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FOB
HENRY
DRISLER, LL.D.
Copyright, 1BSI, by
HARPKR
BEOTHIM
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
IN
CINCINNATI
CHICAGO
Copyright, 1885. by
HARPR &
'
PRINTED
iu.
s,
DROTHBBS.
PREFACE.
THB Text
Odes
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-
is
even
if it
The
Metrical
Schemes
are
due
In
placed at my disposal the MS. of his unpublished Pindar.
these schemes the comma indicates regular caesura or diaeresis,
The other
points
In or-
me
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
most
made
BASIL L. GILDKRBLUVK.
JOHNS HOPKINS UNIVERSITY, BALTIMORE,
January
new
1,
1885.
edition of this
gladly availed myself of the opportunity thus afforded of correcting a number of slips and oversights. In the search for minor
errors,
less
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
my
for
B. L.G.
JOHNS HOPKINS UNIVERSITY, BALTIMOM,
April
1,
1890.
INTRODUCTORY ESSAY.
What
^ gp
Theban and
is
men
of rank, and
in the
0oVia,
Magna Mater
confirmed by his
not suggested by them.
is
own words
(P. 3, 77-79), if
INTRODUCTORY ESSAY.
viii
some of the
powers, of
Modern
finest intelligences,
political,
literary,
and
some of the
especially
greatest
religious
life.
it
may be
safe to
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
the
'
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
IX
hill
overlooking the
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
The flute
native
hereditary.
We
may
as an aristocrat, largely
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-
had
as others
invented
INTRODUCTORY ESSAY.
X
mous
sow with the hand, not with the whole sack " (rp x f" ^"^
It is unnecessary to em(nrtipnv aXXa /*>) oXw rw QvXaKtp).
t
Korinna
said to have
is
Attic word.
This, also,
On
another occasion
woman
it
accords with
head with
of victory.
Aelian, an utterly untrustworthy scribbler,
adds that Pindar, in the bitterness of his heart, called his suca
fillet
If
good nor bad, was not the sow of the Old Testament
New. The Greeks were brotherly to the lower animals.
neither
or the
all
Encouraged, perhaps, by Korinna's success, a younger poetShe was ingloriMyrtis, attempted to cope with Pindar.
ess,
Hest poem.
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
war
'
^as Pm<
^ ar
as
it is
Within the
state there
seems to be no
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
fine,
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
1, 20).
The
INTRODUCTORY ESSAY.
xii
that
it
was.
For
he loved
ly,
also
but
how ?
We
are in dan-
The
man
his country is a
lenic patriots.
historical vision.
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
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.
LIFE OF PINDAR.
xiii
as
Kyrene.
Theoxenos,
Deth
of
Pindar.
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-
for after-times.
.
Time of
Pindar's
death.
tain.
'
ers see
six.
It is
no proof of
One prudent
soul,
his having
The
latest
poem
INTRODUCTORY ESSAY.
XIV
that
is
we can
date certainly
often assigned to
450
is
B.C.),
but P. 8
B.C.
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.
The
many
ways.
Familiar to
by the Macedonian
by the. express order of Alexander the Great, whose ancestor he had celebrated
in
song
(fr.
'
VIII. 3).
eVm'icm, or Songs of Victory, composed in celebration of sucWORKS cesses gained at the great national games. It is
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,
of a people comes down, the rest perishes and passes over into
new forms. Antique epos, antique tragedy, the Old Attic
1
"
Went
to the ground."
MILTON.
PINDAR'S WORKS.
XV
are long
enough
to
long enough
now
mood
his
is
Pindar of the
sweeter, tenderer,
sportive, than in the eiriviKta.
now
tVtWicta,
brighter and
suffice here.
The Pindaric
wjxvoi.
The fragment
but
more
1.
iraiovts.
2. Uatdvet.
irXe'oc in every line.
(naidi'mriaiw*') shows a Doric origin, and
4.
Of
wpoo-oSta,
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
"
"
the
obliquity
in
for the lighter Aiolian (Terpandrian) composition in contradistinction to the gravity of the epic.
As developed in litera-
scenes of history.
developed the <TKo\i6t> and put it into a choral form, the chorus
dancing while the singer was singing. All which is much
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)
to us the
See A. G. ENGELBRECHT,
EMOKLBBICHT,
1.
c. p.
96.
De Scoliorum
PINDAR'S THEME.
9.
xvii
one
in
which
in the dprjvoz, or
"
fragment that
tells
are
becomes a hierophant.
III.
A song of victory
^f
own
Pin-
hymn
Ka\\iviKOf, the
INTRODUCTORY ESSAY.
xviii
above.
of the poet.
Q ree
]j S
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
narrow
line of thought,
feeling.
There
is festal
patriotism
ter.
all
these,
That character
but none of them constitutes its characto be sought in the name itself.
The
is
epinikion
"
city,"
"
"
fair-built citadel of
PINDAR'S THEME.
xj x
fell
"
'EAAactoc
tpeifffia,
K\eiral 'Afldvai
in the
epinikia she
is
"
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
all
And
the essential
now, even to
INTRODUCTORY ESSAY.
xx
The games.
of the
festival is
Olympian
more
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
and crown
it
it
owes
its
We see
name.
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.
resistless
rush of victory
with horses,
more
and
we too become
vase,
feel the
all
these
become
We
tremulous excitement,
Many
PINDAR'S THEME.
futile rivalry will
XX1
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,
Delphic
uences.
^ e re
is
to be sought in
every regulation that controlled these famous con>pjie t j mes o f t ] ie performance were in the
testg
hands of the
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
INTRODUCTORY ESSAY.
xx ii
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-
thing sacred in
games and
its
'
"
Of
oiympian
**"***
The establishment
iancy.
that shines in
the blackness of
it,
its brill-
or the re-establishment of
island of Pelops,
and
it
it,
speed-
a ^ter
Pythian
Nemean^
^ e ^H
or revival of the
to 582
16 -
The Pythian
festival, celebrated in
B.C.,
and
B.C.,
of the Isthmian
rise
of this
PINDAR'S THEME.
new
fall
life
in
xxiii
of such
lists
as are unrolled in O. 13
power
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<
called
pense, Trovof
Sairava
may
is
not merely an
ele-
self-sacrifice, submis-
ye
ex-
"
So run that
illustration, it is
a lesson.
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
INTRODUCTORY ESSAY.
xxiv
poems
in
may
be counted on
one hand.
The
Herakles
is
mind
hymn
or of
centre of
it
may seem
ing, that
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.
Not
lies
behind the
favored
is
City of the
Tictor.
O f the victor.
Then the
'
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
it
processions, the banquets, the songs and, not least, the songs,
for Pindar magnifies his calling, and large space is given to
;
From
kion,
enumeration of the elements of the epiniappear that the range is not narrow. There is
this rapid
it will
He
nikion
eulogy
is
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..
modern eulogy.
Of
not the
course
vic-
it will
it
was
INTRODUCTORY ESSAY.
xxvi
is
The
excellence of
The
favor,
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
man
Now men
qf aristocratic habits
own set
his own
their
manners are
And
less reserved.
Pindar was
in
made an
it
would
allusion
pass.
to
It is
PINDAR'S THOUGHT.
xxv jj
who
IV.
Men who
^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
is
'
young student
To put
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
p. 18.
INTRODUCTORY ESSAY.
xxviii
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
it
must
is
suffice to
Zeus dominates
this, as
in the use of
0edc
and
We
Kronos
(v.
10)
Aphrodite
is
not forgotten
(v.
(v.
We
BUCHHOLZ, Die
Leipzig, 1869.
PINDAR'S THOUGHT.
xxix
the gods
is
great divinities
is
space in N. 11.
renely.
4, 6),
on the violent
but we do not
feel the
and man.
Olympian.
This belief
to
"
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
this subject as
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
9,
38:
cnro p.oi
\6yov
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
"
"
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.
(v.
106), but
God may
fail.
"
If
he
fail
Man
is
of
life,
the transitoriness of
its
an^ftaf^of
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
P. 10, 70
W//OU tytpovTt
of the Thessaliaus.
