
avdyT)

Life is represented as a flight of

aiuvos axpav paOpiSwv airo
The K\vrd aia>v is the
dir apx^f T v /Si'ow, says the Schol.
steps,
:

which Arkesilas is born. Kastor plays the part

and the king goes after the wealth that he is to bring
9.
home as a iro\v(pi\ov eVe'rav. For diatv fern, see P. 4, 186.
Xpvo-apfiaTov Kdoropos: The Dioskuroi, whose worship was
brought from Thera to Kyrene, had a temple on the famous ITTlofty position to

of

7r6r/ios,

Castor gaudet equis, but the DiosnoKporos o-Kupwra 686s (v. 92).
kuroi were, and, in a sense, are still, sailor gods. The wealth
of Kyrene was due to its commerce in silphium, its fame to its
chariots (P. 4, 18; 9,4), and Kastor represents both commerce
and chariots. This sailor element suggests the next figure.
10.

ei8av:

storms.

The

Comp.

special function of the Dioskuroi was to calm

" the
ship of Alexandria whose sign was Castor

and Pollux" (Acts

and Hor. Od.

28, 11),

1,

12,

25-32

Dicam

et

Alciden puerosque Ledae,

hunc equis, ilium superare pugnis
nobilem: quorum simul alba nautis stella refuhit, defluit saxis
\

concidunt venti^fugiuntque nubes, et minax, quod

unda recumbit. x<l H^P lov o^ppov: Cf. v. 120:
This is the storm of state
mod..
(pdivoTT<apis dvepav ^et/itpta
See introd. to P. 4. 11.
iu which Damophilos was banished.
agitatus umor,
sic

voluere, ponto

KaraiOvo-aci

down

his

KaraMa-a-dv

back

is

used of lason's hair that streamed

(P. 4, 83), and is well suited to the meteoric Kasthe sailors of to - day St. Elmo's fire.
(Micaipav

tor, called by
fcrrtav: Cf. O. 1, 11.

'AI/T. a'.

12. <ro$o:

"The

noble."

From

P.'s

point of vie*

NOTES.

308
wisdom

hereditary, the privilege of a noble caste.

is

P.

2,

88

X&rav TrdXti/ ol o~o(pol TTjpfotvTi.

Comp. O. 7, 91, foil., where
Diagoras' straight course, despite his prosperity, is attributed
to the hereditary balance of his soul.
14. ^PX<SH- CVOV: "WalkThe first figure echoes still. 4v Sue*: O. 2, 83. 17. ex"
ing."
ovyYvrJ9 I follow the MSS., though it is hard to frame a clear
translation.
6, 16, metaphorically.
o</>#aAp>s is used as O. 2, 11
:

It is
o-vyyev^s TVOT^OS (I. 1, 39).
from exalted birth. " Born fortune hath

(rvyyfvfjs ofpdaXpos is really

the blessing that comes

this (TO /ScHTtXea civai) as its meed most fit for reverence when
to a soul like thine." Comp. O. 8, 11: o-bv yepas, "a

wedded

One cannot be born to higher fortune

privilege like thine."
than to have thy rank and thy nature. Hermann's r avyytves
" Since this born meed of reverence wedded to a soul
is easier.
like thine is a light of life."
To be born a king, and to be of
kingly mould, is a real 6<pda\n6s, a true 3A/3oj. J. H. H. Schmidt
1, 376) maintains that ofpOaXpos is clearly differentiated
from o/i/ia. " 6<pda\fj.6s is not the eye as a jewel, but the eye as
Here he
a guiding star."
So O. 2, 11; 6, 16 (cited above).

(Synon.

makes
(wvov

o-vyyevfjs o$#aX/ids to mean

Cf. v. 2.
21. evxos . . . eXwv

"native insight." 19. (u-yvv$x *

Comp. 0. 10 (11), 69
:

23. 'AiroXXwviov aOvppa: So I. 3 (4), 57 ddvpeiv is used

24. Kvpdvav
So Bergk for Kvpdva. K.

'ETT. a'.

of the joy of poesy.

depends on
'A4>po8iTas

d^L
As

KO-JTOV
Cf. P. 9, 114: "Ipatra irpbs TTO\IV.
P. calls Libya (P. 9, 57) Aior Kajror, and Syracuse
.

(P. 2, 2) Teptvos "Apeos.

Kyrene, a luxurious place, was famed
for its roses, flowers sacred to Aphrodite.
aei8<5|Xvov: With a-f.

This gives the necessary contrast, whereas with KOTTOV it would

" While
only be a picturesque detail.
thy praises are sung, do
not forget what thou owest to God, what thou owest to Kar-

According to Bergk, the inf. gives the contents of the

OTI deiSerai..
song, and deiBofievov \S
"Forget not that there is
a song that resounds about Kyrene Ascribe everything to God."
Cf. P. 2, 23.
This message is supposed to have been delivered to
rhotos."

The sense is "to give the

oracle.
25. vrrcpriB^nev
glory of everything to God." The figure is that of setting up
God, as the author, over the achievement, which is the pedestal.
26. KdppuTov: Arkesilas' wife's brother, who was the charioteer.
Kyrene by an

27.

''

'EirijtaOe'os

After -thought," the opposite of

PYTHIA

309

V.

Hp^udfos At'Swr. <tyv The

(Pore-thought). Comp. O. 7, 44
No lingering bride dedvdyr).
figure of a procession, as v. 3
29. QtpurxpttvTuv
28. OvyaWpa: See O. 8, 1.
layed his steps.
The word, which occurs only here, seems to refer to the oracular
:

P. 4, 53 rbv fiev
Ne iXoto irpbs nlov

institution of the kingship.

.
iroXds 'dyaytv
6ffjLi(T(nv
.

31.

v8an KaoraXias

{cvuOeis

*ol/3or dp-vdvH

Tffttvos Kpovida.
reference to the usual lustra-

With
and not merely a

tion in the waters of Kastalia,

Pytho. Cf. P. 4, 299

periphrasis for

The
32. aKTiparois aviais : Dative of circumstance.
2rp. /3'.
reins which were passed round the body (see fig. p. 170) often got
broken or tangled. Comp. So. El. 746: a-vv8' fXia-crt rat T^TOIS ip.ao-t
and Eur. Hippol. 1236: avros 8' 6 rAij^tcoi/ r\viauriv e//33. iro8apKwv SuScxa
(Tf^T]vv(TTov f \KfTai 8fdds.
"Through the sacred space of the twelve swift-

(r. i.=fiviats),

footed courses."
aKTipdrois.

Bockh

re/iei/os

is ace.

Bergk considers

of extent to the verbal idea in

iroSapKicw to be a participle =Tp(xo>v.

writes iroTapKf<ov=irpo(rapKici!v, "holding out,"7rori':=7rpoj

being elided as O. 7, 90 nor CLVTWV. On the number twelve, see

O. 2, 55 3, 33 6, 75. The hippodrome was sacred soil, hence
the propriety of Tepevos.
34. Ivre'wv otilvos
Comp. O. 6, 22
" No
(rdivos f)p.t6v<av.
part of the strong equipage." fvrta em:

The change of subject is noth8a8oX(a) The chariots of

Kyrene were famous (Antiphanes ap. Athen. 3, 100 f.). The ojrotra
braces the whole outfit.

ing to P.

Cf. O. 3, 22.

Kp^ioTai

35. 6ir6<ro

gives the positive side of ovfcv above, and 8ai8a\a can only be
referred to the chariots and their equipment (Wfa) which were
as di/a0^/iara at Delphi, a usage for which, however, we
"
have no very safe warrant.
36. oywv .
apcit)>cv
Brought
39. TOV: Sc. 'Air6\\a>vos
38. tv
across."
es: See P. 2, 11.
(Bergk). The MSS. rd, "therefore" (" wherefore "). 40. dv8 P iCIVTI
Why the especial mention of this Cretan statue ? Bockh
thinks of a connection between the Cretans and the Battiadai.
But the peculiar sanctity of the effigy is enough to account for
the mention.
42. Kx0e<r<rav -nJv: For KaOto-o-avro (unmetrical),
with Hermann.
Bergk, KaBivaavff J, oS being
cr^frepo)
" Grown in
one piece." Of a tree
p.ov58poirov <j>vr<Jv
KpT)T(i>i>.
that had an accidental likeness to a human figure, which likeness had afterwards been brought out by Daidaleian art.

hung up

NOTES.

310

44. TOV txiep-yerov: Usu. referred to Karrhotos.

it apply to Apollo, and cite v. 25.

'AI/T. /3'.

Schmidt and Mezger make

L.

The

only thing that favors this is the bringing in of Alexibiades, as if

some one else had been mentioned. (nravTiaorat "To requite."
The construction after the analogy of dutfyao-dai. The subject
:

at

is

implied as

implied P.

(ij/xas) is

e'/ie

45. 'AXcgif3idSa
1, 36.

1, 29.

The patronymic gives weight and honor.

"
Illume."
4>\e'YovTL
Comp. O. 9, 24
:

8(): See 0.

trk

fyikav iro\iv

fj.aXfpa.ls

Xapires: See O. 7, 11. 46. fiaKapios, 65

7rKpXe'ya>i> doi8als.
eX"s, KT. He might have had the Kdfiaros without the Xdyot. This
furnishes the transition. 47. irc8d=^ f Ta (Aiol.-Dor.). Cf. 0. 12, 12.
:

49. fivaji^ov (Aeolic) for

Christ

287 there are but

reomv (Aeolic)

The MSS. ^va^r\wv,

The number seems high. II. 23,

pv^'iov (Bergk).

Tco-aapaKovra

/ii/a/xjji'.

five competitors, So. El.

= KaraTreoxnJo-i (Schol.).

708 but

50. ircrrfv-

ten.

51. aTapjJtu 4>pevt

Cf. P.

Karrhotos owed the victory to his

33: drap/Sei
KffpaXa.
coolness.
So did Antilochos in the Iliad (23,515): Kepfao-iv oS
9,

52. rjXBes
Ta\ei ye Trapa(pdd/j.fvos MfvtXaov.
avXawv: So Moschopulos for ayaQStv.
"
divine."
rjyadecav,
dyadtav

TI

4, 51.

'ETT.

ircSiov

Mommsen

See P.
reads

54. irJvv

/3'.

O. 10 (11), 24: vmovov

"
ra Kal ra

8'

eo-erai

In another

mood Pindar

\aj3ov \dpfia -navpoi rives.

55.

says,
Iji/irav

v^wv
Despite its chequered course." So 1. 4 (5), 52
Zfvs TO, re Kal TO. vfp.fi, and I. 3 (4), 51 ratv re yap Kal ru>v 81801,
Success and defeat, good and bad, glory and toil. 56.
:

acrreog

|cvoi<ri

dyaOois, i-eivois 8e

Comp. P.

Gavpao-rbs

3,

71

irpavs dcrrotf, ov

Significant omission here

irarrjp.

of the dyadoi. The conspiracy was among the upper classes.

See note on v. 17. <|>aew(5TaTov See P. 3,75. 58. X&vrcs
. . .
<|>vyov
P., according to his wont (cf. P. 3, 83 ra KaXa TptyavTts
<), turns the old tale about.
Kyrene was infested by lions,
like the rest of Africa (leonum arida nutria), until the arrival of
Battos.
According to Pausanias, 10, 15, 7, Battos, the stammerer,
was frightened by the sight of a lion into loud and clear utterance P. makes this utterance frighten the lion and his kind into
irepl Seifian
flight.
trfpl here takes the peculiar construction
which is more frequently noticed with dp,<pi, " compassed by
" from
fear."
So Aisch. Pers. 696 nepl rdpftd,
fear," hence
35:
60.
Chogph.
wept ^>d/3o), Hymn. Cer. 429: nfpl xapi^an.
So N. 1, 66 8a>fffiv /xopo>, O. 2, 90
*8K(c) . ,
4.0 pu
8p.pa:

PYTHIA

V.

311

O. 10 (11), 102: (nope po^da.

62. rap.i<ji Kvpdvas
a high word. See P. 1, 88. dreX^s . . (lavrevjuwriv
" One that effects
naught by his prophecies."

rrdpfi/,

is

63. (Japciav v6<rwv, jcre.

Apollo's various functions
2rp. y.
are enumerated, beginning with the physical and proceeding
:

to the musical

to the Greek.

and the

which had a natural nexus

political,

The development

The Kyrenaians, next

perfectly normal.

is

64.

the

Krotoniates, were

the best physicians of Greece, Hdt. 3, 131.

is turned out v. 91
dAf^t/i/SpoTot? Tro/iTrcuy.

The medical side

Comp. P. 4, 270.
TC tcCOapiv: Comp.

aic&rjiaT(a)

to

65. ir<Jpcv
Silphium also had rare virtues.
107 and P. 4, 295. The moral effect of the Kidapis (comp.

v.

the

in P. 1) prepares the way for aTrdXe/xoi/

This is the
68. |Mx<5v T' dfi4>e'iTi
(lavrfjov

(popfjuyf-

p.iav.

tvvo-

crowning

Kyrene owes her very existence to the oracle of

blessing.
"
69. jiavr^ov
$:
Apollo, P. 4, 53.
pavrtiov.
Whereby."
The most important is put first and afterwards
AaKcSaCpovi
A. is geographically central, with
dirb STraprar.
recalled, v. 73

Argos and Pylos on either hand.

see 0.
1,

64.

On

eV

with the second dat.

72. Alyiinov :
Dorian, not a Herakleid. See P.
T& 8' I\i6v: Cf. I. 7 (8), 39: TO p.tv e>di/. The healing
the gift of the Muse, the fair state, the settlement of the

9, 94.

power,
Peloponnese all these wonderful things are due to Apollo
but mine it is to sing the glory of Sparta and the Aigeidai, who
are bone of my bone and flesh of my flesh.
By insisting on the
ancient ties of kindred, P. gives a warmer tone to his narrative.
Comp. O. 6, 84. -yapvev So with Hermann and Bergk for yaT*, yapvtvr' of the MSS.
:

Thera is called Kallista, P. 4, 258. 76.

0^pov8
was an Aigeid of the Theban branch. If d8(\(p6s
"
may be stretched to mean cousin," naTtpts may be stretched to
mean " uncles." According to Herodotos, 4, 149, the Aigeidai
colonized Thera, and were preceded by Kadmeians, c. 147. On
the Theban origin of the Aigeidai, see I. 6 (7), 15. oi fl*Sv arep
oXXa potpd TIS o-yev Some editors punctuate after arfp and connect aytv with what follows, but the divorce of dXXa from oi
6(>v arep and ayt v from IKOVTO is unnatural. Comp. O. 8, 45 OVK
'Avr. y'.

ipol irarlpcs

75.

P.

The leading of
artp irai8o>v crtdtv, oXX' a/xa Trpu>rois apfrai.
fate in the imperfect, the special case of Aristoteles - Battos in

NOTES.

312

The Earneia was a sacred festival, to

77. fpovov
aor., v. 87.
which each participant contributed. See O.I, 38.
78. 2v9ev:
Cf. 0. 2, 9 on the trajection of the relative.
avaSc|d(icvoi Pindar
the

identifies himself

with the worshipping multitude at Kyrene.

The
80. Kapv^i(c)
dva8ft-ap.(vav is unnecessary.
Karneia, the great festival of Apollo Karneios, was transmitted
from Sparta to Thera, from Thera to Kyrene. 82. exovri Not
an historical present. The old stock of the Antenoridai is still
Hermann's

If not, they still hold the land, as Aias holds Salamis.

N.-4, 48: Aia? 2oXa/iu/
x fl irwpcpav- xa ^x X *PHiai See P. 2, 2.
83. Tpwc? 'AvravopiSai
Lysimachos is cited by the Schol. as
there.

authority.

'Avrrivopi8S>v.

hill

between Kyrene and the sea was called \6<pos

84. icairvttOeurav

f iSov

In prose the aor. part,

is

seldom used of actual perception, not unfrequently in poetry of

Aor. part, with I8eiv, P. 9, 105 10, 26.
I. 7 (8), 37.
vision.
;

'ETT.

85. IXdo-iinrov

y.

As Trojans the Antenoridai were

ttiv-

&W-

86.
ropts "iiriruv (II. 5, 102) and i7nr68ap.oi (II. 2, 230, etc.).
TOI : Not historical present. The Antenoridai are still worshipped

by the descendants of the colony under Battos. olxWovres Cf.

87. 'Apurror&t|
Battos I. See P. 4, 63. 90.
P. 6, 4.
3, 40
68<5v: Bergk reads evdvrovov, which is not so
cvftvropov
good.
The road was hewn out of solid rock, the occasional breaks being
filled in with small stones carefully fitted together hence
o-KvpwThis road was evidently one of the sights of Kyrene,
rav 686v.
and the remains still stir the wonder of travellers. 91. oXcgip
"
ircSidSa
See note on v. 64.
Level." All care was
{JpoTois
taken to prevent ill-omened accidents in the processions. 93.
So Pelops'
8ixa KCITCU: Special honor is paid him as icri<rn)s.
:

O.

tomb

is

by

Catull. 7, 6

itself (Schol., Ol. 1, 92).

Batti veterit

sacrum sepulcrum.
95. Xooo-cffcfc
The honors thus received are de2r/>. 8'.
scribed O. 7, 79, foil. 96. irpi Swuarwv On either side of the
road. The monuments are still numbered by thousands many
:

of them are

P.'s iroiKiXia for

Xox5vres diSav
temples.
"
av
98. (i y
ffavovTfs.
'ApicecriXq.
They hear, sure, with
soul beneath the earth great achievement besprent with soft dew
little
i

<

'neath the outpourings of songs their happiness a joint glory

with their son, and richly due to him, even to Arkesilas." Another reading is /zryoXav apcrav pavOfivav.
Yet another,

PYTHIA
The

codices have

the metre.
8e

paivui

99.

/cat

K&>/WI>I>,

SpcSo-w

vp.vu>,

I.

which Beck reads Zpvav to save

for

^aXOaicql
(6),

313

V.

21

favorite figure.

P.

8,

57

100.

vacrov paivt/Mfv ciiXayiais.

aor. part, is not very common even in poetry

vn-6
hearing as actual perception. See v. 84.
101. iroi
XevLiaa-iv: Plastic.
8po<ros paXdaKa forms the ^tvpaTa.
TT<US.
Comp. 0. 1,28: TTOU. Bockh prefers TOI. x ov ^ 4>pvi:
Fennell " With such faculty as the dead
viro x^oi/oy.
xdovia
102. <r$6v
possess."
Only here in P. oXjJov The
o-cptTtpov.

The

pav0io-av:

after verbs of

Scholiast refers this to the tempos.

Grammatically it is in apposition to the whole preceding clause.
TO pav6f)vcu is the oX/3oy,

the

OKOTI

involved in OKOVOVTI.

The honor is common

their son (comp. P. 6, 15), but it is peculiarly

hence the neat division of viw and 'ApKeo-iXa,

be run together.

103. lv aoiS$: O. 5, 19: AvSt'ots diruiov (v av\ois.

P.

xpwaopa Hung with (the) gold(en <p6pp.iy). Comp.

The same epithet is applied to Orpheus, fr. X. 8, 10.

104.
1, 1.

105. fxovra: With TOV.

106. KaXXiviicov Xvnfciov:
Bairavav. The inevitable other side, never forgotten
108. X Y <$the thrifty Greek. Cf. O. 5, 15 TTOI/O? Sairdva re.

'Aw.

Both
by

to them and
due to Arkesilas
which should not

8'.

adj.

(wvov

epe'uj

can only say what

all

the world says.

See P.

3,

109. Kpe'o-o-ova ^v aXiKias: Comp. the laudation

of Damophilos, P. 4, 280. 110. ^'pperai: Used like rptyei.. 114.
" in musical
4v . . . Moiaaitri
which were
KOIVOV ffTros.

He

Not

colorless.

arts,"

the Muses (P. 6, 49), a winged soul from his

mother's lap not " taught by his mother dear," but as an inheritance from her nature.
115. ir^avrai Now. Not to be supplied
with the other predicates. <roj>6s See note on v. 51.
flits

among

'ETT. 8'.

X<*pia.

. . .
TTJX(Mucc: rt sums up. The e'mthe forms of generous rivalry in Kyrene.

116. 8<reu T' cUriv

Ka\d embrace

all

8vvonv: " Maketh his potency

So
performance."
Hartung for MS. i, Moschopulos
& TrXetorra. May the blessed Kronidai give him like fortune in
deeds and counsels. 120. HTJ
xpovov: Punctuate after f^""The
4> tvo irw pi
Asyndeton presents no difficulty in wishes.
fcroSoi: Cf. P. 6, 50.

117. rcXei

118. 6pota:

'

compound recalls (ptiivoKapiros,

P. 4, 265.

Comp.

v. 10.

121. Kara

So with Christ for Karam/aa, K. with 8ap.a\ioi. SapiaXiJoi:

" His
/3io/ (Schol.).
lifetime,"
Bergk reads Sj/orraXifot. \p6vov
as O. 1, 115.
Not satisfactory. Qpovov (Hecker). x\6av would

irvod:

NOTES.

314:

"
Fate." Here it suits
keep up the figure (Bergk). 123. 8a(|iov(a)
make Zeus the pilot and the daipnv the oarsman.
124.
:

P. to

TOVTO

-ycpas

The desired
mercy."

It is

victory

See O.

2,

not necessary to change to

was gained

12; 9,120.

Ol. 80.

rn-i

TG>UTO,

0.

8, 57.

"As a crowning

PYTHIA

VI.

THE victory here commemorated was gained P. 24 (Ol. 71, 3),

494 B.C., and was celebrated by Siraonides also, ace. to the Schol.
on I. 2. The victor, Xenokrates, was an Agrigentine, brother of
Theron. Comp. O. 2, 54 Hv6S>vi 8' opoicXapov ts dStXfabv 'l<r:

dfjiot

The

Tf

XdpiTts tivdta Ttdpimriav 8vu>8fKa8p6fi(ov

charioteer was Thrasybulos, son of Xenokrates.
Koival

uyayov.

Bockh

thinks that the ode was sung at a banquet held at Delphi in

honor of Thrasybulos.
The theme is the glory of filial devotion. As the man that
hath dared and died for his father's life, so the man that hath
wrought and spent for his father's honor hath a treasure of hymns
that nothing shall destroy, laid up where neither rain nor wind

doth corrupt.

The
which

simplicity of the thought

is a trifle overwrought.

is

not matched by the language,

The poet's ploughshare is turning up a field of Aphrodite or

the Charites as he draws nigh to the temple centre of the earth
where lies a treasure for the Emmenidai, for Akragas, for Xenokrates (vv. 1-9).

treasure

which neither the

nor storm with

sea

its

fierce

armament of wintry

rain

rout of rubble shall bear to the recesses of the

a treasure whose face, shining in clear light, shall announce

common to thy father, Thrasybulos, and to thy race,

a victory

and glorious in the repute of mortals (vv. 10-18).

At thy right hand, upheld by thee, rideth the Law, once given
in the mountains by the son of Philyra to Peleides when sundered from father and mother, first of all to reverence the Thunderer, then of such reverence never to deprive his parents in
their allotted life (vv. 19-27).

There was another, Antilochos, man of might, that aforetime

showed this spirit by dying for his father in his stand against
Memnon. Nestor's chariot was tangled by his horse, stricken

NOTES.

316

ft'is soul
of Paris' arrows, and Memnon plied his mighty spear,
awhirl the old man of Messene called My son (vv. 28-36).
Not to the ground fell his word. Stedfast the god-like man
awaited the foe, bought with his life the rescue of his father,
!

high deed loftiest example of the olden time to younger

men, pattern of filial worth. These things are of the past. Of
the time that now is Thrasybulos hath come nearest to the mark
for his

duty to a father (vv. 37-45).

His father's brother he approaches in all manner of splendor.
With wisdom he guides his wealth. The fruit of his youth is
not injustice nor violence, but the pursuit of poesy in the haunts
of the Pierides, and to thee, Poseidon, with thy passionate love
of steeds, he clings, for with thee hath he found favor. Sweet
also is the temper of his soul, and as a boon companion he outin

vies the celled labor of the bees (vv. 46-54).

The poem is the second in time of Pindar's odes.

years separate

it

from P.

10,

cided advance, although he sees in

The

ness.

parallel

Eight

and Leop. Schmidt notices a deit

many

traces of youthful-

who died
who drove

between Antilochos, son of Nestor,

for his father, and Thrasybulos, son of Xenokrates,

for his, has evoked much criticism, and, while the

danger of
the chariot-race must not be overlooked, the step from Antilochos to Thrasybulos is too great for sober art.

The poem consists of six strophes, with slight overlapping

once, where, however, the sense of the preceding strophe (v. 45)
is complete, and the participle comes in as an after-thought
(comp. P. 4, 262). Of these six strophes two describe the treasure,

two

tell

the story of Antilochos, son of Nestor, prototype of

the last two do honor to the victor's son.

filial self-sacrifice,

The rhythm
"S,rp.

a.

1.

is

logaoedic.

'AKowo-aT(e)

"oyez" of the Greek

courts.

So anovtrf Xew, the

herald cry.

This adj.

IXiicwiriSos:

Chryse'is, II. 1, 98 ; variously interpreted.

is a fair compromise.
'A^poSiras Pindar
:

is

used of

Of the flashing eye "

goes a-ploughing, and

"

finds in the field of Aphrodite, or of the Charites, treasure of

song. Aphrodite is mentioned as the mistress of the Graces,

who

See 0. 14, 8 foil. 2. apovpav:

37 Hirpiftcw dporais, 10, 26
3. 6|i<|>a\<Sv: See P. 4, 74
Moieraio-u/ e&a*' dpo<rai.
8,59; 11,10.
Refers most naturally to the noise of the waterfall,
ipi|Jp6p.ov
are the goddesses of victory.

Cf. O. 9,

29

XapiYa>i>

Kairov,

N.

6,

PYTHIA

VI.

317

though the gorge was full of echoes, the roar of the wind, the
rumblu of thunder (v. 11), the rattling of chariots, the tumult of
the people. 4. vdiov: The MSS. have vaov, for which Hermann
"
of the temple " ( cf. v. 6 ), Bergk and
writes vdiov
vaov,

editors \divov.

many

5.

Cf. O. 2, 10

'Ep.|ivi8aw

O.

3, 38.

irorafU^

(5.

Akragas, the city,

is blended with the nymph of the river Akragas.
See P. 9,
7. vjwwv
KaX jidv P. 4, 90.
4
A store of vicbr\<ra.vp6s
12, 2.
8. iroXvxpv<rj>
tories is a treasure-house of hymns.
P. 4, 53
'AKpa-yavri

oucr/^a

rrora/xov.

-.

The

figure shifts
from the field to the gorge, or rather the temple in the gorge,
where the treasure is safely " guarded by walls."

TToXuxpvo-w

TTOT

9.

(v 8<o/i<m.

TCTeixwrrai

The original of Hor. Od. 3, 30,

10. xup^puK 8pPpo
'.
quod non imber edax, non Aquilo impotens possit diruere.
The rain comes from an alien quarter. Comp. the
iiratcrrfs
11.
hatefulness of the Trot/iijv eVa/cro? dX\6rpios, O. 10 (11), 97.
pi.pp<5|iov
P., with all his TrouuXia, is not afraid to repeat, as a
modern poet would be. See P. 1, 80. 12. oTparrfs The figure
:

2rp.

3.

is

perfect.
actly as the

Rain comes across a plain, or across the water, exadvance of an army. One sees the or/x
dv8pS>v.

The wall

protects the treasure against the hostile (eVaxrof) ad"

"
d|itXixo:
Relentless,"
grim." 13. o^ouri: With the
Eur.
Ale.
360
6 nXovrwos nva>v ovd" oiml
nai
ov0"
plur. coinp.
/*'
Similar plurals are not unKUTTr) \^v)(OTrop.ir6s &v Xapai/ t <r \ov.
common with disjunctives in English. In Lat. comp. Hor. Od.

vance.

Turn nee mens mihi nee color eerta sede manent. ira|iSo, and not ^tpafit. 'fhe nom. is ^e'paSoy, not x ( P<*s
Tlie Schol. says x f P<*s o /tcra IXvos KOI \ida>v o-vpfaros.
It seems
to be rather loose stones, and may be transl. " rubble."
14.
1, 13,

4><5py

x( P<^<l

'

So Dawes for rvnToptvos. Bergk's Kpinrrofjifvov is

The whirlwind drags the victim along while he is
pounded by the storm-driven stones. The rain is an army (imber

TVITT^IWVOV:

not likely.

mob

edax), the wind is a

(Aquilo impotens). irp&rwirov : The irpoauirov is the npovmirov rrjXavyt's of the treasure-house made luminous by joy (P. 3, 75). Mezger " thy countenance " (of Thrasyshould expect rtov, and we
bulos) after Leop. Schmidt.
:

We

need the

TC<J>

that

we

have.

15. irarpl

TCW

KOIVOIV rt ycvc$:

TT.

16. X^'yowri Ovarwv . .

depends on KOIVOV, not on aTrayyeXet.
diraYycXci: "Will announce to the discourses of mortals," will
furnish a theme to them. Cf. P. 1, 93
(wvixi KO\ XoyiW KOI

NOTES.

318

17. evSofoy: Proleptic.

aoiSotf.

we

Shall

19. <rx^8wv:

write <rxf6a>v aor. or <rxf6>*

seems to be used as a pres-

pres. ? Most frequently aor., the form

ent here. TOI . . . viv : vw anticipates

Another view makes vw the

13, 69.

vinav.

tJTTroteri

2rp. y.

viicav
Kpicraiais tv irrvchariot-victory," as I. 2, 13:

ap(Aan

"a Pythian

All run together,

See O. 7, 59 ;
ffypoarvvav.
father, who stands on the

right of the son in the triumphal procession. Bergk writes vw,

Schol. roivw. tm&gia \tip6s ' Comp. Od. 5, 277 : TTJV

after the

xpo? c^oira. The commandment is personimounted on the chariot of Thrasybulos as a 7roAu<i\os firms (cf P. 5, 4), and stands on his right hand because upheld by him. The word shall not fall to the ground. It is an
.

eV

dpurrepa

She

fied.

is

37: ^afiaiirfTes
twos OVK airtpi^fv. 21. Ta:
P. 2, 75 : ofa. jjie-yaXoo-OevTj : So with Bergk
for n(ya\oo-8(vf'i. The teacher is to be emphasized this time.
22.
iXvpas vl6v : Cheiron, P. 3, 1. On Achilles' education in the
abode of Cheiron, see N. 3, 43. The Xetpavos {modrJKai were famous. The first two of them seem to have been identical with
firos.

opdov

Cf. v.

Comp., for the

the

first

shift,

two of Euripides' three, Antiop. fr. 46

Comp. also P. 4, 102.

Qtovs rt np.av

rovs re Gptyavras yovds.

6p<|>aviEo(iva)

Verbs of privation connote feeling, hence often in the present

where we might expect the perfect. Comp. orepo/iai and e'oreand privatus sum. Achilles is parted from father
prjp,ai, privor
and mother. 23. (taXurra |wv KpoviSav: The meaning, conveyed
in P.'s usual implicit manner, is : Zeus above all the gods, father
24. p<xpv<$irav: Immediately
and mother above all mankind.
applicable to the K(pavvS>v Trpvraviv, but crrtpoirav KfpavvS>v rt
form a unit (0. 1, 62). 26. TOVTOS . . . Tipas
rov crtftea-dai.
27.

yovtW

PIOV ireirpwiUvov

2rp. S*.
himself."

roiis

yovtas

&v

eats

28. ryevro : For e'ye'i/ero (as P. 3, 87)

KaV irpiiTcpov : In times of yore as

= tydvr), " showed

Thrasybulos now
almost an adjective, TOIOVTOS TOV
30. Ivop^pporov Occurs again, I. 7 (8), 53 /xa^as ivapift,vovv.
81. AiflwSirwv Mc'pvova: This version of the story is
j3oorou.
taken from the Aldioiris of Arktinos. 32. Nfordpeiov: O. 2, 13.
jire'Sa
II. 8, 80
Ne'orwp olos (fupve Ttprjvios ovpos 'Aj(aiS>v oS rt
29.

(KOI)-

<^pv With
:

i/oq/xa

is

fK<av,

dXX'

ITTTTOS

fTtipfTO, TOV ftdXfv

In

Homer it

is

toi

Diomed

Stof *A\f^av8pos, ''EXfinjs

that comes to the rescue,

PYTHIA
Still

VI.

319

the death of Antilochos by the hand of Memnon

was known

to the poet of the Odyssey, 4, 188.

33. SaixOeCs
O. 3, 6. ?4*irev :
"
"
35. Meoxravfov : Not from TriPlied," attacked him with."
phylian, but from Messenian Pylos. See P. 4, 126. 36. 8ovt)0uro
:

frptfv:

See P. 1,72.

2rp. ('.
ovroi

13:

37.

spot," hence
13.

40.

xaFwwir<T^ = &<rr(

Comp. O. 9,
xa/iatTrrrer t Ivai.
avroO
the
v \oya>v ((pd^ffai.
39. piv . . . TC: O. 4,
"unmoved," "stedfast."

x<i fiaiir

TWV

(T t

irdLXai: rS>v

oirXortpos ytvtri.

o>

depends on

41. i-irXoWpowriv

"On

ycvc^: Cf. II. 2, 707

position favors the comAntilochos belonged to

viraros.

The

bination. (SoKTjcrfv-oTrXaTfpoicriv-vTraTos.

the oTrXoTtpoi, and the position accorded to him by them was the
more honorable, as younger men are severer judges. 42. ofwfri
roicevo-iv: Prose, irtpi Tovsroiceas.
43. rit jiiv irapdcci: The parallel
is strained, and it is hard to keep what follows from flatness,

although we must never forget the personal risk of a chariot-race.

44. TWV vwv 8^: Contrast to T&V TrdXat.
45. ira.Tp<j>av . . . irpo?
o~ra9p.av: "To the father-standard," "to the standard of what is
due to a father." Not "to the standard set by our fathers."
Antilochos was and continued to be an unapproachable model.
Xen. Kyneg. 1, 14 : 'AvrtXo^os TOU irarphs virfpairodavotv rocraimjs
f-rvxfv fvxXfias Sxrre

p&vos <iXo7rarop irapa rols "EXXno-tv avayoptv-

47. v6y 8J irXovrov avet Comp.

"
dvdyp. von, with judgment."
48. aSueov ovO' (nrc'poirXo v : On the omission of the first ovre, see P.
similar omission of " neither "
10, 29 : vavvl 8' ovTf irt bs latv.

2rp. s.

P.

5, 2.

46. irirpy

3 : orav ns

Theron.

[TrXoOroi*]

common enough

So Shakespeare, "The shot

of accident nor dart of chance," " Thine nor none of thine,"
"
"
" Word nor oath
Words nor
;" Byron,
Sigh nor word,"
deeds." aftiicov and virepoir\ov are proleptic. The youth that
he enjoys is not a youth of injustice or presumption.
Jjpav

is

in English.

50. 'EX&iX 9ov:

49. owfriav: O. 1, 116.
8p6rwv: Cf. O. 1, 13.
Cf. P. 2, 4.
ipv^s 8s linrciav loxi&ov This is Christ's reading.
"Who art passionate in thy love of chariot contests."
:

construed like opovtis (P. 10,61). The inferior MSS. have

6\ the better opyals rrd<rais, which is supposed to be a gloss to
fKovri voa>, P. 5, 43, but when did d8a>i> evei
(idXa /a86vri v6<p
mean exd>i/? ^ioXa fadovrt i/6a> must mean that the spirit of

NOTES.

320

Thrasybulos had found favor

have Imrfiav ecroSov. linTf tai
Ktla 8e

<j>pijv:

crv|iir<5Tai<riv

Supply

opiXciv

earn,

in Poseidon's eyes.
eo-oSot

which

= iTrmKal

P.

seldom

a/t* t'/3erat.

To

O.

uses.

MSS.

52. y\v1, 1.

53.

throws

it

"
say that a spirit that

is

tv rais <rvp.-noTiK.als 6p.i\iais.

into construction with

All the

a/uXXcu.
Kai

sweet to associate even with one's boon companions surpasses

"
the honey and the honeycomb is a bit of sour philosophizing
that does not suit the close of this excessively sugary poem.
54. TprjTiv ir<Jvov

Has a

finical, precieur,,

sound to

us.

PYTHIA VIL
the only epinikion in honor of a citizen
Megakles, whose victory is here celebrated, was a member of the aristocratic house of the Alkmaionidai, a grandson of that Megakles who married the daughter
of Kleisthenes, tyrant of Sikyon (Hdt. 6, 127 foil.). Whether our
Megakles was the sou of Kleisthenes, the lawgiver, or of Hippokrates, brother of the lawgiver, does not appear. The latter is
The victory was gained
called simply a-vyytv^s by the Scholiast.
Pyth. 25 (Ol. 72, 3), the year of the battle of Marathon. Whether the Pythian games were celebrated and the ode composed
before the battle or not is a question that has led to elaborate
discussion, which cannot be presented here even in summary.
Pindar's patriotism, so dear to many, so doubtful to some, is
thought to be at stake; but we have to do with Pindar the
poet, rather than Pindar the patriot and all that can be said in
this place is, that even if the ode was composed and performed
after the battle, there were reasons enough why the poet should
not have referred distinctly to a victory, the greatness of which
was not necessary to make Athens great enough for poetry; a
victory which would not have been a pleasant theme for the
Alkmaionidai, on account of the suspicions of treachery that atI"HE seventh Pythian

of Athens except N.

is

2.

tached to them (Hdt.

Athens
a

is

6, 115).

the fairest preface of song, the fairest foundation of

of praise to the Alkmaionidai for their victory in

monument

the chariot-race.
er praise

No fatherland, no

throughout Greece

house,

whose name

is

great-

(vv. 1-6).

The story of the Erechtheidai haunts every city, for they made
the temple of Apollo in divine Pytho a marvel to behold. That
were enough, but I am led to further song by five Isthmian victories,

one o'ertopping victory at Olympia, and two from Pytho

(vv. 7-12).

02

NOTES.