How
Pindar
felt
when
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
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
pos
"YBpis
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
insists so
much on
rife, legislation
INTRODUCTORY ESSAY.
mony seems
to
be
than moral.
artistic rather
The Greeks
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.
come, he can
iovra Tarry.
The proud selfIn
the
the
second Olymby
prayer.
the same maintenance of high pretension.
In
assertion
is
pian there is
the first Olympian
in reserve.
"EAAame
hardly veiled
it is
the
In the second
Muse
it is
said, to rise to
PINDAR'S THOUGHT.
xxxiii
on ravens (O.
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
Kar avTov
(11), 22."
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
tyvij.
it
is
by a
skill
him
nothing
Pythagoras the
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
avv iraXdpif.
2*
INTRODUCTORY ESSAY.
xxxiv
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
in tragedy,
^Q^
See note on
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
i ic
i'af
iruav fidwv.
'
PINDAR'S STYLE
The famous
characteristic of
Horace.
ART.
XXX v
movement
of his poetry.
But in
Pindar does not in the least resemble
respects
r
many
AND
channels,
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
Let us
We
He
concerning himself
Pindar
own
crat.
is true.
He
1
Od.
4,
Monte decurrens
velut
amnis
itnbres
c. v.
25
Pindants ore.
Multa Dircceum
tendit,
levat
aura cycnum
nubium
tractus.
INTRODUCTORY ESSAY.
xxxvi
N.
3, 82).
bosom
is
a prefigurement of his
99;
9, 5.
art is selection
of the treatment.
Now how
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
most
Opulence.
insultinglv,
J a contrast,
is in-
*?
all
its
synonyms seem
to be
made
for
He
Pindar.
and
The
blaze.
first
P. 4, 248
fire
TroXAotffi
$'
PINDAR'S STYLE
The fame
the sun.
of Hieron
is
AND
ART.
xxxvii
Wealth is not
eye of evening into the face of Herakles.
It
must
be
set
It
is
off.
not the uniout,
enough.
picked
form stare of a metallic surface, it must be adorned with the
Pindar
tracery that heightens the value of the background.
His epinikion itself, as we have
delights in elaboration.
seen, combines the two moral elements of the games TTOVOQ
of the lights, such the sweet din and rumble and roar of the
music of earth and the music of heaven, that the poet himself, overcome by the resources of his own art, confesses his
He does not carve his bow with curious figures so deeply cut
that at the drawing of the string the weapon snaps.
His is
not a sleepy but a vivid opulence, not a lazy but a swift opulence.
Everything lives in his poems, everything is personified.
great
"O
1
It will be observed by those who know Pindar already, that I have
taken no notice of the various interpretations and readings that have been
suggested for this passage (0. 13, 1 14). In an edition like the present, one
has the right to choose what would be useful for beginners, or needful for
Those who cannot believe that Pindar is speaking of
self-vindication.
his
own
oX/xafl'
feet
side of the
the metaphor in N.
may compare
vTrooKaiTTOi TI$
swimming
'
5,
20
singer,
How
avroQtv
For the comic
fiaicpd //ot
INTRODUCTORY ESSAY.
xxxviii
violet-tressed,
teneth."
"
Obeyeth
snow," as
down
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
rests
tions familiarly,
were new,
we must remember
by frequent
had not
attrition.
Swiftness
swift
Swiftness
Swiftness.
In detail
tion
vitality
much
strength, so
much
epithet,
them simply
is
When
those."
"
haired Semele." Semele died not "amid," but "by" the roar.
"
The roar was enough to destroy that
Killed with report."
crown of her
to Zens,
suffering.
visited
when he
Semele
appeared
PINDAR'S STYLE
The
aristocrat
must be
rich,
AND
ART.
xxxix
A man may
must be strong.
Pindar
is
Elevation
is
relative.
You may
lone
He
is
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
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
Matthew Arnold's
And
is
eye.
not unfamiliar:
known :
INTRODUCTORY ESSAY.
xl
Let us
now
attracts atten-
first
.*
'
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
iyxttKtpavvoG
Poseidon
6).
is
(0.
5, 31),
is
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
PINDAR'S STYLE
AND
ART.
xli
doom
92) resounds as
if
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
pounds,
is
viyid use of
Tocabuiary.
tion
is
male agent, or
atcova.
woman.
go wrong
in
we
is
find
them, just as in the same poem (v. 5) he combines the transient pleasure of ra Ttpwva with the abiding joy of rd
"
'
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
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-
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
an aristocratic disdain
in his
The formal
though he uses
Comparison.
it
'
tribution.
37).
The
ruler is a
helmsman,
Tyche
4, 274),
To
be liberal
wing
he
91.
his
song (P.
8,
34).
delights to stretch his
99
9, 5.
12
13,
93
An
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
ART.
is
joy
in their
is
1,
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,
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
word
as to
mixed metaphor
in
Pindar.
No
charge more
Of
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,
iroiijtrai;
INTRODUCTORY ESSAY.
xliv
The number
large in Pindar as
count as mixed
This
is
is
supposed
nor, in
;'
any
not so
is
case, are
we
to
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.
foil.),
in
strings.
in
slip.
just helm.
art steward.
Many
at,
and
it is
In such
show that
Epinikion.
it is
its
PINDAR'S STYLE
AND
ART.
xlv
set
How
may be
all
how
gracefully,
soared,
it
be but for a
little
rise
distance, along
its
Germany
constellation
and we cannot
tell
which
is
mythic
past,
which illuminated
present.
The
selection
Now
now
sources of the
it is
myth have
is
now
INTRODUCTORY ESSAY.
xlvi
god or
presiding
internal motives,
prophecy
perhaps
all
three.
This, then,
is
the function of
the
myth
last step
all
The
woven.
Symmetry
in Pindar.
how
Pindar
for
it is
is
art not to
count on symmetry.
parallelism, is universal.
It is needless to enlarge
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.
AND
PINDAR'S STYLE
ART.
xlvii
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
1.323.
IL424
Moriz Schmidt
structs a different
(p.
III.
44 4 3
fo.
17.88.8*8.
V.
44
scheme
4 epod.
3. 4.
4' 66 44=20.
fifty-six
the
against fifty-three.
INTRODUCTORY ESSAY.
xlviii
We
find
it
elsewhere in Greek
We
vop.cs-
and
De Metris
'
Pindari, p. 182.
PINDAR'S STYLE
AND
ART.
xlix
TrpoKtofjiiov, fjtlffov
for
Westphal
to set forth
made
evident for
all
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.
tbe scheme.
The
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
makes
bant, a
modo quo
preces
fundebant, KIVOVVT^
DDCANGE.
nempe rbv
Kara rov
aloOfiTov
(>fi(f>a\6v.
etc.
INTRODUCTORY ESSAY.
the Terpandrian
vofjiog
seldom has
its full
number.
The name
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
and
P.
at
any
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
Mezgers
recurrent
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
Phaidr. 264 C
dXXa rode y
olfini
at.
settles forever
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
:
col. 5).
AND
PIXDAR'S STYLE
ART.
}{
all
controversy
You may
while
principle in the one,
is
it
we
0. I.: 7
0. III.: 5(7r.)
8(i.)
6
0. XIII. : 23 (7r.)
(p. 459.)
2(i).
P.
I.
28
(7r.)
+ 14
(<i.)
(p. 83.)
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
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),
INTRODUCTORY ESSAY.
HI
down on
tecture, so in
line of art.
The
entasis
We
each triad
its
function.
that
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
other matters, I
new
one.
As
PINDAR'S STYLE
AND
ART.
lift
see in
Pindar, and
it
would be
easier to
become a Terpandrian,
cer-
a,
abab a,
a b
c b a,
ab
c b
a,
c
a ba
c b
a.
c,
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
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
a+a+(6).
This
is,
INTRODUCTORY ESSAY.
liV
all
them
to
..
made up
of word-feet.