322
These have been

My heart

fathers.

that now are and by your foreof joy at this new good-fortune. What

won by you

is full

though noble acts have for their requital envy ? Abiding happiness brings with it now this, now that (vv. 13-17).
Mezger sees in this ode a complete poem, not a fragment, as
No part of an epinikion, he says, is wanting.
L. Schmidt does.
Praises of the victor, the victory, the family, the city, the god of
the games, form the usual garland. In the heart of the poem
stands the great act of piety, the building of the Delphic tem-

The

ple.

victories of the

Alkmaionidai are a reward of their

The citizens are not all so grateful as the

service to Apollo.
god, but their envy is only an assurance of abiding happiness.
So short a poem does not call for an elaborate analysis. Chiefly

noteworthy

ances

itself.

is the way in which each member of the triad balThe strophe has to do with Athens and the Alk-

maionidai, the antistrophe with splendid generosity and brilliant

success, the epode sums up new and old, and sets off abiding

happiness against the envy which

ure of 0. 12.

The measures

it costs.

Compare the

struct-

are logaoedic.

ol prya\oir<S\us 'A6avai: Cf. P. 2, 1 :

As this is poetry, there is no need of scrutinizing the
SvpaKoo-at.
Solon calls Athens
epithet closely with reference to the period.
1.

2rp.

pcya\T)v

Herodotos, writing of the end of the sixth cen-

TroXii/.

tury, says (5, 66)

'A^i/at KOI irpiv p-e-yaXat Tore aTraXXa^^eto-at

2. irpooifuov: Athens is the noopening for a song in honor of the Alkmaionidai. irp. is
the prelude sung before the foundation is laid. ycvcql . i-mroun.
The double dat. is n^t harsh if we connect, after Pindar's manner,
aoiSav with tinroun, " chariot-songs." Cf. P. 6, 17, and I. 1, 14:

rStv Tvpdvva>v tytvovro /xefoi/es.

blest

'Hpo8oTo>

Tfv\<ii>v

TO

fj.(v

op/iart rtdpLmrta ytpas.

3. KpijirlS'

aoiSav

138: /SaXXfTO KpTjirlSa ao<pS>v cVcW. The

architectural image recalls the service that the Alkmaionidai had
rendered the Delphian temple. /SoXcYrOat: "For the laying." P.
4. irdrpav
is instructive for the old dat. conception of the inf.
Cannot be " clan " here. It must refer to Athens, as OIKOV to the
.

paXeo-Oai:

Cf. P. 4,

Alkmaionidai.

vaiovr':

With

riva.

"Whom

shall I

name

as in-

habiting a fatherland, whom a house more illustrious of report

in Greece ?" (ris vain Tri(pave(rT(pav ptv irarpav, (iri(pave(TT(pov Se
P.'s usual way of changing the form of a proposition.

PYTHIA

323

VII.

The Scholia read valour

miusv is the reading of all the MSS.
show by olnovvra. No conjecture yet made commends
',

as they

itself irresistibly.

irv66r8ai:

7.

'AI/T.

(Schol.
story

6.

Epexegetic

infinitive.

Xfyos 6|uXci Semi-personification. 6.

dvao-Tpefarai
The
Cf. O. 12, 19: o/xtXcai/ trap' otKfiais dpovpais.
at home, is familiar as household words.
8. 'Epex^t'os
:

).

is

Indication of ancient descent. Comp. O. 13, 14: iralfttf

re6v
P. includes Athens in the glory of the liberality.

<rrwv:

AXara.

When the temple of Delphi, which had been burned

O1.58, 1 =548 B.C.), was rebuilt, the Alkmaionidai, then in exile,
took the contract for the fa9ade, and carried it out in an expensive marble instead of a cheap stone (Hdt. 5, 62).
9. 0aY|T<Jv
ye 86(jLov:

M<TT(

Qarjrbv

flvai.

"Fashioned thy house

in splendor."

vyovri 8^: P. is not allowed to linger on this theme.

Cf. O 1, 1
glories lead him to other praises.
iicirprmfc

10.

Other

13. vjiai:

'ETT.

kind of

XtroTTjf.

By you of this generation.

TO
"I have no little joy."

14.
8'

\a.ipu> Tl:

axwpu: "But

15. <fr06vov djieipofjievov z= on <p66vos dfidgrievance."

Instructive for the peculiar Attic construction with verbs
of emotion, e. g. So. Ai. 136: <re [lev tv Trpacrowr' fTn\aip<a. a.

this is

my

Strai.

16. ye jwiv
"Howbeit." /ia/ meets an objection,
"requiting."
oiade or to be made, yt limits the utterance to tpavri. Comp. O.
P. 1, 17 N. 8, 50 I. 3 (4), 18. " Yet they say that thus
13, 104
:

prosperity that abideth in

C3ld that"

bloom

for a

man

brings with

it'

t'ois

(good and

*3ad), or, analyzed, OVTVS &v -napa^ovifjios

6oXXoi TI fv8mp.ovia eav TO. KCLI TO. (pfprjrai.
Ups and downs are
necessary to abiding fortune. Peroetual success nrovokes more

than envy of men, the Nemesis of God. We hear the old Poly17. TO icol TO: Here "good and bad." as L 3 (4V 51.
krates note.

PYTHIA
ARISTOMENES of Aigina, the son of Xenarkes, belonged to the
clan of the Midylidai, and had good examples to follow in his
own family. One of his uncles, Theognetos, was victorious at
Olympia, another, Kleitomachos, at the Isthmian games, both in
wrestling, for which Aristomenes was to be distinguished. His
victories at Megara, at Marathon, in Aigina, were crowned by
success at the Pythian games. It is tolerably evident that at

the time of this ode he was passing from the ranks of the boywrestlers (v. 78).
No mention is made of the trainer, a character

who

occupies so

much

space in O.

8.

The
P. was, in all likelihood, present at the games (v. 59).
poem seems to have been composed for the celebration in Aigina
comp. roQi (v. 64), which points to distant Delphi, and note that
Hesychia, and not Apollo, is invoked at the outset of the ode.
What is the date ? According to the Schol., Pyth. 35 (Ol. 82,
3
450 B.C.), when Aigina had been six years under the yoke of
Athens; but the supposed reference to foreign wars (v. 3), and
the concluding verses, which imply the freedom of the island,
led O. Muller and many others to give an earlier date to the
Allusions to the battle of Kekryphaleia (Thuk.
victory, 458 B.C.
1, 105) were also detected, but Kekryphaleia was a bad day for
the Aiginetans, because the Athenian success was the forerunner
of Aiginetan ruin (Diod. 11, 78), and a reference to it would have
been incomprehensible. In any case, P. would hardly have represented the Athenians as the monstrous brood of giants (v. 12
foil.).
Mezger, who adheres to the traditional date, sees in
TToXe/iwi/ (v. 3) an allusion, not to foreign wars, but to domestic
factions, such as naturally ensued when the Athenians changed
the Aiginetan constitution to the detriment of the nobles (oi
Travels).
Kriiger gives the earlier date of Ol. 77, 3 (470 B.C.), or
Ol. 78, 3 (466 B.C.).
Hermann goes back as far as Ol. 75, 3 (478
B.C.), and sees in the ode allusions to the Persian war, Porphyrion

PYTHIA

VIIL

325

and TyphOeus being prefigurements of Xerxes

altogether unsuggests the great vic" as

tory of Eurymedon four years before
having revived the
memory of Salamis, while apprehensions of Athenian aggression
were roused by the recent reduction of Thasos."
If we accept the late date, the poem becomes of special imlikely.

Fennell,

who

advocates 462

B.C.,

portance as Pindar's last, just as P. 10 is of special importance

as Pindar's earliest ode.
Leopold Schmidt has made the most
of the tokens of declining power. Mezger, on the other hand,
emphasizes the steadiness of the technical execution, and the
"
In P. 10, 20 we have /XT) (pdovepals en
similarity of the tone.
fTriKvp(rcufv, in P. 8,

6tS)v fjifTaTpoTriais

71

dfStv 8' OTTIV a<p0irov

StvapKfs, vfiertpais rv^aty, and in P. 10, 62 we have as sharp

a presentation of the transitoriness of human fortunes as in the

ciiTea,

famous passage P.

8, 92."

places proves nothing.

perience added in P. 8

But

There
;

is

this comparison of commonundoubtedly an accent of ex-

and, according to Mezger's

own

inter-

pretation, P. 8, 71 is deeper than P. 10, 20. Jean Paul says some"

where, The youngest heart has the waves of the oldest ; it only

lacks the

plummet

that measures their depth."

In P. 8 Pindar

has the plummet.

Hesychia is to Aigina what the lyre is to Syracuse; and the

eighth Pythian, which begins with the invocation *iXd<poi>
'Ho-v^t'a, is not unrelated to the first Pythian, which begins with
the invocation Xpvo-ta (poppiyt-. In the one, the lyre is the symbol of the harmony produced by the splendid sway of a central
power, Hieron in the other, the goddess Hesychia diffuses her
influence through all the members of the commonwealth. In
the one case, the balance is maintained by a strong hand in the
other, it depends on the nice adjustment of forces within the
state.
TyphOeus figures here (v. 16) as he figures in the first
Pythian but there the monster stretches from Cumae to Sicily,
and represents the shock of foreign warfare as well as the volcanic powers of revolt (note on P. 1, 72) ; here there is barely a hint,
if a hint, of trouble from without.
Here, too, TyphOeus is quelled
by Zeus, and Porphyrion, king of the giants, by Apollo (vv. 1618) but we have no Aitna keeping down the monster, and a
certain significance attaches to eV \P V<? f v 15;

The opening,

a tribute to Hesychia, the goddess of

domestic tranquillity, who holds the keys of wars and councils,
then,

is

NOTES.

326

who knows

the secret of true gentleness ( vv. 1-7 ), who has

strength to sink the rebellious crew of malcontents, such as
Porphyrion and TyphQeus the one quelled by the thunderbolt
of Zeus, the other by the bow of Apollo Apollo, who welcomed
the son of Xenarkes home from Kirrha, crowned with Parnassian
verdure and Dorian revel-song (vv. 8-20).
Then begins the praise of Aigina for her exploits in the games,
and the praise of Aristomenes for keeping up the glory of his
house and for exalting the clan of the Midylidai and earning
the word that Amphiaraos spoke (vv. 21-40).
The short myth follows, the scene in which the soul of Amphiaraos, beholding the valor of his son and his son's comrades
among the Epigonoi, uttered the words Qva TO ytwaiov tirnrpe -rrti
The young heroes have the
in rrartpuv iraialv \fjp.a (v. 44).
" Blood will tell."
Adrastos, leader of the
spirit of their sires.
first adventure, is compassed by better omens now
true, he alone
will lose his son, but he will bring back his people safe by the
blessing of the gods (vv. 41-55).
O. 8, another Aiginetan ode, is prayerful.
Prayer and oracle
are signs of suspense and the utterance of Amphiaraos carries
with it the lesson that Aigina's only hope lay in the preservation
of the spirit of her nobility. What the figure of Adrastos means
It may signify
is not so evident.
Whatever else perishes, may
the state abide unharmed.
Such, then, were the words of Amphiaraos, whose praise of his
son Alkmaion is echoed by Pindar for Alkmaion is not only the
prototype of Aristomenes, but he is also the neighbor of the poet,
guardian of his treasures, and spoke to him in oracles (vv. 56-60).
Similar sudden shifts are common in the quicker rhythms
(Aiolian), and the Aiginetan odes of P. presume an intimacy
that we cannot follow in detail.
P. now turns with thanksgiving and prayer to Apollo entreats
his guidance, craves for the fortunes of the house of Xenarkes
the boon of a right reverence of the gods. Success is not the
test of merit.
It is due to the will of Fortune, who makes men
her playthings. " Therefore keep thee within bounds."
Then follows the recital of the victories, with a vivid picture
of the defeated contestants as they slink homeward (vv. 61-87).
"The bliss of glory lends wings and lifts the soul above riches.
But delight waxeth in a little space. It falls to the ground, when
shaken by adversity. We are creatures of a day. What are we ?
:

PYTHIA

327

VIII.

A dream of shadow is man. Yet all is not

God-given splendor comes there is a clear shin-

what are we not ?

shadow.
ing and a

When

life of sweetness."
"Aigina, mother dear, bring this city safely onward in her
course of freedom, with the blessing of Zeus, Lord Aiakos,Peleus,

and good Telamon and Achilles " (vv. 88-100).

Compare again the close of O. 8. This invocation of

all

the

saints in the calendar is ominous.

To sum up The

occupied with the praise of HeThe second triad begins

with the praise of Aigina, and ends with the Midylidai, to whom
the victor belongs. The third triad gives the story of Alkmaion,
The fourth
as an illustration of the persistency of noble blood.
his further
of
and
entreats
the
goodness
Apollo,
acknowledges
guidance for God is the sole source of these victories, which are
now recounted. The fifth presents a striking contrast between
vanquished and victor, and closes with an equally striking contrast between the nothingness of man and the power of God,
which can make even the shadow of a dream to be full of light
and glory. At the end is heard a fervent prayer for Aigina's
:

sychia,

ending

first

triad

is

in praise of the victor.

welfare.

myth, two for concluabsorbing for

the free development of the mythic portion. We have here a
tremulous poem with a melancholy, note in the midst of joyous-

So we have two for introduction, one

sion.

for

It is evident that the circumstances are too

ness.

The lesson, if there must be a lesson, is In quietness and confidence shall be your strength. The only hope of Aigina, as was
said above, is the persistence of the type of her nobility, but it is
clear that it is hoping against hope.
The rhythms are Aiolian (logaoedic). The restlessness, in
:

spite of Hesychia, forms a

ance of P.

2rp.

a'.

marked contrast

to the majestic bal-

1.

1.

*i\6|>pov: "Kindly."

vo<ppovos 'H(rv\ias fvrjfjifpov

be more personal. Comp. v. 10.

Ar. Av. 1321: TO n}r a-ya(vfj.(vr)S seems to

irp6<ra>irov.

'H<rux* a
goddess. Comp.
The Ro"EXfoy, 'Op/xjj, at Athens (Paus. 1, 17, 1).
Adcas . . . Ovyarcp Etpiji/r; (peace
carried this still further.
:

Ai'Stor, *^/i7,

mans

between

state

and

state) is the sister

of

A/JCT;

(O. 18, 7), but

NOTES.

328
ia,

domestic tranquillity,

man and man.

between

is

eminently the daughter of right

Cf. P. 1,70: o-vp.<p<avov yo-vxiav,

and

if

"righteousness exalteth a nation" the daughter of righteousness

For the position, conip.
may well be called peyio-ToirdXis. 2.
3. iroXejittv: The Schol. understands this of factions
O. 8, 1.
But when a state is at peace within itself, then it can
(a-Taa-fis).
:

regulate absolutely its policy at home and abroad, its councils

and its armies. This is especially true of Greek history.
4.
icXaiSas virepTaras: Many were the bearers of the keys
(P. 9, 43), 'Adrjva (Aisch. Eum. 827, Ar. Thesin. 1142),
5. ITvOioViKov TI(AXV
(So. O. C. 1053).
'ApiOTji^vci
Ktofiov.

On

"True

(TO) gentleness."
personification to a point where analysis loses its rights.
is

6. TO paXeaicov:
4, 23.
ep|at re K<H iraOetv: naQflv pushes the

the dat. with 8f* f v, see O. 13, 29; P.

no fpai without

sychia

Tradflv,

hence the exhaustive symmetry.

There
He-

knows how to give and how to

her people

how to give and how to

receive, and so she teaches

receive.
7. Kcupu <riv

(Schol.).
'Avr.

Whose

8.

a'.

heart

The figure is that of a nail.

ajwCXuxov . . IveXeurT)
The Schol. evdj) rfj eavrov Kap8ia, and that is
:

the only natural construction of the Greek. Dissen and others

think of the bitter hatred of the Athenians towards the Aiginetans. "Plants deep in his heart ruthless resentment."
If'Ha-v10. Tpaxia . . . (nravridU
Xia were meant, we should expect rea.
"
the
embittered
foes with roughness."
laura:
pf
might
Meeting

Tranquillity (conservatism) is harsh whenever it is endangered.

No class more cruel than the repressive. 11. nOcts . . . Iv ovrX<j:
"
"
avr\ov 8exfcrdai is " to spring
avr\os is bilgewater (O. 9, 57).
a leak," vavs vTrtpavrXos is " a leaky, foundering ship." tv avrXw
to fhevdepa o-rdXw Ko/tt'fetj/ (v. 98), hence =' to
" to sink." The
Schol., d<pavi(is
scuttle," or, if that is unlyrical,
:
Sc. 'tla-vxiav.
Kul dp.avpois.
12.
IIop<j>vpiwv Porphyrion,

ridfvm

is

opposed

TV

Yiyavrw mentioned below, attempted to hurl Delos

heavenward, and was shot by Apollo, who is, among other things,
the god of social order. If there is any special political allusion,
this would seem to refer to parties within rather than enemies
without. pdOcv -=. fyj/o), Schol. ird6fv and \ddev are unnecessary
the

jSao-tXeii?

conjectures.

14. ci

(pepti (see note

ble course.

ns

on O.

Comp.

I.

We should expect fi TIS

but the opt. is used of the desiraOne of Pindar's familiar foils
15.

J>^poi:

6, 11),

(5),

PYTHIA
There

is

no allusion that we can

329

VIH.
IK 8<S|iv:

definitely fix.

Adds

color, as irpo Sd/iwv, P. 2, 18.

15.
'ETT. a.
r<|>aXv: Gnomic aorist, which does not exclude
the plumping effect of the tense.
See P. 2, 50. cv \p6v<? Cf. P.
16. Tv<j>*s KiXi|: See P. 1, 16: Tvtpws cWoi/ra3, 96; 4, 291.
K i X i KIOV dpe^fv TroXucij/v/ioi/ avrpov. viv
TOV irore
Ktipavos
:

'

17. paaiXevs ri-ydvrttv: Porphyrion.

SjiaOev 8i icepav'Kavxiav.
v<
Instead of the circumstantial 8fj.ddfv 6 ptv Kepawoi 6 fie TOOI:

<riv 'ATToXXcoi/oy.

TyphOeus was

v. 1.

19. gtvdpieeiov

ml, P.

2,

9, 40.

he

is

vi6v

slain

by Zeus.

Aristomenes.

18.

O.

2,

See

vjievi:

13

Z>

18: 2> Aeii/o/xeVeit TTCU.

20. iroia: A wide term.
Awpul Always complimentary in Pindar (Mezger)
:

Kpdm
Cf. P.

when

addressing Dorians.

21. eirco-e: The figure is like that of the lot

2rp. jS*.
XapCrwv: The goddesses of the hymn of victory. See
7, 58.
O. 9, 29. 22. 8ucauJiroXi9 : According to the genealogy of 'Ho-u-

O.

apCTdfc: P. 4, 296: qcrvx*? Giyiiuv, P. 9, 46: ^f\>8ti

24.
P. uses diytlv as an aor., and I hesitate to
Oi-yoMra:
Qiytlv.
follow the MS. accent Qiyoura. Aigina has attained.
25. iroX-

Xia (v. 1).

With

Xouri:

" And then

28. TO 8^
'Ai^-. fi.
again," with the shift 8e to another part of the antithesis, a Pindaric device instead of rjpwas
See O. 11 (10), 8. On the contrast, see O.
fjifv
dvftpdcri 8t.
On TO Se, 0. 13, 55. 29. owrxoXos: "I have no time"
2, 2.
"
To set up as an dvddijp,a. Cf. O. 5,
this is no time."
ovaOc'nev
:

7: T\V 8f Kv8os ajSpbv

&' cuvos 'OXvfJLTrioviKais

viKa<rais
\

OVTOS

dvedrjKe, O. 11 (10), 7: dcpdovrjros

ayncirai.

The poet

is

thinking of

the inscription of the votive offerings (O. 3, 30). 31. Xwpa . . 4032. |itj
YH-an Cf. liquidam pater vocem cum cithara dedit.
. . .
sentences of fear are really paratactic, and are often
KvioT)
p.T)
added loosely. Cornp. note on P. 4, 155. " I have no time "
" I
"
"
say that I have no time." Kvla-rj Lit., nettle," irk." ri
.

. .

Iv irocrt P.OI

Tpdxov

more

forcible TO Trap no86s (P. 3, 60 10,

" on
path," as tfjLiro-

(v 7roo-t,
62), TO 7rp6 TToSds (I. 7 [8], 13).
" in
Scoi/,
way." Tpdxov shows that the

my

matter is urgent, "my

Dissen combines rpdxov lra>.
But Tpd^ov
is heightened by the
poet to irvravov. 33. re&v xp^os Thy vic34. irorewJv: Cf. P. 5, 114: tv rt MotVat(ri iroravos.
He
tory.

my

immediate errand."

NOTES.

330
calls his art TTOTOVO

dfj.<piTf Aaroi'Sa

'ETT.

<r

paxavd (N.
o

(f>

Echo of rpdxov.

Notice

for 'oXu/i7rioi>iKaj>.

TrdXii/.

(pdvaMTf

14

(4),

ov

ov

8'

x f ip ova

See Paus.'G,

dperav

TvS>dt Qfoyvrjrov Trpoo-iSebv rbv

8fiov avioxov,
KoXXtcrrop

TraTSa, Tra\aicrfj.ocrvvT)s

dOXflv

fifv I8f1v,

Kare\eyx fl

Cf. P. 1, 12,

J
I

"

ev.

ides (149 Bgk., 206 Sclmdw.):

O\vfj.TTioviKav

H^X*"*

Moitraj/.

Following hard upon the track."

36. 'OXvpirfoj. Pindaric brachylogy
efyrrov Honored by an epigram of Simon-

35. lyvcvwy

/3'.

i^l

7, 22).

a ^advKo\Tra>v T

os irartpatv dyadcov VreKarcXryx"? Cf. O. 8, 19 and I.

fJ-op<pds,

9, 1.

avfj.<pvTOv ov

7 (8), 65 : rbv ptv

37. Opeurvywiov : See
38. avgcov : O. 5, 4.

KarcXe'y^ei,

Kptrov yevea TrarpaSfXtpeov.

the propriety of the compound.

Xyov O. 2, 24. Used as the Homeric tWo?.
As a prize. " Thou earnest." 39. 'OiKX^os irats Am4>epts
phiaraos, the seer, the just man and wise among the seven against
Thebes. See 0. 6, 13. His spirit speaks. 40. aivi|aro: " Uttered
as a dark saying, in a riddle," as became an oracular hero.

O.

8, 68, for

irarpav

" Clan."

2Tp. y.
15.

44.

that

is

41. 6mfrr():

$v$

^H*

See P. 3, 91. 43. (xopvojici'wv : Cf. O. 13,

By nature stands forth the noble spirit

"

transmitted from sires to sons." This

way of saying TO Se <rvyytves

than an oracular

is

nothing more

e'/x/3e'/3cucfi>

1\ve<rtv

irarpos (P. 10, 12). Amphiaraos recognizes the spirit of the warriors of his time in his son and his sons' comrades, hence the

plural.

ure."

Tafel gives (pva the Homeric sense, " growth," " statThe Epigonoi had shot up in the interval, and become

So also Mezger. But how would this suit Arisstalwart men.

tomenes? 46. SpaKovra: The device occurs on the shields of
other warriors, but it is especially appropriate for Alkmaion
our 'AXicjiava the son of the seer Amphiaraos. The serpent
mantic. See O. 6, 46.
'Ayr.

48. i Si teojuSv: Adrastos,

y.

who had

is

failed in the first

expedition, was the successful leader of the second. irporepqi

ira0<j,:
breviloquence, such as we sometimes find with oXXos
"a
" another
man
and

trtpos

beside."

young man,"

trtpos vfavias,
irportpa 686s

The

was a
Here

XT<U Usu. in a bad sense.

Omen. See P. 4, 19. 51. ri
:

r&

is ace.

52. avrio irpa|i

young

Tr. " before."

irdda.

49.

M-

" is
compassed." 50. 8pvix<>*
Si ^odcoecv " As to his household."
"
" He
shall fare contrariwise
(Fen:

PYTHIA
Cf. O. 8,

nell).

73

331

VIII.

apptva irpdais

53. 6av6vros

dvrjp.

vlov

Aigialeus.
'ETT.

Abas, son of Hypermnestra and Lyn-

55. "Apovros:

y.

keus, king of Argos, not Abas, grandfather of Adrastos.

dyiuds:
On the ace. see P. 4, 51. 56. icol avrrfs As well as Amphiaraos.
:

57. arc^dvoKTi fSdXXw: P. 9, 133: TroXAa ftiv ntlvoi SIKOV

<f>v\\'
aiv 8c teal vfjtvy
(TTt KOI <rT((pdvovs.
Cf. P. 5, 93; I. 5 (6),
\

21:

10 (11), 109: no\tv Karaftptxw-

paivffifv (ii\oyiais, O.

58.

yciTwv Sri fxoi Alkmaion must have had a shrine (f)p<oov) in Pindar's neighborhood that served the poet as a safety-deposit for
his valuables.
59. vnrdvTao-ev: Figuratively, "offered himself as
:

a guardian."
"
l<t><u|/aTo

I6vri

As

it

would seem on

The

Employed."

with

dat., as

this occasion.
tftyoura, v. 24.

60.

The

prophecy doubtless pertained to this victory of Aristomenes,

His relaP. describes with all the detail of a spectator.
tions to the Aiginetans were very intimate. The prophecy leads to
the mention of the fulfilment. <rvyy<Jvoi<n Alkmaion, through his
father Amphiaraos, was a descendant of the great seer Melampus.

which

61. irdvBoKov vo<5v: A temple, and not a simple r/pwoi/.

65. apiraXlav 86<riv:
8ioW|Av P. 4,260 aorv
8iavffifiv.
"A
Phil. 2, 6
oi>x apnaynbv fjyr)gift to be eagerly seized."
66. eoprais The Delphinia in Aigina.
a-aro T& flvat "era TW 6a.
See note on 0. 13, 112. i|xots Of Apollo and Artemis. See P.
2iy>. 8*.

62.

4, 3.

67. ova|, IK^VTI 8(*)

'AiT.

68.

8'.

O.

1,

Kara TIV appovtav: The MSS. have nv. Tiv=<roi

is to be combined with the verbal

conjecture, and
Cf. 0. 13, 91.
subst. apfjioviav.
is

De Pauw's

36.

pX^ireiv:

With

Kara.

KaTa/SXeVeti/

"
It is my
(not elsewhere in the classic period), like naBopav.
heart's desire to keep my eyes fixed on agreement with thee at
"
every step of my whole path (of song). The poet prays for accordance with the divine in his own case, as he afterwards asks
house of the Midylidai may ever have
(v. 71) that the successful
Others take cvxopai, as "I dereverential regard for the gods.
clare."

The passage has been much vexed.

Sera

69. ficao-rov 8<ra

vlo|iai: Cf.
eVep^o/xat (Schol.).
piv . . . Adca
dvatipa^v (O. 8, 54), SieX&u/ (N. 4, 72). 70.

txaoroi/ ru>v

7rotT7/iara>i>

wi^

P. is certain that Apollo stands by him as Justice

does, but he looks forward to the future of the race : hence the

irapfaraicc

NOTES.

332
demand

that the fortunes of the Midylidai should be guarded bj

On pcv
With Trapt8<f, 0. 11 (10), 8.

reverence for the divine.

71. 6ewv 8' oiuv

Usu. "favor
comp. O. 3, 4 7rape<rra/coi.
of the gods," but can the gods have orris for men as they have
72. S&apices: Father of Aristomenes (cf. v. 19),
Tt/xa? (P. 4, 51).
addressed as the head of the house, as the Arnphiaraos of our
A mere foil to v. 76.
Alkmaion.
73. el -yap TIS .
[xaxavais

oraKe,

"

-.

not wisdom, as the vulgar think. "Tis not in

mortals to command success. Each man's weird determines now

Easy success

is

success, now failure. Have God in all your thoughts. Keep within bounds."
74. ire8' a<J>p6vwv
For this use
eV atppoari (Schol.).
"
of /irra, P. 5, 94 fidicap dvdpcov pera
Wise amongst
evaitv.

Success

fools."
5,

16

is

the vulgar test of merit, of wisdom.

See O.

On

7re8a see

'
:

fjv

\ovres

KOI trokSrau

<ro(poi.

edoav

e/i/iev.

P. 5, 47.
'ETT. 8'.

"
To helmet," where we should say
The head-piece was the crowning protection,

75.

"to panoply."
TroXXwj/
S(^)
viv.

icopv<ro-^(xev

76. Tl
twrXwi' <rvv ff 'nnroKopois Kopvdf(rcriv (Soph.).
its repute of wisdom.
Comp. P. 2, 57 :

fj.ed'

Such success with

avSpdtri Kclrai : Cf. the Homeric 6f <av tv yovvatri KeTrai,

It is not
irapioxci: "Is the one that giveth."
10, 71.

iir*

and P.

necessary to supply anything. 77. virp0e {JaXXtov . . viro \tipiav

"Tossing high in the air ... under the hands (where the hands
.

can catch it)." Men are the balls of Fortune (8aip*>v). viro
with gen. instead of the ace. on account of the contrast with
Bergk reads viroxfip&v, not
vrrfpde, which suggests the gen.

found elsewhere.

78.

\Urp<p Kardpaiv(c)

^.

= perpifos,

litotes

" Seek

no further contests." Thou hast victories enough of this kind (v. 85 shows that his opponents
were boys). Aristomenes was leaving the ranks of the TrmSes
4v Me-ydpois
TraXaio-rm.
O. 7, 86. 79. \>-v\ta: Marathon lies between Pentelikon and Parnes. Mapaflwvos O. 9, 95. ^Hpas T*
aywv' lirixwpiov The Aiginetan Heraia were brought from Argos.
for

firi

Kardftaive.

to the lucky

80.

2rp.

'.

p.tr

An

p-y<j

man who

Schol.

(v. 73).

8d;j.acroras

o-Tefpavov.

easy extension of the inner object

Emphasizes the exertion in contrast

achieves his fortune

tpyov KOI fvtpyfias

See O. 8, 68.
e^irf-res
In the other description (O. 8, 68)

81. TcVpcwn,

a-vv /UIK/WB TTOI/W

Troi\Xrjs f

cWfl-ftref

we have

82.

yviois,

PYTHIA

333

VIII.

which some consider an equiv. to <ro>/xa<rt. *aica ^povc'wv: Liter"

"
With fell intent " (Fennell). Cf. N.
meaning mischief."
oiSc
So 1.2,44: /iijTe
83. ovrt
4,95: fin\<iK(i (ppovtotv.
84. firaXirvos
OHMS Like as to thee.
f)8vs, irpo<rr)vr]s
pjSe.
ally

85. (loXoVrwv: Easier to us as gen. absol. than as deSee note on 0. 13, 15. 86. Xavpos: "Lanes,"
itfji<(>i.
"
"
back-streets." ixOpwv airdopoi " In suspense of their enemies
would be perfectly intelligible. 87. ScSay^voi: So with Bergk
(Schol.).

pendent on

for SfSaty/xeVoi

'Aw.
thing
(rife),

('.

new

8(8a'iyfj.fvoi.

88. A 8i

fUpipav

"
:

He

that hath gained some-

when luxury is great

soars by reason of hope (at the impulse of Hope), borne
(a fresh victory) at the season,

up by winged achievements of manliness (by the wings of manly

achievements), with his thought above wealth." This is n description of the attitude of the returning victor in contrast to
that of the vanquished.
He seems to tread air. Hope, now
changed to Pleasure (see P. 2,49), starts him on his flight, and
liis
manly achievements lend him the wings of victory (P. 9, 135

7n-fpa NtVay).

From

this height he

down on
Hermann, and many after
may

well look

wealth, high as wealth is (O. 1, 2).

him, read afiporaTos en-i, in disregard of the Scholiast (OTTO pcyaXijs
&Pp6T7]Tos Kal (i>8aip.ovias), and, which is more serious, in disregard of P.'s rules of position (see note on 0. 1, 37). Mezger considers dvopeais as dat. termini (for which he cites O. 6, 58 ; 13, 62,
neither of them cogent), and sees in f\ni8os and dvopiais the
"
prophecy of future success among men. d/Sporaros is not the

sweet spring-time of life," but rather the time when there is

every temptation to luxury, and when the young wrestler is
91. viroirWpois Comp. further O.
called on to endure hardness.
93. TO TepirvoV: See note on O.
14, 24: Kv8ifjui)v dfdXuv irrtpolcri.
:

ovrw: Sc. (v

14,5.

oXt'yo).

94.

dirorpairy

yvw^

"Adverse

doom."
'ETT.
sis.

('.

95.

ird|icpoi

Sc. t cr/ieV.

T( Sc TIS; TI 8' ov TIS;

"What

A rare and
is

impressive ellip-

man? what

is

he not?"

Man

continueth so short a time in one stay that it is not possible

to tell what he is, what he is not.
One Scholiast understands it
as "What is a somebody? what a nobody ?" which is a clearer
Life had often been called a
<riuas ovap
way of putting it.
:

shadow and a dream

before P., but this famous combination

NOTES.

334
startles the

Scholiast

tv

ipfyatrfi

777

96.

TOV dcrdfvovs TO d<rdev(<TTfpov.

TTo8>v.

avSpwv
right,

x/^/xf vos, o>s ai> ein-ot r;$

Cf. O. 13, 36: aiyXa

atyXa

The dream may be lighted up by victory.

The Schol. fireari Kara rwv avQpo>iru>v, If

we must understand

fTri^aiva).

P.'s eVt,

P. 4, 273; 8,46; N.

and

97. &reo-uv

the text

tnto-riv as ftrrlv eVt, "rests

with gen.,

is

on."

used of fixed position, O.

1,

is

Cf.

77

98. 4>CXa (xarep: P.'s love for Aigina

fate are abundantly evident in his Aigi-

5, 1.

his interest in her

netan odes, nearly one fourth of the whole number. Here, of
course, the heroine is meant.
IXevOcpcp <rr6\if. Nautical figure.
" In
the course of freedom." 99. K<i|uj;e: As always with the note
of care. Ai
<rvv n^Xet
'AxiXXei i. e. o-iiv At KOI <rvv AiaKo>
avv T* 'A^tXXel. See O. 9, 94, and for this special case com p. N.
10, 53 'Ep/ia *al <rvv 'HpcucXt t, where god and hero are connected,
as god and heroes are connected here, by nai.
The brothers of
the first generation are coupled by re KCU, Achilles completes the
line with rt
.

HERA.
Coin of

Elis.

PYTHIA

IX.

THE ninth Pythian was composed in honor of Telesikratee of

Kyrene, son of Karneiades, who was successful as an 6ir\iTobp6Telesikrates had previously
pos, Pyth. 28 (Ol. 75, 3 =478 B.C.).
distinguished himself at all the local games of Kyrene, had been
victorious in Aigina, at Megara, and, after the race in armor,
470 B.C.). P.
gained a foot-race at Delphi, Pyth. 30 (Ol. 77, 3
tells of the former victory only, and the poem must have been
composed at the earlier date. Bockh thinks that Telesikrates
had not returned to Kyrene when the poem was sung nor, on
the other hand, is there any trace of a *%xos at Delphi.
Hence
the inference that the performance was at Thebes. Unfortu-

nately 8({-(Tai (v. 79) proves nothing more than that the ode
was not composed at Kyrene. Otfried Miiller conjectures that
Telesikrates belonged to the Aigeidai, and we have good reason
to believe that

Pindar was an Aigeid (P.

5, 76).

The name Karamong the

neiades points to the Karneia, a traditional festival

Aigeidai.

The acknowledged

difficulty

of the

poem

will justify a de-

tailed abstract.
I sing Telesikrates, crowning glory of Kyrene, whom Apollo
brought on golden chariot from windy Pelion, and made the
huntress-maiden queen of a fruitful continent (vv. 1-9). Silverfoot Aphrodite received the Delian guest and shed winsome
shamefastness on the bridal couch of Apollo and the daughter
of Hypseus, king of the Lapithai, to whom a Naiad bore her
(vv. 10-18).
Naught did this white-armed maiden reck of loom
or dance or home-keeping with her playmates. With dart and
falchion slew she the fierce beasts of prey and gave rest to her
father's kine, scant slumber granting to eyelids on which sleep
loves to press towards dawn (w. 19-27).
He found her he, God of the Wide Quiver as she was

NOTES.

336

Out he called
struggling alone, unarmed, with a furious Hon.
Cheiron from his cave to mark the woman's spirit, and to tell
her parentage (vv. 28-36). Whate'er her lineage, the struggle
shows boundless courage. " Is it right," asks the god, " to lay
hand on her and pluck the sweet flower of love ?" The Centaur
smiled and answered " Secret are the keys of Suasipn that unlock the sanctuary of love's delights gods and men alike shun
"
open union (vv. 37-45). Thou didst but dissemble, thou who
knowest everything, both end and way, the number of the leaves
of spring, the number of the sands in sea and rivers, that which
~
is to be and whence it is to come. But if I must measure mysf\
with the Wise One
(vv. 46-54).
I will speak. Thou didst come to be wedded lord to her, an^ tc
bear her over sea to the garden of Zeus, where thou wilt make
her queen of a city when thou shalt have gathered the islandfolk about the plain-compassed hill. Now Queen Libya shall
receive her as a bride in golden palaces, lady of a land not tributeless of fruits nor ignorant of chase (vv. 55-62).
There shall
she bear a son, whom Hermes shall bring to the Horai and to
:

and they shall gaze in wonder at their lapling, and feed

him with nectar and ambrosia, and make him an immortal Zeus
and a pure Apollo, God of Fields, God of Pasture; to mortal men,
So saying he made the god ready for the fulfilment
Aristaios.
Gaia,

of wedlock (vv. 63-72). Swift the achievement, short the paths

of hastening gods. That day wrought all, and they were made
one in the golden chamber of Libya, where she guards a fair,
And now the son of Karneiades
fair city, famed for contests.
crowned her with the flower of fortune at Pytho, where he proclaimed Kyrene, who shall welcome him to his own country, land
of fair women, with glory at his side (vv. 73-81).
Great achievements are aye full of stories. To broider well a
few among so many that is a hearing for the skilled. Of these
the central height is Opportunity Opportunity, which lolaos
did not slight, as seven-gated Thebes knew. Him, when he had
shorn away Eurystheus' head, they buried in the tomb of Amphitryon, his father's father, who came to Thebes a guest (vv. 82-90).
To this Amphitryon and to Zeus, Alkmena bare at one labor
two mighty sons. A dullard is the man who does not lend his
mouth to Alkmena's son, and does not alway remember the Dirkaian waters that reared him and his brother Iphikles. To
whom, in payment of a vow for the requital Of their grace to me^

PYTHIA

IX.

337

I will sing a revel song of

May not the clear light of
praise.
the Muses of Victory forsake me, for I have already sung this
city thrice in Aigina, at Megara (vv. 91-99), and escaped by
achievement the charge of helpless dumbness. Hence be a man

friend or be he foe, let him not break the

Nereus and hide the merit of a noble toil.
heartiness

and

full justice

him

commandment

He bade

of old

praise with

that worketh fair deeds.

(So

let

Well hast thou wrought.) At the games

jealousy be silent.
of Pallas mute the virgins desired thee as lord, (loud the mothall

ers) thee as son, Telesikrates, when they saw the many victories
thou didst win (vv. 100-108).
So at the Olympian games of Kyrene, so at the games of Gaia
and at all the contests of the land. But while I am quenching
the thirst of my songs, there is one that exacts a debt not paid,
and I must awake the glory of thine old forefathers, how for the
sake of a Libyan woman they went to Irasa suitors for the
daughter of Antaios. Many wooed her, kinsmen and strangers

for she

was wondrous

fair (vv.

109-117)

all

eager to pluck

The father, planning a more famous wedding for his daughter, had heard how Danaos had
found speedy bridal for his eight-and-forty virgins ere midday
should overtake them, by ranging all that had come as suitors for
his daughters, to decide who should have them by contests of
swiftness (vv. 118-126).
Like offer made the Libyan for wedding a bridegroom to his daughter. He placed her by the mark
as the highest prize, and bade him lead her home who should
first touch her robes.
Then Alexidamos outstripped the rest in
the whirlwind race, took the noble maid by the hand, and led
the flower of youthful beauty.

her through the throng of the Nomad horsemen. Many leaves

they threw on them and wreaths many wings of Victory had
he received before (vv. 127-135).
;

The ode, beautiful in details, has perplexed commentators

both as to its plan and as to its drift. The limpid myth of Kyrene has been made to mirror lust and brutality. Telesikrates
is supposed by one to have violated a Theban maiden, by another to be warned against deflouring his Theban betrothed
until he is legally married to her.
It is hard to resist the impression of a prothalamion as well as of an epinikion, but all
conditions are satisfied by the stress laid on Kaipos, which Leopold Schmidt has made the pivot. Mezger happily calls the

NOTES.

338

vom Kmpor ," " the Song of Songs, which

The key is v. 84 6 8e Kaipbs 6/Wws iravrbt
The poet, following his own canon
<ua 8' tv

ode " Das Hohelied

is

Season's."

(Xti K.opv<f)dv.

aKoa <ro(f>ois, v. 83 has selected four exTrotKtAXetv,

amples to show that the laggard wins no prize. Witness how
Apollo, no laggard in love, seized Kyrene (&>*6ta 8' (TTfiyop.fvav
fj8r) 0eS>v
irpais 68ol re ftpaxf'iai, v. 73) how lolaos, no dastard
in war, shore off the head of Eurystheus (v. 87).
Witness Autaios (v. 114), who caught from Danaos the lesson of speedy
marriage for his daughter (omvraTov ydpov). Witness Alexida/iaKpoter*

uios (v. 131), who won the" prize by his impetuous rush in the
race (<pvye Xanfapov Spd/iov). Mezger, who emphasizes the recur-

rence of airriKa (vv. 31, 62, 124), shows, in perhaps unnecessary

detail, that the poem breathes unwonted determination and
energy, and thinks that it is intended to urge the victor to make
quick use of his victory for pressing his suit to some eligible

The poet is to be to Telesikrates what Cheiron was to

This view seems to me rather German than Greek, but
Apollo.
it is not so unbearable as Dissen's rape and Bockh's caution
maiden.

against the anticipation of the lawful joys of marriage.

The poem has

certain marked points of resemblance and conwith P. 3. As in P. 3, the myth begins early as in P. 3,
the foremost figure is a heroine beloved of Apollo. There the
god espies his faithless love wanton Koronis in the arms of
Here he finds the high-hearted Kyrene struggling, unIschys.
armed, with a lion. There Cheiron was charged with the rearing of the seed of the god. Here Cheiron is summoned to leave
The fruit of
his cave and witness the courage of the heroine.
this love is not snatched from the body of the mother fordone,
and borne in haste to the foster-father, but the child is taken
by Hermes, in virtue of his office, is fed with nectar and ambrosia by the Horai and Gaia, and becomes, not an Asklepios, to
perish in lightning flame, but an Aristaios.
In P. 9, as in P. 4, the myth comes to the front, the myth of
Kyrene occupying three fifths of the ode. lolaos dominates one
trast

fifth,

Alexidamos the

last.

The rhythms are Dorian (dactylo-epitrite).

than the norm (O. 3), and hence are supposed
Dorian and Lydian.

They are lightei

to be a mixture of

2rp.

a'.

1.

40&w: "I

PYTHIA

IX.

am

x<iXica<nri8a

fain."

339
The

6ir\iTobpo-

originally wore shield, helmet, and greaves (Paus. 6, 10, 4),

and is. so figured on a celebrated vase (Gerhard, A. V., IV.).
Afterwards the shield only was worn, which, being the heaviest,
fioj

made prominent.

here

is

p.(Ta Tys d<rirt8os.

2.

Comp. Paus.

f3a0vwvoi<riv

2, 11,

8:

Cf. O. 3, 35

ical yvpvbs
$a6va>vov

ical
.

dvY^XXwv: See O. 7,21 3. Xapirccro-i: Mistresses of the

song of victory, as often: O. 4, .8; 7,11; P. 6, 2. y&fuvtiv: Of
4. 8iw|iirirov
the herald cry, as O. 2, 5 Qfjpa>va
yfyatv^rtov.
A further illustration of the subject is given by the
Cf. P. 4, 17.
description so often referred to, So. El. 680 foil., where two of
AijSa?.

the contestants are Libyans (v. 702)

(v.

727).

<rre<|>av|Aa

The

and

their chariots Barkaian

result of the yeycoi/eu/, rather than ap-

See P. 1, 50 and 12, 5. 5. rdv: Change from

position to avftpa.
6 xairocis . . . AarotBas
can afford
city to heroine, P. 12, 3.
to wait for AaroiSap, as the epithet is characteristic of Apollo,
:

who

We

and I. 1,7, and the ode is Pythian.

28: (vpv<pap(rpas
6. xp"'ATroXXwi/, and O. 7, 13.
Notice the pretty chiasm. nyporfpav P. 3, 4 &f)p
vitf IT. a. 8.
The myth, as many of P.'s heroine myths, is taken
ayportpov.
from the 'Houu of Hesiod, a fragment of which opens the
is

Comp.

dK(ip(Kop.as, P. 3, 14

v.

'HpaK\ovs. 7. iroXv|iifXov: See on O. 1, 13. The Schol.

0. p^tav
The earth is conhere has distinctly iroXvirpo^drov.
ceived as a plant with three roots, Libya being one, Europe and
'Ao-jrts

Asia being the other two.

(vtjparov (c),

'Ai^-. a',

specially

The order from

dfjKt to olnelv is

note-

6riK(v (a), 8t(TTToivav (b),

worthy

^dovos piav (c), aTrdpov Tpirav

ddX\ourav (b), uiKelv (a). So the Schol.
10. apYvp<Jire(a)
in Libya.

honored

Aphrodite, as a sea-goddess, was

Comp.

P. 5, 24.

dpy. refers to the

sheen on the waves, the track of the moonlight. We have here

11. 0o8|idTwv: The latter part
the lunar side of the goddess.
of the compound is still felt here. See O. 3, 7. Add to the in12. tt\lw. Destances there given fr. XI. 40: 0edfyurroi> *AaSoi/.
pends on f(pcnn-0fji(va. On the construction, see 0. 1, 86. Simply
To make o^. depend on viribatro as a
a natural bit of color.
whence -case is not happy. xp'1 Kov^q,: Often taken as=:^epi
Surely the young couple did not need bodily help
Kov(pi(ova-r].
so much as moral sympathy, and it is a pity to spoil Pindar's
13. lirl . . . cvvais: Dat.-localight touch as well as Aphrodite's.
tive of the result of the motion often with eVi in Homer, regularly

NOTES.
with iv and TiSr^u in prose. cvvois P. 2, 27. paXev ai8w, KT(.
This al8a>s is the dp/xds tliat binds the pair in wedlock. The inti
mate union is emphasized by wov, app.6oicra, (uxOevra. 0c<j> and
:

icovpa depend on gwov (comp. P. (5, 15), resumed and varied by

mx^evra (comp. P. 4, 222), an anticipatory contrast to the light of
love xdpcii p.f\ta8ea noiav, that Apollo proposes (v. 40). For the
complex, comp. P. 5, 102 o-<pbv oA/3oi> vim re xoivav \apiv fv8tKov
" And shed
T 'Ap*ceo-iXa.
upon the pleasures of their couch the
charm of shamefastness, uniting thus in bonds of mutual wedlock
the god and the maiden-daughter of Hypseus." 14. op|A(5got<ra
Below, v. 127, Appofav is used of a lawful marriage. 15. Aam6av
:

The statues of the western pediment of the temple

of Zeus at Olympia represent the combat between the Centaurs
and the Lapithai.
TOVTCIKIS
16. ylvos: Ace.
Tore, P. 4, 255.
of limit to 8(vrepos. 18. CTUCTCV: See O. 6, 41.

tnrepoirXwv

Not necessary to the sense. By

19. Faios OvyaTtjp
'ETT. a.
putting the end of the sentence at the beginning of the epode
(comp. 0. 1, 23. 81; 2, 17; 3,26 ah), antistrophe and epode are
closely combined, and the mechanical a -f- a -}- (b) of strophe, antistrophe, and epode is avoided, and we have instead a -\- (a -\- Z>).
X>KXevov: So Lehrs (after the Schol.,
So J. H. H. Schmidt.
O. 6, 46. iraXififor the MS. fva>\tvov.
20. 0p|wro
.
.
. oSovs:
The to and fro necessary with the upright
loom.
21. SeCvwv Te'pxjnas o(58' crapav oUovpiav: The best MSS.
:

have o0re dfijrvwv oiKovpidv p.(6' eraipav repeat, for which thft
metre demands olicopiav, a form for which there seems to be no
warrant. The Scholia show an old trouble. I have accepted

" dances."
Seivav
8iva>v,
Bergk's recasting of the passage
The monotonous to and fro of the loom would be well con" whirl " of the dance.
Maidens and banquets
trasted with the
are disparate in Pindar,
trapav olitovpiav is r= faff trapav OIKOV-piav, and this may help to account for the corruption of the text.
"
Falchion." 24. rj With a note of asseveration,
23. <|>a<rYav<{>
:

" Him that

25. TOV Be <rv-yicouTov yXwKvv
as bed-fere
?i fj.f]v.
.
.
.
vnvov
is
so
26.
sweet."
iravpov
(bedfellow)
Transposed with.
Mommsen. TT. "scant," litotes for "not at all." &irl yXe^apois
as in

Od.

2,

398: VTTVOS (irl y\f(pdpoi(rtv

ova\urKoio-a
sleep.

dawn

"Wasting

p^irovra irpos

Zirnrrev.

Cf. v. 13.

27.

sleep," brachylogy for wasting time in

aw: Sleep

is

sweetest and deepest before

Yet this is the time

(tmadentqne cadentia sidera somnum).

PYTHIA
when

IX.

341

the huntress has no right to sleep.

a naturalist says,

"when

savages always

"This

make

is

the time," as

their attacks."

28. Xfovri Whether there were lions in Greece at that

2rp. J3*.
time or at any time matters not. There were lions in Kyrene,
30.
29. ippi(x<{) Used of the monster TyphOeus, O. 4, 7.
P. 5, 58.
31. avrUa: See the introducaTcp iyyluv Schol. avtv Soparos.
"
** tu-ydpwv
From out his halls," sc. Cheiron's. Called
tion.
him out and said to him. 32. ovrpov Cf. P. 3. 63 d 8e <ra><pp(>>v
:

tvat

avrpov

tri

*iXvpi8a: Cf. P. 3, 1. 33. arap^ct . . .

a compliment as well as draped Kpabiq,

Xtipuv.

A steady head is
which Schneidewin reads. Note the serenity of the heads of
combatants in Greek plastic art. icpaSia is unlikely with f/rop
The M8S. have (ppeves. Some
35. Kx|*avrai 4>pe'vas
to follow.
i4>aXq.

Monimsen
recognize in this the cr^/ia HivBapiKov (O. 11,6).
suggests OVK f\dnavQtv t others see in Kf^tinavrai a plural. Cotnp.
I have no hesitation in following Bergk's
II.' 223.
36. iironra<r6cura The lover cannot imagine
suggestion, <pp(vas.
such a maiden to have come into such surroundings except by

Curt. Gr. V.

accident.

"

"

"

Inhabits."
37. *x"
38. Ycvcrai:
Tastes," makes
&XKL
Doubtful whether the lion's or the maiden's,
"
and, to add to the trouble, we have aimpdvrov, boundless," and
"
aimpdrov, untried." Apollo has no fear for the heroine, and
so, on the whole, it is better to understand "the boundless
"
of the maiden. 39. 6<ra Especially hard to define.
strength
Grote translates oo-idnjy,
Plato's Euthyphron discusses TO Sa-iov.
'Ayr.

&.

trial of."

"
" holiness
;" Jowett,
piety."
'

8ia(pfpd

yap (<m ra
ra T&V dfS>v,

ocria p.ev

Ammonios
tSiwrtJcd,

says

&v f(ptTai

tm.

OO-LOV

KOI

KOI itpbv

t( OT

Trpotr-

lav OVK
if pa 8t
ocrt'a,
irpoa'd^aa'dai.
a^atr^at
the human right, is also the divine right, as Eur. says, Bacch.
370 'O<r/a irorva 6t>v, 'Otr/a S' a Kara yav ^pvcriav irrtpvya
Perhaps the use of the word here is another of those
<ptp(is.
:

show that this is no ordinary amour. K\VWith the same epic simplicity as Od. 9,364: ftpcoras
K\VTOV. 40. ^^a; Not disjunctive, and best punctufi ovopa
ated thus. Myers translates after Donaldson, who makes fj disjunctive, "or rather on a bridal bed," Xf^eW being the lectu*
strokes that serve to

Tavx'p

yenialis spread 8<bfj.acrii> ev xp^o-eotj (v. 60).

Unfortunately foi
all this legality, the Centaur, despite his refined environment,

NOTES-.

342

the Kovpat dyvai of P. 4, 103, understood \x(a>v to be nothing

-woiav
Here of the flower of love.
P. 8, 20.
evvas.

more than

The oracular god, who

has been speaking in oracular phrase, winds up with an oracular hexameter.
41. apcvifc
"Inspired" (Fennell). But see
P. 4, 10.
x^a P"^v: The passage requires an equivalent of npoa-Cf. v. 119: aTroSpe^ai Kapirov dvdrja-avra.

yves Kal y\vKv ( Schol. ), which is better satisfied by association with xXuzpdi', "lukewarm," than by derivation from the
root of K<?x\a8a with Curtius.
have not here the " lively "
of
the
other
Centaurs; we have the half- smile of
horse-laugh

We

42. icXatBes: See P. 8,4, and add Eur. Hippol.

rov rds 'A.<ppo8iTas <pi\Ta.Ta>v ddXdp,a)v K\Tj8ov\ov.

the great teacher.

538 "Epcura
:

4>t\oTaTO)v: Both genitives depend on K\ai8d.

keys that Suasion holds to the hallowed joys of
On Peitho, see P. 4, 219. 44. TOVTO . . rvxeiv: This aplove."
position serves to show the growth of the articular inf., sparingly
used even in Pindar. 45. Toirpwrov Tv\eiv TOTTP&TOV vvds'. "To

43. IleiOovs . .
" Secret are the

enter the bridal bed."

Not

as if this applied only to the

first

time.

'ETT. 3'.

46. \|ev8ci ei Y tv:

thought, P.
" Bland

29
"

3,

On

\^fv8fo>v

the dat., see P.

oi>x

4, 296.

For the

47. (iciXixos 6pY*

awrfTai.

humor," pleasant mood." Apollo is merely teasing the

Centaur by pretending to ask his advice. Others, " soft desire,"
<'guiling passion."
jrapd,
.

piov

irap<|>a|Mv

"To

dissemble," "utter in jest."

"aside" (from what is meant). 6ir<58v: Sc. e'ori. 48. ecv" The decisive
. . T\os, KTf.
end." The final destiny, and
:

Oracle in
thereto.
50. 8<r<ra . . . icXoWovrai.
Hdt. 1,47: oiSa 8' e'-yw -^dfjifjiov T' dpt.dii.ov KOI ptTpa 0a\d(T(rr)s.
<J>v\X(a): Fits the woodland environment.
avair^Mrei: The spring
leaves are an army in rank and file, the sands are an army in rout
the

ways that lead

(K\ovfOvrai).--52. \&ri. p.f'X\i The reXos again (v. 48).

eo-o-Tai
otrodtv TO p.\\ov (TTat I The K(\f vdoi again.
:

opqis

\tm69fv
53.

ito8-

From thy

lofty height.
Apollo is a O-KOTTOJ, and Kara is
54. KO.I irap <ro$6v dvTi<t>cp(|ai
K<U rror/joj rrot ovri

not effaced.

"
(Schol.).

To match myself against

the

Wise One."

4p&: Effective position. The word is not necesComp. P. 4, 87 TTOO-IJ 'A(ppooiras, and contrast dat.
and gen. Kyrene becomes Apollo's wife. As A. was unmarried,
?KCO
it was easy to put the myth in this honorable form.
2rp.

sary.

y.

55.

inJo-is

PYTHIA
O.

64

6,

the

See P. 4, 51.
IKOVTO irtTpav.
57. Aite .
O. 7, 61 8, 32.

aor.,

lirl

For

a-ycipais

The

foil.

56.

Aioy, P. 4, 16

= inayfipais.

iveucai

Sc-e

O.

On

3, 24,

58.
Aios tv "Apptavos 0(p.i6\ots.
vatriwrav
Xabv
See P. 4, 17
59. oxPov *s a^iireSov Cf. P. 4, 8
.

island was Tliera.

nAXtis

ITOTI KUITOV

for Kanos.

343

IX.

Cheiron lias the oracular tone in perno\iv tv dpyivofvTi /xaara).

He parodies Apollo. AifJva The nymph, daughter of
fection.
:

Epaphos

(P.

abide, not

'?,

as N. 11, 3

<rvvTtXc6iv frvofiov

v. 31.

xpvWois

Where she

will

'Apurrayopav oeat rtbv ts 6d\ap,ovataav: Share.

in P.
62. avriKo: Cf.

Always "where"

61. tva:

60. Scapao-iv

4, 14).

"To

abide with her as hers in law,"

Paley tr. "To become an occupossession.''

pier of it together with herself." Cf. Aisch. Suppl. 565 ftpoToi
8* ot
yds TOT TI<TCLV IWo/iot. But see O. 7, 84. The Schol., mis-

"to be her lawful

led

by

VTJTTOIVOV,

63. wjiroivov:

P.

"
glosses avvrt\f6(iv by trvi/reXeu/, to contribute."
With the good sense of iroivr), P. 1, 59 ; TroiVi/ior,

glossed as

2, 17,

"

a/xotpoi/.

Not

tributeless."

64. *Ep|uls
Hermes was not only the patron of flocks
'Airr. y.
and herds, but also the great gerulus of Olympos. The Hermes
of Praxiteles, with the infant Dionysos, is one of many.
65.
A note of majestic beauty. So Kleio (N. 3, 83) and
ev6p<5voi
;

the daughters of

Eadmos

(O. 2, 24).

Even Aphrodite

more matronly than she is

On the images of the seated Horai
(I. 2,

5) is

as tvOpovos
as TroiKi\66povos (Sappho).
at Delphi, see 0. 13, 8.

The Horai, as authors of dpxaia o-o^tV/iara (O. 13, 17),

are well introduced here, but who would question the appropriateness of the Seasons and Mother Earth as the foster-mothers

"Hpaio-i

of a rural deity like Aristaios ? Faiqi Great-grandmother of Kyrene (v. 19), if the relation is to be insisted on. 66. viro: Vividly
" from
under." " from his mother's womb." See O. 6, 43.
local,
67. iiri-youviSiov
P. makes the very widest use
eVt yovaTav.
of these adjj. in -tor. Combine (iriyovvi8iov with airraly. avrals
is unknown to Pindar.
See O. 13,53. 6at]cra|Acvai So Bergk
for dqKdptvai, 6rja-ap.(i'm of the codices, for which Moschopulos
avrats Bergk reads
KaT0T)Kap.fvai. darja-.
6avp.d<ra(Tai, (Schol.).
68. 0^<rovr<u
"Shall decree," to which KaXcIv is epexeavyais.
Eur. Phoen. 12: KaXovcri 8' 'loKaor^v p.f TOVTO yap irarrjp
getic.
:

-.

fdtTo

KaXeZj/,

which shows that

and KaXt'tv are not

would make them here.
an ancient divinity of woodland life, of

necessarily synonymous, as Shilleto

69. Zijva:

Aristaios,

Ti6fa-6ai

NOTES.

344

and fields, is a representative of Ztvs "Apia-ros ("Apt,

Best known to modern
of 'AiroXXw 'A-ypevy, 'A. No/wor.
readers by the passage in Verg. Georg. 4, 317 foil. a.yv6v. Used
"
Airaova
Ever nigh."
St.
70. ayx u"' ov
of Helios, O. 7, 60.
flocks, herds,
ara'ios ),

his place.
71. KoXetv: Epexegetic inf. By
on the fruit of the union, the Centaur hallows

Anthony has taken

insisting so

much

and formally weds the two.

it,

19:

tpyw

72. yaL^ov
73. fcrvev: Cf. O. 3, 28;

re'Xor.

rcXevrdv

Cf. O. 2,

9, 36.

'
74. 6801 . . . ppaxwu Cf. v. 49 : dla-Qa KOI irdtras
/.
"
as
an umpire decides, hence " ac8iairao-v
6ovs.
Decided,"
diavvetv
dtairdv
8a\d|ia> 8' . . . Iv iro(Hesych.).
complished."

'ETT.

76. a(M''
ev xpuo-e'ois.
City and
77. viv Kyrene, the city.
heroine are blended, as P. 12, 2.
KapvcidSa: A name of good omen, recalling 'ATroXXwv Kdpveios.
79. dv^avc: By the
78. <rvv^u{e: See O.I, 22.
See P. 5, 80.
voice of the heralds. Cf. N. 9, 12
ap<f>aive KvSaiVwi/ iroXiv.

Xvxpvo-u

Cf. v.

60

SeD/xao-ij/

Sc'gcrai

Shows

wa* not composed at Kyrene. 80.

not a likely adjective on Dissen's theory.

that the ode

KaXXiyvvaiKL -rrdrpq.
See introduction.

K.

82. opera! . . . iroXvpjOoi, /ere.: "Great achievements

2rp. 8'.
aye bring with them many legends, but to adorn a few things is
a hearing for the wise," what the wise, the poets, those who understand the art, love to hear. P.'s art in his selections among
the mass of themes will be appreciated by his fellows. In this
transition we have the key to the poem, for in all P.'s chosen
myths Kaipos is atop the xaipos of Kyrene and Apollo, the
of lolaos, the Kaipos of Antaios, of Alexidamos. 84. oitoa
Cf.

O.

O.2,93
7,

(pwvdevTa crvvtrdiviv.
KTtdvtav.
fyvov

KopvQav

85. iravros

= tyvuxrav.

cxi

Kopxi^dv

'IdXaov

Cf.

The son

of Iphikles and nephew of Herakles, trusty companion of the

latter hero.
See O. 9, 105. This example of the headship of
Kaipos may have been suggested by the training of Telesikrates
in the gymnasium of lolaos at Thebes, by the neighborhood of
the celebration, by P.'s vow to Herakles and Iphikles (v. 96).
Comp. a similar introduction of Alkmaion, P. 8, 57. 86. viv roi>
See O. 3, 28.
Evpv<HKjos The taskmaster of Herakles.
Kaipov.
Before the Proitid gate, where there
88. 'A(i<j>irpi3<ijvos
0-dp.an
was a gymnasium of lolaos (Paus. 9, 23, 1). See also O. 9, 105 for
89. irarpo-iraTwp
the 'loXaov Tvpftos.
Amphitryon Iphikles

PYTHIA
[olaos.

foi

O.

9,

16: dvyarrjp re

345

IX.
Foi.

$Ao

been exiled from Tiryns by Stheuelos.

6, 85.

Hypallage

Amphitryon had

90. XevKiinroio-i

Cf. O.

for

91. foli Amphitryon.

'Air. d*.
Sat<f>puv: On the meaning and
etymology of this word, see F. D. Allen in Am. Journ. Phil. I. pp.
"
133-135, who rejects both Saiji/at and 8ai, battle," and looks to
8ats,

" torch "

(Vdu,

From the " fiery-hearted " of the Iliad,

8aF).

"
becomes, ace. to A., the high-spirited of the Odyssey. Mez"
of
divided
as
one
between
her mortal and
ger's
doppelsinnig,"
her immortal love, has no warrant. 93. SiBvjuov Iphikles and
Herakles. cr&vos viwv: See O. 6, 22. 94. KOM^S avijp: P.'s characteristic. way of whirling off from the subject in order to come
"

it

back to
|3dXXf iv

it

with more

effect.

and O.

KffpaXfjv, oSs t

"

Lends." Cf. napaaorti yXSxra-av.

fapois
the plur. see O. 10 (11), 93. The
irapafiaXXci

9,

44

See v. 20. On
copiousness of the Dirkaian stream (AtpKcuW fctdpuv, Soph.) is
emphasized by the plural. The name of lolaos is heightened by
this glorification of father and uncle, and the poet at the same
time shows how he can avail himself of a Kaipos to fulfil his vow.
" I must needs
96. rAeiov lir' tv\a Kw}ia<ro|iai
sing a song to
crown my vow with fulfilment," reXeioi/ Mfufarapoi
reXtiov
The K&pos is to fulfil the obligation that rests
Kto/jiov acrobat.
with Tt\dov is
upon the vow. A much-disputed passage.
unsatisfactory, n with fcr\6v may be made tolerable by litotes,
"a
See P. 7, 14 xat'pu rt.
Hermann makes
great blessing."
the vow refer to ^17 ^e XtVot, whereas in that case we should
95. eptyavro:

have expected

XiTreli/.

The

victory of Telesikrates.

needs," "I

am

97.

fain."

great blessing

K(ia<ro(Mu

may

The modal

Xapirwv: See

v. 3.

very well be the

future.

"

must

Nothing suggests

prayer like successful prayer. On the asyndeton, see O. 1, 115.

98. Kaflapdv <|>Yyos : To illumine the path of the victories of
On (ptyyos and <pdos, see note on P. 3, 75. Aiymji
Telesikrates.
On the one e'i/, comp. O. 9, 94. Nisos
TC . . . Nurov T* Iv X<J|><j
was a mythic king of Megara. The poet, as usual, transports
himself to the scene where the victories were won. See P. 1, 79.
P. has thrice already glorified the city in
Atyivq. re y*p> KT (.
Aigina and Megara, and vindicated there his poetic art, of course,
in the praise of the victories of Telesikrates in these places. Now
:

he hopes that the light of the Charites will continue to illumine

8e ^17 TO^V Xi'rrot), for he looks forhis poesy (comp. O. 1, 108:

?2

NOTES.

346
ward

to other themes.

99. rdv8(e)

Dissen has

The poet

rovftt .

says that he has glorified this city (Thebes) by celebrating the

victories of Telesikrates at the places mentioned.
T. evidently
had close ties with Thebes, a 2irapr>v fvos, like Amphitryon.

Others refer

rai/Se to

Kyrene.

"Dumb helplessness," "silence

fighting his own battles as well
as those of Telesikrates.
Comp. the passage O. 6, 89 dpxaiov
5v(i8os d\a&f(Tiv Xoyoiy et (pevyopfv.
?PY? Must refer to Pindar,
"
by my work," "by my song." Beck's tyvyovr would, of course,
101. rowenev, KT(. " Wherefore," as I have
refer to Telesikrates.
glorified the city, and Telesikrates has won his prize, let friend
'ETT. 8'.

100. o-i-yaXov apaxaviav

from want of words."

Pindar

is

and

good work done

foe alike respect

common

the

(ev |vv<3), for

weal.

in the

common

interest

102. X<5-yov: "Saying."

pXd-

oXioio -ytpovTos Old men of the sea are always preternaturally wise. See P. 3, 92. Here Nereus is meant,
whom Homer calls SXiov yepovra (II. 18, 141). KpvTrrra>: The

ITTWV

''

Violating."

word of Nereus
quenches

it

a light unto the path, and disobedience

Of. 0.2, 107: Kpixpov re 6i\itv f(r\a>v
7 p.f) x n M a ^'V? KaXityai.
See also O. 7, 92

is

in silence.

Ka\ols tpyois, N. 9,
IJLTJ

Kpinrrf KOIVOV

'

(nrcpfi

103. Kal TOV ex^pov

OTTO KaXXiai/aKTOS.

Would apply

strictly only to 6i TIS dvrdfis, but

(pIXos is there
ei TIS dvrdfis.
104. rvv rt Siicq.: So the MSS.

only to heighten
and the Scholia,

vvv yt diita introduces a qualification that is

not needed for *aXa. The praise is to be hearty and fair, irpo106. iptais
In their season.
re Kal Si/cmW (Schol.).
Ovfj.a>s
IlaXXdSos: Armed Pallas (Tpiroyevfia, 'O/Spi/iOTrarpij) was worshipped at Kyrene, and weapon-races run in her honor. 107.
irapOcviKat irrfoav: The Doric maidens of Kyrene were present at
the games. The wish, as the wish of Nausikaa, Od. 6. 244 at yap
:

novis KfK\r)pevos
(the mothers) wished as son."
ToidtrSe

vlbv

VXOVT(O):

"Or

they
sudden, and Hartung's
not so Bergk's awkward irapfaa! 8' for % is worth considering
VIKO., which destroys the color of acpmi/ot, and does not allow us
to supply the complementary <pa>vq to the complementary ftaree'/iot

fir).

The

shift is

pts, as

Hartung's

at 8'

would

109. 'OXvpiriowri
2rp. t'.
cially appropriate to Mother
"

doiSav

Styav

The songs

do.

local

Earth

game.

(v. 18).

pa9\K<5Xirov

Comp. P.

" deed
are atbirst," as

Espe111.

1, 12.

is athirst

"
(N.

PYTHIA

347

IX..

3, 6), but the poet finds that he is quenching the thirst of his
Muse, and would fain pause, but Telesikrates (ris) reminds him
that there is one more theme to call up
the glory of his ancestors.
112. rytipai
86|av A half- forgotten tale is roused from
.

113. KCU TWV: As well as

the glory of the Thebans, Herakles and Iphikles.
irpo-y<5vwv:
Plural, for though Alexidamos alone is meant, the whole line is

and

sleep,

a naipos story.

this, too, is

114. "Ipeura: The choice part of the country, through

led the new-comers by night for good reasons,
ace. to the story of Herodotos, 4, 158.
As P. would say "ipao-a

involved.

which the Libyans

more readily than irpbs TTO\IV "ipao-a, it is not fair ta

passage as an example of tfiav with ace. See P. 4, 52.
'Avraiov The father of the maiden ( Barkg ) bore the sam*
name as the famous Libyan antagonist of Herakles.
npos

TroXij/

cite this

Binds strophe and antistrophe together,

prominence to the epode, which here contains the Katpdy-point.
xPv<ro<rT c<{>dvoiJ O. 6, 57 repTrvas 8' eVfl
Xpv<ro<rT(pdvoio Xdfttv \Kap-rrov "Hj3a s. 1 1 9. avOrjo-an^a)
Flower and fruit are one. airoSpA|/ai Cf. v. 40. On the active,
see O. 1, 13.
120. jwTevwv: Of a deep-laid plan.
So N. 4, 59:
121. vajiov: " Wedding," not " wed(pvrfve foi ddvarov f< Xd^ov.
lock."
122. TC<r<rapxKovra K<U iicrw: One of the fifty Danaides
(Hypermnestra) had saved her husband, N. 10, 6; Hor. Od. 3, 11,
33 one (Amymone) had yielded to Poseidon. irpiv \U<rov apap
118. CITATO:

'AI/T. e'.

and thus gives

special

" Before the onptaov rffs r^ttpas yevivQat (Schol.).

of
does
not
eXtli/
an
require
coming
midday."
object any more
than alpf't in the familiar phrase 6 Xdyor alpd. 123. vajiov: No
fear of repetition.
See note on P. 1,80.
124. avruc(a): See v.
cXciv:=7rpii> TO

fryuvos: "Lists," as O. 10 (11), 26.

31.

O.

"

2, 46.

(rxno-oi

With the help

Opt. in

6, 49,

127. I88ov

'ETT. ('.

See

128.

v. 14.

= ind.

or. obi.

Homer, except O.

WXos

of," instead

which

only with interrog. in P., as in

First occurrence of fut. opt.

see.

" Offered."

125. ow 8' &9Xois: Cf.

of " by means of." 126.

Alpvs

Antaios.

Praemium summum (Dissen),

airdYr0ai, Where we should expect
aicpov:

"the great prize."

129.
airayayio-Bai: but Sytiv often tricks expectation, and there is, beSo 3yev below, v. 133.
sides, a note of triumph in the present.
avert u
8s iv . .
The oratio recta would be os &v
^avo-j;, and
:

or &v

\J/

tyavvtif

would be

a slight anakoluthon.

This, however,

NOTES.

348
is

all

doubtful for P. hv
6opa>v may possibly be=aj>a0op!>i/, but in
likelihood av belongs to the opt. and gives the view of the prin.

cipal subject, Antaios. Corap. Hes.Theog. 392: 6s av /id^ot, implying fjid^oir' avrts. Sohere 69 av^aixrfK implies ^/-avcrtifvnvTis. 130.
With ^aixreif. foi Does not depend on TreVXoir, but on
afuJH
the whole complex. ireVXois The fluttering robe heightens the
On the dat. see v. 46.
131. <J>vy
picture (v. 128: /coo^o-atf).
:

132. x'P^1 X* 1 ? ^
Xai^pwr tyvyev.
1^- No|ia8v: The scene is laid in
In prose we must say 81 6/iiXou. With the
1

Xaixjrqpov

Sprffiov

P. 4, 37:

x etP l ^ Ol X"P a

Barka.
accus.
4,

240.

dfd\w

Si'

8p6fj.<f

SfuXov:

the throng. Shcov . . . em: A similar scene in P.

.
.
.
Nucas: O. 14, 24: eVrf^aj/wo-f KvSifuav
TTTcpoio-i. xairav. On the prothalamion theory we have

we

feel

135. irrtpa

a parallel with Telesikrates.

PYTHIA

X.

PECULIAR interest attaches to this

poem

as the earliest

work

Pindar that we have, for, according to the common count, the

poet was only twenty years old when he composed the tenth
Pythian in honor of the victory of Hippokleas, irals 8iav\o8p6p.os,
502 B.C.). The Scholiast says that HippoPyth. 22 (Ol. 69, 3
kleas gained another victory the same day in the single-dash
foot-race (oraSiw), but no direct mention of it is made in this
poem. The father of Hippokleas had overcome twice at Olyinpia as 6ir\iTo8p6pos, once at Pytho in an ordinary race. Pindar
of

was employed
kleas, but

was sung

for this performance not by the family of Hippoby the Aleuadai of Larisa. Dissen thinks that the ode

at Larisa,

Bockh

at Pelinna, the

home

of Hippokleas.

Always an aristocrat, at the time of P. 10 Pindar had not

reached the years of balance in which even he could see some
good in the \dfipos arparos. Here he simply repeats the cant of
his class.
He is what we may suppose the Kyrnos of Theognis
to have been when he started life, and this poem is redolent of
the young aristocracy to which P. belonged. The Persian war
had not yet come with its revelation. " The Gods and the Good
Men," that is his motto, but the good men must be of his own
choosing. He believed in God, he believed also in Blood. The
praise of Hippokleas, as aristocratic as his name, was a congenial
theme.
"Rich is Lakedaimon, blessed is Thessaly; o'er both
the seed of Herakles bears sway." This is the high keynote of
the poem the name of Herakles, the pride of race.
"Is this an
untimely braggart song?" he asks. "Nay, I am summoned by
Pytho and the Aleuadai, descendants of Herakles, to bring to
Hippokleas a festal voice of minstrels" Pytho and the Aleuadai,
God and Blood (vv. 1-6). "For Hippokleas maketh trial of
contests, and the Parnassian gorge hath proclaimed him foremost of boys in the double course. Apollo, achievement and

NOTES.

350

beginning wax sweet alike when God giveth the impulse, and it
was by thy counsels that he accomplished this, but by inborn
valor hath he trodden in the footsteps of his father." Apollo
gave the accomplishment, the father the native vigor God and
Blood again (vv. 7-13). "That father was twice victorious at
Olympia, clad in the armor of Ares, and the field of contests
'neath the rock of Kirrha proclaimed him victor in the footrace.
May fortune attend them in after-days also with flowers

May Blood have the blessing of God (vv. 13-18).

follows the moral, not other for the youthful poet than
for the gray-haired singer, and Pindar prays for Pelinna as he is
of wealth."

Now

afterwards to pray for Aigina (P. 8, end). "Having gained no

small share of the pleasant things of Hellas, may they suffer no
envious reverses from the gods. Granted that God's heart suffers no anguish, 'tis not so with men.
happy man is he in the
eyes of the wise, and a theme for song, who by prowess of hand
or foot gains the greatest prizes by daring and by strength (vv.
19-24), and in his lifetime sees his son obtain the Pythian wreath.
Higher fortune there is none for him. The brazen heaven he can-

not mount, he has sailed to the furthest bound. By ships nor by

land canst thou find the marvellous road to the Hyperboreans "
(\v. 25-30).