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
\
them.
odes there
is
element without
1
much
W. FURTWANGLKR,
offence.
sense of unity
PINDAR'S STYLE
demanded a
less
fit
ter or a trimeter.
AND
ART.
ly
The
preparation, as Dissen
would
call
it,
and
establishing simple and easy proportions for most of the PinProblems there will always be, and bold would
daric poems.
be the
man who
last
Of the
composed
in single strophes.
Of
N. 2
P. 6
five,
six, I.
Most of them
One
triad
are in triads:
0. 4, 11 (10), 12; P. 7
I. 3.
10
10
12
_1
44
One
triad
is
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
illustrative
Each element
is distinct.
INTRODUCTORY ESSAY.
Ivi
it is
a frag-
exceptional position
among
most of the
odes.
we should
is
versification is
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.
J.
p.
349.
PINDAR'S DEVELOPMENT.
that the mass of the story carries
it
Ivii
triad,
we recognize the
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
To
I.
7 has
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
it
is
warning against the rash application of the principle of development. Let us see how the case stands with Pindar.
The
life
from without.
modern
critic is
from within.
number of
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
to
INTRODUCTORY ESSAY.
Iviii
Epodes
but
it
easily distinguish
It
far to say that the law of the department, the lyric rtfyioe,
Once
fix in
mind the
the
characteristic stages,
and
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,
"
"
the word
is
dexterity
a scheme.
comes
Now
when we
some such course
in too often
while
may be
Leopold Schmidt
1
riod
'
Of
all
students of Pindar,
12, 7
0. 10, 11
N.
2; 0. 14,3,2; P. 3;
5.
Period
II. (01.
N.9; P.I;
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
Period,
do not wait
first
in its
tone
but
it is
extrav-
is
8.
INTRODUCTORY ESSAY.
Ix
is
another matter that leaves ample margin for varySchmidt maintains that the metre shifts from
ing judgment.
To
a
priod.
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
it is
con-
PINDAR'S DEVELOPMENT.
Ixi
We
tell
visit to
Syracuse.
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.
own
zeal,
is
A general
INTRODUCTORY ESSAY.
Ixii
and shaped
poem
but
it
was not a
itself into
We
its
to Schmidt,
have any such organic unity
Now, according
sees the
it is
After
difference.
it is
is
plastic force.
fifty
the
signifi-
in a
formula; before,
so incarnate that we cannot dissect
is
exhausted by
its
recurrent bur-
dens,
its
where we have to encounter the danger of a priori characterand the difficulty of a narrow range of observation.
ization,
same throughout.
But to follow in
its
of story-telling, with
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
meed
life
art
without denying
APPROACH TO
PINDA.R.
limited.
VII.
Rauchenstein
so
much
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
easier odes?
much
trouble.
The
fact
is,
man who
has
such course as
this.
INTRODUCTORY ESSAY.
Ixiv
When
view.
the
way
poem in
is
Key - notes
separated to the eye.
makes
itself
The welding of masses
moods and
metres.
Some knowledge
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
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.
recited.
the
flute,
survives,
Their poetry,
was, had not the sustained flight
It was from the poems of Stesichoros
full
fire
as
it
dithyramb
is
ipepofv KiOdpiZt
\tirra\ey
poXiry r
*
\tvov
$'
0dpjayyi Xtytty
viro
KaXov dtiicv
Si pfjvirovTtG
<j>utvy' rot
i>y/i<fJ
a^tapry
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.
bars in music.
In language, as
voice.
The
the stress
itself
seen,
is
rhythm
is
marked by
stress of
the ictus.
Rhythm when
metre.
we have
stressed part
metre
is
note).
The
thesis.
I.
the thesis.
Represented
The
in
dactyl
or
Bars having
teurs, a part of
is
equal to
Pindar by
~-
J J"^
J J
htt-
METRES OF PINDAR.
Unequal Class (ylvog
II.
double of the
thesis.
which the
StirXafftov), in
Represented
The trochee
in
Ixvii
arsis is
Pindar by
^
^, -^
J*
J'J'J'
measure.
The
Cretic
First
Paeon
>_,
^, ^,
^ -^ ^
-^ ^ -^ ^ ^
^
or^^- - =
J
J
J"
Fourth Paeon
Resolved Cretic
Bacchius
So
fH
J
J3 J
JH
^
J*
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
,_,
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
and
is
designated by >.
INTRODUCTORY ESSAY.
Ixviii
An
or two-time trochee
irrational
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
stress.
unstressed
thus
The
.
;
So
A denote
A
"
A
"
A
One
metres
or
"
*\
p
p.
"
four
Aiffffo|
If this verse is
syllables,
fiai iral
ZTJVOQ e-
Xtv&tpi-
ov.
we should have
Measured by
all
we have
this system,
made up by
pause.
iviirdv aXiro&vov.
'
*-**
with anacrusis
(d).
(a),
"
*^s
f
I
It is
now
read
(c),
and pause
APPROACH TO PINDAR.
xix
_
^
>
,^|_>|_>|_A|?
or
or
t_
We
laid
The
tion.
ject
The
iccJXa
Within
J|.
details
We
by curved
lines.
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.
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
a a
So 0.
Stlehie
4,
Stt. IV.,
0. 6,
Str. V.,
0. 7,
Str.
I.
4
4
4.
4.
3 Vstr. VI. 3
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.
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.
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
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.
it
becomes palinodic-mesodic.
PalinodicMesodic.
On
a b
a b becomes a b c a b.
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
.
Dactrio-
epitrite,
epitrite.
SU pp Ose d to be
as 4 to 3.
epitrite
a rhythm in
,
',
meaning l
which arsis
'
-~-
convenience' sake
|
=
is
and
to thesis
.
The
is,
METRES OF PINDAR.
The model dactylo-epitrite rhythm is shown in O. 3.
About half the extant odes of Pindar are composed
in
more
There
and the
still
a thorough correspondence
between the sense and the rhythm. The Dorian odes are much
stirring
cretic.
is
development
is,
as a rule,
much more
reg-
2.
is
is
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
-* --, in
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
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.
INTRODUCTORY ESSAY.
Ixxiv
young and
shows
lusty
The
play.
Cretic
or Paionian
rhythm
two of our
itself in
counted among
derstood.
keynote
is
on
series of variations
its
made
"Dorian mood of
Gray,
who
moods
"
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.
in
v.
102
is
eyue
3e
crr<f>av<3<ra.i
"
Ktivov iinrtiw
\
"
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.
Av2/a>
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
p.
650 foil
METRES OF PINDAR.
at least the general identification of Aiolian with logaoedic
may be
maintained.
It will
suffice
'
flict
fit
as a
vofjioQ cTrtidjctaoc
was
nearer to us.
*
s
I.
p.
I.
p.
still
the cithern,
In Pindar's
subordinate.
iraaiv doiSoXappdiCTaiG
Aio\c
apftovia.
PRATINAS.
INTRODUCTORY ESSAY.
Ixxvi
The
beyond
all
avTirrrpo<f>Ti,
and
iirudos
VIII.
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
poets of Greece,
who seem
such
is
Homer back
be added that
1
if
"
PINDAR'S DIALECT.
it
Ixxvii
summary
of
The
forms familiar in
echoing verbs
Homer
in -ana, there is
no
-$i,
The
and
first
no
infinitive in -cp*vai.
in -jwv
The
and not
in -|u,
Aiolic gives
fire
INTRODUCTORY ESSAY.
Ixxviii
So
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^
>
-<
have
a,
as
So
74).
in
compounds
gins with
we find
Whether we
-ovo, as
''
priov (0. 6,
i\
as
-TT|S
So adverbs
35).
13
al.).
is
in -*,
as ^>wvaar
now
a.
(O. 3,
1
W.
A. PETER,
De
cum
Pindarica comparatis.
PINDAR'S DIALECT.
Ixxix
Nominatives of the
words
So is dXo)7r?j. So
compounds the second
e,
as BoXi\f)pT^of (O. 8,
Adj. in
-rjpos
and
T)\O
A
/,
as dpj/toc (O. 2,
with
^ju-,
numerals
(O. 7, 55),
So
in -as,
(O. 4, 138).
xrpi/Tr/c
noteworthy exception
-tjios,
Words ending
is
compounded
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
(P. 2, 63),
X^yw
t|.