Then

follows the brief story of Perseus' visit to the Hyperboand sacrifices. The Muse dwells there, and

reans, a land of feasts

everywhere there is the swirl of dancing virgins, with the music

of lyre and flute. Their heads are wreathed with golden laurels,
and they banquet sumptuously. Disease nor old age infests this
consecrated race.
The land of the Hyperboreans

is a glorified Thessaly, and P.

was to come back to it years after in O. 3. What Perseus saw,
what Perseus wrought, was marvellous; but was he not the son
of Dana6, was he not under the guidance of Athena ? (v. 45).
And so we have an echo of the duality with which the poem
began and as Pindar, in the second triad (v. 21), bows before
;

the power of God, so in the third (v. 48) he says: e/iol Se Oavpd<rat
&(>v T\f(rcrdvT<av ovdfv Trort (paivfrai tp.p.ev a-rrurrov.
And now, with the same sudden start that we find in his later
poems, Pindar returns to the victor and himself. And yet he is
haunted by the image of the Hyperboreans, and as he hopes
" that his
song sweetly sung by the Ephyraian chorus will make
Hippokleas still more a wonder for his victories mid elders as mid
|

PYTHIA

351

X.

mates, and to young virgins a sweet care," the notes of the lyres
and the pipings of the flutes and the dances of the Hyperborean

maidens (vv. 38-40) come before him.

The highest

Again a moralizing

the blessing of the day.

''
What each one striveth for, if gained, he must hold as his near
and dear delight. That which is to be a year hence is beyond
"
all ken
What is that but the TO 8' aid irapdpfpov
(vv. 61, 62).
((rXbv
vnarov epxerai iravrl f3por<p of O. 1,99? Only the young
strain is heard.

is

blessing

poet has the eager clutch of youth (apiraXfav <ppovTi8a), and a

year was a longer time for him in P. 22 than in Ol. 77. Then P.
thanks the magnate who yoked this four-horse chariot of the
Pierides, the chariot which would never be yoked on so momentous occasion for the poet (see O. 6, 22), and the ode closes with

a commendation of the noble brethren

who

bear up the state of

On

them, the Good Men, depends the blessing

of the right governance of the cities ruled by their fathers (vv.
55-72). The last word of the fourth triad is the praise of Blood,
as the great thought of the third is God.
the Thessaliaus.

Leopold Schmidt has detected the signs of youthfulness in

every element of the poem in periodology, in plan, in transitions, in the consciousness of newly acquired art, in the treatment
of the myth, in the tropology, in the metres, in the political attitude.
In an edition like this the examination of so subtile a
study cannot find a place. A few words on the general subject
found in the Introductory Essay, p. Ivii.
noteworthy that the triads do not overlap. Praise occupies the first triad prayer, fortified by an illustration of God's
power, the next two hope takes up the fourth.
The measures are logaoedic. The mood is set down as a mixwill be
It is

ture of Aiolian

and Lydian.

.
Climax.
1. 'OXpCa
fiaKaipa
Asyndeton and
Si-p. a'.
climax remain characteristics of P. to the end. 3. 'HpanXcos
The Aleuadai were of the Herakleid stock. 4. ri ; Kofiircw irapa
.

Kaipov

"
;

Am

What ?

timely ?"

This

is

giving utterance to swelling words un-

Mommsen's

reading,

and more natural and

napa iciupdv "Why this swelling (prelude)

"
untimely ? with the implied answer, It is not untimely.'
IleXiwaiov: Also called ILfXtwa (IlA(i/u),
oXAd: "Nay but."
in Hestiaiotis, east of Trikka, above the left bank of the Peneios,
lively

than

ri K0fj.ir(<a

'

NOTES.

352

with the ruins near Gardhiki. airvei: For the sing.

were, "with one voice "), coinp. O. 9, 16 P. 4, 66 11, 45.
. iraiBes
The Aleuadai were one of the great aris5. 'AXeva .
It does not appear in what relatocratic families of Tbessaly.
identified

(as

it

Perhaps he was the favorite, or

Thorax, who ordered the song. Fennell,
however, thinks that Thorax was the father. See v. 16. 'IinroK\J,: The form objected to by Ahrens has been defended by
Schneidewin on the authority of inscriptions. 6. ayaydv As a
bride to her husband. Comp. also v. 66.

tion Hippokleas stood to them.

diras (Theokr. 12, 14), of

'Air.

a'.

YTOI

7.

fyevcravTO, 1.4
<rrpaT<5

<rios

For the

O. 5, 12.
:

^LVXOS

Cf. P. 9, 38
N. 6, 27 irovav
19: TO &' (p.ov Ktap vp.vu>v y eve Tat.
8.
Pure dative dependent on avftmtv. 6 Ilapvd-yap af'OXwv

(5),

Cf. P. 5, 38

KoiX6jre8oi> vdnos.

OV&MTCV: O.

8iav\os, see O. 13, 37.

9,

9.

8iavXo8po(iav
10.
1, 32.
:

100; P.

"AiroXXov, -yXvicv S(^) On fie, see 0. 1, 36.

y\vKv is predicative,
" waxes a
"
thing of sweetness," a delight." re'Xos apxa TC The
whole, from beginning to end, hence the sing, av^trai, as arrvet, v.
:

There were two

4.

Te'Xi;

reXor is the second dp^r),

Hence perhaps the

would suffice as a
TO 8e

<n>Yycvc'9

tion for

and two dp\ai in the 8/avXor. The first

and fiaipovos opvvvros is needed for both.

though Trpdi-is 68oi re (P. 9, 74)

"the end as the beginning." 12.
Accus. dependent on (p,p(@aitfv. Pindaric varia-

position,

parallel,

opposed to
N. 11,44: p.fya\avopiais
'ETT.

see P.

T<j>

a.

o-uyyevet

13. iroXepaSoVois

9, 1.

As the

well chosen.

shield

is

Ttols ye iiT)8riv.

p.p^poieev

Cf.

On the armor of the o

the important part, the adjective

is

So with Hartung

for j3a#uXet'/i<ov'.
/3. seems to be a fit epithet for the low-lying course, dyoav, for
which see P. 9, 124. Comp. also P. 1,24: fiaBtlav
irKdita.
The ace. Pa6v\fifia>v(a) is tr. by Fennell " rising from rich mead"
.
15. paOvXtiptwv:

ows."

VIT&

accusative.
16.

KparT)<r(TroSa

Stretching along under," hence the

comp. P. 5, 37
Kpia-alov \6<f)ov.
Dependent on dfjKtv. "Made prevalent of

irrpav

For

irtrpav,

" victorious in
the race."

$pxiav The position is emby Rauchenstein are all nominaThe

tives, O. 10 (11), 34. 38. 56; P. 12, 17; I. 5 (6), 30. 35.
is
emphatic ace. naturally takes the head of the sentence. *.
the victor's father according to Hermann and others a horse
foot,"

phatic, but the examples cited

PYTHIA
If Phrixos

353

X.

an aristocratic Thessalian name, Phrikias might

is

also be suffered to pass muster.

18. dvOeiv: As if
ron-o poipa
were equivalent to ft?/ /xoipu. o^io-iv Depends on (noiro. The
:

extremes are rhythmically near. Comp. Hdt. 1, 32

iravra KaXd f^ovra reXevr^erat tv rov ftiov.
20. fr8ovepats I*

2rp. /3'.
adavardiv

p6

9tv
|

dpavtrfTui <p 6 6 v o
21. 8eis eti) =z Q ( 6s eorw.

v.

p.f)

?,

fUTarpoiriais

Hdt.

Comp. O.

unnecessary, nor need we take tir) as

" Set
free from heartache be a god."

is

"
Yivtrai

-.

<ro<f>ois

Is

1,

32
3,

Cf.

I.

(jjcriv

'Avr.

with

KTf.
r)

Cf.

Od.

147

8,

6 (7), 39

fi'

TO 6tlov irav (pdovt45. Schneidewin's at'ei

"
Let him that is

= drj av.

ov

p,ev

yap

>(*) KOI ^tptrlv

o TI TToavlv T(

= KOTO TO

Cf. P. 4, 107.

rv;(oi/Ta.

ol

him down as a god." 22.

accounted in the eyes of the wise." More

26. tear* ataav

/3'.

p.rj

natural than {yw/Tos o-ofals, " a theme for poets."

H iroSwv dpT(j,

av xp<riv
K\fos dvepos

23. 8

p.(~iov
(i)<riv.

"
irpoa-rJKOv (Schol.).

Tvx5vra:

On

Duly

the aor. part, with

"

"Sr/,

According to the Scholiast, Hippokleas

gained both 8iav\os and oraStoi/ the same day. See v. 58. 27.
6 xa\Kos ovpavos
Comp. the story about Diagoras, quoted in
see P. 5, 84.

<rre<f>avv:

the introduction to O. 7, Cic. Tusc. 1, 46, 111 Mvrere, Diag&ra,

non enim in caelum ascensurus en. 28. 8<rai . . . -n-Xoov " Whatsoever brilliant achievements we men of mortal race attain, he sails
:

Combine

to the outmost bound."

jrepaivd TT\OQV irpbs (<r\arov

with Rauchenstein and Leop. Schmidt. Cf. I. 5 (6), 12 fo-xanas

with aima-Bai, as I. 3 (4), 29 dvoptais
irpbs oX/3oi;. The dative
:

8" eV^dratcrtj/

close of O.
9,

3.

otKodtv oraXaiO'ii' arrrovff 'HpaK\dais.

avXatois For the word, see 0. 13, 14
:

29. vavai:

106.

comp. below,
in the old

Comp. the

41

v.

MSS.

av

sages, P. prefers

/.

On

the omission of ovrt, see P.

i/oo-os

ovre yfipas.

KV

evpois

is

supplied by Moschopulos.
See v. 62 0. 10 (11), 22 P.
;

the

pi.,

6, 48,

O.

and

Simply tvpois
In such pasN. 4, 93.
7, 16
;

e
Bergk, following an indication of the Scholia, writes rax,
See note on O. 3, 45.
opt. being used in the old potential sense.
30. 'Yircppopc'wv
See O. 3, 16. oywva
dyopiiv (Eustathios).
:

Oav|xaT<xv

O.

1,

28.

31. Ilfpacvs: See P. 12, 11.

33. Svwv: The ass is a
'E7T.0'.
mystic animal. Hence the muly belief that the Jews worshipped
au ass. See Justin Martyr, Apol. I. 32, and esp. c. 54, where

NOTES.

354:
Christ

and Perseus, Pegasos and the

Cf. P. 3,

(TTITVX<*>V-

foal

27

of an ass are paralleled.

25 eTrerocrcre.

rocrcrais, 4,

The ace., as if (TriToara-ats were =

"Tow36. (5ppiv6p0iav: "Rampant lewdness" (Paley).
f\>po>v.
"
ering wantonness." vfipis is braying," and its accompaniments
34.

Apollo.

p^ovras

(comp. Hdt. 4, 129 : vftpifcovrfs &v ol ovoi frapaffcrov TTJV lirnov

rwx 2icv0f<*v), and Spdios in P. is regularly used of sound ( O. 9,
117; N. 10, 76), as Mezger notes, but opS>v cannot be explained
away. On the sacrifice of the ass to Apollo, the musical beast to
the musical god, see A. B. Cook, Journ. Hell. Stud. XIV., pt. 1,
where this passage is illustrated by a fresco found at Mycenae
representing two rampant asses with lolling tongues and leering
KvoSdXuv Properly used of "gnawing" (ravening) moneyes.
sters; hence, as here, of untamed beasts of draught, Aisch. P. V.
407 : ?feva irpotros fv vyol<ri K v at 8 a X a.
:

Sr/j.

P.

88. rpdirois tiA vfarlpoun : eVi of the conditions. See

" to make her
" Such
as theirs
stay.

y.

"With such ways

1, 84.

are their ways."

See note on O.
KaXdfj.oio

$oa,

These ways are next

set forth.

<r$cTlpoun
N. 5, 38:
:

39. Poof: O. 3, 8: ftoav av\u>v,

9, 84.

which seem to us more natural.

8ov6>vr<u:

The

music swirls with the dance and as well as the dance. N. 7, 81 :

40. Sd<|>vq. re \pv<rtq: O. 11
jTO\v<paTov dpoov vfj-vav dovd f](rv\q.
(10),

13

xpv<rtas l\atas, and see note on 0. 8, 1.

Where we might expect the middle, but Kopas will

eVt <m(pdv(a

avaSijcravTcs :

See note on O. 14, 24 eWe<oi>a>tre.

226: fl\a7rivTj r)c ydpos ; eVel OVK epavos
rd8f y (<rriv.
41. vooroi 8' OVT yfjpas : See V. 29.
K&paroa: Is
" blended "
with the current of their blood. See 0. 10 (11), 114.
serve for the reflexive.

clXairivaouriv : Od.

'Avr.y.

1,

44. vir^pSiKov: This stern (over-just) goddess they

had escaped, not that they were not subject to her, but because
they had satisfied her they had been found guiltless before her.
0po<rea Si irv^wv KapSta A variation from what we should ex;

pect, 6pa<rv or dpao-ta, like xafiT)\a irveav (P. 11, 30); tcevta

iri'fvfras

45. ayiTo: Parenthetic imperf.

46. ITOIK(XOV:
(0. 10 [11], 102).
47. 8po,K<5vTv 4>dpaLcri
Cf. P. 8, 46 : dpaKovra iroiKiXov.
bpaKovThe locks were snakes. voo-iwrais : The SeriphiTtiois (po^aia-t.
'
For wondering." " To
ans.
48. 6av|xao-ou :
See P. 12, 12.

rouse

my

uiTHrrov.

wonder." The strict grammatical dependence

In prose, ajriorov wore 6avp.da-ai. Schol, Flor.

irtOTcvcDV iruvTa TOVS fcovs

Svva&Oai ov

is

on

yr

PYTHIA
51. a-^&arov

*Eir. y'.

"Check," "hold."

word.

Eur. Phoen. 454:

nvods.

Asyndeton

in a

grows out of veMTiwrais,

"

355

X.

cr^dvov

Se

is

<rx-

Seti/li/

Sfjtfui

a nautical
KOI

Ovpov

sudden shift. a-yicvpav: The boat-figure

and xot P-8s irerpos out of \idivov Bdvarov.
"

Let it
reef>" "rocky reef." epcio-ov X 9ov<:
xgo and grapple the bottom." The dat. is instrumental. 52.
U
A guard against." 53. yK(Uv:
TrpujpaOe: P. 4, 191.
aXicap:
Do not land. Your bark will be dashed against the rocks of a
long story. Your ship must go to other shores, your song to
other themes, as a bee hies from flower to flower. Pindar lives
himself into a metaphor, as if it were no metaphor hence metaCf. P. 12, 12.

No

phor within metaphor.

mixed, only telescoped, metaphor.

OWTOS: Is hardly felt as our "flower" or "blossom." This
would make both pAwro-a and \6yov flowers, and P., even in his
nonage, could hardly have been guilty of that. 54. Sm Cf. P.
4,64.

55. *E<|>vpaiv Ephyra, afterwards Kranon, was ruled

2rp. 8'.
by the Skopadai, great lovers of art The inhabitants belonged
to the stock of the Herakleidai, from Ephyra, in Thesprotia.
56. &p4l Hr|veMv: At Pelinna.
57. riv
-yXvicciav: Proleptic.
'IinroicXeav
The article seems prosaic to G. Hermann. Rauchen:

The other examples are not exactly parallel,

TTO#'.
but "this Hippokleas of ours " will serve. *ri ical fiaXXov: Even
more than he now is, by reason of his victories. <rov ooiSais:
Much more lively than doidais or 81 doi8S>v. Cf. P. 12, 21. 58.
59. Wauriv TC irapOlvoitn. fieX-qfia: A hint
<rrc<(>dvwv: See v. 26.
that Hippokleas is passing out of the boy-stage. Comp. the allusions to love in P. 9, esp. v. 107.
60. vWKvwrc(v)
Danger is a
rbv 8e
nettle, tpa>s is a /w'Si?.
KV'I&IV is used of love, Hdt. 6, 62
stein writes

tKvic

'Apirrrutva

50: Adda 8
'AKT.

8'.

also P. 6, 50

apa

(i>8ov viv

61. TWV

TTJS

yvvaiKos ravrrjs 6

(KVI(V

. .

6pov

xapis,

op.

where

if

pots.

ej/Sov

Cf.

I.

= wro.

with gen., like tpapai.

5 (6),

Comp.

opyas os iirirfiav fo-68a>v. 62. TUXV itev ... <rxc'6oi

=: ft TT^^OI, axfQoi x.(v.
Similar positions of Sv are common
enough in prose. Here the opt. with Ktv is an imperative.
w f &pira\(ov TI. " With eager clutch." Comp. P. 8
apiraXe'av
05
X
a
IT
i a v 8u<nv.
<^povri8a
p
irap iroS6$ Cf. P. 3,
p.t\r)fj.a.
60: yvovra TO Trap no86s, and I. 7 (8), 13: TO fie irpb iro86s
:

aitl ffKOTTtlv.

63. els ivuivr<Jv: "

A year hence."

apfior

64. {ev($:

The

NOTES.

356
salian

magnates were famous

note on P.
rt

Xen. Hell.

4, 129.

for a rather rude hospitality.

See
6, 1, 3: r/v 8e KOI oXXwr $i\6tvos

Kat fieyaXoTrpeTDjf TOV Qfrra\iKbv rpoirov.

was the magnate who ordered the poem.

wpaicos

Thorax

His relation to HippoAce. to the Schol. fpav

is obscure.
Ijiav iroiimJwv x*P lv :
"
my song of victory." Tronrvvav would
xdpiv=^TT)v e ffjiov %apiv,
then be transitive, " panting to gain." But the other interpreta" in
tion,
panting eagerness for my sake," would be more appro-

kleas

priate to the circumstances of the young and unknown poet.

Thorax was a personal friend of victor and singer. 65. T(J8(c) :

" This " of mine.

6, 22 and I. 7 (8), 62
rerpdopov
grand occasion.
Bockh sees an allusion to the four triads, and sees too much.

Mourmov

apfta.

Spjxa IliepCSwv

This

is

Comp. O.

for P. a

We

66. $iX&*v $i\4ovr', o-ywv ctyovr(a) :

should say, in like manner, "lip to lip, and arm in arm," so that it should not appear
which loves, which leads. Whether this refers to Hippokleas or

to

Pindar depends on the interpretation of x<*P lv '

'Ejr.

X.

t-fraiviiero|iv

"Shows" what it is. 69. Ka8X<j>covs jiir

With Hermann. Thorax, Eurypylos, and Thrasy-

67. irp^rei.:
:

daios were at the headquarters of Mardonios before the battle of

Plataia (Hdt. 9, 58).
70. v^v: The state.
71. Iv
Cf. P. 2, 86.
Cf. P. 8, 76 : ra 8' OVK eV dv8pd<ri Ketrai.
Some
(schema Pindaricvm), for which see 0. 11 (10),
6.
72. irarpwieu Another mark
dyadoia-t in the political sense.
of the youthful aristocrat. Besides, Pindar had nothing to hop*
for from the mob.
8'

dyaOoto-k KCIVTUI

MSS. have

Kelrai

PYTH1A

XI.

to the Scholia, Thrasydaios, a Theban, was victo478 B.C.),

a boy, in the foot-race, Pyth. 28 (Ol. 75, 3
He was long afterwards
the year after the battle of Plataia.
458 B.C.), before
victorious in the 8iav\os, Pyth. 33 (Ol. 80, 3
the battle of Tanagra. The expression yvpvov a-TaSiov (v. 49)
has led some to suppose that the earlier victory is meant. See
the passage. The failure to mention the trainer of Thrasydaios
may mean that Thrasydaios, like Hippokleas of P. 10, had outgrown his attendant, although in a poem supposed to be full of
obscure hints we might see in Pylades and in Kastor the re-

ACCORDING

rious, as

of that unnamed friend. The ode shows that ThrasyHis father

daios belonged to a wealthy and prominent family.
had been successful at Pytho (v.43), and another of the same
house had gained a victory with a chariot at Olympia (v. 47).
The song was sung in the procession to the temple of Ismenian

flection

Apollo, to

don of a

whom

the prizer was to return thanks for the guer-

victory.

Pindar calls on the daughters of Kadmos and Harmonia to

chant Themis and Pytho in honor of the victory of Thrasydaiou
which he won in the land of Pylades, the host of Orestes (vv. 116).

Upon this invocation an unbroken sentence that extends

through a whole triad and bristles with proper names follows
the familiar story of Orestes, which ends here with the death of
Klytaimnestra and her paramour, Aigisthos, a myth which hardly seems to belong to a joyous epinikion (vv. 17-37).
If Pindar had kept his usual proportion, the story would have
extended through the third triad, but, with a common poetical
device, he exclaims that he has been whirled out of his course,
summons the Muse to fulfil the promised task, and praises the
achievements of Pythonikos, the father, and Thrasydaios, the

NOTES.

358

how the house had won in the chariot-race at

Olympia and put to shame their rivals at Pytho (w. 38-50).
Then, putting himself in the victor's place, P. prays for a right
spirit, for the love of what is noble, for self-control in the midst
of effort. Hence the middle rank is best, not the lofty fate of
But if the height is scaled, then avoid insolence.
overlords.
Such a noble soul is Thrasydaios, son of Pythonikos such
lolaos, son of Iphikles such Kastor and Polydeukes, sons of the
gods, who dwell one day at Therapnai, one wit! in Olympos (vv.
son, recounting

51-64).

The eleventh Pythian has given the commentators much

In most of the odes the meaning of the myth, its

trouble.

an incorporation of the thought, can, at least, be diHere the uncertainty of the date and the unusual character of the story combine to baffle historical interpretation.
Historical romances have been framed to fit the supposed fortoffice as

vined.

unes of the house of Thrasydaios. The figures of Agamemnon,

Klytaimnestra, Kassandra, Orestes, have been made to represent,
now political characters, now political combinations and conflicts.
What does the praise of the middle estate mean ? What
Or are we
light does that throw on the question of the date ?
simply to say that the poem belongs to a period in Pindar's
earlier career, when he had not yet acquired the art of handling
the myth, and is the story of Orestes a mere ornament, without

deeper significance

The two main

the selection of the myth

of Orestes and the praise of the middle estate. Apart from all
historical side-lights, which here seem to confuse rather than to
help, the meaning of the myth of Orestes is given by the poet in
the line to^ei rt yap oX/Sos ou fifiova <f)66vov (v. 29). This is
true of all the figures in the piece Agamemnon, Klytaimnestra,
Pindar does not carry out the story of
Aigisthos, Orestes.
Orestes, simply because he feels that he might do what some of
his commentators have done so often, and push the parallel between the hero of the myth and the hero of the games too far.
So he drops the story, as he has done elsewhere drops it just as
Bellerophon is dismissed (0. 13) when his further fortunes would
be ominous. The return to the praise of Thrasydaios and his
house is, however, a reinforcement of the moral Pindar has just
been preaching the moral that lies in the myth and when
he reaches the point at which fhe house of Thrasydaios put the
difficulties, theu, are

PYTHIA XL

359

Greeks to shame by their speed, he pauses and prays for moderaThis is all too high
commonwealth, he
chooses the middle station and dreads the fortunes of tyrants.
The feats he aims at are within the common reach. And yet
even the highest is not in danger of envy, if there is no o'erweening pride nor insolence. Witness lolaos, a Theban, townsman
of Thrasydaios witness Kastor and Polydeukes, brothers of
tion, the corrective of too great prosperity.
for him, the glory is too great.
So, in the

Klytaimnestra. Doubtless this

but shall we ever know more ?

not

is

all

that the

poem means

The first triad is occupied with the introduction. The myth

begins with the beginning of the second triad, but is stopped in
the third triad by the whirl (v. 38), which prepares the return
to the victor and his house.

The rhythms
2rp. a.

are logaoedic.

Ko8(M>v Kopai: O.

24:

cn-crat 8e \6yos evdpovots

"
dyuiaTis :
Neightfor." One
would expect a special office, as in the case of 'ATroXXwi' dyvitvs, for
Semele is a special favorite (O. 2, 28), and lives at the court end
1.

K a 8 p. oto Kovpais.

SefiAa

2,

. . .

Ov.Met. 1, 172 : plebs habitat diversa locis: afronte

2. 'Ivw Si ACVKOpotentes caelicolae darique suos posuere penates.
0c'a
Familiar from Od. 5, 333 on. Comp. 0. 2, 33. 3. dpwrro-yrfvip

of Olympos.
:

Mommsen

reads (with the Schol.) dpioroyoi'ou, but Herakles does

not need the adjective, and it is time for Alkmena to have it. 4.
McXiav: Who bare Ismenios and Teneros to Apollo, Paus. 9, 10,

\pwluv . . Tpiir68v Golden tripods were sent to this shrine

by the e^/3ayi/els the old pre-Boeotian stock and the high5. Aortas: Oracupriest was chosen yearly from the Sa^i/^opot.
lar name in connection with an oracle.
So P. 3, 28.
5.

'An-,

a'.

(Schol.).

6. (lavrfwv:

The

More natural than pMVT*a>v = pavrfvudrvv

divination was

fit'

fp.jrvpwv.

7.

'Appovtos: Wife

of Kadmos.
is glossed by
lirivojwv: With o-Tparov,
tirivop-ov
ras [ sc.
0-vvvofi.ov, but the other version seems more natural
:

lypwi'Say]

firivfftop^vas

/cat

(iroirrfvovo~as

would then be

proleptic.

visit (fntvofjLov)

the shrine in a body

The

ras

6r)j3as.

host of heroines
(6/xayvpe'a),

is

firivo^nov

invited to

and the two

daughters of Harmonia (v. 7) are to sing (v. 10). 8. wxXci Sc.

Ao/as. 9. 0fy.iv Gaia was the first, Themis the second mistress
of the Pythian shrine. See note on P. 4, 74.
10. ^as 6[i<J>aX6v
:

NOTES.

360
See P.

6, 3.

tive.

See O.

tte\a$nti<rtr(e)

6, 24.

We have
<nv

a*p<j.

a right to call this a subjunc" The

:
edge of even,"

tcnrt'pa

"
See the commentators on So. Ai. 285,
nightfall.''
translates this passage " at fall of eventide."

a.

'ETT.

12.

woifi<rcr0f

xP lv:"

Kf'Xafioi/.

where Jebb

Apposition to the action.

.
KCppas
grace." d-ywvi

To

P. 10, 15

13. cp.va<rv: Causative.

The herald
Kippas aya>v nfTpav.
was the agent. Comp. P. 1, 32: *capu duet me vw. 14. liri With
The father of Pylades was Stro15. apovpaicri IlvXaSa
/3aXo>v.
viro

16. Aoxwvos
phios, king of Phokis.
Lakedaimon, ace. to Paus. 2, 18, 5.

2rp.

17. T&V:

fj>.

Index.

= vn(K

The

Orestes

relative begins the

was made king of

See

myth, as often.

"Apo-ivoa: By others called AaoSdpeia, KiXttro-a.

Of. O. 5, 14
VTT' a>81vos.
VTT d/juixavias, 6, 43

18. inr6

KOX So
of the MSS., which gives a
harsh construction. 19. 6ir<5re: See P. 3, 91.
AapSavtSd: With
>
20. 'Aya\i*\Lvovi<i 4">x$: ^' ^> ^^- * KT*V lra P V<TKIOV
Kopav.
"
"
along the shore," but to the
trapd not strictly as in prose, not
stretch of the shore."
:

after Bergk's KTJK for the simple

'*

'Ai/r.

48; P.

22. vtiXtjs

ft'.

12, 17.

ywd: On the position, see

'Ij)iYvei(o)

X^rjvai, Sri fa-<pdx0r), o-0ay^.

Aulis.

24.

0.

1,

81

10 (11),

<r$a\9tur* Rather than TO <r<paSee O. 3, 6 P. 2, 23. lir* Evpfir^ At

.

T'p<p Xexe'i 8ap.aofw'vav

The paraphrast

erepw dv8p\

" humiliated
by another connection on
This
would bring in Kassandra, but the
Agamemnon's part."
Pindar enlarges on
sense cannot be extracted from the words.
the more shameful alternative, " guilty passion and sensual de-

Fennell

p.icryop.fi'Tjv.

25. CKWXOI Topa-ycy Koirai: P. 2, 35: evval iraparpoTroi.

light."

ri Si

tr.

vt'ais,

KT.

Inevitable Greek moralizing, as inevitable to

Pindar as to Euripides.
'ETT. ft.

27. iXXorpiaio-i YXw<r<rais

"
:

Owing to

alien tongues,"

29.
a8 if fit' oXXorpias yXaxro'ar.
TX re . . . & Sc Cf. P. 4, 80.
ov (wiova Sc. TOV 5X/3ov.
Prosperity is envied to its full height.
The groundling may say and do what he pleases. No one notices
:

30. x a H")Xa uWwv: Comp. 0. 10 (11), 102: <evedrTw(ratr,N.

XXor' nXXa TTj/t'coi/.
a^av-rov Ppe'fiti: To him who lives on
3,41
the heights the words and works of 6 xap?Xa irvtuv amount to

him.

361
"
nothing more than an obscure murmur." The contrast is, as
31. piv
the Scholiast puts it, between 6 firKpavTjs and 6 a<pavfis.
.
.
icWrafc
32. xp^w: P. 4, 78: XP V <? ?r(o).
T(C): O. 4, 13.
Iv 'A|xvK\ais
Homer puts the scene in Mykenai, Stesichoros in
Amyklai. Ace. to O. Miiller, Amyklai was the old capital of the
Pelopidai, and the same city that Homer calls Lakedaimon. See
Paus. 3, 19, 5, on the statue of Kassandra and the monument of
.

Agamemnon

at Amyklai.

33. jtavriv . . . Kopav: "Prophetic maid," or "maiden

2rp. y.
34. a{Jp<5irup06rwv Tpwwv: Not gen. absol.
prophetess."
"Reft of luxury." Such a combinaTXTOS: Depends on IXv<rc.
|

tion as 86fj.ovs AftpoToros

i 8(f) : Orestes.
likely.

= 86povs

ajBpovs, Tr\ovcriovs, is

very un-

Return to the hero of the myth, v. 16.

via. K<J>aXd: So with
35. 2rp<i4>iov: See note on P. 4, 51.
Bergk
for via K((pa\q.
The paraphrast has veos
rn, though that is
not conclusive.
The appositional nominative gives a tender
j>

36. XP OV "P <rvv*Apei: Keep the personification.

"With
Ares' tardy help."
37. kv <j>ovals
Notice the effect of the plural.
"
Weltering in his gore." ddvat regularly with
everywhere.

touch.

38.

'Air. y'.

The

i(tv<riiropov rpioSov

Lit.

"

path-shifting fork."

where two roads go out of a third.

Plat. Gorg. 524 A
V 777 rptd&p
See my
rjs fopeTov TO 6S<.
note on Justin Martyr, Apol. II. 11, 8. " The place where three
roads meet " is misleading without further explanation. rptoSov
rpioSos is the place

e'

Notice the prolongation of the

last syllable, P. 3, 6.

39. ApOav

The words opOav Kt\(v0ov suggest the paths

and the image changes. 40. s 8r(e) Comp. O. 6, 2
aKttTOV elvaXiav: For the figure, See P. 10,
o)S art darjrov piyapov.
51.
41. Moto-a, TO 8J TC<SV: For &, see 0. 1, 36. With TO fit TJOI/,
comp. O. 5, 72 TO 8' (p.6v. (twrfloio In these matters P. is to us
irap'xiv As a-wtdtv is a verb of will, the
painfully candid.
future is not necessary.
42. Wdp-yvpov. " For silver." The double
"
"
meaning of silver voice is plain enough. Much disputed is I.
K\v6ov:

of the

vv. 1-16.

sea,

oXXoT* a\X^
irpovwna pa\dai(6<pa>voi doiftai.
is thy duty, to let it flit now this
way,
now that now to father, anon to son." P. has already flitted
from land (rpioSov) to water (TT\OOV).

2,

apyvpu>6f'i<rai

Tapao-0-e'p.cv, KT(.

'En. y.

43.

"

That

IIvOoyMc?

Elsewhere Uv6i6vi*os.

Bergk

con-

NOTES.

362
proper name.

siders it a

45. liri^Xfyci

Cf. O. 9,

23

</>/Xa

For the sing, of a welded

paXfpais (ni(p\fya>v doiSals.
pair, see P. 10, 10, and for English usage Fitzedward Hall in
Am. Journ. of Phil. H. p. 424. 46. Iv apjioo-i Cf. P. 2, 4 Tfrpao0oav aicriva "The
48. ia\ov O. 2, 10.
pias . . (v a Kparfotv.
TroXii/

Cf. P. 4, 179: ra^ffs

swift halo,"' "swiftly the halo."
epav.
For aKTiva, cf. I. 3 (4), 60 fpyp.dra>v d K T i s K.aX>v ao^Seoros met.
.

o-wv linrois

2rp.

Not simply

= 81

iTnra>v.

With preceding /*/, as v. 31.

bare course," usually opposed to the oT
Here the course, where the runner has noth-

49. IIvOoi re:

8'.

o-raBiov

rrrl

"The

Spd/ioy, as 1. 1, 23.

ing to help him; opp. to

50. OccSBev
to the blush."

ap/Muri,

vvv

epa.Cp.av icaXwv

ITTTTOIS.

rjXry|av:

"Put

P. often uses the

first

person when he desires to put himself in the place of the victor

A familiar trick of familiar speech, and
(O. 3, 45; P. 3, 110).
suited to the easy terms on which P. stood with most of his
"
"
patrons." The sense May the gods so guide my love for that
which is fair that I may not go beyond the limit of my power."
Others QfoOtv KaXa>v, " The goods the gods provide." There is
:

not the least necessity for considering epaipav as

epaifiav Sv.
The participle is restrictive, wore Ta dvvard povov
51. pauJjAevos
" In
iv aXuctq,
my life's bloom." 52. TWV yap &|i irofj.air6ai.
in
this an oblique reference to the men who
Some
see
KTf.
Xiv,
were carrying things with a high hand at Thebes in 478 B.C.
For the condition of Thebes at the time of the Persian war, see
the speech of the Thebans in Thuk. 3, 62 oirtp S etm vopois ^ev
:

Kal TO) (ra^poveoraTa) fvavTionTarov, fyyvrarta 8e rvpdvvov,

Swaoreia

o\iyav dv8p>v er^e TO. irpdypara. (teurorovi

funtportpta, the MS.
See P. 2,
reading, which is unmetrical (Bergk). p.. =^ fieifrvi.
26
:

'AVT.

54. |wais 8' dn4>' aptrais

8*.

ments that are within the reach of

Mezger

sen).
all,"

"

prefers

such as victories.

" Those
101. Jebb
But the stress is laid
:

"I

am

Comp.

all,

|vi/at dptrai are achievethat are open to all (Dis-

Excellences that inure to the good of

This is TO y iv |ww ircTrovap.fvov tv of P. 9,

virtues

move my zeal which

serve the folk."

directly on the avoidance of envy.

Wrajiai
"
as it were, with his arms about the prize.
at full stretch

P. 9,129: or

55. ITCU:

8'

av irpaiTos 6opa>v

The MSS. have

ara, ar?.

dp.<pi

The

foi \^av(Tfif TreVXots.

dat.

makes no

satis-

PYTHIA XL

dfivvrdai occurs only once more in P., and then

"The evil
sense "to ward off" (I. 6 [7], 27).

factory sense.

common

the

in

36S

workings of envy are warded off"

makes

pass.)

a tolerable

This, of course, makes <pdovfpoi fern., for which we have

analogy elsewhere. 3rat would embrace both human and divine
"
"
as a masc. nom.
work-

sense.

(Mezger).

arai,

mischief-makers,"

plur.,

would account

for QOoixpoi.
For the metre read
IXwv Cornp. P. 9, 128 ri\os aKpov, and
araijl (synizesis). aicpov
1. 1, 51
56. pe'Xavos . . . -yeve^-. I have rewritten
Kep8os fyicrTov.
"
the
fairer
after
with no
ers of on;,"

A
passage
Bergk
great confidence.
in black death does he find (than the v/tyio-rm), having bequeathed to his sweet race the favor of a good name, the highest
of treasures." 58. tcpd-run-ov : So Bergk for

end

59. a rt Sc. xdpis

As P. is praising
'ETT. 8'.
'IifaicXttfJav
transmitted glory he does not forget the genealogy of lolaos and
of the Dioskuroi. 60. Sicuf>lpci " Spreads [the fame] abroad."
'LSXoov: lolaos and Kastor are coupled, I. 1, 16. 30, as the
62. <ri T, Aiva IIoXijScvKCS
Cf. P. 4, 89.
8i(f>pr)\dTai KpaTHTToi.
:

Polydeukes was the son of Zeus, and when Kastor

to Polydeukes (N. 10, 85)
tl 8e Kao-iyvrjTov Trtpi
:

T(I)V

6fv
"

Se voeis aTro8dcrcra(Tdai Fiaov,

8'

Zeus said

papvatrai, irav-

TJ/JLICTV fiev Kf irvtots yaias vireytp63. irap' afxap

ovpavov ev %pv(Tfois SoDfiacnv.
"
epairvas 1. 1, 31 Tw8api8as
about," every other day."

a>j/,

Day

fell,

rjp.i(rv

tv 'A^atotf 8' v^iVeSoj/

Eurotas, where the

"

9e pair v as

OIKCOJ/ (8os.

N.

10,

56

VTTO

On the left bank of the

MenelaYon commanded Sparta as the Janicu-

Kfvdf<Ti yaias tv yvd\oicri

lum Rome.

8*

Qtpdirvas.

Nowhere does

ancient Sparta

come

so vividly be-

fore the traveller as on the high plateau of Therapne, with ite

"
far-reaching view (E. Curtius).

HBRAKLES STRINGING BOW

Coin of Thebes.

PYTHIA

XII.

MIDAS of Akragas, a famous at>X;rjjy, master of the Athenian

Lamprokles, who in his turn taught Sophokles and Damon, was
victorious in avXija-is twice, Pyth. 24 and 25, and likewise, according to the Scholia, at the Panathenaic games. We do not know
which of the two victories at Pytho this poem was
if Pindar had been celebrating the second viche would, according to his usual manner, have mentioned

positively for

composed
tory,

the

first.

but

If this is the first victory, the poem belongs to the

B.C.), in which Pindar celebrated the

same year with P. 6 (494

success of another Agrigentine, his friend Xenokrates, brother

of Theron, and we have in P. 12 one of Pindar's earliest odes.

The contest in av\a>8ia (song with flute accompaniment) was

abolished at the second Pythiad, and the game at which Midas
won was the ^1X17 avX/(ns. The antique av\6s like the old English flute, was a kind of clarionet, with a metallic mouth-piece,
and one or two tongues or reeds. Midas had the ill-luck to
break the mouth-piece of his flute, but continued his playing, to
,

the great delight of his audience, and succeeded in winning

the prize.