(P. 4, 292).
6), rpa^oiffa
= TpeQoiffo.
1,
(O.
(P. 3,
113
al.), ^aei/vdi'
1, 6, etc.).
w in
36
al.)
ov.
alone
is
We
INTRODUCTORY ESSAY.
Ixxx
2i/|t>aicov<rat.
eVXde for
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
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
and
in writing,
Mommsen and
and
digamma both
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,
p. 39.
PINDAR'S DIALECT.
meric.
'ilov
foi, ff,
F6v
(=
otSa and
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
(P. 1, 29),
faSovn (P.
6, 51).
rid of
by
emendation.
oiKtiv is
4, 22).
else,
14, 21),
(P. 9,
fttffyxde,
Fuaviv (O.
e'c
85
it
al.),
elsewhere
The digamma
5, 11).
(O. 8, 48).
aFarav
Probably
middle of a word,
seldom indicated in
in the
this edition,
e. g.
of the insertion
is
sensitive as possible.
is rare in Pindar,
though
he some-
Ahrens writes
vowel before a vowel
[11], 45), if Ulff(f
diphthong
it
'Op0w<n'ac.
is
Notice especially
(O. 13, 68
ed.
aFaTav
al.).
is
preferred.
*i- is
4*
8, 35).
INTRODUCTORY ESSAY.
Ixxxii
jj ergk
4,
^fvaofjL
[11], 44).
is
52); in 3
6); in
elided in 1
s.,
pi. (often),
KvXivlovT
inf.,
a^irjfi
s.
(P. 1,39).
SYNIZESIS
and
is
very
common
Diaeresis.
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.
17).
Comp.
(0. 1, 40,
70; 0.
48; P.
8,
2, 12).
G.
Also
in -rpioiva
s.
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
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
-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:
THIRD DECLENSION.
The
dat. pi.
Xalfffiaart
<r-
1,
53).
ends
stems)
in
we
more
-<n,
fre-
p.tya.-
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),
(I. 3,
N.
(P. 5, 97).
55).
Words
in
Ace.
-t
pi. ftaytXijtc
al.)
fia-
ripi
avipwv (0.
1,
66).
From
Zcv
Attic is far
more
common
than
Am
The termination
.
in
TTofli,
ro0i,
which
5.
-0ev
is
always
IIo<reiSawi'i.
variant
40).
(-to)
oiQtv takes
occurs frequently.
and
genitive
The
not common,
IK
-0i
irapa.
except
INTRODUCTORY ESSAY.
Jxxxiv
GENDER.
ways (0.
Taprapoe (P.
7,
81
48
8,
1,
is
15)
W,
al.),
*S
Gender
So
fern.
commonly
is
Mapafluiv
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
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
'
iroXvs
as fjLaicporepof.
PRONOUNS, Personal.
<n5
3, 77).
latter
Pronouns*
TOI is
fol
is
Gen.
or TV.
common.
have not ventured to write fiv with Her(See G. Meyer, Gr. Gram.
411,
(P. 4, 36).
414.)
ap.p.S.
D.
r4i, <r$iv.
afJ.fJ.iv,
Ace.
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
PINDAR'S DIALECT.
find u/xoc (P. 7,
15
8,
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
Of the terminations
is
(Aiolic)
Terminations.
is
hence ap X
Verb.
article
(P. 4, 205).
-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.
-jxev is
(P. 4, 2),
fore -\uv
aTap.tv
orjjmt
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>,
ings:
So
in
Many
verbs in
K\tfav (O.
1,
aor. in { instead of
the ordinary
(see
Impugned by CHRIST,
Philol.
XXV.
p.
8, 17).
529).
Kare^a^ev
628
MUCKJS, p. 29.
INTRODUCTORY ESSAY.
Ixxxvi
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
&*
(P. 4, 34)
tion
Contract
Verbs.
Verbs
tracted.
-|u.
from verbs
Yerbs in
~V*'
lic)
is
in -o
|.
Verbs
0lj
in -e
contract
contract.
Verbs in
as
_<<
ndeic (P.
in
3, 65),
Traptarav (O. 10
first
is
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-
Part., t<ra6)j.ivoe.
PINDAR'S SYNTAX.
has for
its
Ixxxvii
ur(u
is
a Doric verb
OlSd.
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.
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
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
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
iiraptpov
(I.
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
dialect.
satisfied
in
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
21
9,
TroXtW
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,
9, 60.
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,
may
4, 121),
its
The dual
Dial.
I. p.
272.
is
PINDAR'S SYNTAX.
1
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-
its
wide poetic,
is
its
pot>
The
adverbial accusative
is
common
Kaipbv
ft
<j>0eyato
S"
1,
ening of x"P tv
pounds
<j>vffiv,
<r<J/ia.
^Arj, ^pwra,
v^u^ar, 8v/ior,
o^iv are hardly
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
^\ av
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.
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
Terminal
ArrusatiTc.
peyapov (P.
5, 52),
(I.
more concrete
preposition,
and
it is
The
,_
fienitlTP
,.
its
88
Two
Noteworthy
is
the large
employment
of the adj. in
-toe
6, 33.
4,
PINDAR'S SYNTAX.
xci
AJ. !*.
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.
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
idioms.
<f>6pat
aXaXaTog
The
as SpaKovruv <po/3at
is rare,
appositive genitive
where SpaKovreioi
llwv,
is
BKRGK, G. L. G.
I.
p. 67.
Possession
Cf. N. 3, 60.
So after elvat
exemplary.
is
common.
'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).
(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<:
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
ayura
VQ
<j>tprepoi>
fiy
in
English.
'OXu/*7rmc
1, 7)
^ ra ^ 'p repov>
worthy of a note.
(0.
is
felt
remarkable comparative
is
Trpiv
with
P- xciv.
3>
6,
61
P.
4, 40).
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
[8], 5).
The
but
it
limits.
PINDAR'S SYNTAX.
The
xc iii
the
dative proper, or personal dative (Latin dative), the local dative, and the instrumental, or, better, comitative.
The
the locative
is
brought out
is
especially
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,
yiv1
1,
afyitri
depends
The
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
4, 21.
The conception
personal dative
personal dative.
/xt\t
icXiOet'c,
and the
So the
but in O.
1,
dat. with
92
K\I vcvQai,
N.
4,
15:
it
r^>5e
would
INTRODUCTORY ESSAY.
fciv
to him.
gen., 0.
36
22
6,
has the
i//avu>
35; N.
dat.,
;
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.
So
The
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,
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
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
in Pindar,
we
are pre-
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
less
ervr
avayxtp.
From the
such as
when
forefelt
is
construed
Nor
ovre follows.
personally, as P. 3, 4
mentally, as O. 6, 31
*rpii/>
?e
irapQtviav w3<;
ft
xoXiroic.
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
5,
The explanation
dat. of place
and time
is
The
is
potent.
used by Pindar, and sometimes takes the place of the ablative genitive, Avev
(N.
7, 2),
1,
88),
and
INTRODUCTORY ESSAY.
xcvi
We
used.
The
make
it
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
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,
t>"
"
"
outside of,"
beyond," above," occurs once
Pindar's favorite preposition is iv.
in O. 6, 25.
in the sense of
"
in
composition, where the original force best shows itself, is acquainted with its realistic touch. Compare, for instance, even
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,
PINDAR'S SYNTAX.
New
instrumental iv
we can
xcvii
Everywhere
it
is
in this so-called
sible
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
favor of
in
2m
made
<rai
= aXafletc
avv
its
use
is
is
ytvo^tvai.
and business.
in
Xenophon and
regardless of
does not use
its
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.
by
itself
9,
P. 12, 21
48
o<f>pa
vcoda\>)c
5'
avv Ivrtai
avcrut
INTRODUCTORY ESSAY.
xcviii
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:
With
and
more common,
as
it is
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
to,"
is
,,
d/j0/,
another preposition
little use, is
0.
1,
for which
frequent in Pindar.
is
disputed)
It is
P. 4, 81.
prose
has
an adverb,
On
P. 8,
PINDAR'S SYNTAX.
As
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
is
weakened.
So
ap<pl (cpou^otc,
at
come
"
1, 12,
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
fills
P.
5, 94.
with ace.
TreSd,
TrfSa
vntv (P. 8,
which answers
piyav Ka^iarov
in
(P.
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.)
is
irapa
the ace.
in
except
"
not
is
note on O.
become common
?rpoc,
TOT-'
until
much
not unfrequently
later times.
in the
form
Trort,
(O. 7, 90),
,
4,
295
is
a favorite preposition
Qvfjiov
we
feel
(N.
UTTO
fresh,
and
still
"
under,"
still
The
tive
is
local.
See
The
com-
p. xc.
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.
is
stantive
it
has the familiar anaphoric use, the emphatic referis known, the use in vision, like 6$t.
In
ptrap.<jjym Tap.voiaa.i
Kv\iv$ovr
*
is
e \7rtStc.
That this occurs
not surprising. It is only in
movement
is
deliberate
enough
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
Belatire.
and
its
equivalent article
The
on general principles.
The middle
is
shifting
may be
no more
p. 34.
INTRODUCTORY ESSAY.
Cii
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),
fect,
and of yapvw
analogy of
(co/zac
noun
(I. 1,
fut.
30) where
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.
Present
Tene.
viereTat (O. 3,
ried.
The
mouth of Apollo, O.
5, 86).
the
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.
is
4,
49
conspicuous,
so that
fut.,
8,
it
stand, as in prose,
*Bd AorUt.
See the
list
in
RUTHIRTORD'S
New
Phrynichus,
p. 383.
PINDAR'S SYNTAX.
criii
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
oi/S'
tXafle
vaov flaoi\ev.
The conative imperfect is
Panhellenic.
The perfect has originally nothing to
.
atei'
as such.
Completed
ac-
is
aorist
abounds
in sharp
full consciousness.
summaries, and
The gnomic
used with
is
aorist, either as
the
with
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)
of
pp. 158-166.
INTRODUCTORY ESSAY.
cir
but the
fut.
often
lies
too near, as P.
4,
The
Indicatife.
7,
68
The
is
possible.
..*
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
adhortative, interrogative, or
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
1,
(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
III. p.
438.
PINDAR'S SYNTAX.
CV
clearest
Xeovrtc StaXXafaivro
>J0oc
The imperative
>J0of,
As every other
idiomatic
ates over av
icev.
KCV.
Homer
there
is
in a
110).
although
it
A
in
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
shows a
certain
Or.tio
9,
53
ohn qua.
4?
with
7T
<pavr/,
O.
7,
54
a,
O.
6,
49
faro,
33
B.
P. 4, 88
5*
III. pp.
446-465
INTRODUCTORY ESSAY.
C vi
The
ind. with
used.
foi
yairav.
i<TT<f>a.i'u>ffe
Homer
N.
1,
61
were
it
3, 25,
not for 0.
where the
6, 49,
relative,
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,
obsolescent.
Final
Sentences.
2, 31.
Selected by
sound,
it
needlessly attacked.
The sequence
is
conditionai
Sentences.
4
dar's treatment of the conditional sentence.
mos
t;
striking feature
is
p. 419.
The
p.
72
Amer-
PINDAR'S SYNTAX.
cvii
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
formal wish
We
The
we
two
classes
11
75
subj.,
O.
18.
The Homeric
3,
6,
8,
11
N.
3,
71
9,
44
I. 1,
50
6 (7),
oc-
curs in the
occurs in
It is in the
was
100
P.
1,
2,
11
3,
106
5,
8, 8. 96.
s. v.
Condition.
INTRODUCTORY ESSAY.
C viii
80
no frequentative
is
opt.,
no
N.
1,
67
there
Pindar.
Of
P.
3, 91).
exact
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
ficiently
It
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
article
curs in 0. 9, 41
P.
2,
56; N.
5,
These are
18.
all
nom-
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
noun
accounts for
we
call it final,
all
that
is
Whether we
form by using a
are
still
peculiar in
call it
epexe-
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-
II.
all,
once O.
9, 80.
The
pp. 467-469.
III. p.
192
foil.
Transactions Amer.
PINDAR'S SYNTAX.
consecutive notion proper (wore with indie.)
epic and lyric, in which the final abounds.
infinitive
cix
is
not suited to
Of course the
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\
The
inf.
to
infinitive is closely
prising that
it
p,'
cKvevvat
iroffiv,
inf.
an optative
use.
tive
'
and not a
picture.
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,
(Jump.
Am.
Juuru. of
i'liil.
IX. p. 142.
INTRODUCTORY ESSAY.
Cx
is
pate
.
vifjLta.1^
pr'ip^atc
P.
N.
davfjiaffov,
.
9,
32
'6<f>mQ.
irpoXiiriav Qvp.ov
The
aep.vov avrpov
43:
1,
Sotove
combined
accompanies and
Any
is
to
descriptive pas-
10 (ll), 53:
(6),
51
rpi-fyaiQ
SopTrov \vffiv
f.dr)K
eiTrtv re
<f>ti)viiaa.iQ
viv.
f^apafftraro
yjpri
ovft
tXade (=.<j>at>tpa
rjv)
KXeVrora.
The
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'
p. 165.
PINDAR'S SYNTAX.
C xi
TToXffJlU.
Causal
is
of emotion.
Seioavreg vftpiv
VQV .3^
3> 33
Causal
Participle.
irffjnrot' t v.
112:
dt'ovra, P. 4,
122
yadj}fffv
yo-
'
.
For a reraftuv.
the participle is treated exactly
y ya g e
O^UH:,
O.
46
1,
Ta,u)v Ifiav
^ato^tJ'ot,
N.
4,
P. 4, 180: ycueraoirec.
Pindar has a number of
:=
it is
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
The
ar cpcvyc,
fut. participle, as is
tvprjaetf^
well
not so Pindar.
known, has
'
in
range
Future
Participle.
in
amounts
46
very limited
the old modal
I. 2,
1,
precipitate.
Parttciple.
aii'/wi'
Conditional
P. 10, 29
85
*c\a2^n'.
yXcJffffav ei/ptVw
is
to
an
seen in N.
5, 1
fuluna.
An
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,
is
Qoov ravuev
ap/jia
a.TroTrlp.iruii'
tiro\^vfjiivoQ.
This
is
Absolute.
me w jtbin which
consciousness.
The
last step is
Homer
II.
except
See note on P.
8,
18,
406
is
= Od.
43.
Kcr/'r, P. 11,
See also
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.
1,
homerischen Sprachgebrauch,
p. 180.
*
N.
1,
41
ity of the
olxOeindi' irv\av.
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.
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,
use of
We
are so used to
on O.
3, 6.
P. 3, 102
der the
rule.
They
Participle IB
Predicate.
(piXnrrroi T
Many
avrodi
teal
Krcavuv
the reader
if
everything
no "
else,
and
See
my
W. J. ALEXANDER
in
foil,
INTRODUCTORY ESSAY.
cx iy
A complete
je t
to S p ec i a } studies.
fondness for alliteration in 8, ir, K,
Noteworthy
is
Pindar's
by
P. 1, 69
ayijrty) cinfy>.
course they are felt chiefly
:
fcrefft,
Of
them
out, P. 4,
193
Rhymes
when rhythmical
stress brings
32
find.
The
and
more
closely to
antistrophe.
Some-
PINDAR'S SYNTAX.
CX V
in the
beginner
stress to
it is
is
it is
the re-
word of a complex
so
little
tion.
is
difference that
If,
255:
vfjurlpac
Of Pindar's noble
aurivoQ oXfiov.
been said already, but the range is
is
See notes on 0.
1,
37
5,
22
P. 8, 88.
(Griittner's restoration.)
OAYMIIIONIKAI.