The poem is constructed on the usual Pindaric lines. It announces the victory, tells of the origin of flute music, the invention of the tune called K((f>a\av iro\\av vop,os (Tro\vK((f)a\os vop.os),
and returns to the victor with some not unfamiliar reflections on
moil and toil linked with prosperity.
According to Mezger, tfavpe, v. 7, and e vpf v, v. 22, which mark
beginning and end of the myth, show the tendency of the poem.
The value of the victory consists in its having been gained in an
art invented by Athena.
Mezger notices a resemblance to O. 3 in the handling of the
myth. In both poems the person of the victor is brought into

PYTHIA

XII.

365

connection with the centre of the mythical narrative

there, the 7ro\vK<f>a\os vofios here.

The rhythms
2rp. a.
of \\y\aia.

1.

the olive

are dactylo-epitrite.

Not without allusion to the function

KaXXiora Pporcav iroXtuv: Cf. P. 9, 75 (of

friXd-yXoe

O. 14, 13.

Kyrene): KaXXiorai/ iroXiv. 2. frepo-eiJxSvas I8os The whole island

was presented by Zeus te Persephone ds TO. dvaica\vTrn)pia (the
presents given to the bride when she first took off her veil).
:

6x80.19

The commanding position of this t^Xa TTOelsewhere, is emphasized by travellers, old and
3. vaUis: Heroine and
See P. 1, 64.
city are

KoXwvav

Xtr, as

P. calls

new.

ox^ais:

it

blended, after Pindaric fashion. See P. 9, 75. 'AicpdYavTos The

4. <rvv cu^i veia
The favor that he is to
river.
fava
avao-o-a.
find in his reception, not the favor that he has already found.
The song as well as the wreath. See P. 9,4.
5. <rrt<l>dv(xa
Mi8j: For the dat., see P. 4, 23. It is to-Midas's honor that the
6. r4\v<^, rdv, T.
Ace. to the comoffering is to be received.
:

mon

tradition.

Athena invented the

flute,

Olympos

this special

P. modifies the tradition so as to

(6 iro\vK<paXos vopos).
cannot limit Tf\va to Midas's art in
give both to Athena.
this one melody, in spite of the coincidence of (favpf and Sia-

melody

We

7rXeaiera.

8.

8iairX^|air(a)

9.

ST/J. /3'.

"Winding."

irapOeviois

Euryale and Stheno.

irapdttxav.
vn-6 T' dirXdrois :

The sisters of Medusa,

The virgins are bowed in

which position is better brought out by vrrd, with the dat.

with the second word, see O. 9, 94. -A^twv Ace. to another version, only Medusa had the snake locks.
10.
grief,

On

VTTO,

After the analogy of ^Iv

\ti0eiv.

The

(I.

7 [8], 58

6pfjvov

ouXtos dp^vos brought with

it

ex fa ")>
a shower of tears

<rvv: Al(doraKTi Xfi/Swj/ ddicpvov, Soph.), hence the blending.

"
11. Inr&n:
What time." Cf. P. 3,

most equivalent to " amid."

91.
Cf. P. 4,
rph-ov . . . ne'pos: Medusa was one of three sisters.
awoxrtv: "Despatched."
65: oyftoov
12.
(jLtpos 'A.p<((ri\as.
tivaXia T ZcpufMp roltrl re So Hermann,
e IvaXia
Xaot(rt,
.

the reading of the best MSS.,

in 2. short,

rourt
airrois
If Xaolo-i is retained, it must be read as a disSeriphos was turned into a solid rock, and the in-

= 2pi(piois.

syllable.

who had maltreated Danae", mother of Perseus, were

13. $4picoio:
by the apparition of the Gorgon's hp.ir)

habitants,
petrified

^tpiffxa

makes

NOTES.

366
The

father of the three Graiai, as well as of the three GorThe Graiai had one eye in com|xavpw<rcv: "Blinded."
mon, of which Perseus robbed them in order to find his way

gons.

to the abode of the Gorgons.

14. IIoXvScKTij:

Polydektes of

enamoured of Danae, made her his slave, and, pretenddesire wedlock with Hippodameia, invited the princes of

Seriphos,

ing to
the realm to a banquet, in order to receive contributions towards
the ?8va. Perseus promised, as his contribution to this epavos,
16. evirapqiov . . . McSoio-as: Medusa is
the head of Medusa.
See the story in Ov. Met. 4, 792
mortal, the others immortal.
:

clarmima forma

multorumque fuit

spes invidiosa procorum.

After she yielded to Poseidon, her hair was turned into serpents
priestess, and with whom
she vied in beauty. The transmutation of Medusa in plastic art
from a monster to a beauty is well known.

by Athena, of whose temple she was

17. vlbs Aavas: On the position, see O. 10 (11), 38.

y
xpv<ro^
avTopvrov The shower of gold in which Zeus
I. 6 (7), 5:
descended to Danae.
^puo-w ^tcrovvKTiov vtyovra
'.

2rp.
4ir6

Perseus was special

18. <|>iXov avSpo.
TOV (frfprciTov dtov.
liegeman of Athena. 19. revxc The tentativeness of the inventor may be noted in the tense, as in the EIIOIEI of the Greek
artist, though in earlier times EIIOIH2E is more common (Ur.

irapjxovov

lichs).

and P.

17

3,

Cf. O.

ira^^vwv

7,12:

laxav

7ra/i(^>a>i/ort

T'

tv firecriv auXa>j,

20. rbv

vp.fi>aia>v.

y6ov:

On

the long suspense, see 0. 12, 5. EvpvdXas The eminence is due

to the metrical form of the name.
KapiraXifxov ytvvw. "Quiver"
"
ing jaws." 21. xP l H 'l VTa Lit. brought nigh," that assailed
:

>

<n>v evrri: "With the help of instruments" inher ears."

stead of the simple instrumental tvr. Cf. P. 4, 39. 22. avSpdo-i
This would seem to imply that she does not mean
Ovarots fyeiv
Still the story that Athena threw away
to use the flute herself.
the flute after she invented it, because it disfigured her face, is
doubtless an Athenian invention aimed at the Boeotians. exetv:
23. Kc4>aXav iroXXav vo|u>v: Fanciful exEpexegetic infinitive.
"
"
"
planation of the winding bout," or many-headed tune. 24.
'

Xaoo-crouv

2rp.

8'.

The

av\6s called to games as well as battles.

25. edjxa

of/xa

(Bergk).

See O.

7, 12.

Sovdiewv

irrfXei
which Boeotia was famous. 26. irap& KoXXix^p?
dat. is more poetical than the ace.
See 0. 1, 20. Xop(rwv

For

The
The

PYTHIA
of the Charlies

city

^atrtXetai

doi8ifj.oi

nymph

Kopals.

is

XII.

Orchomenos.

Xapire

367

See O. 14, 3
27.

'Op%ofj.fvov.

irnrroi \optvrav (idprvpcs

& \nrapas
The

K.a<io*i8os

The avXdf

the time-

is

28. avcv KOJUITOV: Alkeeper, and so the witness of the dances.

lusion to the mishap of Midas, though the story may have been
31. 5
09.
nv(a) Sc. <re. Some
Kdp.arov.
imported. 29. vw

read

riv

(rot,

dependent on

Sdxrfi.

aeXin-uj.

^aXuv

''Smiting

with unexpectedness." "With unexpected stroke.'' deXTm'a

a $Aor.
Less likely is dfXTm'a as semi-personification as II.
187: KW(T) /3oXe, where the helmet catches the lot. 32.

Comp. O. 10 (11), 95: vforaros TO ird\iv.

While it will give part, will part postpone.
satisfied longing on the part of Midas.
yvwfias

X7e.

TETHRIPPON.
Coin of Syracuse.

ri

is
7,

ftJ

A note of un-

GREEK INDEX.
a/3poTaTo iXuirt, P. 11,34. d(3p6-raTOI itrl jUtydXav, P. 8, 89.
dydv, P. 2, 82.
uyii
"

dyatfoi,

optimates," P.

2,

81

3,

71

4,285; 10,71.
'

Ayafjitp.voi>ia ^fv\a, P. 1,
aydvopi /UKTDOJ, P. 3, 55.
dynviav AloXiSav, P. 4, 72.
O. 3, 28. *Ayy&Xia,
1

20.

dyyfXi'cus,

O.8,

Ayyi\\tov, O.

7,

21

P. 1, 32

9, 2.

O. 9, 95.
ayti>ei'uii> <ruXat)tv,
dyfpuivov oihttv, P. 1, 50. dyipib%ov
i/,Vas,O. 10 (11), 87.
ayr)(Liat=^yt/aail' fif", P. 4, 248.
dyKfiTrtt (aj>d*CiTat), O. 11 (10), 8.
dy>.-uX<)To<H Miiduoi, P. 1, 78.

dyKuXtu

Kpa-ri, P. 1, 8.

dyxvpav Kpi]fjLvdvr<ov, P. 4,
Hyicvpav ipiitrov, P. 10, 51.
Kpip.ua av
dyKupai, O. 6, 101.

ilyKvpu
6u'

dy/cu/oas, P. 4, 192.
UTT' dyKtofos, O. 2, 91.
dy<cai/

vixafyopov
"AyXafa, O. 14, 13.
dyXaia*, 0. 13, 14.
O.
13, 96.
Moto-aiv,
dyXaoOpovcus
ayXaoKou/oov Ko/atvOoi/, O. 13, 5.
dyXat>9, O. 14,

7.

'AyXaoTjOtaii;ai/, formation,' 0. 1, 40.

iiyvav Kpicriv, 0. 3, 21. dyvov "ATroXXuii/a, P. 9, 69.
dyvov 6tov, 0. 7,
GO.
dyvdti Xa/aiTcoi', O. 14, 8.

Kovpai dyvai, P. 4, 103. dyi/oraTat irayat, P. 1, 21.

ay VOXTTOV \{/tvSiiov, O. 6, 67.
(kypoTfpos 4>^/o' dypoTtpov, P. 3, 4.
"jrapQivov dypoTipav, P. 9, G.
fj.ipLp.vav dypoTtpav, O. 2, 60.

dyuianv Sc/ut'Xa, P. 11,

dy^KTTov OTrdova, P. 9,
dyco

Kippav, P.

11, 12.

d&tlvddtiv, 0.

82.

24.

out an object, P. 2, 17. rdt

6tos ayoii/, P. 5, 27. aytov ayovra,
P. 10, 66.
"
"
dywva, place," not contest," 0. 10
(11), 26.
dyu>i>a
dyopdv, P. 10,
30.
dytoi/a o/ua(T(Tav, P. 8, 79.
dyajj/os, "gathering -place," P. 9,
124.
dyjavos tfcto, P. 1, 44. i.ywi/i

dyti9

jrXouToi*

70.
P.

dyn,

P. 6, 47.

7,

17

6, 20.

dyn

with-

d&6irra=d$6v-

3, 1.

P.

2, 96.

d5oWi

t>6u>,

P. 6. 51.

dStvov 5dKos, P.

dSvyXuxraos

2, 53.

flod,

0.

13. 100.

dSvva-ra, P. 2, 81.
di , P. 9, 95.
dtOXtov dy\atav, P. 5, 53.
dti&tTo, O. 10 (11), 84.
dtX-TTTta /3aXa.v, P. 12, 31.
di-ros, atVa)/u, note on 0. 13, 21.
d^dTai/, P. 2, 28 ; 3, 24.
d8pt}<rov, P. 2, 70.
Miifiini 'A-jro\\u)viov, P. 5, 23.
alavi': Ktiraiai/i;
Kopov, P. 1, 83.
rpov, P. 4, 236.

AiyiVa, accent, O. 7, 86.

alyXa Trojan/, O. 13,36.

int)\wv aly\ai>, P. 3, 73.

P.
10.
aiy\dtirra Koap.ov,
2,
dioai/ Xax'vTS, P. 5, 96.
afi<TOtVTS dXK'dl/, P. 4, 173.
aiSw i^oi, O. 13,
A^a.s, O. 7, 44.
ai^iu *Xwi//ai, P. 4, 146.
115.
aisTOi; irTffiotina P. 2, 50.
ypvaiiov
aijjT'juj/, P. 4, 4.
aietjp, fern., O. 1, 6 ; 13, 88.
,

aLuatravpfan, 0.
(iltnjtriv

1,

ydaov, P.

ii/t'a-ro, P. 8, 40.
aitriiv Quva-rov, O.

1.

t/)j(fio<rui'ai/,

ra, 0.

"

90.
3, 13.

10 (11), 46.

drained, O. 9, 57.
t'Xfp, zeugma, O.I, 88.
iyKvptry nal

aipiio

t'Xtli/,

GREEK INDEX.

370
i'Xt;,
'

P.

i\u>v, plastic, 0. 7,

100.

1,

1.

aptofiai, P. 1, 75.
Aios iV, O.
t<rav, P. 3, 60.
KOT' alo-aK, P. 4, 107 ; 10, 26.
45.
9,
altriov t/cXayf , P. 4, 23.
atT=:iTe, P. 4, 78.
aiYuaTai9, 0.7, 19.
aix/ua
a2xMTdi;, 0. 11 (10), 19 ; P. 1, 5.
alpta

alaa

P.

aiwjem.,

4,

186; 5,7.

uKctTov tivaXiav, P. 11,40.

aKtipiKofia tyoifiip, P. 3, 14.
d/ctffuaTa, P. 5, 64.
d/c}/>uTois di/uuv, P. 5, 32.
aKivSvvov f tiros, P. 2, 66.

<TII>,

3,

2 5 P.

6, 6.

iiKpavTot<; i\iri-

P. 3, 23.

&Kp66tva, 0.

aKpov

O.

2, 96.

fXaii;,

2,

0.

3,

5, 13.

21

P.

10 (11), 63.

Siov, P'. 5, 7.
anpioTt'ipiov *A\i5os,

d.
TTOVTOV, P. 1, 14.
P. 4, 208. fjitvti d/ucu/ua-

Ktv>i6fi.6v,

KtTO), P. 3, 33.
/car' d/*an-oV, P. 4, 247.
d/xa JITO'S

afJiii\f/ii>,

P.

5,

38.

0.2,90.

d/utj'/Jt-

P. 6, 54.

<pdovov dut(/3o/uci/oi',
P. 4, 102.
d/xs^Oj),
d/uXt)(o (TT/oaTos, P. 6, 12. d/xtiXlXl KOTOI/, P. 8, 8.
ufitfjujiii tip, 0. 6, 46.
d/u{u<ra<r6at=djUEt\//a<r0a(, P. 1, 45.
Afjifvcri-Jropov TpioSov, P. 11, 38.
(invtMTH
iivii/iiiiirrn, P. 4, 54.
djuot/3als, P. 2, 24.
dudj/=77utV/ooj/, P. 3, 41.
duals, P.

P. 7, 15.

HfjLTTa\OV,
trvv

&Kpa
&Kpav /3a0/u-

0.

O. 7, 61.
O. 8, 67.
O. 8, 7. d/uin>odi itrratrav,

dju-TrXaKtiv,
afjLtrvoav,

P. 4, 199.
du^)t with ace., 0.

9, 8.

UKTOLV tSvSpOV, P. 1, 79.

d/crli/a 6odi/, P. 11, 48.
/3ou, P. 4, 255.

1, 17, 97 ; 9, 33 ; 10
with dat, O. 7,80; 8,42;

(11), 85;
d(CTii/os

o\-

by virtue of, P. 1, 12 ; 6, 42 ; 8, 34 ;
by reason of, P. 1, 80; 11, 54; =tripi
with gen., 0. 1 3, 52 ; P. 2, 62 ; of the
stake, 0. 5, 15 ; 8, 86 ; 9, 97 ; within,

'A\d6tia Aids (OuyaTt/p), 0. 10 (11),

5.
Siairotv d\6stas, 0. 8, 2.
iv
aXaOtiq TriToTo-ai, O. 7, 69. dXdOilUV iTt'lTVfl.Oll, O. 10 (11), 60.
dXaflf' aiv Xovots, 0. 6, 89.
dXaXards o Tuperaviav d, P. 1, 72.
dXaxai with gen., 0. 1, 58.
dXtKTto/o, 0. 12, 14.

dju</H/3aXXi-T<u,

dXti/i/3|OoVots, P. 5, 91.

du<^nroXoDS, 0.

dXi/3aTOK Tri-rpav, O. 6, 64.

dXu/oKta xai/oav, 0. 8, 25. dXupKcte
oxOai, P. 1, 18.
dXioio yt/ooirros, P. 9, 102.

'Au^>tT/ovu>md(5, O. 3, 14.
d/u<f>oT/oos
anfyoTipov, 0.

dXtaKUjuai dXtufcora, P. 3, 57.

dXicd dX/cas airtipavrov, P. 9, 38.

dXca Tpi<pti, O. 1, 112.

dXXd with imper., 0. 1, 17
O. 1,55; P.

with gen., 0. 1, 35.

0. 1, 8.
a/jL(pi6a\a(rarov i>ouoi/, O. 7, 33.
0. 13, 37

2,

4, 32.

33

4, 6;
(11), 4.
;

OX&OV, P.

&H<pi-7rtl>ov

9, 59.

afKpiirtcrov,

d/x^iirrTrru!
108.

O. 10

(11),

32.
&fi<pis=&/n(pi, P. 4, 253.
6,

6,

17

P.

4,79.
&im(poTtpoi?, "good and bad,"
P. 1, 88.
av with ind. aor., O. 9, 32 opt. pr., O.
2, 18,

6,22; 7,87; 8,9; 9,5; 10

yd/3,

3,

4,27.

P. 11, 55.

iairipa, P. 11, 10.

dXXd

0.

uXcrfi,
3, 36.

UfJiai/JiaKlTOIt

rat,

dxju,

fern.,

d. u\J/iyviov,
18.

afjitijiia

d/u<' rtKfidv, 0. 1, 48.

d/c/ua,
0. 2, 69.
P. 1, 86.
K/uofi
KOU d<TTa>j>, P. 1, 84. d/coa <ro<pois,
P. 9. 84.
dcod(/ cXui/, P. 1, 90.
dtcot/as Xtyu/oas, O. 6, 82.
d/couaaTi, P. 6, 1.

O.

dXtros dyvov, O. 5, 10.

a. MaKiSav,
0. 13, 109. d. ttdtvSpov, O. 8, 9.-

a. /c/oi/a,
dyuaxoi/, 0. 13, 13.
a. (ca/coi/, P. 2, 76.
d|u/3oXds, P. 1, 4.

d>c/ud

aK/aairra,

dX
4, 50.
Xo^a-Trals npovpaiv, P. 4, 254.
dXXos dXXa, adv., P. 2, 85. aXXots
=dXXoT/oioiy, P. 4, 268.
a'Xois KpaTtpoi'i, P. 4, 71.

ana-.llp.a, O.

a(v'ayuuiTOTro5o
ppotwav, O. 4, 1.
dKauairoTrod. dir7i>as, O. 5, 3.
Stav 'iTnriav, O. 3, 3.
d^daii-Tois /JouXais, P. 4, 72.

'AKjodyas,

dXXo^aTTav yuvaiKtav, P.

0.

2,

130

110
20;

7,

pf.

= pr., O.

42

subj. pr.,

13, 46
8, 62 ; 13, 103
P. 3, 106 ; 5, 65

O.6, 67; P. 1,100; 4,76.

;
;

aor.,

P.

9,

aor..

GREEK INDEX.
Ava,

Ava

&iranP\vvu, P.

up," 0.13, 114.

Av

41

51 ; 10
Ava V npiovots, P. 4, 94.
(11), 76.
ava (TKatTTia, P. 1, 6. Av' 'EXXdSa, P. 2, 60.
a/u iroXii;, P. 11, 52.
'ItrrroK,

O.

1,

8,

AvayiiaQai, O. 9, 86.
avdyica ira-rpoQiv, O. 3, 28.
Avayvto-rt, O. 10 (11), 1.
avayui Avayy, P. 5, 3.
AVO^UT' dyytXioi/, P.
Avait\ofi.ai
P. 5, 78.
2, 41.
avaStgafiivoi,
avaiijtravrts <cd/is, P. 10, 40.
avaifiia ftopov, O. 10 (11), 115.
avaKHTai, O. 13, 36. ayicsiTai, 0. 1 1
(10), 8.

Avai<p6pfiiyyt?, 0. 2, 1.
Ava-jrAffffti y^apiv, 0. 10 (11), 104.
,

P.

1,

/fco/uos,

0.

13, 107.

Avacr<Tiov=ava]
ava-rid^fii
6)K:t

O.

1,

82.

tvpoirro* ipyov, O. 13, 17.

(1700/001 i\6ptaVj P. 8, 86.
atrtipairrou dXca, P. 9, 38.
aTrtipaToj /3a-rtta, 0. 6, 54.
aTrt'07)<rt, P. 4, 36.
diro yXaxro-as, O. 6, 13. A. fia-rpot,
P. 5, 114.
a. X*V'* O. 7, 1.
A.

tlfarai;

i*

Xpi<rio, 0. 13, 76.

airo&uxrw Mottrattrt, P.

4, 67.
cnroiva. a living ace., P. 2, 14
16.
<iiroi}(o/Lt/oi',

P.

1,

P.

3, 3.

O.

7,

Airoi\ofi.iviov,

93.

"AiroX\tavia v&tra, P. 6, 9.
'AiroXXwi/tats
iro/uirats, P. 5, 90.
A-rroTrifi'TrtaVj O. 8, 50.
a-jropa, 0. 1, 52.
<Jirorjrao-6i!o-a, P. 9, 36.
dirs8n'cTo, O. 8, 68.
airoTi'0T)/ut
<*iroet'<T6at, O. 10 (11), 44.
Air<rrp6ir(p yviofia, P. 8, 94.
aTro<j>\avpi% ara, P. 3, 12.
OTrro'/uto-ea dyXafats, P. 10, 28.
a-TTTtOTl, O. 9, 99.
Airvpois lipois, 0. 7, 48.
A-trva)
a-rrvtv. (X t
diruct, P. 10, 4.
72.
Apyatirra -ravpov, 0. 13, 69.
'AiroXX(0i/toi'a6(//>/ua,P.5,23.

avaXicTKOitra VTTVOV, P. 9, 27.

avaaatav

371

tiva6tfj.iv,

39.

P.

8, 29.

Avl-

5, 8.^

avarpf)(ito

nvnrpatvw

avifipafiov Vfivia, O. 8, 54.

avttpavi Kvpdvav, P. 9,

79.
aiicpiavTi, P. 5, 40.
AvitiTTt,

P. 1,32; 10,9.

ai/E/ioti/,

P.

1,

92.

avifiLOcripapaytov, P. 9, 5.
avcv Stow, O. 9, 111.
5.
&xapiv, P. 2, 42.

\apiTtav

ApyiKtpavvov Ato$, O. 8, 3.
apyivoivri fj.a<TTto, P. 4, 8.
ApyvpoTri^a, P. 9, 10.
0. 1, 35; ii/tVa.v, O. 1, 66; avSpdvi, "Aptos Tt/xtj/os, P. 2, 2.
P.2,43).
a^i <t>i\w, P. 4,1.--Trap' Aprra,
"generosity," P. 1,94. Aprrai,
"
"
avtpaai, land," O. 6, 10.
achievements, P. 9, 82. d^tralv
rii/iats aKtj/oaTois, P. 5, 32.
aptTalai yue/tao6tyol(ra, P. 8, 22.
ai/ca, 0. 7. 35 ; 9, 33 ; P. 1, 48 : 4, 24.
ras, 0. 1, 89.
AptTa*
aprrdv
K \i os, O. 7, 89 ; 8, 6.
avopiais inroTrrt pois, P. 8, 91.
O.
O.
46.
2,
12, 16.
npi'nov ytvos,
aiTidi/t(/>a,
arrt6ti(Ta=(iiaTi6tTo a, 0. 3, 30.
ApKrOapfia-rov yt/oas, P. 5, 30.
airrtosl, O. 13,34.
,
apiaToyovw fiaTpi, P. 11, 3.
m-tos dirrtoi/, "adverse," 0. 8, 41.
dp't)Xo dirrjjp, O. 2, 61.

<Wx,

P.

2, 89.
ii/}^=ai;6/oa)7ros, P. 2, 29 (cf. avSpi,

<ii/Ti'a

TTjOaj-

ai/rtTraXoi/,

it,

0.

P. 8, 52.

8, 71.

P. 4, 221.
airri<t>tpi%ai, P. 9, 54.

atn-i-rofjia,

airri(J!>Xtya>

O.

6(f>Oa\/Ji6v

atrri<p\ti,

3, 20.

airrXtt, P. 3, 62.
airrXoK (Xitv, O. 9, 57.
diro/Ati/of , P. 2, 7l.
ai/uu
Avvrrai.
afua-o-fv, P. 12, 11.
P. 2, 49.
ai/ai
at Tat, O. 8, 8 ; 14, 6.
(i-raXa/uoc ^tOK, O. 1, 59.

.
apfia NtOTO/otioi/, P. 6, 32.
TlltpiSiav, P. 10, 65.
a/3/uaTtjXaTas crofpos, P. 5, 115.
app-fva irpd^ais, O. 8, 73.
<i/)/ic0
d^>/uo^<ui/, P. 9, 127.
apfi.0toto-a, P. 9, 14.
apfj.o'^oin-a, P. 4,
129.
KarA rlv appoviav, P. 8,
dpfiovia
68.
apovpa Apovpa? apirafcai?, P. 4, 34.
npovpav '\<t>po6iTas, P. 6, 2.
dptraXiav Soatv, P. 8, 65. a. d)/>oiTtia, P. 10, 62.

GREEK

372

dp-ruirns, O. 6, 61.
dp'xd dyXaias dp^d, P. 1, 2. TtXo
dpxd Tt, P. 10, 10. iv TqSz Aio

dpxa, O. 2, 64.
dpxiSiKdv, P. 4, 110.
dp^os oitoviav, P. 1, 7.
dpvto

dpYOfitvou tpyou, 0.

ds=eo.s,O. 10

liNDEX.
4,

131

0. 5,

(TTt(f>dvtav

d. x"/""f, 0.
dwroi, O. 9, 21.

1.

paOv^tavov A55as, 0. 3, 35. /3a0y>VOKTI.V Xa/oiTtatrt, P. 9, 2.

j8a0u(cdXirou Fas, P. 9, 109.
/3a6ufcoXTTtoj; Mordi/, P. 1, 12.

6, 3.

(11), 56.

P. 3, 109.

drrKw
fiojjUoi/ d<TK>'i<rio,
danctiTai 0t/tus, O. 8, 22.

a/ntpov d<TTot, O. 13, 2.

SoXtov
ir/oaus doToTs, P. 3, 71.
Ct(i)VOV(tilf CtCTTtOVt
CtffTOV* P. 2. 82.
O. 6, 7. da-rwv aKod, P. 1, 84.

doros

d<rrpafli] Ktofo, O.

f3adv\tifj.u>v dydiv, P. 10, 15.

f3ativTro\ifi.ov, P. 2, 1.

"

/3o6us ftativv K\dpov,

rich," 0. 13,
"
62.
far below,"
fiafttlav irXoKa,
P. 1, 24.
/JdXXo) (TTt<pdl>Ol<Tl, P. 8, 57.
UTTtpOc
/SdXXcui/, P. 8, 77.
Kc</>aXdv /3aXi/,

O.

2, 90.
dcrTpoii <t>atvv6v, O. 1, 6.

1,

/SdXXtTo KptiirlSa, P.
P. 1, 74.
|3Xs0' dXiKioi/,

58.

138.

d<r<aXj;s=a7rTai<rTos, P. 3, 86.
dcryo\os, P. 8, 29.
5x0 sis ox T<5" "-a, 0. 10 (11), 42.
dTa/o/3d(CT<no, P. 4, 84.
d. Kttf>a\a,
d-rapftti (pptvi, P. 5, 51.
P. 9, 34.
a Tt, O. 2, 39.
dTiVcjua/OTa, P. 10, 63.
d-reXfjs p.airrtufjiacru>, P. 5, 62.
dTEI/tS, P. 2, 77.
art/o, P. 2, 32.

TTp<OTtl>. P. 8,
>ti/=/3fJj/a(, P.' 4, 39.

/SdflOTl
"

J/

{iapvo-jrav, P. 6, 24.
/3a/ows

fittptirt

ow Trdfla, P. 3, 42.

with gen. of place, P.

j8ortXt'a (uwi/wf, 0. 13, 21.

/3a<rtXeus,
/3d<ris,

P.

o stais auyais dsX/ow, O.3, 24.

avddffOfJiai, O. 2, 101.

a J0i, 0. 8, 39.
auXos
aiiXali/ /3odi, O.
Kavayat, P. 10, 39.

/3a<rTd^ts, O. 12, 19.

iov Kopvaaiutv, P. 8, 75.

TTptafjiivov, P. 6, 27.
I'OTOI/, O. 2, 32.
XdiTTaji/ Xo'yoi/, P. 9, 102.

auX.

fiiov irt*

ftouv HupiSiav,

P. 1, 13.
'odaats, 0. 8, 40.

0. 13, 19.
O. 6, 90.
O. 5, 6.

citfvpdfifiiit,

^otaixiaV

5i>,

'Oi/uytrtcti?,

awTov, not OUTOW, P. 2, 34.

aura, not av-rq, O. 13, 53. oirrals,

3ov\al TrpiarfiuTtpat, P. 2, 65.

lovXarpopoi dyo/ooi, O. 12, 5.
3ovXo/uat, note on, P. 1 40.
3oi7s, of a woman, P. 4, 142.

not oirrais, P. '9, 67.

ifjtft.fi

aiiTos

au-rofpvTiov, P. 3, 47.

"above envy," 0.

11 (10),

active, 0. 13, 25.

dipiKovTo, with

d(pairrov, P. 11, 30.

(3tfipt.yiivos,

3ta\aKU Caiuovutu, P.

Fotos OuydTtj/j, P.
"

iflpoi,

O.

6, 55.
4, 37.

9, 19.

suitors," P. 9, 126.

yafjiov H~iat, P. 4, 222.

(Int..

O.

dffnK-rai 0(i/u(n/v, P. 5, 29.

d<j>itrrr\fu
d<pi<rrap.ai, O. 1, 52.
d<f>i(nairrai, P. 4, 145.
"A. KOA<l>po6tTas apoupav, P. 6, 1.
KTj'Xoi/, P. 2, 17.
-irov, P. 5, 24.
wo<rtv, P. 4, 87.
U)TOS, I'. 10, 53.
otoTov, 0. 3, 4 ; P.
9, 72.

1ptX.to

KpoUVOUV, P. 1,25. (TtXaS

\dftpov 'A<pai<rTou, P. 3, 40.
d<pairrov flptuu, P. 11, 30.
'A<f>fzi<TTOlO

60.

pt\os rpi<psi, 0. 1, 112.

/3/ai/ Oii/o/udou, 0. 1, 88.

3o)XaTO
3, 8.

aCftt,i/,P.8,38.

1,

1, 2.

3oai Xu/odi/,P.10,39.

39.

auyd

d<piKvtofjiifi

4,

43.

/3toT(is "A/otjs, P. 1, 10.

'AT/H'KHO, O. 10 (11) 15.

aTptKli Katpdp, P.
aT/JKT;S, O. 3, 12.
8,7.
druoi/Tai, P. 1, 13. d-rv^ofji^u,, 0. 8,

d<jb0oV>jTos,

8, 75.

yapvtv, O. 1, 3.
ydpvov, P. 4, 94.
TroXios yatnpoy, P. 4, 99.
'aoftip
avTpi/JLapyov, O. 1, 52.
0. 6, 49.
ytytovilv, O. 3, 9 ; P. 9, 3.
tyd/ceii;,

Ttov, O.
Xai/

O.

5, 2.

ytywi/n-

2, 6.

Ovuw, P.

4, 181.

y. Kapoia.

GREEK INDEX.
r fidv, O. 13, 104; P. 1, 17; 7, 16.
Zt&s o
yti/f'eXtos Saifjuav, O. 13, 105.
Zrji/i y iviQXit?, O. 8,
y., P. 4, 167.
16.
yivoi dpriiov, 0. 2,46,
yt/>ajflo>i/,O.3,2; P. 1,70.

iytpaiptv,

O.5,5.
yt/oas, O.8,ll.
ytpatrrfiopov, P. 2, 43.
yiuM-at otOXaiv, P. 10, 7.
yu>Tat, "approves himself," P. 10,
22.
ywiaaKia eyi/w, O. 7, 83. yviixrofJiai,

O.

13, 3.

yXauKoi

fyxricoiTts, O. 8, 37.
3, 13.

yXauKtbij/
yXai/Ktoira o</>ti/,
249. yXauKWTTts 5/oaKoirrts, 0. 6,
45.

0.

6, 91.

UUyKOlTOV
yXvKtla (j>pwv, P.
0.
14,6.
yXvKvrdyXvKta,

yXvKvv, P. 9, 25.
6, 52.

Tats (f>poirriau>, 0. 1, 19.

yXa><r<ra TToifj.aii>ni> 6tXtt, O. 11 (10),
9.
xaXtftut yXa><T<rav, P. 1, 86.
a?ro yXaxraas, O. 6, 13.
yvuifia dtroTpoTrta, P. 8, 94.
yvu>p.av
Trieaij;,

c-ru(5ioi',

TTi'ifiit, O.6, 8.
fiiaXiiKii 0(UHoviav, P. 4, 37.
S. tTioaifiMv ytvf'0Xios, 0. 13, 105.
KUTU oaifiov avSpts,
(oov, P. 3, 34.

5,

ArtpSavioa Kopav, P. 11,

6,
ot<5ol \f/d<t>ov,

13, 1 15.

t&ov,
0.

P.

9,

AiVa, 0. 13,
1.

l27.vopffalvtip
O. 13, 19.

A(fas

7.

6i>yartj/9,

P. 8,

j/,.,.
P.

ta
with

104;
P. 4,

6,

Sofjitv,
33.^
6(6vpUjU/3o> fi(ni\d-Tii,

1,

art.,

50.

SiKat6woXK,P. 8, 22.
5io<r5oTos alyXa, P. 8,

96.

&Xo/3ouXoi/, O. 8, 86.
io'/xt]i;($,

6tI<T

0.

3, 19.

(ppriv,

adfa

ti

P. 6, 36.

aoja e t>ti/os, o.

8oav,
Sopirov

"belief," P. 1,36.
0. 10 (11), 52.

Xu<rti/,

6, 48.

Spt-rwv, 0.

fipoato fiaX6ai\S t P. 5, 99.

Aai/t)if i'iv

O.

7, 2.

Aw/ml Xao, 0.

Kfliftiit,

Aaiptos

8fi]~ai fj-aOtlv, O. 9, 80.

701, P. 2, 18.

1, 13.

4, 130.

Svtrfppovav, O. 2, 57.
SvwStKaSpofjitav, O. 2, 55.
ptel
65.

apodotic, 0. 2, 62 ; 7, 5.
after voc., see Fbco/ie.

ftiKvv/j.1.

StSoi=SiSov,0. 1,85;
;

Spocria ufnrt\ov,
SuairaX't's, O. 8, 25.

19.
*

89

265.

Spoffos

121.

SapSaviv

tunrXi

O. 13, 91.
diauXoOfio/tnv, P. 10, 9.
cnipdtvf, P. 3, 44.
Sia<f>aivw
"
Siafptpu, spreads abroad," P. 11, 60.
iW/xa x*p, P- 2, 9.

cpmrwv, P.

(caTaiauaXJoi), P.

a/uaXtot

a^jji/oi;

titafftoirutrofiai,

dptirti, P.

9, 30.

Saitppwv, P. 9, 91.
caKuto
OtSayfifvoi, P. 8, 87.
6dKos=6fjyfJia, P. 2, 53.
Aa/uatw ira-rpi, O. 13, 69.

o,

fnaTriipa, 0. 4, 18.
^taTrXtictt, P. 2, 82.
at<ra, P. 12, 8.

9, 4.
0. 8, 20.
5oXtj(i/oT/uoi/ Aiyti/av,
Soveo
Sovtovrai, P. 10, 39.

P. 11, 49.

6atu(>i'ii'

0.

Surripa. fioipa, P. 1, 99.

at* ofuXov, P. 9, 133.

ij^ai/ aoi^ai;, P. 9, 112.

^Ko^iTrTrou K(;pai/a$, P.

P. 3, 28.'

yuiois, O. 8, 68.

yufivov

regards with favor," P. 3, 86

c5ia

7,

P. 4,

KpCtTl'lp,

rai,

373

SpaKtla-' d<T(pa\is, P. 2, 20.

ittnroffvvaitrtv Kiovtacriv, P. 4, 267.
ituTOTa, O. 1, 50.

SiSwfii

yXavKOYjooa, O.

yXl/(CU

"

Swpjj

P.

8, 20.

Aw

8, 30.

Aaipmv, P.

Awptav

(fiopfjiiyya,
icwpijcrciv, 0. 6, 78.

O.

1,

1,

17.

ActVO/UCI/flE

foli/os^^Ii/os, "dance."
i^Mt, P. 9, 21.
ofipav, O. 3, 27.

ciivtav -rip-

_'.".

Ctf>KOfJ.ai

9,

&6av, P. 9, 1 12.
os av iyKuptrri
iyKvptraii, P. 4, 282.
KOI i'Xj;, P.I, 100.
iyilptu

Ko/oif0ou Stipdda, O. 8, 52.

dtipas
P. I,
fiiKo^ai with dat., O. 13. 29
8,5; 12,5.

Sti6yvioi>, O.

119.

SttiOpKt,

O.

iyyvd<TOfj.ai, 0. 11 (10), 16.

1,

94.

Ot'/>Kt-

iyKw/aiioii Tt6/uov, O. 13, 29.

iy\fifipdp.ia icopu, O. 7, 43.
iyyiiKtpavvov Zijva, P.4, 194.
ov, 0. 13, 77.

Zqpdt

GREEK INDEX.

374

iyXfoplav Xiftvav, O. 5, 11. ly^iapioi

(3a<ri\i}K, O. 9, 60.
fOtXai, P. 3, 77 ; "I am wont," 0. 13,
P.
1.
9 " I am
;

0.

7, 20.

fain,"
9,
z0tXf}<rat, P.

1,

iOtXnono,
40.

intern, 0. 8, 4.

il,

P.

cijco's,

construction

of,

tlfii

omission of

t<rri, tl<rl,

1,

35.

0.

1, 1

P. 8, 95. firri, O. 2, 92.

tlvdXiov TTOVOV, P. 2, 79.
cti/otXto?
livaXiav a/ca-roi/, P. 11, 40.
"
said," with inf., 0. 7, 62.
JJ-TTS,
ttirtp, P. 1, 90.
of

ifffit v,

Elpjva, 0. 13,
Is

ii>

imp*
ivi, 0.

7.
<r\oi/,

P. 3, 81

AtXlto

13, 37.
i'/caXos, 0. 9, 62.
i (cds Jtt.1/, P. 2, 54.
dfji<t>'

f j/,

adv., O. 7, 5.

ti/aycoj/io? 'Ep/xas,

ivaXiav

P.

2, 10.

/3a/xi/, P. 4, 39.

ivupififlpo'rov <r-rpdTap\ov, P. 6, 30.

i/5ti/, O. 7, 58.
tvStKov, P. 5, 103.

IvSoOtv, P. 2, 74.
ivdo/jid^af dXiicriap, O. 12, 14.
si/t'xtTai, P. 8, 49.
si/iV-Tois P. 4, 201.
ivvtiri, 0. 1, 47.
cWo/ucu, 0. 7, 84. Ivvofiov, P. 9, 62.
'Ei/i/o<ric$a, P. 4, 33.
ti/oirXia t-Trat^ei/, 0. 13, 86.
ivaKlfiTTTUl
fVt(TKlft.\l/tV, P. 3, 58.
iirriuiv <r6i'os,P.5,34.
ivrtcriv dvdy-

P.

icas,

4, 235.

iirrrtiois iv ivritr-

0. 13, 20.
O. 2, 92.

trtv,

ii<6i,8d(rKii<riv ffo<f>ov, P. 4, 217.

K<5o<rt)ai irpos r;/3ai;, P. 4, 295.

iirri,

tKVivcrai, O. 13, 114.

P.
fim;,0.3,28;
"

fKTrpnri)s "OXu/tiirias, P. 7, 10.

(CTai>v<rui/, P. 4, 242.
KTOS X lp TroSa, P. 4, 289.
itcrpdirc.Xov (v. 1.), P. 4, 105.
iXatas xpuo-tas, 0. 11 (10), 13.
tXaOTTTTTOI/ S0J/OS, P. 5, 85.

iirrpdTTtXov, P. 4, 105.
4, 181.
,
above," O. 6, 25.
P.
51.
3,
ayti;,
if
v fj.o'xfdov, P. 2, 30.

P.

4, 99.

ai,
,

P. 4, 49.

"are misleading," 0.

1,

iXa-rnp, O.4,l.

tXacpov OriXtiav, 0.
tXgyx s 0.4, 18.

3, 29.

cXcufcpioi; Zt)i/os, 0. 12, 1.

iXtutiipto ffToXw, P. 8, 98.
tXiicanrtoos 'A</>po5iTOS, P. 6, 1.
f/Xio-o-oufvat^Qpai, 0. 4, 2.
'EXXai/ofo'/cas, 0. 3, 12.
i\Tri$av Tavsjas, P. 1, 83.
sX-JTis,
"
pleasure,'' P. 2, 49.
with
aor.
for
P.
43.
fut.,
1,
IXiro/xai,
tXo-ais, 0. 10 (11), 47.

tfiplpaKtv, P. 10, 12.

t^oXa), O.

7, 19.

tMTaXii;, 0. 12, 11
t/uiras, P. 4, 86.

P. 12, 82.

i/UTTtTl=tl/7r<rS, P.
ifjL-jroXctv

8, 81.

&oivicr<rav, P. 2, 67.

0. 8, 3.
tfjifpuXtov alfia, P. 2, 32.
ifJLTTUpOK,

cv

with ace., P. 2, 11. 86; 5, 38.

ii/
ajrrXto TiOtTs, P. 8, 12.
iv <f>ovais
aoiSa
P.
P.
37.
iv
d-rrvtiv,
Gijut,
11,
iv a (rtTpaopia) Kpa-rttov,
5, 103.
P.2,5. iv auXoIs, O.5, 19. iv SiKa,
P. 5, 14. iv KaOapu, 0. 10 (11), 56.
iv

XV"

itav,

tXtXifoyuti/a tftopfuyj", P. 1, 4.
tXsXtx^oi/os TtTpaopias, P. 2, 4.

2, 8.

a)!/,

o,
os,

0. 10 (11), 28.
O. 5, 24.

P.

1, 75.

with ace., P. 11, 35.

0. 13, 99.

'""XouToi;,O.l,2.
O. 8, 23.

t^oX* owfyw*-

TTO.I/,

iv(f>aivoirrai, P. 4, 275.
tolKO-ra, P. 1, 34.
JdX, P. 4, 233.
tos i<T(f>tTipa, P. 2, 91.
iray<jOis, P. 9, 58.
iiraKooLTt, 0. 14, 15.
tTTaXTTI/OS, P. 8, 84.
EiraX-ro, 0. 13, 72.
itravrtXXtov x/>o"O, 0. 8, 28.
ITTU/JLI
iir<rrii/, with gen., P. 8, 97.
iiriTav TroXu(f>iXov, P. 5, 4.
tirsujao-eoi, P. 3, 77.
i-jrttov oTt'xs, P. 4, 57.
tiri-, in composition, P. 5, 124.
"
ETTJ, with dat., P. 1, 36 ;
crowning,"
0. 2, 12 " heaped on," 8, 84 ; " over
i-n-t
and above," O. 11 (10), 13.
;

6aj/aTo>, P. 4, 186.
i-7ri/3atW, O. 7, 45.
l-?ri/35ai/, P. 4, 140.
tiri/S/oiVms, P. 3, 106.

GREEK INDEX.
itriyovvliioti. P. 9, 67.
itrifi ia X'v'v, P. 6, 19.

t'iriA.t'Aa0a=tTrj\t'Aaoyiat, 0. 10 (11),
4.

.,

- I'oTTOlTO, O.

tTrotvouti/ous,

C7TO/LUI/OI/

9, 89.

7TTat =

t<JTH, 0. 13, 47.

firoirrsuti, O.

7, 11.

tirraicTU'Troi; <{>6puiyyos, P. 2, 70.

i-irwuvfiuiv \dpiv, O. 10 (11), 86.

iiriov vftiav iroXtv, P. 1, 30.

/>a<To-aTo,P.2,27.
ipalf^av.
tpaucu
P<11 5
.
ipavo? ipavov, 0. 1, 38; P. 5, 77 ; 12,
-

'

14.

0. 14, 16.
lpyov=viKi)v, O. 9, 91.
ipavlfjioXirt,

tpya, O. 13,

38.

ipSwv, O. 1, 64.
fpelow
fipuSe, O.
^

Xe

"'.

tptiafj.'

P-

1,

9, 33.

O. 9, 104.
Kovpais, O.2,. 24.
P.
65.
"i2^>i<ri,
9,
^euyX^ffO-os, P. 2, 86.
tt/dui/^ uZpav, 0. 13, 28.
tvtWt iucas,
P. 4, ir>3.
tuWi/oi oX/3o/, P. 1, 46.
tiiOus
tvtivv TOVOV, O. 10 (11), 70.
ivOt'iu T(iX/ua, 0. 13, 12.
tvBirrofiov i>S6v, P. 5, 90.
f

i-TrubXtytov. O.

,;

i TTOfiai

Z/jiivuit

51.

(f><ip/J.<lKOLl,

i>.

tvlinruv KU/IJ/V, P. 4, 2.
tu. TrapuTpoTroi, P. 2,
fvi/uS, P. 2, 27.
ivvulv yXvKtpals, P. 9, 13.
35.
tvpt'iv for fuptadai, P. 2, 64.
ivpi<TKia
cvpoirra, 0. 7, 89.
tvpiaKOirro,
1, 48.
tvptoOai, P. 3, 111.
P.
175.
4,
tvpvfiia,
liipvptav, O. 6, 58.
fi>pv<rtitviis TrXouTos, P. 5, 1.
fupu<pciptTpa?, P. 9, 28.
"
battlemented," P. 2, 58.
tvo-ritfidviuv,
fuT^airfXov (v. 1.), P. 4, 105. tvrpairtXufi Ktp&tGat, P. 1, 92.
EiTjouui'rti/, O. 1, 73.
ivvSpov UK-ran, P. 1, 79.
" ra
ti/X uat
l'
y)" O. 3, 2.
t/xoiro,

P.

'AKpdyairros, O.

"vowed," "declared," O.

2, 7.

tplTTTOV, P. 4, 240.
ipupov fit\aiiytveioi>) 0.
t/ot'a., present (?), P. 1, 77.
f/jt'lpitv uttiipo?, 0. 1, 6.
ipi\Hovv with two ace., P.

1,

68.

m-o/ut'i/a, P. 9, 12.

3, 97.

86; P.
O. 13, 105.
JX6t with

O.

1,

44.

/OYO/Ul/OI/,

i<pd\ffaTO, O.

1,

60.

72.

P.

1,

i<TX". ingressive," O. 2, 10 ; cf.

65 3, 24 11, 48. <rxi', P. 3,
;

89.

5, 14.

0.

'Epxontvov (v. 1.),

t? fkoi/, O. 7, 31.
iaoSow: icaXtov, P.

14, 4.

5,

116.

f \ffoi,

iinrtiav

20

0.

aVa,

1, 83.

P. 11, 62.

f dva,

fdva=fdva(r<Ta, P.

ftroStav, P. 6, 50.
<rri

8,

f>fr/ua', O. 3, 11.
<f>ET/uai, P. 2, 21.
P- ^) 37. txfi intr., P. 1,
'X 6" *X
dat.,

IjXdtS TTl&ioV, P. 5, 52.

ivirtpas, O.

53.

'ipyofitu

P.

6,

tv. 6t/j.svo? iv
fi/Xos iXtav, P. 5, 21.
86a, 0. 10 (11), 69.
tvwctos dfiiiTou, O. 7, 32.
iQaTnto i<hd\f/ais, O. 9, 64. f<>a-

P. 6, 11.
tpTTUl,

tvitlt-

\ov xjdovu 'lw\KoCj P. 4, 76.

fWiW, O. 1,98; P. 5, 10.
t\j&p6voi<s Ku'i'/uu"

9,24.
3, 40.

1, 69.

tvavopittim, O. 5, 20.
ti>a\ta vfivov, P. 2, 14.
tunufXof K/>oi/toi/, O. 1, 111.

IVCHtVOV

"Eiri/xa6tos tfuya-rtpa, P. 5, 27.

iiriftiyvvm tTT/M' jt, P. 2, 32.
iirivofiov (TTpaTov, P. 11, 7.
iirnrpiirtt, P. 8, 44.

iirolxoirrai, O.
P- 2' 24

P. 6, 7. tTolfiov ydfjiov, 0.
irdptSpov, O. 2, 84.
tvavcpov \u>pav, P. 1, 40.
liiavQiu (TxoXoi/, P. 2, 62.
i.

iiriKuipoTu.TO'i, P. 4, 270.
iiriKoupov oSov, O. 1, 110.
tirikpvtpov olftov, O. 8, 69.
i-jriKvpaai*; da-rdau, 0. 6, 7 ; fii-raTpoTTI'IUV fyMi/ucrrm i/, P. 10, 21.

EirtdAtyf t. P. 11, 45.

375

P.

3,
;
4, 40.
OITOJS t(TTt, 0. 1, 35.

ia-riav /uaKai^ai/, O. 1, 11
P. 5, 11.
tcrxaTidi/, O. 3, 43.
"
P.
34.
kVt/jos,
hostile,"
3,
tTn-rvfiov dXdtitiav, 0. 10 (llj, 60.
STOi/tOf alvuv, O. 6, 12. c. thitravpov,
:

P.

9,

48.

12, 3.

favdo-triov, O. 13, 24.

fav&dvuv, P.

1,

29.

fii&o/jiwco, P. 4, 21.
A75os, O'. 8, 19.
FftSuK, 0. 2, 94.

/irtli, O.

13, 71.

ftVoT., 0. 14, 20.

faSoin-i, P.6, 51.

GREEK INDEX.

376
Ti,

P.

2,

0/u/3ati/f =6au(uaii,
O. 1, 53.

O.

A'ireo-i,

f avuTov TTtipay, O.

2, 34.

7, 15.

7ro>i;, O. 2, 90.
Oau/uaTa, 0. 1, 28.
10, 30.

49.

ftoiKOTa, P. 3, 59.
AVos, 0. 6, 16; P.
0. 1, 86.

66; 3, 2.

'_',

Fipyov, P. 4, 104.
Fipytov, P. 2, 17.
ftptw,~P., 142.

fipya, P.

f *V>ai, 0. 10 (11),
f i-rtwv, O. 2, 102.

100.

P.

flSoltra, 0. 14,
Fioio*, 0. 13, 49.
f tSpw, 0. 1, 104.

2,

107.

QtfJ.l(TKpl.6vTWV, P. 5, 29.
difjutra-afiivov^ opyds, P. 4, 141.
"
Offua-irtit,
oracles," P. 4, 54.
tfsyUKTTtlOl/,

A^cii/, O. 9, 66.

5, 84.

0ai>aTi

QavjjiaTav b&ov, P.

TO \a\ayfjtrai, 0.

6i\uav

fqOos, 0. 11 (10), 21.

ftdXvaov, O. 7, 74.
A'<5oj/,

3, 32.

0a/uti>a,

O.

1,

12.

P. 4, 206.

t^ap,

0o5/UTO

16.

AXia5a = 'OiXia'(5a, O.

OtoS/iaTOf X/)tO, O. 3, 7.
OioSfiu-rtf iXevOtpia, P. 1, 61.
OioOtoo/iaras AaXou, O. 6, 59.

fiv=Foi,

8/u.dTaiv oyiuov, P. 9, 11.

6i66tv, P. 11, 50.

F 01, O.

OEO/DTW o-i/f O\PIO, O. 2, 40.

6o
Oso's, monosyllabic, P. 1, 56.
Ot<ov bpdirri^Ltav Ktap, P. 10, 22.
O.
65.
7,
KOV,
dtotppova, O. 6, 41.

9, 120.

conj., P. 4, 36.
AVa, P. 4, 253.
Ao'Xaov, P. 9, 85 ; 11, 60.
FioirKoKov, O. 6, 30.
fiffav-ri, P. 3, 29.
FIU>\KOV, P. 4, 188.

t)to/uojo(t),

23. 57. 65 ; 2, 46 ; 6, 20. 65 ;

10 (11), 96 ; 13,
; 9, 16. 72
29. 37. 65. 71. 76. 91 ; 14, 22 ; P. 1, 7 ;
83
63
42.
;
;
4, 37. 48. 73. 189.
2,
3,
7, 89.

1,

91

197. 243. 264. 287

89. 118. 130.
folKoQiv, P. 8, 51.
POIKOV, P. 7, 4.
F6v, P. 6, 36.

fwavtv, O.

5,

117

9, 39. 61.

dXais, O.12,12.
aXa>T<5i/

ui>a9,

O.

7, 6.

5, 5.

dtpawtutov, P. 3, 109.
Oepdircov, P. 4, 287.

6t/3H/a) TTVpi, P. 3, 50.

fc/Ojud XOUT/OO, 0. 12, 19.

QipfiHv vo-

6iXttni; tXatpov, O. 3, 29.

6jais, O. 10 (11), 22.
Otytiv \f/tvSti, P. 9, 46.
Qiyolaa or
Oty ' ""* P- 8 ' 24.
Ovarais eppaaiv, P. 3, 59.
0oav aKTtva, P.
float vass, O. 12, 3.

11,48.
tipdaos iroXt/jiwv, P.
P. 2, 83.
Qpacrvyviov, P. 8, 37.

P. 9, 24. ij /uaXa Sri, P. 4, 64. tf

Hdv, P. 4, 40.
17 pa, P. 4, 57.
"H/3as Kap-jrov, O. 6, 58.
r}/3ai/ 5(0tTTUiV, P. 6, 48.
"
flt)(rtj;,
abodes," P. 4, 258.
>lpo? <poivLKav6i/JLOv, P. 4, 64.
'Htri/X'a <^tXo</>jOoi/, P. 8, 1.
'Ho-i/x'a"
<tXoTroXij;, O. 4, 16.
296.
P.
4,
n<ru\ia. Oiyt'/uti/,

O/oaffu/zaX""

j,

O.

P. 3, 66.

f a/utj/ns, P. 4, 10 9, 41.
Zsus Atos \upiv, P. 3, 95.
u>t)d\/Luo, O. 7, 11.
;

Otpd-jroirra,

13,3.

<ru>v,

5, 11.

I'.

Opatrvfii'idti
tfu/ua?,

O.

2,

2, 63.

^ O. 6, 67.
SaXjuwvcT, P.
9 ; 8, 6.

0/ia<ros f

4, 143.

ta/fct Kctpoiav, P. 1, 11 ;
voov, P. 2,
90.
idvaitv Oufiov, 0. 7, 43.
tav0. 2, 15.
t<5ios ti; KOIVW, 0. 13, 49.
.

(),

J^oirra,

lost,

O. 14, 22.

lipav (piXoTaTtov, P.

9, 43.

iipols

O. 7, 48.
'lloivav ir6Kw, O. 10 (11), 42.
OTTUjOOlS,

OatjTOi/ Sofjiov, P. 7, 9.

iv daXdfiip
0aXajuoi/, "house," 0. 6, 1.
faXauotv fityaoafjLt1a-(t, P. 3, 11.
\OKiv6ts<r<rtv, P. 2, 33.
2, 49 ; 6, 68.

OaXos, 0.

0a/xa=aM a, 0.

7,

12

P. 12, 25.

'1/j.tpa

P. 9, 55.
O. 7, 9.
UKTUV, P. 1, 79.

'ifiipo?

yXuKut, O.

Vfcto /3(?<7o-i/,

iXd<r/co/uai,

41.

3,

33

lyutpw,

O.

1,

GREEK INDEX.
"

iW, always
ton

where," P. 9, 61.
O. 6, 55.

KapiraXifiav ytvdiov, P. 12, 20.

K. <f>pivot,
Kapirov "H/?as, O. 6, 58.
O. 7, 8. K. QptvtZv, P. 2, 73.
Kap-raiiroSa, O. 13, 81.
Kaprvvtiv \fpoiv, O. 13, 95.

liav n(cxl<rt,

ioTT\OKafA.oav, P. 1, 1.

ioTT\OKOV, O.

(5, 30.
fiiXirraav, O. 6, 47.
P.
9.
2,
io\laipa,

ios

l(p

lirov, O. 4, 7.
(V-TTf IOS
'iTTTTllOV <f)l\TpOVj
tinrtia) i/o/uw, 0. 1, 101.

rmrtiotv

iffdStov, P. 6, 50.

O.

<caT* &cpai/,
Ka-rd, "like," P. 2, 07.
0. 7, 36. KOT& K\;O, P^4, 125.

13, 68.

'nnriidv
ti/Tftro'ij',

x/ou<rtais,

<r</ ai/ 2., 0. 1,

P. 2, 8; 4,17.

O. 8, 51. Y/>i/a>'ai41 ; gender, 0. 6, 14 ;

'iTTTTOJcXtaS, P. 10, 5.
tTTTTOO-Oa,

O.

3, 26.

l-mroxdpiJiav, O.

1,

KaQapa dprra, P.

Kini-xto
P.

X,

O.

1,

51.

P.

iro-ri

4, 90.

6, 6.

81.

40.

KiKpa-rai. P. 10,41.

*ccr7TEToi':^iccr7nrt<roi'^^K<xTE'Tr<roi',

O.

8,38.
Kairov, of any favored spot, 0. 3,24.
K. 'ArppoX.aptTtov (coiroi/,0. 9,29.
K. Ato'c, P. 9, 57.
os, P. 5, 24.
t\avtl, O. 5, 2.

trviv-

Kt-

5, 2.

KtpStarar' stiT/oairtXois, P. 1, 92.

KipSol, P. 2, 78.
Kt<paX& via, P. 11, 35. ia KttpaXa,
O. 6, 60 ; 7, 67. a-rapfttl K t<paXa,

P. 9, 33.
P. 12, 23.

KKpaXdv troXXdv

vdfiov,

Kttov ovpavia, P. 1, 19.

d<TTpa|8jj KIOK. Saifjioviav, O. 8, 27.
va, O. 2, 90.
(cXauks nfi6ous, P. 9, 42.
/cXaiias

inrtp-rdTai, P. 8, 4.
K\iirru>v=K.a.\virTu>v, P. 4, 96.
with dat, 0. 1, 92.
(cXoi/f'oirrai, P. 9, 52.
KXv-rdv \ipa, P. 9, 39.
ia/iofu'i>a,O. 6, 44.
Kvi^to
fit] Kopot
Kvitrr,, P. 8, 32.
P.
10, 36.
KvwSdXwv,
Kvwaaoirri. O. 13.
KV<atr<Twv, P. 1, 8.

KXe\

O. 6, 40.
KaXv\l/ai alow, P. 4, 146.
Ka'/ui/ooi', 0. 7, 73.
Kdv=KtZT(d), O. 8, 78.
KaXirt<5a,

ic.

Ktirrpov XaKTtf'/uii',

2, 94.

Kpa^vov, P.
63 ;

95.

Kivtd TraXatjuovtl, P. 2, 61.

<rais, O. 10 (11), 102.

KfpdvvviiL

KaKa.yopot KO.Kiiyopou's, O. 1, 53.

KaXXiyvvaiKt iraT/oa, P. 9, 80.
KaXXlVlKOV CtpfMCKTl, P. 1, 32.
Ka\\r7rAoca/Lu 'EXtwa, O. 3, 1.
KaXXiiTfaXov tSpaVj O. 14, 2.
Ka\Xt(odoi<rt Trj/oals, 0. 6, 83.
KaXos, KaXot , P. 2, 73. KaXov irijfta,
2,

1,

Ktv with fut. inf., O. 1, 109; position,

P. 10, 29. 62 ; with subj.=fut., P. 4,

iciirrpov

1,

P.

(cart7, 10.
KOTaffxdfJLtvoy, P. 1,

96.

1,

KtXa^toirri, P. 2, 15.
KtXa^ijffat, P.
KiXaSttav, P. 2, 63.
1, 58.
KtXatvt<t>iwv, P. 4, 52.
KtXaivd>TTia<ri KoXyotffti/, P. 4, 212.

*ceXtu6ai <ca-

5, 2.

Kal ndu, 0. 10 (11), 38

P.

Ka-rtXi'yyiaif,

10.

83.
xuflopav, P. 9, 53.
xai, trajection of, 0. 7, 26.
irai . . . re . . . -rt, P. 8, 99.

1,

8, 36.

KaTf-xoirrt, O.

Kavrjpa, P.

Kofiapbv orrtp/ua,
Oa/aa, O. 6, 23.
P. 3', 15.
K. <t>iyyos, P. 9, 98.
caBapoii \t'/3)TO9, O. 1, 26.
<pdn iv
P.
14.
6,
fcaOa/acj),

KaTitppa<Tfv, 0. 10 (11),

0.8,19.

IXVKTIV TraTpot, P. 10, 12.

289

Ka-ra-jrtyai, O. 1, 55.

(faTtXtyvtis, P.

23.

iiraim, P. 3, 29.
'f<r0Mo, fern., O. 7, 81 ; 8, 48.
ttr-rafftv 6p6ovs, P. 3, 58.
iVrtf/ut
la-riov dvtfiotv, P. 1, 92.
fuyya iroiKiXaVj P. 4, 214.
ui/, P. 4, 237.

KOlpOV, P.

K. yos, O.2,65.
Ka-ri^av, O. 7, 13.
O.
10
Ka-rappixtov,
(11), 109.
P. 5, 11.
KUTaiftwtrov,
P. 4, 83.

/u{'Xrj,0. 1,46.

K<rra<t>pd%u>
61.

'tpta, P. 4, 5.

KaOt'ifjLiv os,

KOTO

Ka-raftaivio

mmuWffW,

O.13,20.
'/TTTTots

377

71.

Xo'yov, O. 10 (11), 13.

Koipavioiffiv \opovv, 0. 14, 9.
NOII/OJ;

GREEK INDEX.

378

KOivtoviav 6t\pirrai, P. 1, 97.

Kovrai iv3, 32.
VVYOI, P. 11, 25.

KoiTav fcuviav, P.

KoXXa, O.
KoX-jrtov

5, 13.

aldtpot, O. 13,88.

Kpv\J/t

P.

9, 90.

Xt^t'i oa/xa^o/iij/ai/, P. 11, 24.

Xtj/ua Koptt>i//5os, P. 3, 25.

Xiyu/jas a/coi/as, O. 6, 82.

Xiou/a if/ci(po?, O. 7, 86.

CO\TTOtS, O. 6, 31.
Kofjalt, P. 8, 99.

P. 10, 4.
Kdjoow /uors/oa,
KO/OOS, P. 1, 82.
10.
Kopvarcrt/uitv ftiov, P. 8, 75.
KO/UTTU),

Kopvtpav Xoycov, P.

3. 80.

0. 13,

Kopwpav

jrai/ros, P. 9. 85.

KopvQovTai, O.

Xtwct'ir7roi<rt(i) ayuiais,
XtUK/TTTTU)!/, P. 4, 117.
XtuKoiraiXa)!/, P. 1, 66.

113.

XtTrapa MajaaOan/, O. 13, 110. Xiira/oas 'OjOYp/usi/oi;, O. 14, 3.

Xnrapa, P. 4, 88. Xiira/9ai Otj/Jaf,
p. 2, s:

Naj

Xirat=:XiTOJ/ti;Tt(cat.
Xirds tiraotXtToIs (Wi'ats, O.
5os, P. 4, 217.

P. 10, 16.
Kpitrcrova. aXi/ctas, P. 5, 109.

6,78.
Xoyiots, P. 1, 94.
"
saying," P. 1, 35.
Xoyos
Xo'yos,
oyutXel, P. 7, 7.
Xo'yoi/, P. 1, 68 ; 8,
38 ; 9, 102. Xoyov ?x> O. 7, 87.
/XixrnrJj/ots 6ipair6irTt<r<riv, P. 4, 41.
XuTY>oi/=cr7roiKa, O. 7, 77.

Kpnuvois, O. 3, 22 P. 3, 34.
KpijirlS' doiSdv t P. 7, 3.

fjLatvdS' opviv,

1,

(CO<T/tlp=KOO>lltt>S, P. 3, 82.

Kov(pa /8i/3(ovxa, 0. 14, 17.

Kpavaal? li/ A0aWi, O. 7, 82 ; 13, 38.
KpaTe.lv, O. 7, 51.
'

/CjOCtTT)OT7TO<$a,

Kpovu

-Tral,

K/>OMOV, O.

O.
1,

/oai/ tiTTjai/,

'A<ai<rToto, P. 1, 25.
Kpuotv /iam-v/ua, P. 4, 73.
KpvTTTut /u^( KpuTTTt <riripfia, O. 7, 92.
yu^ Xoyov KpVTTTtTta, P. 9, 102.
KTlXoit, P. 2, 17.
KTi<Tiv=tpyov O. 13, 83.

K/OOUJ/OIIS

Kvavfec Xojytas, O. 6, 40.

KUK\OI> 5i^x* TO > O. 9, 100.
0. 10 (11), 115.
Ku-TTjooy^u,
Kvpiov Tt\os, P. 9,48.

Kvpito iv Mtjin.

2,

87.

XtXoyxti;, O.

ydin-s dicau, P.
O. 14, 2.
AaKtpuair, P. 3, 34.

5, 96.

Xa/CTitt/uti; -TTOTt Kiirrpov,

X<xju/3ai>t <p<aTa,

Xao<r/3j, P.

0.

\dfipoi,
8, 36.

O.

1,

53.

Xa-

Xavoitrat.

P.

2, 95.

1, 81.

5, 95.

Xao<7<roa>i; dydoviav, P. 12, 24.

XaoTpofpov (iroXii/), O. 5, 4.
/uiaeo'i/, O. 10 (11), 31.
Xafyas, P. 8, 86.
Xiyofjuvov ipita, P. 5, 108.
X-n-, O. 6, 45.
XtvKals <f>pa.ffiv, P. 4, 109.
XtvKiinrov (Htpaifpovav), 0. 6, 95.

XOT>HOJ>

/ioVai-

11 ; P. 5, 11.
P. 4, 247.
/xaKpoy

1,

oXjSoi/, P. 2, 26.

uaxvMtv TtXos, P.

4, 286.
O. 2, 58 ; 7, 45 ; 9, 53 ; 10 (11 ), 38 ;
P. 1,63; 2,82; 4,87.90; 7,16.
tiiii/ituaiv viroKpiKU, O. 9, 42.
iii'tvriv Kopai>j P. 11, 33.

/uav,

O.

6, 52.

u.avvii

= diroyyt'X-

udpyaiv, 0. 2, 106.
UU<T<TOl/l (=/X(^OC()

P. 11,

<Tl/f <5X/3u),

52.

2, 95.
Xo/3/joi; KO.-WVOV,
<rt'Xas Xdftpov, P. 3, 39.

Xoyx^ 1"

O.

= /naKp6if,

X, P. 1, 93.

Kw-rrav a-)(a<rov, P. 10, 51.

KOTO'S, P. 9, 94.

O.

/naKpd

uui/i/E,

0.6,32.

Xa/3/os (TTpaTos, P.

P. 4, 216.

ni'tKuipa QiffvaXia, P. 10, 2.

2, 13.
111.

fidar-riyi niiBoSs, P. 4, 219.

uarai/, O. 1, 83.
fJM^dv TXo, O. 13, 57.
"
fiaxavai, P. 1, 41 ; tp.irpa.KTOv fiax a
f av, P. 3, 62.
fityaXoKtvOlttrtnv 6aXa/iots, P. 2, 33.
/usyaXo-TToXus "SvpaKoaai, P. 2, 1.
/,uyaXo<r0>j, P. 6, 21.
^tyioTTOTroXi, P. 8, 2.
/utiXixos opyd, P. 9, 47.

fj.t\av yivtiov,

HtXiydpvfs

O.

vfjuioi,

1,

68.

0. 11 (10), 4

P.

3,

64.

yueX<roras Af\(/)/5os, P. 4, 60.

|UXiTO(r<raj> fvdiav, O. 1, 98.
(jitXi<pQoyyot Moto-ai, O. 6, 21.
/xt'XXo)

with

aor.,

O.

7,

61 ;

8,

32 ;

and 6i, chiastic, 0. 11 (10), 8

6 5 P. 1,21; 8,71.
/wV...Tt, O.3,6; 4,13 } 5,10;
fjilv

9, 56.
;

12,

6,4.-

GREEK INDEX.
7, 12.

69. 88

P.

2,

31

4,

249

6,

39

11,31.46.
uivta with acc. and

inf., P. 3, 16.
p..
dypo-ripav, O. 2, 60.
Kpitrtrova. TT\OVTOV, P. 8, 92.
65.
P.
P.
4,
rpi-rov /u.,
fnifio? oyooov,
fj.ipifj.vav

12, 11.

jutra with gen.,

54 ; P. 5, 94.

"among," 0. 10

fi.iyvvfi.tvov <pptvi,

fiifiucrai ti/,0. 1,90.

P. 5 19.

f-iyiv,

Mti>ima (accent), 0. 14, 19.

fitTpais, O. 9, 90.
5, 49.

fv 5aiTo

Sfvrtpa, P. 1,99.
M0i>a, P. 4, 127.
Mottrai/ OOCTIJ>, O. 7, 7.
/j.o\wv with acc., O. 9, 76.
/uoi/a Kai fnovov, P. 2, 43.
fj.ova/j.TTVKta, O. 5, 7.

ai>0ai;

vo'a>,

l/0/U(^0/Utl>0(S,

P.

47.

6,

vt<f>i\av,

O.

fctwiav

nv\ov
Ma/oa-

SivdpKtiov vlov, P. 8, 19.

ei/a,t)tis; e.'/^a, P. 4, 299
P. 5, 81.
waoi/K, P. 3, 48.

1,

oBpiuov

Man,

12, 31.
4, 137.

odpot-

98.

O.

Tu(/)toj/os.

Xtoirrt, P. 9, 29.
oooj/ Atov, O. 2, 77.

O.

P.3,32.

^ti/ou,

O. 10 (11), 38.

4, 7.

oBptuw

o^oi; tiriKot/ooi/,

110.
ooov irpayfjidTtov, O. 7,
o66v trKvpwrdv, P. 5, 93.
ola, exclamatory, P. 1, 73.
oiKoQiv oiKaie, O.
olnoOtv, O. 3, 44.
6, 99 ; 7, 4.
1,

46.

OIKO? KCLT' olKov, P.

olxovpiav, P. 9, 21.

7, 4.

aioi o/x</>a\oi/, P. 6, 4.

olfjLOv iiriuov,

O.

1,

72.

9, 51.

oioiroXos Saifitav, P. 4, 28.

aira iroX.i<x/)u<ra), P. 6, 9.
airos KotXo'Trtdov, P. 5, 38.

atroyvtiiTouy, O. 2, 78.
aus i/aos inroTrripov, 0.

ai/eaZ<n(v)

KoiTav=KoiTav

P.

ap0d

7, 49.

a-yt'Xa, P. 4, 149.
tocTio-t, O. 6, 55.

<rt,

ot<ri/, fut.(?), P. 4, 102.

oX/3('a A.aKtoaifj.wv, P. 10, 1.
9, 26.

P. 4, 164.
auor/OToi/oi/ vfipiv, P. 1, 72.
avaKpoprJTOis, P. 1,33.
ta (c/>a\d, P. 11, 35.
tKpov, P. 3, 43.
n-ofiirdv,

tKTCLp \\TTOV, O. 7, 7.

inn without an

P. 2,43.
iv vow, P. 1,
40.
d&oirrt vow, P. 6, 51.
vvv yt, P. 4, 50. vvv yi fj.dv, P. 1, 50.
vv
VVKTK, P. 4, 256. i/i/KTt KOIVOaairri? iioov, P. 4, 115.
cw/ua (TTpaTov, P. 1, 86.

i/ow^aw

2, 50 ; 5, 63 ;
oapov iroTurTa^usv, P.

/uu^os napi/a<rtos, P. 10, 8.

fjLavTTJov, P. 5, 68.
H^X 1?
Owvos, P. 8, 79.
/uw/uos, P. 1, 82.

P.

9, 63.

o=Ss, P.

fi-OVoSpOTTOV tpVTOV, P. 5, 42.

uovQov cuffTavov. P. 4, 268. uovQou
/
a'
a aj
a
UOYDO)
(cattuirtpot, r. 9, o4.
iiropi.
O. 10 (11), 102.

ai'oi/ra,

P.

|i/aTraTas,

fj.ol.pa

(11), 95.

P-^t

/uit
/ilfav /3iai/, P. 4, 213,
ydfiov, P. 4, 223.
/utxftiira rather
than fuytlffa, 0. 6, 29. /uiyfltVris,
P. 4, 257.

251.

P.

Vl'lTTOlVOV,

l/o'/U(H=ToI

oaths, O. 2, 102; 11 (10), 18;

after IXiro/iai, P. 1, 44.
fJUJKlTl, O. 1, 5. 114.
nnXoSoKto UvQiavi, P. 3, 27.
piya, P. 4, 113.
iii

/ufajujjoi/,

4.

NiOTo^ttoi/ fifiuit, P. 6, 32.

i/i</>os XciOas, O. 7, 45.
yui/a, P. 11, 22.
iTTt/oa, P. 9, 135.
IHKIOV op6fj.oi>, O. 4, 22 ; 13, 30.
wi/, neut., P. 2, 57.
viarrai, O. 3, 34.
"
vopov, constitution," P. 2, 86 ; 10, 70.

1, 52.
jutraXXao-ii/, O. 6, 62.
fj.t-rafj.wma, O. 12, 6 ; P. 3, 23.
UnaTpo-jriats, P. 10, 21.
fj.iT<aTrov, P. 1, 30.

(t.iyvvfj.1

vioaiya\ov Tpoirov, O. 3,
VKITUTOV TO irdXiti, O. 10

NiVas

jUTa/3d<roi/ras, P.

iu}

vioiKov tSpav, 0. 5, 8.
vt.ofj.ai, P. 8, 69.

i/JjX/js

(11),

379

object, P. 3, 70.

vat

Kopivdov, O.

iifj.vov,

5/1/3/oos

oXfliav

13, 4.

'OXu/uTTtoi/tKov ndfjLov,

O.

7, 88.

'O.

O.

l
/

3, 3.
ut'/ os

p 6 i 10;
.J
-

cf.

P.

5, 11.

<ppitraroirras ofi^povt, P. 4, 81.

Xdyos, P. 7, 7.
tipovpats, O. 12, 19.
o/x/ua, P. 5, 56.

Ofj.i\i1

6fj.i\twu trap

GREEK INDEX.

380

OX*TOI/ aras, O. 10 (11), 41.

oi/, O. 9, 48.
O. 2, 54.
bu.oK\apov,
t
t

OlAOTpOuJOS.

f\ 1 Q

OXTOI'S (r;ui/ous, O. 5, 12.

o^Kat dXitpK-t'ts, P. 1, 18.

rj

\J, -lv, /.

uias, O. 7, 6.
op-fpaXou ivdivdpoio juaTtpos, P. 4,74.

bpotppovov

ofMpaXov xOovos, P.

6, 3.

'Epii/us,

O.

alliteration, 0. 1, 76; P. 4, 138. 150.

irayai irupos, P. 1, 22.
irayav a'yufipotritov tvrttov, P. 4, 299.
2, 45.

6%iia

oTtdova

u.ri\tov. P. 9, 70.
67ri<vKi/a, P. 2, 17.

fiviav. O. 2, 6.

o^tjov tv dfjLtp'nriCov, P. 9, 59.

TT-

fUfXtTa, O. 6, 37.
offtais auyats,
O. 3, 24. ogciSv dK-rivwv, 0. 7, 70.

oirti;

oyflats. P.

2>

yas

op.<paX6v, P. 11, 10.

oj/ap <T/aas, P. 8, 95.
6vpfirti SoXw, O. 9, 98.

tgfctg

12 '

o.

0oi/, P.

8,

71.