OATMniONIKAI
A'
IEPQNI SYPAKOSIQt
KEAHTI.
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fj,ev
a\\o 6d\7Tv6rpov
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4 4 3 4
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3 4.
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332.33
V. 3 3 3 2
3 3
3.
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iw
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io
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170
OLYMPIA
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TO 8' ecr^arov Kopv<f>ovrai
firjteeTi
115
etV; <re
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efie
re To<r<ra8e
181
viKa<f>6poi<;
(rofyla icaO*
ZEUS LAUREATB.
(Cob
of Elis.)
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B*
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II.-
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1.3.32.
II.
3 3
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2.
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22.22.
IV. 2.22.
OLYMPIA
II.
aXX'
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rerd^dai rbv o\ov
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yjpovov.
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yap avrbs
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80 Kciipov, fta6elav
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100
'Err. y'.
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115
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eyvov TTOTC /cat ft,o\aov
OVK drifAaaavrd vtv eTrrdTruXot
TOV, }Lvpv<T8r}o<;
f)j3ai
l
7Tt tce<f>d\dv
7rpa0
90
1*0
yav
146
re/ce
Aipicaiwv vBdrav ae
f
KOl l(f)lK\a
reXetov
<r\ov.
T;
/*e
eir'
eu^o
IBO
firj
/u-e/zz/arat,
TreptfidXXei,
ra
vti/
Bpe^ravro
166
Kwfidao^iaL ri "jradiav
XaptVtuy /ceXaSei/yai/
XiVot fcaOapov Qeyyos.
rpl<i Brj
io
Aiyivg, re ydp
TTO\IV ravK ei>K\et'j;ai,
'En. y.
lav epycp
royvetcev, el
<f>i\o<;
jreirova^evov
py \6yov
<f>vyo>v.
darwv,
et rts
dvrdeis, TO 7' ev
eft
TOV e%dpbv
PYTHIA
112
IX.
viKao-avrd
105 vrXetc-ra
ev
<w/3tat<?
i'
reXerat?
ere /cat
6' <w?
eKatrrcu <pl\ra,
TOV
TrapBevitcal Troffiv fj
vt ov ev'xpvr, a> TeXeo-t/cpare?,
176
e/j,fj,ev,
eV Q\y(j,7rioi(rl re KOL
110 Fa? ae^Xot? ey re ^at
e/u.e
dyaK\ea
icovpav
fj,d\a TroXXot dpia-rrjes avbpwv atreov
eTret Barjrov etSo?
(ryyyovoi, 7ro\\ol Se /cat eiv(av.
186
av
'Aw.
190
e'.
eTrXero
We\ov.
Trarrjp Be
Ovyarpl
<f>vreva)v
195
a/iap eXetv,
e&raa'ev
ft)/cuTaroi/ rydfiov.
ev repfiacrLV avrlic
125
ayv
8'
ae^Xot?
avnva
wywvos
aoo
ar<f>iv rj\Jdov.
206
'E?r. ('.
ovr<o
8'
w^iov
dvSpa
TTOTI ypa/JLfjui
dicpov,
/*ei/
avrdv
<rra<re
tco<rfj,ij-
\io
irreioNiKAi
eiTre S' ev fji<T(roi<; aTToryeo'dat,, 09
130
a/J,<f>i
foi
113
e'.
av irpurros Oopwv
-^rava-eie TreTrXot?.
215
'
fceivoi
APOtXON.
Coin of Kroton.
220
i.
inilOKAEAi BE22AAQt
HAIAI AIAYAOAPOMQi.
ST/J.
a.
fitcaipa
Tt
Trapa tcaipov
He\.ivvalov curvet,
KOfjLTreo)
5'A\eya re
a\\d
re
/ca t
TO
7ratSe<?, 'iTTTro/cXe
K\vrav
10
oira.
yap de
avrov
y\vKv
8'
dvBptoTTtov reXo?
dp^a
re
15
opvyvros av^trat,
o /tev Troy reoi? ye
TOUT' eirpa^ev
nySea-i
efifieftaicev fyveaiv Trarpo^
TO 8e tryyyeves
STROPHAK.
-Al
6. 111.
I.
4 4 4
.
6.
II.
S 5
3.
III.
3 3
S.
riYBlONIKAI
115
r.
15*. a.
Ka
819 ev
Apeos
ei>
ev dfjiepais
wyavopa TT\OVTOV
avffeiv fffiu
2rp.
rtv
'EXXoSt
pvTe? OVK o\iyav
8'
ylverai
86<riv,
etc
py <p0ovpais
evSalfjupv Be KOI
aTT^fKuv Keap
Oc&v
OVTO? av^p
vfivrjrrot
36
<ro<f)oi<;,
S? ai/ %ep<rlv
ra
#.
ev
r)
Trobotv
peyiffT* ae0\o)v
apera Kparijffais
\g ro\fia re
teal
arOevi,
'Avr.
25tcai tyaoiv
en
o ^aX/eeo? ovpavbs ov
o<rof9 Se
/3'.
veapbv
TTOT'
a^aro?
Wvos ayXatcus
ftporbv
*o
aurcG
a7rr6/Lt<r^a, Trepaivei
7T/309
cov.
ovre TTC^O?
j/at<rt 8'
teoi/ *cei/
evpot?
Trap'
ot<?
Trore Ilepo-ey?
eSatVaro Xa7era<?,
so
EPODI.
!>
-v,~l
II.
5.
>
>
>
-~|-~~l -~l
I-
l-Al
II.
3 4
>
I.
2 4
S.
/3'.
3.
PYTHIA
116
X.
'
<re\,0ct)v,
wv
0a\icu<;
'
35 eu</>a/uat5 re
ipei,
/AaXtoV
<ye\a 6*
opwv
Mottra
8' ou/c
TTaVTO, &
%0poi TTqpOeVWV
y'.
a7ro8a/iet
eo
66
lepa yevea
<f>vy6vre<>
VTrepBiKov Ne/xeo'tz/.
45/ioXei/
e?
Aewaa?
'AOdva,
7re<f>vev
70
re Topyova, KOI
75
\iOwov Qdvarov
'Eir.
y.
ra%v
8'
awro? vpvwv
d\\ov wre /ieXt<7O"a 6yvei \6yov.
<ydp
'
y\v/ceiqv
rov 'l7nroK\eav ert /cal pa\\ov <rvv doiBai?
so
nreioNiKAi
etcaTi <TTe<f>dv(0v Barfrov ev
repois,
veaicriv re irapdevoLO't /ieX^/za.
erepwv epws
117
r.
90
/cat
yap
V7retcvi<re
'Avr.
aJv S'
5'.
96
Kaa~ro<f opovei,
aipa/co?,
o<nrp
ffiav TTOITTVIICOV
100
%dpiv
65 ro8' |et>ei> ap/ia IlteptSwv rerpaopov,
ioc
opQos.
av^ovres
ev
8'
dya0ol<Ti xelvrai
H8RAKLBS.
Coin of Kamarint.
110
IA*.
OPASYAAlQi eHBAIOt
HAIAI 2TAA1EI.
.
t;
Kopai, Se/ueXa
/u-ei/
evKoBea irovnav
'OXu/i7rta8ft)i/
a*.
a
s
6fj,o0d\a/jie
Hpa/cXeo? dpiaroyovq)
fiarpl Trap MeXtay ^pvaecov e? aSvrov
5 Bfjffaypov, ov 7replaX)C friftaere Ao^ia?,
'Avr. a'.
'Iff/jyvelov
d\a0ea
S' ovv/j,af;v,
o<>oa
ejnv
ieav TLvQaiva re
10
fjLavriwv OCOKOV,
7rfa>pj0v rjpaiicav
:X -
ical
opOooiicav
'^
re Ktppa?,
20
STROPHAB.
IL>: -*
i_,
H
|
^^
-^~
-A
111.
>:
L44.
II.
L.
I-AJ
34.34.
333.5.
III.
EPODI.
-v>
^>^'
ll.>:-~
^w
w:
I.