OKiapdv

Traydv, O. 3, 14.
TrdyKoivov vtapav, 0. 6, 63.
irdOa |uaTpos='jra6ou(rj /u)Tp, P. 3,
42.
TrpoTtpa TrdOa, P. 8, 48.
iraXaifjiovtl Ktvtd, P/2, 61.
6tou avv
TraXd/ua Sovtcoit, P. 1, 44.
TraXa^a, 0. 10 (11), 23. Zf)i/os iraXd|uat, P. 2, 40.

IvT=|^a,

6. 1, 37 ; 9, 104 ; P.
91; 8? 41; 11,19; 12,11.
bpdta bptoirr' dX/cdi/, O. 9, 119.

opyd yudXixos,

P- 9 > 47.

opya's, P.

opyais aX<oTrtKwv, P.

4, 141.

3,

2,

77.

opyas with gen., P.

opydta
dpviav
<rai,

P. 10, 3B.
117.

lifiptv,

O.

9,

6, 50.

opOiov wpv-

opQoiroXiit) O.
opflds
6pda=diicala, O. 10 (11), 5.
opOal (ppivts, O. 7, 91. 6p6ia -jrodi,
2, 8.

0. 13, 72.
O.

opOaxrais,

'Op0a><r/a, O. 3, 30.
opKov 6t<av, O. 7, 65.

bpfiaivwv, O. 8,41.

opw X a 6oi/, O.

2, 97.

opovtt with gen., P. 10, 61.

'Op<roTpiati/a, O. 8, 48.
opcroTpiaivav, P. 2, 12.
283.
op(puvi"ii, P. 4,
opd>ai/io/uti/a,
P. 6,22.
6<rta=o<rtoTijs, P. 9, 39.
o<rriairrt, P. 2, 39.

wTpvvov with dat, P.

ou with

4, 40.

P.

2, 88.
inf.,
ou(5 /udv, P. 4, 87.
OVKtTl, P. 3, 40.

OUTS
ourt omitted,
oiiSi, P. 8, 83.
P. 10, 29. 41.
ou TI TTOV, P. 4, 87.
ouTio in a wish, O.3, 4.
.

pas 6(ptiaXfi.6v, O.
6., 0.6, 16.

o#pa with

2, 22.

1,114.

Trap TTO^OS, P. 3, 60 10,

irdp irodi, O. 1, 74.
Trapd with ace., "on account of," 0. 2,
71 ; "to the neighborhood of," 0. 2,
77.
Trap' a/uap, "day about," P. 11,
63.
irapii with dat., 0. 1, 20. 93; 7,
17; 12,19; 14,23; P. 2, 25. 72. 87 ;
3, 28 ; 4, 186. 213
12, 26.
irapapdXXii, P. 9, 94.

Trdp=Trapd

62.

3, 3.

o-rpvvio

0.

aXifi.pdfJ.ouy bSous, P. 9, 20.

aXtvTpaTrtXoj/ Trfj/ma, O. 2, 41.
7TO|UirOp</)UpOlS d/CTl(7l, O. 6, 55.
ird/j.(p<ovov iaxdv, P. 3, 17.
Trdfitptovov /itXos, P. 1 2, 1 9. Trap.(f>wvoiai(y)
ttmaiv, O. 7, 12.
TrdvdoKov vaovy P. 8, 61.
irai>5oK<i>
X<r, O. 3, 17.
n-aj/T, P. 1, 20.
Trajrra, P. 2, 23.
TraiTTaivei -TO. Tr6p<ria, P. 3, 22. Trd-

TTTa/,O.

a>p6(oaevt P. 4, 60.

opQooo

7raXi'y*.-oToi/,

3, 20.

fut. ind.(?),

O.

<rrpaTias
6,

23

with

Trdpayov, P. 11, 25.

irapaotafi.tvous, O. 7, 72.
TrapaiOiHTcrfi, P. 1, 87.
TfapaiQvff, O.
10 (11), 81.
TrapaTTtipiavTai, O. 8, 3.
Trapd-rpoiroi, P. 2, 35.
TrapSaXta, P. 4, 81.

irdptSpos Aios, O. 8, 22.

ptSpov, O. 2, 84.
irapiXKti, O.
Trapi^tav, O.

7, 46.
1, 39.

Tot/xoi/ ird-

Trapd<r\ot, P.

1,

46.

trapQtvLav wo'iva, O. 6, 81.

TrapQivixai, P. 9, 107.
Trapiu KaXd, P. 1, 86.
TraptiTTafjLti/wv, 0. 5, 23.
iraptirraKf,
P. 8, 71. TrapKr-raKOi, 0. 3, 4.

GREEK INDEX.
irapltr\u without obj., P.
Traporpvvii, 0. 3, 38.

8, 76.

T<5

clan," P.

8, 38.
ird-rpav,
iraTptpav <rrdfyxai/, P. 6, 45.
iravpov ihrvov, P. 9, 26.
Trt6a=jutTa, P. 5, 47. Trto" d<ppovwi>,
P. 8, 74.

irfaajuu^ai/, 0. 12, 12.

TrtSidSa, P. 5, 91.
n-iSiXov, 0. 3, 5.

TrtifXa.,

34.
irti<ri\dkiva, P. 2, 11.
irsXdyii, 0. 7, 56.
TTt/uirt, P. 4, 178.
irt/nirov, P. 4, 114.
O. 2, 23.

-^trintyp,

O.

-TT.

ir.

0.

6,

O.

6, 48.

38; P.

4,

265.
TFipiyXutaaot, P. 1, 42.
7ri<r<roi/Ta, P. 4, 186.

P.

tTTtvt, of

8, 21.

lot,

O. 12, 10;

-KiToirruraiv, P. 5, 50.

vurra

TTKTTOJ/ op(ppovtaiv, 0. 3, 17.

MOI/, 0. 11 (10), 6.
irXaKa /SaOtlai;, P. 1, 24.
TrXdfciinrov Ot'if3av, O. 6, 85.
TrXiHTTouPpoTov, 0. 6, 69.
irXdoi/ ttTTt, O. 7, 32.
7T\ouTo liipvaQivnv, P. 5, 1.
TTVitav

xaf)Xa, P.

11, 30.

jroiKiXoyapw (popniyya, O.
iroHr/Xov Ka/0a, P. 10, 46.

O. 1,29.

O.

7, 80.

iro/xTav

P. 4, 164.
iron<p6\.v%av, P. 4, 121.
i/at,

iroj/os 5aTrdi/a

O.

T,

0.

5, 15.

-rpijTov

\f/d<ptav,

0. 13, 46.

Trovriav

iroirrlio

viXdyti,

7, 13.

7, 56.

JTo/oo-ui;*,

P.

4,

278.

-irop<pvptois tnrapydvotij P. 4, 114.

iroTa/ut'as 'ApTt/judos, P. 2, 7.
TTOTOUOI, P. 1, 22. ot/cnua TO
roro/tou,

3, 8.

TroiKiXots

114.

5,

iro-

Tavov x/>*o P- 8, 34.

IIoTl3ai/OS=: IIo(Tl2(01>O9, 0. 13, 5. 40.
TTOTKTTd^UI TTOTiaTa^OV, P. 4, 137.
iroTHrrdfcri p:op<pdv, O. 6, 76.
iroVjUOS, O. 8, 15.
-JTOT/XOU TTapaSovTOS, P. 5, 3.
iroTi/t' 'AyXaia, O. 14, 13.
TTOTVIU
piXitov, P. 4, 213.
TTOUS
P.
60
; 10, 62.
3,
rrap -Trofios,
JKTOS lytiv
o/oOai TroSi, O. 13, 72.
ird^a, P. 4, 289.
rc^uTecs iro5cow=
TOXS irro^ts, O. 1, 95. r/ud iroO.
15.
6iav,
12,
KOiKpoitrtv irotriv,
O. 13, 114. iv iroal Tpd\ov, P. 8,
32.
irpdtrartt.

TrodapKT)S dfiiipa, O. 13, 38.

iroSapKitav SpofjLtov, P. 5, 33.
iroiav /uiTToi'a, "verdure," P. 8, 20.
Xiaota, P. 9, 40. rrotaf (TTd)ai/ots,
P. 4, 240.
TroiKiXavtotsv iriiXous, P. 2, 8.

\Jftvtttri,

jro/uiri Kvi<rdt<r<ra,

O. 2, 10.
TOTai/os zt/ Mo/craKri, P.

TTtTpUfCTO-a? rill0l01>O,
7r7/ua KaXdv, P. 2, 40.
nia.iv6iJ.tvov, P. 2, 56.
jr/eo)!/, P. 2, 72.
Trt0tt>i/=7mVa, P. 3, 28.
TTLO/J.UL as pres., 0. 6, 86.
irl-jntav

63.

iroXvxpv<ru> vdira, P. 6, 8.

'PoSov, 0.
2,

^uvrfi/, P. 4, 122.

(W),

7,

TToXu/jivQoi dptTai, P. 9, 82.

7roXu<f>tXoi> eiriTav, P. 5, 4.

irotmav

compassed by

ofifj.aTi,

fear," P. 5, 58.
IT. elided

jroXvftoaKov ydiav, O.
iroXu/uaXo), 0. 1, 12.
iroXu/urjXou, P. 9, 7.

irovovj P. 6, 54.

5, 6.

irtirptafiivov, P. 6, 27.
TrtpdirTuv^iripidirruiv, P. 3, 52.
TTtpt with dat., of the stake, P.
"

59.

1,59.
irotvt/uos^d/uttirrtK^, P. 2, 17.
JTOWTKUd)!/, P. 10, 64.
TroXt/uadoKots oirXots, P. 10, 13.
n-oXt/ut'Stov, 0. 9, 34.
TroXtas ya(7T/ods, P. 4, 98.

7roXXd,adv.,(\13,14.

0. 6, 8.
a-tlpara (lit. "ropes"), "strands," P.
"
1, 81 ;
achievements," P. 4, 220.
"
-trtipdw
tempted," P. 2,
iiritpaTo,

irt/uirrajut/oois,

7roiKi\o<f>6pfntyyos a'oious-, 0. 4, 2.
0. 11 (10), 9.
jroifjiiva dXXoTptov, 0. 10 (11), 97.
voLV(i^=dfj.oif3n, P. 4, 63.
iroivdv, P.

iroi/xai'imi/,

jraptyd/mtv, O. 7, 66.
iroirri fipOTuiv, 0. 1, 100.
TTOS
7raV=Toirai/, O. 2, 93.

"

381

= trpatrtrtTai,

P.

9,

irjod<r<roi/Ti=7r/>o(r<roKTai,

O.

112.
3, 7.

iirpat, "effected," P. 2, 40. jry>a'atf6at=iupi<r&ai, P. 3, 115.

" was
like unto," P. 2, 38.
7T/otiri/,
irptafivTipai. fiovXai, P. 2, 65.

with ind., " until," 0. 9, 61.

trpiv yt, 0. 13, 65.
irpiv lupa*, P.

ir/>t'i/

4, 43.

TTpd

Softool/,

P.

2, 18.

TT/30

dtafJidfUV,

GREEK INDEX.

382
P.

5, 96.

P.

1,

irpo KtOaiptovo?

Y-TTTTHOJ;,

P.

77.

tuirpodvpov IIoTEi5ai/o, O. 13, 5.

Ttrj(tl TrpoOvpto, O. 6, 1.
irpofcvia, O. 9, 89.
irpooLUiiwv d/u/3ojrpooifjuov, P. 7, 2.

Xds, P.

1, 4.

6,

22; P.

ffiya\6v

(i/uaxuvi'ai/,

tri6apo\ap[jiai>, P. 2,
oxEi/ac, P. 2, 80.

8,
9,

O.

P.

9, 100.

2-

8, 95.
of Apollo, P. 3, 27.
<r. Aa59.
6,
'OXu/uTTou ffKoiroi, O.

1,54.
CKvpto-rdv oS6i>, P. 5, 93.

0.

(r/cu-rdXa Moitrai/,

'',

i,

v\v.

Xou, 0.

27
7iy>oo-)(ETat, P. 6, 51.
irpo<r/ui
trpoa-ft.iyvvfi.1

2, 12.

axtas ovap, P.
o-KOTro'v,

Trpoirivuiv, 0. 7, 4.
IT, \dpiv, O.
TT/OOS ipyov, 0. 5, 15.
8.
jr.
/3ai;, P. 4, 295.-rr. dw, P.

0.

9, 93.

1, 22.

aofpia a^oXos, O.

6, 91.

7, 53.

(r.

iyftpd, O.

O{tiro'a aotpiav, P.
"

*7rp6<rtpaToi>, P. 4, 299.

9, 41.

O. 9, 87.
irpoaunrov, "front," O. 6, 3 ; P. 6, 14.
TrpoTtpoi TrpoTt/oas, "of yore," 0. 3,
11.
irpoTtpa irdfla, P. 8, 48.

poetic art," P. 4, 248; cf.

6, 49.
crorpla irp6<pairrov, O. 1, 116.
trcxpla Moto-dp, P. 1, 12.

irp6<r(popo<i,

HVOOTUxJl/, P. 4, 35.
irpotpairrov, O. 1, 116.
irp6(pa<ri?, P. 4, 32.
II/uo</>acrii/, P. 5,
28.
jrpotfrctTov, 0. 8, 16.
Trpo<pspti, P. 2, 86.
irpuTavi, P. 2, 58.
7T/>aiTtCTTO, P. 2, 32.
irrdo-o-a)
tirrafcav, P. 4, 57.
7TT/00J>Ta=Tai>U'7rT/OOV, P. 2, 50.
inipov vrtpa NtVas, P. 9, 135.
df6\u>i> Trnpoiffi, O. 14, 24.
JTTU)(aty U/UI/U)1>, O. 1, 105.
IluOiaOos EV dpufjiw, P. 1, 32.
nvOidi/iKoi; Tijudi/, P. 8, 5.
ITVKIVW 6u/ua>, P. 4, 73.
iri//o

^tifjLtpiov, P

/0(Js,

P.

1, 6.

(11), 40.

ievaou TrwtTTtptai irvpi, O. 10

4, 266.

dtpivtS

irvptrakaiJiov,

P.

-jrvp'l,

3, 50.

0. 10 (11), 88.

4, 263.

o-txfu'as,

J/COIOUO-K-T/CTII/ <ro<f>6v,
<ro<ds, 0.2,94.
P. 4, 217.(ro<t>oi, " poets," P. 1, 42.
d/cod
<ro<f)u>v /utjTUfffft, O. 1, 9.
oi a-otpoi, "aris<ro<pols, P. 9, 84.
P.
88
12.
5,
2,
;
tocracy,"
tnrapy
vapydvoi's Tropfpvptois, P. 4, 114.
tnr'ip/na </>Xoyo, 0. 7, 48.
<nr. Ka0ajoi/, P. 3, 15.
airipfjiaTos, "spark,"
P. 3, 37.
airipft.aTO'i piav, 0. 2,
60.
<rrddfj.av Tra-rpwav, P. 6, 45.
<rrd0/uav
'YXXt^os, P. 1, 62.

<rraO/uo's

'At'^a trTafl/udi/,

0. 10 (11),

10l.

trra6fj.(av alirtui<ov,
<rTa/*i/=:<rr)j'at, P. 4, 2.

P. 4, 76.

trrtpoTrav Ktpavvwv TE, P. 6, 24.

<m<f)ava(f)opiav, 0. 8, 10.
<rri(pai>ov, "battlement," 0. 8, 32.
<rr<pdvta[t.a, P. 12, 5.
<TTt<pdvwp.a
Ku/odj/as, P. 9, 4.

fXw-

<rro\ov di/a/3d(ro/iat, P. 2, 62.

Qtpta trToXta, P. 8, 98.

paivui vuvu), P. 8, 57.

-rav, P. 5", 100.

pavQtlarav &pt-

piirri iroXii nal iroXXa, 0. 8, 23.

pliroirra ifarvov, P. 9, 27.
pi^av fartipov, P. 9, 9. p. OTr//u/uaTos,
O. 2, 50.
KUpiTTuIai /caTao-^o^iti/os, P. 1, 10.
fj.a-ruiv /Jt-Tras, P. 4, 195.
piirdit
P.
52.
dj/tyua.j/,
9,

piirui

ETT/OaTEu6J, P.

O'TpaTfVOft.ai

rroards, P. 2, 46.
O. 5, 12 ; P. 1, 86.
8.

ffTpa-rov

<rrpiofjLvd,

P.

1,

51.

"

folk,"

o-r/oaTo'i;,

o-TjoaraT, P. 10,

E-TTJ'VO/IOI/,

28.

1,

P. 11,8.

crrpw/jn/dv, P. 4,

230.
(ruyyEi/vs d(^)6aXuos, P. 5, 17.
o-u ]
(Twyyoi/a) ta-ria, O.I 2, 14.
<ri
TE'xvats, P. 8, 60.
1

O. 12, 7.
av^iM^ai, O. 3, 9.
<ruyu/3oXoi/,

aalvto

craiviov,

P.

icruvcv, P. 1, 52.

2, 82.

/utyaXai/ai/o

iaavav caXoi, 0.

46

4,4.
o-,uj;di/

ain-pov, 0. 5, 18

P.

OXETOUS, 0. 5, 12.
<r.
iifUoiHav, O. 6, 22.

9, 32.

<rtfjLi>oi>s

T0t'i/os

<rvvtfj.i(,

P. 4, 144.

<r.

ti/Tt'a../,

P.

at/V/oi/,
<r.
5, 34.

P.

9,

78.

instead of instr. dat., 0. 1, 110 ; 2,

P. 1, 51 ; 4, 39 ; 12, 21.
<ri>v
;
avv diOXots, P. 9,
au-ra, P. 4, 250.
obv Zinrots, P. 11, 48.
<ri
125.'
'O\.vft.trid6i, 0. 10 (11), 64.

o-ui/

avvatrr6p.tvov, O. 2, 43. 106.

GREEK INDEX.
trvviixot,
'

avvSiKov KTI avoir,

O. 9, 105.

P. 1,2.

TtXos axpov, P.
2, 19.

iTuvSpoficiv iriTpav, P. 4, 208.

Hvtiv

truvivo mj/uaTa, P. 3, 81.

truvtuvov, O. 1, 88.
<rvvt<pa'7rr6fi.tvo?,

383

10, 10.
-Tt'oy, verbals in,
Ttpirvd, 0. 14, 5.

O. 10 (11), 107.

avvoiKiaTi'ip, O. 6, 6.
ffvirravvirais, P. 1, 81.
arvirrtXiQtiv, P. 9, 62.

Ti-rpaKvafJiov

tuyya, P.

<r<tTi>a:=ta, O. 9, 84
trtynipov, 0. 13, 61.

P.

O.

2, 6.

P.

ct<T[i.t'>v,

2.

40.

T.

4, 214.

Ti\vanriv, O.

trvin-i&nfjitirvvdifjiivot, P. 4, 277.

ipyiav T., O.

9, 128.

TOfjLitKvvwv T., P. 4, 286.

T. &p\d TI, P.
T., O. 13, 57.

7,

35.

TtjXai/yts irpoaurrrov, O.6, 4. TtjXai/r|Xai/yi<riv <TTt<pdvoiv, P. 2, 6.

yioTtpov (^idos, P. 3, 75.
rtOtts iv airrXta, P. 8, 11.
Ti6r)/Jii

4, 83.

<T<p6v=<T(piTtpOV, P. 5, 102.
ffipvpoli, of mountains, P. 2, 46.
<r;(d<rof , P. 10, 51.
<TYtda>v, P. 6, 19.
2a.Tt a, O. 8, 21 ; 12,2.

diJKi

= i-woitiirt,

i/dai,

P.

1,

40.

O.

7, 6.

Ttflt'/uti;

Opovovs, O.

6t'/uti/a<

14, 10.
0t'/Ui>o=Trottj<r<fytti;os, P.
4, 132.
6r)Ka/xtvot =: Trottitrd/uti/ot,
P. 4, 113.
eijaoirrat, P. 9, 68.

Vurrrip (voc.), 0. 5, 17.

Tiflwa, P.

1,

20.

TIKTIO ITIJCTU/, O. 6, 85 P. 9, 18.

Td=Tl, 0. 1, 82.
T (St, adverbial, 0. 13, 55 ; P. 8, 28.
P. 3, 101 ; 4, 46.
Tt'/crt(i/), 0. 6, 41
TO Kat T<Z, P. 5, 55 7, 17. T<*>V Tt TtV=<roi, O. 5, 7 6, 12 10 (11), 103
;

Kal

-rtiov,

O.

12,3; P. 1,29. 69;

2, 59.

TaXaioviSas, O. 6, 15.
Ta/utat, 0. 6, 5 ; P. 1 ,88.
P. 5, 62.
13,7; 14,9.

i>as,

ra/zta Kupd-

Ta/ui'ai

(Tri/uai),

O.

TtXoS, O. 13, 57.

TavviOfipa, 0. 2, 28.
Tapa<r<ri/Jiiv, P. 11, 42.
\66va tapdffo-oi/Tts, O. 2, 69.
15.
P.
1,
TapT<ty>o, fern.,
Tavpov a/oyatira, O. 13, 69. raupio
TOfJLVtlV

XaX<cup,P. 1,95.
"rarity

ro)(*tas tX-

P. 4, 179.

l/3ai>,

ir/Sas, P. 1, 83.

Tt connecting single words, O. 1 62

3, 73 ; 4, 13.
3, 39 ; 9, 43 ; P. 2, 2
,

rt . . . St,
re, consequential, O.I, 88.
Tt /cat, 0. 1, 18;
P. 4, 80; 11, 29.
rt
. .
.
11
10
68.
2,
cat, O.
;
(11),
14, 5.

rt

Tt...Tt,0.

TI, 0. 3, 8.
1,115; 3,1; 13,50.
.

Kal

3,

84;

4,

275;

6,

50.

TtQfiov vftvov, O. 7, 88.

ri6fjLoi<riv
Atytjutou, P. 1, 64.
P.
38.
3,
Ttt'x
gvXiixa,
P. 6, 9.
Tn-^i^u TtTti'xurrat,
" fashioners of
Tt'(CToi/ts,
songs," P. 3,
113.
115
O.
P.
67.
;
Tt'Xut,
13,
-riXtiov,
1,
P. 9, 96.
"
TtXto-o-ai,
bring to term," P. 3, 9.
Tt\tTas=Oprd, O. 3, 41.
TtXtUTdf=TiXoS, P. 9, 72.
TiXt'a>
TtXti ivvatrw, P. 5, 117.
Tt'XXtTo* i s X"P lv > O- ^ 76-

T*S omitted, O.6,4. rti/a, many a one,

P. 2, 51.
Tot, not with pure opt, 0. 3, 4.
Toirav, O. 2, 93.
ToirpwTov, P. 9, 45.
Tocro-ats, P. 3, 27.
TOUTJCtS, P. 4, 15; 9, 15. TOWTflKt, P.

4,28.
-rpdiri^av vvfupiav, P. 3, 16.
Tpd<friv
TpdTpi<piiv, P. 4, 115.
<oi<ra=T/>/ <poiaa, P. 2, 44.
P.
32.
8,
Tpd)(ov=rpi-xov,
rpifpti, 0. 1, 112.
Opiiffn-ro, P. 9, 20.
i6pt\l/airro, O. 6, 46.
6pi\tfairro.
P. 9, 95.
Tpr/TOl/ TTOI/O1/, P. 6, 54.

TpiiroXiv vdaruif, 0. 7, 18.

TpHToXvfliriOVLKaV oICOI/, O. 13,
"

1.

training," O. 8, 63.
Ti/-yYai/oiTa:=ti;Tu)(oi7iTa, P. 3, 104.
ocra rv%tiv, P. 2, 92.
vov, P. 6, 14.
T/OOITOS,

"~Y8piv,0. 13, 10.

vBpiv vav<ritrrovov,
v. opQiav, P. 10, 36.
P. 1, 72.
uftpiot ixOpdv oSov, O. 7, 90.
iyiuav -j^puaiav, P. 3, 73.

uyitvra (=iryta) o\/3oi/, 0. 5, 23.

vypov VUTOV, P. 1, 9.
l/iaTl ftlKlineup OpiffTOl', 0. 1, 1.

6tts, P. 5, 31.

O. 14,

1.

u.

vSd-Ttav K.a<picritalt,
AipKaiuv, P. 9, 95.

GREEK INDEX.

384

v^ivov
tro\v<pa-ro9 t O. 1, 8.
O. 7, 88. avittpa/inv Vfnvio,
O. 8, 54. paivio U/JLVW, P. 8, 57.

VILVOS

TlQfJiOV,

'OXv/jmioviKav vfivov, O. 3, 3. avaufjuwv

i<p6piJiiyyis vfjtvot, O. 2, 1.
jrrux a ' s O. 1, 105. av6ta vfjuiiov t
O. 9, 52.
ovpov vfjivtav, P. 4, 3.
atoTos
Otjtroupos vfi.viav t P. 6, 7.
P.
10, 53.
vfiviav,
faraifl/otos, O. 6, 61.
lnraKovifj.tv, as a slave, 0. 3, 24.
>

farairridcrai with ace., P. 5, 44.

uirap, O. 13, 67.
inrdpyvpov (ptavdv, P. 11, 42.

P. 1, 18.
inrip Kv/uas,
0. 10 (11), 32.
"YTTtptoviSas, O. 7, 39.
32.

viripoirXov nftav, P.

6, 48.
viripTiQifjit.v, P. 5, 25.
farYO>l/ fj.tptfj.vav, O. 2, 60.
" to the sound
faro
far' aoioav,
of,"
0. 4, 2. far* dn<po-rip<ov, O. 7, 13.

v.=inriK, 0.

5, 14 ; 6, 43 ; P. 9, 66 ;
faro Ki/XXdi/as opous, O. 6,

11, 18.
vir6 \6xjj.as,
77.

O. 6, 40.
faro
O. 2, 21.
iir' 'AiroXi/iro
O.
35.
Acui/t,
6,
<rrf.pf.ia Trvpl,
O. 10 ai), 40. faro /3oueur'/as, O.
yapfioiTtoif,

uir^ )(u/ua(ru;, P. 5, 100.

5, 6.
iriTpav, P. 10, 15.
viroQtvffofnai, P. 2, 84.
faroKt<rTat, O. 1, 85.
faroXI>lJ VTTfKVlfft, P. 10, 60.
faroKou/oi^<r0at, P. 3, 19.
viroKpiKU, O. 9, 42.
UTTOtJMXTllS, P. 2, 76.
>nruip6(piai tfiopfuyyis, P. 1, 97.

inr&

5, 14.

tpati

<p.

iv

6, 14.

(papfMttKov &piTO.*, P.4, 187.

<f>. avpav,
O. 9, 104.^). -irpad, O. 13, 85.

<patryavto, P.

9,

23.

tparis PpoTiov, 0.
tpa-rlt, P. 3, 112.

1,

28.

9,

QtptviKnv, O.

1,

<pt\X6s, P.

2, 80.
^>s>/3tTai, P. 5, 110.
<!>/O/IK:O, P. 3, 74.

18.

"

Qtpto

(pipuy,

earnest," P.

8, 38.

(plpt-rai, P. 1, 87.

(pivyia
131.

(ftvyt \ai\l/tjpov Spofiov, P. 9,

(pvyoirrM Ni>t<rii, P. 10,43.

*}/, "Centaur," P.4, 119.
<t>6iyaio, P. 1, 81.
(pdivuKapTro :, P. 4, 265.
^etVOTTttl/OiS, P. 5, 120.
<f>6ovfpoi aTai, P. 11, 64.
<pia\av, 0. 7, 1.
<t>i\ay \at, P. 12, 1.

<tXjcrt/xoXir, 0. 14, 14.

q()iXoi/t(cos (<f>i\6vixos),

qbiXoiroXti' 'Hervxiav,

0.

0.

6, 19.

4, 16.

P.
'<j>t\a i/n/xa, P. 3, 61.
1,^92.
tpi\ov Itraviv, P. 1, 51.
(jiiXav it

^)f'Xos,

ydpiv, 0. 10 (11), 14.

<pt\.OTaTiov itpav, P. 9, 43.
<pi\o<f>pov 'Hffux'a, P. 8, 1.
4>i\Tpov, 0. 13, 68.

$iVrts=<I>fXTts, O. 6, 22.
<f>XtyovTi Xa/oiTs, P. 5, 45.
(poiviKavOt/nov i]pos, P. 4, 64.

O.

1,

P.

1.

17.
97.

d>6puiyyts inriep6d>iat t

(ppdaai,

0.2,110.

out of construction, P. 3, 75.

"

<pa<rydvou, P. 9, 87.

KaOapov, P.

fp.

98.

<ppa8ai, O. 12, 9.
(ppn^to
<ppd<raK, O. 2, 66.

farocTa<rairrts, O. 6, 1.
itif/iyviov aX<ros, 0. 5, 13.
irv//ixaiTu, P. 4, 172.
vi}/ov (pipovrt, P. 10, 70.
vat
vfft t 0. 7, 50.

Ka6apta, P.

7, 39.

(poivutoKpoKov ^cai/av, O. 6, 39.

<povoi>, fein., P. 4, 250.
Awpiav (popfuyya,
^)ojpjUiy^, P. 1, 1.

v<t>laTt]fU

light and life," O.

and (piyyos, P. 3, 75.

O.

2, 62.

irt<j>i(j>i\twv tpiXioirra, P. 10, 66.

XIJKS, P. 1, 13.
<f>fXt|<r, P. 2, 16.

VTTffiPlOV,

(^>a/x/,

Qtyyos, O.

with gen., 0. 13, 24.

" above and
inrip with gen.,
beyond,"
0. 10 (11), 80 ; " by reason of," P. 1,
vira-rt

4>do?,

(pavtrlfiftpoTot,

&v6ptatru>v

<ppa<rii>=<ppuriv, P. 2, 26 ; 3, 59. 108 :

4, 219.
<. yXu<ciIa.
</>/>;i> 5oit}6eZ(ra, P. 6, 36.
P. 6, 52.
irt<ppiffaoirrav o/jftpovv, P. 4, 81.
<ppitcovTa<s, P. 4, 183.
P.
82.
8,
<p. iriffTd, 0.
(ppovitov KaKa,
3, 17.
<ppov(ppoirriSa dp-jraXiav, P. 10, 62.
TtSi, P. 2, 92.
yXuKUTcrrats ippovriffiv, 0. 1, 19.
;
9, 107 ; P. 8, 44.
<t>uyotivov aTpaTov, 0. 11 (10), 17.
<J!>i>XXo<op6oi/, O. 8, 76.
(pvrivwv y
ipvrtvydfMov, P. 9, 120.
, P. 4, 15.

<pva, 0. 2, 94

GREEK INDEX.
<UTOV

fj.ordipOTrov, P. 5, 42.

8, 33.

4>va<pvirr' dpi-ra, 0. 10 (11^, 22.

<t>wv<i, P. 9, 31.
(p uivaii virapyvpov,
P.'ll,42.

(fxa-rti

T, 0.

1,

flto'fyarov x-, O- 3, 7.
(11), 9.

/3a6i

X ., 0.10

Xpovitu-raTov </>aov, O. 4, 10.

X. irdurtav
X/OOKOS o iros, P. 1,46.
o i' iirai'Tt'AXaiv
iraTTtp, O. 2, 19.
to MU/JO'S,
O.8.28.
X-,
xpovo?, opp.
('<

(piovatv "OXvfiirta, O.9, 2.

<rvvirolariv, 0. 2, 93.

<u>s

385

\ajuj3avtt,

0.

(ptavdiirra
1, 81.

<u>-

46.

P.

1,

57.

2, 33.

dXov anfyt

T<5i;

XPO"f

" at

O.
4 78

-^poi/ov,

"*! P

otvTipto ypovia, 0. 1, 43.

\p6vip <ru(t.ifavTi, O. 6, 56.
X/>v<raXa/caTO(o "A/xc^iT/oiTos, O. 6,
104.
11, 32.

Xaipio Tt, P. 7, 14.

XtTas, P. 9, 5.

aipi, P. 2, 67.

JVIKOV, P. 9, 1.

Adx*o'H', O. 7, 64.
xXaXll/OK, 0. 13, 65.
XJilHTU/uLTrVKW
P.
89.
Moiaai/,
3,
\pvadopa 4>ol/3oi/, P. 5, 104.
X/5U<rd/9/iaTOS M;;i/a, O. 3, 19.
XP""

X/offfdjuTruKa

pavov, P.

27.

10,'

\a\Ktvt yXwcrcrai;, P.

1, 86.

\a\KOTrdpaov aKoira, P.

1,

44.

Xtfiaiyivtiov dv6pu>-jrtov, P. 4, 98.

'
XofiaiTrtTts tiros, P. 6, 37.
x"/ * 01
irT'a>i XtvytoK, O. 9, 13.
XM}Xd" irvitov, P. 11, 30.
Xa>s, poetry," 0. 1, 30 ; 6, 76 ; 7, 11.
Koivai XapiTts, 0.2,55. X. 'Op1

YO/UEI/OV, O.l4,4.
XdjOiTfs TJVKO/JLOI,
P. 5, 45. ai/su XajOiTO)!/, P. 2, 42.
ou Xa/5/Tcoi; *dc, P. 8, 21. XapiTui apovpav, P. 6, 2. vdpiv, O. 7,
5 ; P. 2, 70 ; 11, 12. ljutij; X -, P. 10,
64.
i-jrtavv/Jiiav X-, 0. 10 (11), 86.
s X M 0. 1, 75.
KotvAv X; P- 5, 102.

aapfjuxrov Kdcrropos, P. 5, 9.
~
quantity of, P. 4, 144. XP U
<j>o'p/uiy, P. 1, 1.
x/DUO (/a *
tXat'aSjO. 11 (10), 13.$d<pva x/owvia, P. 10, 40. \pvaiav iiyittav, P.
3,73. ypvaiutv TpiiroStov, P. 11,4.

X/oufftos,

via

'/TTTTOtS

<

" Tas= X'*/'~

uara, P. 3, 72.
Xa>/uai, "joys," 0. 9, 92.
Xawi/a irpairiSt, P. 2, 61.

\pVfflCUV, O. 8, 51.

<rtas Kiovav,
</>d5t(ro-t,

O.

0.

6, 1.

- XP""

xpucrt'ais

i/t-

7, 34.

XpvaroKepwv IXa^ov, 0.

3, 29.

X/ouad/oairts, P. 4, 178.

\pv<rov

X/owads

O.

5<rt,

X/ouo-txTTt^xii/oio "H/3as,
9,

Xa/oiTts, 0. 13, 19.

'

7, 50.

O.

6,

57

P.

118.

X/ouffoxatTa, P. 2, 16.
XUTOI; viKTap, 0. 7, 7.
X<u/3s, O. 9, 44.
Xi6t/a, 0. 7, 87.
\}/d(pw* irovTiSv, 0. 13, 46.
TraXduats, P. 2, 75.
\froyip6v 'A/ox'Xoxov, P. 2, 55.

i/fa<f>o
o/ij8/oos, P. 6, 10.
x f '/"'/" ""
&f*ppov, P. 5, 10.
x- Tru/o, P. 4, 266.
<i'To X* 4 " 5 ) O. 7, 1.
Trtot'ia
X*t/
tv Y/oos &Kfj.a, O.
Xi/oo's, P. 6, 19.
9.
69.
P.
2,
Xpi 5iiuua, 2,
X.'KOU-

Xtt/u/oio

P. 9, 12.
x- o/oOa, 0. 10 (11),
5.
K\vTctv x*P> P 9) 39Xf P l
Xtpo's, P. 9, 132. x"P' X"/ a P- 4 i
<#)a,

37.
x o '">O. 13,95.
P. 8, 77.
/

uiro \np<Lv.

\l/i6upu>v

J, position of, 0. 8, 1 P. 2, 1 ; 8, 2.
with digaramu, O. 5, 11.
U)5is
wdluof tpaTas, 0. 6, 43. uSlva
;

"Qai/ii/,

irapOtviav, O. 6, 31.
o-ui/diTTii, P. 4, 247.

wpa

X/3<ldct TTUfKpopUl, P. 6, 13.

Xflov/a <^>/>i/i, P. 5, 101.
Xidvos dt/as, P. 1, 20.

wpvatu, O.
tis

fiv^oTrais

XXap<)v T^Xao-aais, P. 9, 41.

Xot/addos irtrpas, P. 10, 52.
XpTois Xf'oi/ros, O. 13, 44.
Xpdw ixptov, O. 7, 92. xpn fftv
Kurrijpa, P. 4, 6.

tis

t, 0.

Xpt'os,

0.

1,

45 ;

7,

40.

tis

fi

'Q/oat,

cos i&ififv,
cii/,

O. 13, 113.
O. 7, 42.

7, 1.

aio-iiTt, elliptical, P. 1, 44.

<is Sri without a verb, 0. 6,
l~

rtov x/">*> P-

O.4,

9, 117.

2 ; P. 11,

40.

Ti=ii, 0. 10 (11), 94
54.

P. 4, 64

10,

INDEX OF SUBJECTS.
[The proper names refer mainly to the
Abas, P. 8, 55.
Ablative genitive, O.
10(?) ; P. 9, 12(?).

1,

58;

57;

2,

Accusative, adverbial, P. 1, 81.

in apposition, P. 9, 4

12

cf.

O.

4,

11,

7, 16.

cognate, P. 2, 62.
double, 0.1,68; P. 3, 98.
of extent, P. 4, 83 ; 5,33;
10, 12.

before and after inf., 0. 1,

40.
inner object, P. 8, 79.
pi. as adverb, 0. 10 (11),
103; 14, 17; P. 2,61;
11, 30.
in -os, 0. 1, 53 ; 2, 78.
9, 76
1, 111
10(11), 95; 14,20; P.
4,52.134; 5,29.52; 8,
55 9, 55 ; 11, 35.
whole and part, 0. 1, 68.
and Patroklos, O.
Achilles, O. 2, 86
10 (11), 21.
9, 76
Active and middle, 0. 3, 7; 14, 24 ; P.
1, 48 ; 2, 40 ; 10, 40.
Adjectives for adverb, P. 4, 179 ; 11,

terminal, 0.

48.
in -to*, 0. 1, 10 ; 2,10.13;
10 (11), 31; P. 2, 12. 18;
3,

79;4,39;

6, 4.

32;

8,

19; 9,67; 11,20; 12,9.

Admetos, P. 4, 126.
Adrastos, O. 6, 13; P. 8, 51.
Aeolic accentuation, O. 10 (11), 17;
14, 19.

Agesias, 0. 6, 12. 77. 98.

Agesidamos, O. 10 (11), 20. 101; 11
(10), 12.

Aglaia, O. 14, 13.

Aiakidai, 0. 13, 109.

text, all else

mainly to the notes.]

Aiakos, 0. 8, 30. 50.

Aias Oiliades, 0. 9, 120.
Aietes, P. 4, 10. 160. 213. 224. 238.
Aigeidai, P. 5, 75.
Aigimios, P. 1, 64 ; 5, 72.
Aigina, O. 7, 86 ; 8, 20 ; P. 8, 98 ; 9, 97Aigisthos, P. 11, 37.
Aineas, 0. 6, 88.
Aipytos, 0. 6, 36.
Aietes, 0. 13, 14.
Aleuadai, P. 10, 5.

Alexibiades (Karrhotos), P.

5, 45.

Alkimedon, 0.8,17.65.
Alkmaion, P. 8, 46. 57.
Alkmaionidai, P. 7, 2.

Alkmena, O.

7,

27

P. 9, 92.

Alliteration, 0. 1, 76 ; P. 4, 138. 150,

Altar at Olympia, 0. 6, 70.

Amazons, O. 8, 47
Amenas, P. 1, 67.

Ammon,

P.

13, 87.

4, 16.

Amphiaraos, 0.

P.
6, 13
Amphitrite, 0. 6, 105.
Amphitryon, P. 9, 88.
;

8, 56.

Amplification in repetition, P.
Amyklai, P. 1,65; 11,32.

Amyntoridai, 0.

7, 23.

Amythaon, P.

126.

4,

Anachronism, P. 4, 192.
Anchors, post- Homeric, P.

4, 28.

4, 24. 192.

two, O. 6, 101.
Antenoridai, P. 5, 83.
Antilochos, P. (5, 28.
Aorist of definite numbers, P. 4,25. 130.
gnomic, O. 2, 38. 105 ; 7, 43 ; 9,

31; P.I,

4'2;

2,13.36.50;

8,

15.

and

imperf., P. 4, 247.
inf. after I'IKOTO, P. 1, 35.
in a future sense, 0. 2, 102

P. 1,44; 4,223.

INDEX OF SUBJECTS.

388

2, 10 ; P. 1, 65.
verbs of actual per84.
P.
5,
ception,
and present, P. 2, 50. 89.

Atlas, P. 4, 289.

shorthand of perf., O. 10 (11),

9; P. 1,73.

Atrekeia, 0. 10 (11), 15.

Augeias, 0. 10 (11), 31. 39.

Aorist ingressive, O.
partic. after

Ape, P. 2, 72.
Aphrodite, spouse of Ares, P. 4, 88.
apyvpoiri^a, P. 9, 10.
Apollo and Aphrodite associated, P.

Bakchylides, allusion
2 56
2,

16.

apxayt-rat, P. 5, 60.
i Katpyov, P. 9, 30.
AUKJOS, P. 1, 38.
Apposition, 0. 1, 57.
distributive, 0. 8, 37.
Archestratos, O. 10 (11), 2. 109; 11
(10), 11.

Archilochos, O.

9, 1 ; P. 2, 55.
Ares, husband of Aphrodite, P. 4, 88.
/StOTOS, P. 1, 10.
XaX/ctov, 0. 10 (11), 17.
Arethusa, P. 3, 69.

96

2,

myths,

Artemis, 'QpQiotria, O. 3, 30.

iroTa/uia, P. 2, 7.

contemptuous, P. 4, 186.
with proper name, P. 10, 57.
widely separated from subst.,
0.11(10), 19; 12,5; P. 12,
20.

P.

P. 4, 6. 280 ; 5, 55. 124.

Bellerophon, 0. 13, 84.

Cor Lothian, 0.

13, 20.
lake, P. 3, 84.
Boreas, P. 4, 182.

Bit,

Boibias

Brachylogy, P.

4,

242

48

8,

Causative use of verb, 0.

P. 1,32; 11,13.
Centaurs, P. 2, 44.

5,

9, 27.

20

8,

participle to finite verb,

O.I, 14; P. 3, 53.

of subject, 0. 3, 22 ; 9, 50
4, 25.243.251; 5,34.
;

Articular

O.

to,

Bat'tos,'

Change from

Artemis, P. 2, 7.
Argos, O. 9, 73. 94 ; 13, 107 ; P. 5, 70
8,41; 9,121.
Aristaios, P. 9, 71.
Arkesilas, P. 4, 2. 65. 250. 298 1 5, 5. 103.
Armor, race in, O. 4, 22 P. 9, 1.
Arsinoe, P. 11,17.
Art
0. 7, 52.

Article,

Athena, patroness of Perseus, P. 10,45.

lim-iia, 0. 13, 82.
Athens, greatness of, P. 7, 1.

Chariklo, P. 4, 103.
Chariot, poetic, O. 6, 22

9,

87

P.

P. 10,

65.

Chariot-race, danger of, 0. 5, 15

34; 6 (introd.).

P.

5,

Charis, 0. 1,30; 6,76; 7,11.

Charites, goddesses of song, O. 2, 55
4,9; 9,29; P.5,45; 6,2;
8, 21 ; 9, 3. 97.
city of the (Orchomenos), 0.
14, 4. 8 ; P. 12, 26.
Cheiron, P. 3, 1. 63; 4, 102. 115; 9, 31.
Chiasm, 0. 2, 80 ; 6, 5 ; 10 (11), 31
11 (10), 8 P. 1, 21. 54 2, 48. 63 ;
;

'

9,6.

inf. aor.,

0.

2,

56. 107

8, 59.

60.

of the objectionable, 0.

107 ; 9, 41.
pr., 0. 9, 41 ; P.

2,

2, 56.

2, 91.

denoting repugnance, 0.

1,

52.
Atabyris, O. 7, 87.

Athena, inventress of the vo'/uo?

Kf>a\os, P. 12, 22.

75 ; 12,

9,

3.

Class for individual, O. 7, 8 ; P. 3, 66.

Coincident action, 0. 7, 5. 69 8, 40 ;
10 (11), 53 ; P. 3, 35 4, 40. 61. 189.
Companionship, sphere of, 0. 2, 11 ; P.
;

Asopichos, 0. 14, 17.

Ass, a mystic animal, P. 10, 33.
Asyndeton in prayers, O. 1, 115; 8,
86; 9,86; P. 1, 29. 71 ;

5,120; 9,97.
announcing end, 0.

Chimaira, 0. 13, 90.

City and heroine blended, P.

3,48; 4,115.

Complementary adjective felt, P.

1,

14.

substantive, P. 9, 107.
Conative present, 0. 13, 59 ; P. 4, 106.
Condition, formal, 0. 3, 42 ; 9, 28 ; P.
1,90.

O. 1, 108; 6,4; 13,

105; P.l,81;3,110; 8,

ideal,
-n-oXu-

patroness of Bellerophon, 0.
13,66.

14.

subjunctive, 0. 6, 11 ;
P. 4, 264. 266. 274.

7, 1

INDEX OF SUBJECTS.
Condition, unreal, 0. 12, 16

73

P.

3, 68.

4, 43.

Copula, omission

of,

0.
(and regularly).

<rrf (ilart),

f<rfj.ii/,

Dative of agent, 0.

8,

30 ;

P. 8, 95.
12,

8,

14, 6

P. 1, 73.
of approach, O. 6, 58.
with SlKtaQai, 0. 13, 29

21

1, 1

P. 4,

12, 5.

389

Erginos, 0. 4, 19 (note).
Eritimos, O. 13, 42.
Euphemos, P. 4, 22. 44. 175. 266.
Euphrosyne, 0. 14, 14.
Euripos, P. 11, 22.
Europa, P. 4, 46.
Eurotas, O. 6, 28.
Euryale, P. 12, 20.
Eurypylos, P. 4, 33.

Eurystheus, O. 3, 28 ; P.
Eurytos, 0. 10 (11), 31.

9, 86.

=&ta with

ace., P. 11,27.
double, 0. 2, 16; 8, 83; P. 4, 73.
with iXQtlv, O. 1, 45 (cf. 0. 9,
72); P. 4, 124.
and genitive, 0. 1, 57. 65; 6, 5 ;
8,75; 9,16; P. 3, 46; 9,89.
instrumental, P. 10, 51.

figures, O. 8, 1.
Feet give way before hands, 0. 4, 24.
Finite verb following participle, O. 1,

Family

14; P. 1,55; 3,53.

Flute, origin of, P. 12, 6.
Fusion of two or more words, P. 6, 17;

See Hypallage.
7, 2.
Future, modal, 0. 8, 57 ; P.

local-temporal, O. 1,2.
locative, P. 1, 40. 78.

of participle, O.8,60; P. 10, 67.

personal, O. 2, 90 ; 3,11.
and irpdv with ace., 0. 1, 47 ;
9,64.
of reference, 0. 2, 93.
with verbs of touching, P. 4,

296; 9,46. 130; 10,28.

Dead, state of the, O. '2, 62.
Deinomenes, P. 1, 58. 79 ; 2, 18.
Delphic word, O. 13, 81.
Demeter, 0. 6, 95.
Diagoras, O. 7, 13. 80.
Diaulos, O. 13, 37 P. 10, 10.

passive,

1, 44; 10 (11), 115.

Generic condition, ind., 0. 11 (10), 4.
See Condition.
subj.
relative without av, 0. 8, 11.
Genitive ablative, O. 1, 58 ; 2, 57 ; 4,

10(?); P. 3, 50; 9, 12(?);

11,34.
absolute, O. 6, 3(?).

without subject, O.
13,15; P.l,26(?);
4,232;8,43.85(?).

and

adj. in -tos, O. 2, 10. 13.

appositive, O. 2, 14.

P. 11,61.

Doric ace. in -os, 0. 1, 53 ; 2, 78.

inf. in -EI;, 0. 1,2; P. 5,72.
P. 4, 179. 183.
perfect, 0. 6, 49
Dual, O. 6, 45 13, 6. 95.

and dative

Eagle, architectural, 0. 13, 21

Echemos, 0. 10 (11), 73.
Echion, P. 4, 179.

of origin, P.

Eleithyia, 0. 6, 42.

0. 12, 10.
63 10 (11), 39.
O.
Epharmostos,
9, 4. 93.
aorist,

Epeians, 0.

9,

0. 6, 5.
P. 4,

2, 79;

in -oio elided, 0. 13, 35; P. 1,

39.
4. 144. 256.
partitive, P. 4, 34.
in predicate, P. 3, 67.
Glaukos, 0. 13, 60.
Gnomic aorist, 0. 2, 38. 105 ; 7, 44

9,

31; P. 1,42; 2,13.

36.50; 8,15.

and

Ephialtes, P. 4, 89.
Ephyraians, P. 10, 55.
Epimetheus, P. 5, 27.

Epithets, double, 0. 1, 6. 10. 59 ; cf. 2,

60.90; 3, 18; 4, 7; 6,61; 7,15; 9,
98; 10 (11), 91; 11 (10), 2; 13,89.
99; P. 4, 184; 5,121; 9,114.
Erechtheidai, P. 7, 8.

(shift),

of material, 0.
206.

Empiric

4,

Ganymede, 0.

Dirke, P. 9, 95.
Dioskuroi, O. 3, 1
P. 4, 17.
Dolphin,

9, 96.

no special form, P.

15.

present, P. 2, 60.

89.
perfect, 0.

Graces.

1,

53.

See Charitet.

Hades' wand, 0.

9,

35.

Hair, when shorn, P. 4, 82.

Halirrhothios, 0. 10 (11), 77.

INDEX OF SUBJECTS.

390
Harmonia, P.
Hektor, O.

2,

&,

91

Imperfect and

11, 7.

89.

Hellenodikes, O.

3, 12.

Hellotia, 0. 13, 40.

Hendiadys, 0. 10 (11), 64; 14, 17; P.

4, 18. 94.

Hephaistos^fire, P. 1, 25 ; 3, 39.
Hera, P. 2, 27 ; 4, 184 ; 8, 79.
jrapdivia, O. 6, 88.
Herakleidai and Dorians, P. 1, 63.
Herakles, his club, O. 9, 32.
founder of the Olympian
games, 0. 10 (11). 49.
his quest of the olive, O. 3,

0. 3, 44.
Hermes, haytavtos, 0. 6, 79; P. 2, 10.
of
gendus
Olympos, P. 9, 64.
P.

4, 178.

247

in-ti>,

22.

Ino,

O.2,33

P. 11,2.

Instrumental music, position of, 0. 2,

lolaos, 0. 9, 105 ; P. 9, 85 ; 11, 60.

Homer, divergencies from, 0.

lynx, the, P.

Hippokleas, P. 10,

90; P.

5.

13, 67.

3,

2,

40

214.

4,

1.

11, 31.

Kadmos, 0. 2, 86.
daughters

quoted, P. 4, 277.
Horai, 0. 13, 17 ; P. 9, 65.
Horned does, 0. 3, 29.
Hyllid standard, P. 1, 62.

Hypallage, O.

76.

final, P. 3, 45 ; 7, 3 ; 9, 62.
for imperative. 0. 13, 114.
redundant, O. 6, 56 ; 9, 69.

Historical present,O.7,78(?) 13,92(?);

P. 2,31(9); 5, 82(?). 86(?).

Heroine and city blended, P. 4, 14 ; 9,

75; 12,3.
Hieron, 0. 1, 11. 107 ; 6, 93 ; P. 1, 32.
56.62; 2,5; 3,80.
Himera, 0. 12, 2.
Himeras, P. 1, 79.

5,

0.1,2.

lolkos, P. 4, 77. 188.

Ionian Sea, P. 3, 68.
Iphigeneia, P. 11, 22.
Iphikles, P. 9, 95.
son of, P. 11, 59.
Iphimedeia, P. 4, 89.
Iphion, O. 8, 81.
Irasa, P. 9, 114.
Ischys, P. 3, 31.
Ixion, P. 2, 21.

X/jixropa-Tris,

epexegetic, O. 3, 34 ; 6, 34 ;
P. 5, 26; 7,6; 9,71; 12,

17.
pillars of,

aor., P. 4,

conative, 0. 5, 5.
of the inventor, P. 12, 18.
parenthetic, P. 10, 45.
of reluctance, O.3, 17; 6, 45.
of vision (panoramic), 0. 10
(in, 74; P. 3,44.
Infinitive articular.
See Articular.

10 (11),

4, 149. 205. 225. 255

28

7.

P.

9, 90.

Hyperbaton, 0. 1, 12 ; 2, 9. 25 7, 26
8,33; 13,31: P. 5, 78; 10,58.
Hyperboreans, O. 3, 16 ; P. 10, 30.
;

of,

0.

2,

25 ; P. 11,

Kallianax, O. 7, 93.
Kallimachos, O. 8, 82.
Kalliope,0. 10(11), 16.
Eamarina, O. 4, 12 5, 4.
Kamiros, O. 7, 73.
;

Karneia, P.

5, 80.

Hyperei's, fountain, P. 4, 125.

Karneiades, P.

Hypseus, P. 9, 14.
Hypsipyle, 0. 4, 23.

Kassandra, P. 11,20.
Kastalia, 0. 7, 17 ; P.

77.

9,

1,

39

4,

163

31
lalysos, 0. 7, 74.
lamidai, 0. 6, 5.
lamos, O. 6, 43.
lapetos, O. 9, 59.

lason, P. 4, 12. 128. 136. 169. 189. 232.

Idaian cave, O. 5, 18.
Ideal condition. See Condition.

Kastor, P. 5,9; 11,61.

Kastoreion, O. 1, 101 ; P. 2, 67.
Kephisos, O. 14. 1 ; P. 4, 46.
Kinyras, P. 2, 15.
Kleodamos, 0. 14, 22.
Kleonai, 0. 10 (11), 33.
Klotho, 0.

1,

26.

Has, 0. 10 (11), 19.

Klymenos, O.

Bios, 0. 8, 32.
Imperative present, 0. 1, 85 ; P. 1, 86.
for conditional, P. 4, 165.
276.
Imperfect, 0. 2, 23 ; P. 4, 114. 178.

Knosos, O. 12, 16.

Koronis, P. 3, 25.
Kreusa, P. 9, 18.
Kroisos, P.

1,

4, 19.

94.

Kronion, 0.1,111; 6,64.

5.

INDEX OF SUBJECTS.
O. 8, 17.
tower of, O. 2, 77.
10
Kteatos,O.
(11), 30.
Kyknos, O. 2, 90 ; 10 (11), 17.

Kronos,

hill of,

Kyrene, city, P.

4, 2.

261. 276. 279

5,

24. 62. 81.

heroine, P.

Lachesis, O. 7, 64.
Laios, O. 2, 42.
Lakedaimon, P. 4,
Lakereia, P. 3, 34.

49 ;

Lainpromachos, O.

Lapithai,

9, 18. 73.

5,

69 ;

10, 1.

9, 15.

P. 4, 252.

G.3,26; 8,31.
Leukothea, P. 11, 2.
Libya, the heroine, P. 9, 59.
the land, P. 4, 6. 42. 259 ;
Leto,

5,

52 ;

9,75.

Likymnios, O.

7,

29

10 (1 1), 71.

Lindos, O. 7, 74.
Litotes, 0. 10 (11), 24 P. 7, 14 ; 9, 26.
Lokrian women, 0. 9,60 ; P. 2, 18.
Loxias, P. 3, 28; 11,5.
Lydian flutes, 0. 5, 19.
;

harmony, 0. 14,
Lykaion (mountain), 0.

17.
13, 108.

Mater, P. 3, 78.
dress, P. 4, 80.
Mainalian chain, O. 9, 63.
Mantineia,O. 10 (11), 77.
Marathon, 0. 9, 95 ; 13, 110 ; P. 8, 79.
Mares preferred, 0. 6, 14 ; P. 2, 8 ; 4,

Magna

Magnesian

Medeia, 0. 13, 53 ; P. 4, 9. 57. 218. 250.

Medes, P. 1, 78.

Medusa, P. 12, 16.

Megakles, P. 7, 13.
Megara, 0. 7, 86 ; 13, 109
Melampos, P. 4, 126.
Melesias, 0. 8, 54.

P. 8, 78.

drug, elixir, P. 4, 187.

remedy, 0. 9,104.
spell, 0. 13, 85.
eagle, O. 2, 97 ; P. 5, 112.
embarking, 0. 13, 49 ; P. 2, 62.
exile (wandering), 0. 1, 58.
eye, 0.2, 11; 6,16; P. 5, 66.
facade (simile), 0. 6, 1.
family, 0. 8, 1 (notejL
fleet, 0. 13, 49.
flight of steps, P. 5, 7.
flood, 0. 10 (11), 12.
forging, P. 1, 86.
foundations, P. 7, 3.
fox and lion, 0. 11 (10), 20.
fruit (simile), P. 9, 119.
garden, 0. 9, 29.
gates, 0. 6, 27.

Home-bringing, P. 5,
keys, P. 8, 4; 9,42.

2,

Menoitios, 0.

91

P. 6, 32.

9, 75.

Metaphors and similes ;

army, P. 4, 210 ; 6, 12.
awakening, P. 9, 112.
bee, P. 4, 60
P. 4, 25.

10, 54.

bit,

bloom (blossom), 0.
breezes, O. 7, 95

5, 10.

1,

67; P. 4, 158.

P. 4, 292.

3.

late-born heir (simile), 0. 10 (11), 94,

ledger, 0. 10(11), 2.
light, 0. 1, 23. 94 ; 9,
2, 6 ; 5, 45.

24 ;

13,

86

P.

4, 263.

missiles, 0. 1, 112; 2, 91. 98; 9, 6.

12; 13,93; P. 1,12. 44; 6,87.

mixed, P. 1, 82 ; 4, 272 ; 10, 68.
mixing-bowl, 0. 6, 91.
moat, 0. 10 (11), 37.
nails, P. 4, 71.
nectar, 0. 7, 7.

pathway, 0.

Melia, P. 11, 4.

Memnon, O.

10, 66.

cork (simile), P. 2, 80.

cow, P. 4, 142.
culling fruit, 0. 1, 13 ; P. 9, 119.
currents, shifting, O. 2, 37.
debt, O.3,7 ; P. 9, 112.
decoration, 0. 1, 29. 105 ; 2,68; 5, 21.
dice, 0. 12, 10.

lopping tree, P.

17.

calm,

Metaphors and similes :

chariot, O. 6, 22 ; 9, 87 ; P.
cloud, 0. 7, 45.
cock (simile), 0. 12, 14.
column, O. 2, 90.

dress, P. 3, 83.

9, 00.

Leda, O.3,35 ; P. 4, 172.

Lemnian women, 0. 4, 20
Lerna, 0. 1, 33.

391

1,

35

115 ;
;

7, 31.
10, 12.

90

P.

2,

of song, 0.1,110; 9,61;

P. 4, 247.
10 (11), 9.
0.
pebble,
P.
8, 67.
pelting,
Phoenician ware, P. 2, 67.
physician, P. 4, 270.
pilot, 0. 12, 3 ; P. 1, 86 4 4, 274} 6
122, 10,72.
ploughing, P. 6, 1.

INDEX OF SUBJECTS.

392
Metaphors and similes
ravens, O.
root, O.

2,

Negative

P. 4, 15

sandal, 0. 3, 5

68

scion, O. 6,

6,
2,

scuttling ship, P.

sky tale, O.

6,

1,44.
of swearing,

ov with

49.
8, 11.

with

91.

first

9, 35.

out, 0. 13, 114.

tending flocks, 0. 11 (10), 9.
thirst, P. 9, 112.
token, 0. 12, 7.

treasure-house, P. 6, 8.
94 ; cf. P. 4, 263.
twining, 0. 6, 86 ; P. 4, 275.
0. 6, 103.
tree, P. 8,

voyage,

tail,

0.

4, 4.

watering, 0.

5, 23.
12, 6.

waves, 0.
weaving, P.

4, 141. 275.
wellspring, P. 4, 299.
wheel, 0. 2, 21 ; P. 4, 219.
whetstone, 0. 6, 82 ; 10 (11), 22.
whip, P. 4, 219.
wind blighting, P. 5, 121.

wine-cup (simile), 0. 7, 1.
wings, P. 5, 114; 8,34.
wrestling, 0. 8, 25 ; P. 2, 61. 82

Oanis, 0.

omitted, O.ll (10), 18;

5, 11.

Odysseus, P. 1, 52 (note).
Oidipus, O. 2, 40 ; P. 4, 263.
Oikles, 0.6,13; P. 8, 39.
Oinomaos, 0. 1, 76. 88 ; 5, 9 ; 10 (11),
56.

Oionos, O. 10 (11), 72.

;

4,

Okeanos, 0.

5,

P. 9, 16.

Oligaithidai, 0. 13, 97.

273.

Metonymy, P.

0. 2, 102.
P. 2, 88.
opt., P. 4, 118.

inf.,

14,9; P.3,30; 6,48; 10.

29.41.
position of, O. 1, 81 ; 2, 34.
69. 106 ; 3, 23 ; 4, 17 ; 7,
48 ; 8, 79.
Nemea, 0. 7, 82 : 8, 16. 56 ; 9, 93 ; 13,
34.98.
Nemesis, 0. 8, 86 ; P. 10, 44.
Nereids, 0. 2, 32 ; P. 11, 2.
Nereus, P. 3, 92 ; 9, 102.
Nestor, P. 3, 112; 6,32.
Neuter pi. with pi. verb, 0. 8, 12 : 10
(11), 93; P. 1,13; 4,121.
Nikeus, 10 (11), 79.
Nile, P. 4, 56.
Nisos, P. 9, 98.
Nomads, P. 9, 133.

swimming

wagging

verbs of hoping, P.

9, 9.

spreading sail, P. 1, 9.
springtime (simile), P. 4, 64.
sprinkling, 0. 10 (11), 104. 108.
star (6imile), 0. 2, 61.
stone, 0. 8, 55.
storm, P.

/uj after

2, 96.

50

Olympia, 0.

4, 18.

Metope, O. 6, 84.
Midas, P. 12, 5.
Middle, 0. 6, 46 ; 8, 59 ; P.

1,

2,

53

6,

26

8,

83

2; 12, 17; 13, 101; P. 5,

124; 11,47.
local games, P. 9, 109.
Optative in conditions. See Condition.
as imperative, 0. 3, 45 ; 9, 44 ;
9,

1,

74 ;

of reciprocal action, 0.
Midea, heroine, 0. 7, 29.
place, 0. 10 (11), 72.

2, 49.

1,

95.

P. 10, 21.

Midylidai, P. 8, 38.
Minyans, 0. 14, 4 ; P. 4, 69.
Moliones, 0. 10 (11), 38.
Mopsos, P. 4, 191.
Muse, O.I, 112; 3,4; 10 (11), 4; 13,
22; P. 1, 58; 4, 3. 279; 5, 65; 10,

for indicative, 0. 6, 49 ; P. 9,
126.
peculiar use, P. 4, 118.

37; 11,41.
Muses, 0. 6, 21. 91 ; 7, 7 ; 9, 5. 87 ; 11
(10), 17 ; 13, 96 ; P. 1, 2. 12 ; 3, 90 ;

P.9,129.
without oi>, O. 11

4,67; 5,114.
Myksnai, P. 4, 49.
Naxos, P. 4, 88.
Negative nn after verbs of believing,
0. 1, 104.

potential with &v t O. 2, 20.

See

w.

irregular,

(10), 21.

ft

present in prayer, P. 1, 29.

Oracular language, O.
P. 4, 27; 9f59
Orators, P.

1,

94.

Orchomenos, 0.

14, 4.

Orestes, P. 11, 16.

7,

33; 13,81;

INDEX OF SUBJECTS.
Orpheus, P. 4, 177.
Orthosia, 0. 3, 30.
Ortygia, 0. 6, 92 ; P. 2, 6.
Otos, P. 4, 89.
Oxymoron, 0. 6, 43. 46 ; 9, 7. 24.
Pallas, 0. 2, 29

106

5,

10

13, 66

12, 7.

Paris, P. 6, 33.
1,

39 ;

11, 36.

Phrikias, P. 10, 16.

Phrixos, P. 4, 160. 242.
Phthia, P. 3, 101.
Pierides, 0. 10 (11), 106

49

Participle after-thought, P. 4, 262 ; 6,

46.
for infinitive or abstract

noun, O. 3, 6 ; 8, 65 ; 9,
111; P. 2, 23; 3, 102; 11,

P.

8, 8.

in predication, P. 4, 282 ; 6, 29.

of intransitive, 0. 10 (11), 84.
9, 81 ; 10 (11), 21.
Patronymic, effect of, P. 5, 45.
0.
13, 64.
Pegasos,
Peirene, 0. 13, 61.
Peleus, O. 2, 86 ; P. 3, 87 ; 8, 100.

Patroklos, O.

Pelias, P. 4, 71. 94. 109. 134. 156. 250.

Pelinna, P. 10, 4.

Pelkjia, 0. 7, 86 ; 9, 105 ; 13, 109.

Pelops, 0. 1, 24. 95 ; 3, 23 ; 5, 9 ; 10
(11), 27.
Peneios, P. 9 r 18; 10,56.
Pentathlon, 0. 13, 30 ; P. 8, 66.
See Doric.
Perfect, Doric.
emotional=pres., P. 1, 13.
gnomic, 0. 1, 53.
perceptual, 0. 1, 94.
present, 0. 9, 2.
Pergamos, 0. 8, 42.
.

4,

175.

Persephone, 0. 14, 21.

mistress of Sicily, P. 12, 2.
XiUKlTTTTOS, 0. 6, 95.
Perseus, P. 10, 31 ; 12, 11.

Personification, O. 2, 35; 4, 16; 7, 44;

10 (11), 15. 102; 11 (10), 3 i 13, 10.

12; P. 1,5. 25. 30; 4,202; 5,31.61;
6, 19
8, 1.
Phaisana, O. 6, 34.
;

1,

14 ;

8,

10, 65.

Pindos, P. 9,17.
Pitana, 0. 6, 28.
Plataia, battle of, P. 1, 78.
Play on words, O. 6, 30. 47

2,78; 3,28; 4,27.

Plural of abstracts, 0.

8,

25

P.

1,

52

P.

5, 20.

adjective for sing., 0.

22.

Passive impersonal, 0.

Penklymenos, P.

Philoktetes, P. 1, 50.
Philyra, P. 4, 103 ; 6, 22.
Philyrides (Cheiron), P. 3, 1 ; 9, 32.
Phintis=Philtis, O. 6, 22.
Phlegyas, P. 3, 8.
Phoenician Carthaginian, P. 1, 72.
ware, P. 2, 67.
Phorkos, P. 12, 13.
0.
10 (11), 78.
Phrastor,

P. 9,

Pan, P. 3, 78.
Pangaion, P. 4, 180.
Parallelism, O. 2, 108; 10 (11), 13.
Parnasos, O. 9, 46 ; P.
Parrhasians, 0. 9, 108.
Parsley, 0. 13, 33.

393

1,34; 2,81; 4,247.

distributive, O. 9, 21

12, 9

P. 1,4; 10,72.
for singular, 0. 3, 28 ; 7, 35 ; 9,
56 ; P. 2, 27 ; 3, 11 ; 4, 249.

256; 9,113.
of stateliness, 0. 7, 29 ; P. 2, 33

4, 54. 160.

verb with disjunctives, P. 6, 13.

neut. pi., 0. 8, 12 ; 10
(11), 93; P. 1,13;
4, 121.

Polydektes, P. 12, 14.

Polydeukes, P. 11, 62.
Polyidos, 0. 13; 75.
Polymnestos, P. 4, 59,
Polyneikes, O. 2, 47.
Porphyrion, P. 8, 12.

Poseidon, yaiao\o?, 0. 1, 25 ; 13, 81.

ilvaXios, P. 4, 204.
ivvoviScK, P. 4, 33. 173.
cvpvpiat, 0.6,58; P. 2, 12;
cf. 4,

175.

ivpvfiiStav,

0.

'itr7rap-)(o*,

P.

8, 31.
4, 46.

Kpoi/ios, O. 6, 29.
oparoTpicuva, P. 2, 12.
Ilei-palos, P. 4, 138.
Position of accusative, 0. 1, 36.
after-thought, 0. 7, 60.
at beginning of epode, 0. 1,

Phalaris, P. 1, 96.
Phasis, P. 4, 211.
Pheres, P. 4, 125.

81; 2, 17. 105; 3, 36; 6,57;

8, 59
9, 53 ; 10 (11), 39 ;
P. 1,33; 2,41; 5,24.86}

Philanor, 0. 12, 13.

9,1ft.

INDEX OF SUBJECTS.

394

Position, effective, 0. 1,

48

P.

1,

24

9,55.
of negative. See Negative.
peculiar, P. 1,95.
of prepositions, 0. 1, 37.
of proper names, P. 4, 2 10,
;

16.

See Suspense.
suspensive.
Preposition, plastic use of, 0. 1, 6 ; P.
2,8.
position of, 0. 1, 37.
put with second member,

O.7,12;8,47; P.

1,

14.

22; 2,59; 5,69; 9, 9a

Present and aorist, 0. 1, 30 3, 11 ; 9, 15.
conative, 0. 13, 59 ; P. 4, 106.
for future, O. 2, 98.
for perf., 0. 6, 90.
historical.
See Historical.
prophetic, O. 8, 42 ; P. 4, 49.
Priam, P. 1.54; 11,19.
P. 4,
Prolepsis, 0. 10 (11), 1 ; 14, 22
;

241.
Proleptic (predicative) use of adjective,

88 ; 5, 23 ; 12, 2 ; 13, 83
92 ; 4, 194 ; 10, 56.
O.
Prometheus,
7, 44.
O.
9, 44.
Protogeueia,
Psaumis, O. 4, 10 ; 5, 3. 23.
Ptoiodoros, 0. 13, 41.
0.
P.

1, 68. 82.
1, 52. 71.

Pylades, P. 11, 15.

Pyromancy, O.

8,

Schema Pindaricum, 0.

155
Seriphos, P. 12, 12.
Serpents, mantic, O. 6, 45 ; P. 8, 46.
Shift from participle to finite verb, O.
1, 14 ; P. 1, 55 ; 3, 53.
Sicily, productions of,

Sikyon, 0. 13, 109.

Simonides, allusion

Stymphalos, 0.6,84. 99.

Subject, change of, 0. 3, 22 ; 9, 50 ; P.
4, 25; 5,34.
Subjunctive, pure (without &v), in generic sentences, O. 3,
; 2, 2 ; 6, 3.
24; 7,3; P. 11, 10.
9 ; 10 (11), 34 ; 13, 17 ;

25 ; 3, 13 ;
8, 31; 10 (11),
27;P.3,8;4,4; 8, 39; 9,
5 ; 10, 31 11, 17.
exclamatory, 0. 1, 16.
1,

loose agreement, P. 3, 18. 22.

position of (hyperbaton), O.I,

25

13, 31

P.

5,

78.

with subjunctive (generic),

O. 3, 13 6, 76 ; 8, 11. 23.
Repetition, P. 1, 80 ; 9, 123.
Repraesentatio, 0. 13, 80.
Rhadamanthys, P. 2, 73.
Rhea, O. 2, 13. 85.
Rhodes and art, 0. 7, 53.
;

Suspense, O. 6,
P. 9, 5; 12,7.
Synonyms, O. 2, 32 ; 7, 56 ; 10 (11),
60 ; 14, 5 P. 1, 22. 40. 57 ; 3, 23 ;
8, 1 ; 10, 1.
Syracuse, 0. 6, 6. 92 ; P. 2, 1 ; 3, 70.
;

Tainaros, P. 4, 44. 174.

Talaionides (Adrastos), O.
Tantalos, 0. 1, 36. 55.
Tartaros, P. 1, 15.
Taygete, O. 3, 29.
Taygetos, P. 1, 64.
Tegea, 0. 10 (11), 73.

Telamon, P.

8, 100.

9, 79.
Telesikrates, P. 9, 3. 108.
Terpsias, 0. 13, 42.

Teuthras, 0. 9, 76.
Thaleia, 0. 14, 15.
Theba, O. 6, 85.

Schema Alcmanicum,

Thebes, O.

1,

76.

P. 4, 127. 179.

6, 15.

Telephos, O.

Salmoneus, P. 4, 143.
Samos (Semos), 0. 10 (11), 77.

Salamis, P.

9, 53.

11; 6,11.

4,19; 6,29;

2, 9.

O.

short, 0. 1, 7

Relative begins myth, 0.

1, 13.

des, O. 2, 96.
Singular of a welded pair, 0. 5, 15 ; 9,
16; P. 2, 9; 4, 66; 10, 4. 10; 11, 45.
Sipylos, 0. 1, 38.
Sisyphos, 0. 13, 52.
Solymoi, 0. 13, 90.
Sostratos, 0. 6, 9. 80.
Sparta, P. 1, 77 ; 5, 73.
Spartoi, P. 9, 89.
Spears, two, P. 4, 79.
Stadion, 0. 13, 37.
Strophios, P. 11, 35.

Pyrrha, O. 9, 46.
Pythonikos, P. 11, 43.

12

to,

0.

and Bakchyli-

P. 11, 6.

11 (10), 6(?):

P. 9, 35; 10,71(?).
Seagods, oracular, P. 3, 92 ; 9, 102.
Semele, O. 2, 28 ; P. 11, 1.
Sequence of moods and tenses, P. 4,

6,

16

7,

84

13, 107.

INDEX OF SUBJECTS.
Thebes, seven -gated, P.
9,86; 11,11.

3,

90

40

8,

renowned for chariots, 0.6,85.

Themis, O.

8,

22

16

9,

13, 8

P. 11,

395

Vocative, effect of, 0. 1, 36 ; P. 4, 8.

175; 11,62.
followed by it, O. 1, 36 ; 8,
15; P. 5, 45; 10,10; 11,

9.

Theognetos, P. 8, 36.
Therapna, P. 11, 63.

Water, 0.

Thyona=Semele, P. 3, 99.
Time an attendant, O. 2, 11

P.

Wish
46

4,

387.

13,

72 ;

Titans, P. 4, 291.
Tityos, P. 4, 46. 90.
Tlepolemos, O. 7, 20. 77.

P.

2,

6,
4,

14
67 ;

75

7,

Zeus, bird
;

for,

O.

Tyche, 0. 12, 2.
Tyndaridai, 0. 3,
Typhoeus, 0. 4, 7
Tyro, P. 4, 136.
Tyrrhenians, P.

8, 68.

1,

of,

88
0.

highway

P.

40

1,

4, 106.

2, 97.

of,

O.

2, 77.

of, 0. 2, 64.
aioXo/3/ooirros, O. 9, 45.

6, 82.

See Hyperbaton.
Trajeetion.
Tritonis, lake, P. 4, 20.
Trojans in Kyrene, P. 5. 83.
Turf, a symbol, P. 4,

0.

hither realm

9, 58.

Tongue, metaphors

in,

Xanthos, 0. 8, 47.
Xenarkes, P. 8, 19. 72.
Xenokrates, P. 6, 6.
Xenophon, 0. 13, 28.

Zeugma, 0.
19

8,

horses, 0. 6, 14 ; P. 1, 66; 4, 117.

passing over into condition, P. 1.
4, 43.

Wrestling, order

Timosthenes, 0. 8, 15.
Tiryns, 0. 7, 29 ; 10 (11), 75.

Tmesis, O.

1, 1.

White

Theron, O. 2, 5. 105 ; 3, 3, 39. 43.

Thorax, P. 10, 64.
Thracians, P. 4, 205.
Thrasybulos, P. 6, 15. 44.
Thrasydaios, P. 11, 13. 44.

apyiKtpavvov, O.

8, 3.

54>0iTos, P. 4, 291.

yiifl\tos,

0.

8,

16

P.

4,

fyvtiKipavv os, 0. 13, 77

21.'

167.
P.

194.
1.
;

1,

tXivMpios, O. 12,

39.

P.

1,

16

8, 16.

72.

Verbal construed as verb, P.

Verbals in -Wuv, 0. 2, 6.

1,

95.

<T(aTTJp, O. 5, 17.
Tt'Xos, 0. 13, 116
,

TBS BUD.

1.

ft j/tos, 0. 8, 21.
opaiKTVirot, 0. 10 (11), 8.
1TOTJ7/0, 0. 13, 26 ; P. 3, 98.
;

P.

O.

1,

9, 6.

67.

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4274
.05

G5

Pindar.

The Olympian and Pythian odes