-Al
-Al
-~l -- )-AO
i-
--
l-Al
4.
II.
4.
ev rep
pao-vaios
eiri
rplrov
vatrev
A'.
vrav
<TT<f>avov Trarputqv
15 ev atyveais dpovpaicri
YlvXdSa
TOV
<)oyevo/jLvov Trarp?
yeipaJv VJTO Kparwav tcatc B6\ov
dve\
rpo<f>o<;
~~iTT~*~*
C/609,
OTTore
AapSavtSa Kopav
^oA,a5
20 Kaa-<rdvSpav TroXteu
<ryv
TfOp^sP
'Avr./S'.
<ywa.
evr'
Eu/3/7ra>
sc
TO 8e peat? aXo^ot?
d/Md%avov
Be 7TO\irai.
Odvev
tcXvrais ev
TpaJwy
eXi/<re
SO/AOV?
e'Trel
d^fi 'Ei\va
a/S/joraro?.
TTvptoffevrcav
8'
apa yepovra
't- f
gevov
85 Srpo^toi/ egi/eero, vea K<f>a\d,
aXXa
xpovtqj
avv "Apet
XL
1>YTHIA
120
'Air. y.
*H p,
<o <f)i\oi,
Kar
d^eva^liropov rpiotov
>
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
cpKVTari,.
76
so
'Air.
8*.
e6X^r
& re rbv
60 Sicufiepei
'Ew.
'I<f>iK\eiSav
FioKaov
fdva%
v_
i
C\
->^
\x
i*.
vfiirrjrbv
<re re,
10
nVBIONIKAI
IB'
MI A At, AKPATANTINQt
AYAHTH*.
Xrp,
,
'.
Ka\\i<rra ftporeav
T'
o%0ai<; UTTI
ITaXXa?
e/c
<f>evpe
Trore
0pa(reiav Topyovcav
'
i.
STROPHAB.
PYTHIA
i22
XII.
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
eppva-aro TrapQevos
20 o<f>pa rov
30
fj,e\os,
36
yoov
d\\d
46
so
yvo>fjuj,<;
de\7rrta (Ba\a>v
TO /46P Baoaei, TO
3' OVTTO).
MEDUSA KONDANTNI.
NOTES
The abbreviations
familiar
such as O.
all,
or nearly
N. r=Nemean, I.=Isthmian.
Once or twice A.
is
all,
or Pindar,
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
'
1, 1
ap-irvtv^a a-f^vov
called a city
no
figure of speech, P.
2, 1
^fyaXoTroAte?
&
Svpajcoo-at.
>
lo
NOTES.
126
(Herod.
7,
158).
Soon
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
for peace,
OLYMPIA
127
I.
by Pindar's
first
Pythian.
art.
EpiAischylos, Simonides, Bakchylivisitors.
No Doric prince ever
ily suffering,
day.
The
01.
first
77 (472
B.C.),
NOTES.
128
at the height of his
power and
Some put
glory.
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
beautiful
but
it
which
owes, in turn, no
it
little
of
was commended by
its
contest
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.
OLYMPIA
129
I.
(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
involved, as
shown by the
is
wepe'x
profound philosophical
42
parallel passage, O. 3,
8'
dpicrrfvft
fjitv
v8o>p,
sentence
-.
is
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.
alOcpos
ai/8dcro(Av
4: OMTI
.\
'Air. a.
12. 0|iicTTiov
5s
Strabo,
Others
1,
4,
6,
"
TroXv/ujXo),
44, 3.
49;
130
13.
;
. .
of doom,'' "ju-
dicial sceptre."
wo\vKdp7r<a
" fruit."
paivt^tv evXoyiats.
6, 48.
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
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.
Apov
the <dp/uy|
varies
much
in various authors.
In P.
it
<f>povTi<riv
feel
the
stir
(ppovridfs is
P.
9,
77
'En-, a'.
icXt'os
The
23. linroxxp(iav
24.
v. 93.
Echoed,
KapViu8a
From xPMa
AvBov The gold
:
vi'of
of
rvdoXf t
<rvvf~
v. 1 glitters
in
NOTES.
132
Ka.0o.pov Xc'|Jt]Tos
Xfftrjs
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.
14, 5,
na\ ra
(OTi.
35. IOTI:
f.
dat., little
8e after
the vocative
Pindar, and
Cf. O. 6, 12
shows that
is
;
to give pause.
It is not
uncommon
in
877.
8,
o-e
is
15
is
not
apirdcrat is reached,
thee I will utter what
impression
Touching
OLYMPIA
forms.
licoXeo*
Sc. Oeovs
133
I.
T&V e\ivo(uirTv
P.
I* ?pvov
between attribute and substantive
:
is
The
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
P. uses tp-epor
ditional distinction.
33
Of
is
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.
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
vivid.
Kara
fnf\fi(rri
fjLf\rj,
last morsels,"
The
finite
*Er.
'.
51. 8ie8<uravro :
implying a cannibalic delicacy.
verbs throughout force attention to the horrid details.
The
plur. exagger-
NOTES.
134:
ates, P. 1, 34.
d<fioTajiai
is
y<urrpi\Mpyov
Asyndeton
to be expressed.
is
especially in place
II.
Krjyopovs.
form of a stone."
foi iranjp:
We
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.
TIS
whole.
Tt,
OLYMPIA
135
I.
v.
.-
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.
.-
" halloo."
to carry
so delicate
n-opevo-ov
fuit aut
WAoo-ov
are accidental.
79.
tibi
:
78. Kparti
81.
irAa<rov=cp.
irp6(rp.iov.
IT'S
Cf. v. 22.
from behind.
Comp. the
NOTES.
130
4>wra:
So
I. 1,
prolonged
"
ov,
coward
no
An
Doric for
r/.
which
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
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
;
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.
OLYMPIA
137
I.
I.
On
2, 29.
see v. 22.
ft.
92.
ir<Jp<{
icXietfe
The conception
is
Echo of
TriaScoi/
and
tv 8p6p.ois IlfXoTror.
strength
.
. .
complementary
(pi6(ji(va.i
PIOTOV
vdts (V TrovTff
His
licious,"
So
6a\ma<rrai irfXovrai.
which we
also extend
beyond
'AI/T. 8'.
"
life
its
98. ncXir^co-oav
"
:
De-
proper sphere.
aliquid.
<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
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,
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
an
as
p.r)8(Tai Sc,
(pydfcrai
"With
107. Jrxwv TOVTO KaSos
108. el Si (i*| ro.\\> Xiirot: The origi-
(re VIKTJTTJV.
than to survival.
'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
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
96
P.
1,
12
1.
(5), 46.
iXic^
OLYMPIA
139
I.
is
"Keeps
in warlike plight."
favorite
it
"
em =
of the great.
in,"
though
xopv+ovrti
"
Heads
itself,"
assertion merely.
OLYMPIA
It
1.)
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.
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
them up by
put to
flight,
foreigners.
Kapys
Theron sat firmly
gratitude to Ztvs 'EXev&rpios and 2o>reipa Tv^a for having delivered them from such a monster (0. 12).
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
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.
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.
no
is
avSpa
ft
(Ilura)
A
A
C
(dtov)
(Aid?)
('OXv/ii7rta8a)
B
B
(i7po>a)
(avBpa)
('HpajcXt'ijf)
(Qfjpova) C (TfTpaopias)
4. aicprfOiva:
a* po & tv a
Comp.
8if\e>v (6v(
icat
irfvrafTrjpid
tcr-raatv ioprav.
NOTES.
144:
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-
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.
:
"
"
verb.
the
otKTjjio irorap-ov
full adj. is
Comp. P. 6,
name as the
OIKJJ/LMI Trora/uoj/.
irora^ia 'A.Kpdyaim.
In such combinations
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
&
os are represented
ala>v, xp vos
This personification is easier to the
>
OLYMPIA
H.
145
>
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
iroo-is
and Zeus
called
is
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
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"
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.
:
" send."
24. avcicas
v. is
vov.
predicative.
Ar. Vesp. 18
wjnqXcSv:
The
fircrai:
it.
{Jopv
26.
Position as in TraXiyKorov Sa/xao-^eV, V. 22.
" Before the face of
mightier blessings."
jcpecr-
27,
Ppopw
Kcpavvov
the locative " mid."
father.
'Ayr. ft.
3Xr).
31.
iv xal 3a\acrcrqi
Here
*cai
belongs to \fyovri
(Bossier).
'Peas.
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
the enjoyment of
life,
and
we remember
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
>
34.
is
only semi-dependent,
Tf\t vrda-ofjif v
man-
atXiov
iraiS*
The
per-
38. *J?pav
Gnomic.
39.
Molp(a)
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
8'
fiporois
:
nddrj,
(rtfjivas
The comitative
trvv
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
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
"
:
e^ovrt,
CXOVTO
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
Xvpav TC
Blended
'Air.
"
54.
y.
in v. 1
-ye'pas
52. fuX6*v
dvai<f)6piiiyyfs vpvoi.
Prize."
6|uSieXapov
Likewise victo-
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.
SvwScKoSprfpcov
Hence O.
nxivz=T6
Chariots had to
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
irXovros
5, 1
dvdyr)
"
"
TO dypevew TO dyadd.
dypoTtpos
is
OLYMPIA
"
be pardoned,
"
vnixt iv,
149
II.
'
is
facilitated
M^
>
rvpa-iv
Good
or of the wicked.
in perpetual light
past beholding for
When a
Bages.
transition stages,
man
NOTES.
150
(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'.
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
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.
$>d(ryavov.
it is
(8), 37, is
fivdcrcrwv
"speed."
aic|x$:
71. iceuvov
"
&KXCOVTI
= o^eovcrt
'Avr. X.
:=:
&=
'i
75. lTJX(iarav
"Persevered."
iarpls
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.
:
<
8*.
,
N.
N.
5, 14.
TIS
of
10,
28;
I.
2,
38;
and
Like
18;
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
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,
('.
An
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
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.
another triad.
on announcing the end.
I.
iroXXd p>t,
(5), 39,
vnr'
dyiewvos
Memnon
Acre.
:
are
Asyndeton
Comp. Theokr.
&
word which he
elicits
from
94.
T<yirdeiv.
<ro<jxis
Of
poetic
$v: A
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.
It is
poem over
ger).
especially as
it is
mocking
effect, e. g. in Plato's
OLYMPIA
153
II.
The
metrical
(?)
grounds
whom
KOKOV
<a6v) is
ingenious.
See P.
1,
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.
'.
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.
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
iipp.a
doov rdvvfv.
diro<pavovfj.ai (Schol.).
an optative (impera-
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
dv* 'EXXciSa
B.C.).
G2
NOTES.
154:
rabid men.
Comp. 1. 2, 1
^pvo-afinvKoiv
ts 8i<ppov
Mourav
eftaivov
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).
:
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.
NOTES.
156
Olympia
(v. 34),
which he
still visits
(v.
35).
Theron's praise
is
no
less
who walk
because
it is in-
direct.
The
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.
6'
dSeiv
'EXeVa:
*.,
3.
TTIOVIKOV {j^vov.
6p8cio-ais
Simply
"
raising," without
any
side-
OLYMPIA
HI.
157
p.tv &8vfj.(\(l
Aoca TrapeoraKf.
We
it."
veoovyaXov
Combination of
ireSiXy
The
Tre'dtXoj/
6. lire!
'fan-, a'.
Theron
victory of
Pisa (Q(oivui).
irovs doiSai,
ye-ywveiv
V.
34
and
flute (Fennell).
-che
(eVti/tictov),
Comp.
with
lyre
strikes the measure.
to
v.
TO.S airo
The song
is the*
refluence of the
coming
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
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
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
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 ^
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.
wards
still
(f>v\ai
y^ 4 P wv
natunilly follow the
further enlarged.
>
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.
2rp. /3\
Apollo,
112
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,
is herself.
(11), 81
Still
iv 8' fvirtpov
(<fr\ftv (vanrtdos
is
favored by 0. 10
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
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
(Herm.).
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>
Bergk reads
&pfjuuv.
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
NOTES.
160
OijXeiav:
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
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.).
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
37.
N.
6eo\ evaynvioi.
dvSpwv
T*
10,
N.
pijx<}>ap(id.TOV
5,
52
irvKrav
VLKOHVT aperav.
See P.
6.
d(pfTrjpioi
the
OLYMPIA
Schol.) cannot be construed;
and
and
|
dai.
39
it
makes no
sense,
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
40. ltroi\ovr<u.
Sc. the Emmeniequiv. to ytvco-dai.
Comp. what is said of Xenokrates, brother of Theron, I. 2,
:
'ETT. y'.
41. TcXcros
= ras
42. ei
toprds (Schol.).
8'
apurrcvci,
O.
1, 1.
The reading
vvv yt
is
B( oTi/aos (d>v.
aperaio-iv:
"
By
Now
loxandv
8e.
Of one
that casts
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
:
(= 8oKoir)v
paivecrdai),
ti
dvaXi<TKOi[U.
Brettioi.
p-
OLYMPIA
KAMARINA was founded by
hundred and
the
IV.
Syracusans, 599
B.C.,
one
Destroyed
time after-
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,
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
Kama-
rina.
Well
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
The
final trial is
bis speed.
so as to produce a peculiar
effect.
The
ST/J.
Phaidr. 246
and
story.
which
irrr)vbv ap/ia
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
ff. O. 3, 8
<popp.iyya 7roiKi\6yapvv, N.
"
3.
:
|xdprvp(a)
The only
v^.vrjrl]v
possible
(Schol.).
for
meaning
4.
'-
NOTES.
164
caudam.
leniter atterens
i-fiva>v
refers 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
:
"canopy"
Tv^wvos
o-aj.
avepjeoxrav
(KowuTrelov).
'OXti/wrioi/tKai/
P.
8.
1, 16.
9.
vpvov.
and
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.
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-,
7, 12.
69
P. 2, 31
two groups
I.
4,
249
6,
39
al.
and
II. (1
{-fviais Trai/SoKou,
Hmx^av
16.
(2) 'Htrvxiav (piXoTroXiv.
the disturbed state of Sicily.
|>iX<JiroXiv
High
praise in
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
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.
:
VIKUV Sprfpov
0. 13, 30.
23. 'Ytj/iirvXc^
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
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
:
OLYMPIA
THE
is
V.
ing ode.
revolves
is v.
15
mVi
Kiv8vv(p
8'
d/ifi
KfKaXvp.-
16);
y\vKvs), the
the
work
is over,
OLYMPIA
With
aptrav (5, 1)
trv/^Xai/
(5, 1),
167
V.
compare v^nfXnTdrav
dyytXiav
y\vK(~iai>
d(ffh.a>v
(4, 3);
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,
a sarcastic comment,
local circumstances.
Much
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,
But
if it is a
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.
NOTES.
168
and of O.
brief
5,
carminibus
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
wo
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
ircfiirrapc'pois
and so equivalent
which many editors have.
oySorjKovra,
'E?r.
in
a.
7. tinrois T||U<$VOIS
is
endless.
The
horse."
gle," like
rSav
p.oi/a/i7rv^
oiofavos
is in
Causative.
dvrjp.
"
*(\r)s
Sole-frontleted
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
p.ovapiirvKia re
OLYMPIA
169
V.
K. lay on a
hill,
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).
The
the
new
35
light
and
aiyXav
/aoXwi/.
is 4><ios
To
life.
*ETT. /3*.
TroXif.
"
With
So Eurip.
sneer.
Xirais
Who
P. 11, 28
(fipovflv vop.top.fv.
KX\ iro-
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
Ida in Crete.
NOTES.
170
Cretans
among
dirvwv ev avXots
On
cations.
The Lydian
(v,
see O. 7, 12
flute
19. AvStois
Trap.<p<avoi(n
in suppli-
ev fvre<riv av\>v.
20. cvavopfaun:
y.
'OXvpirioViicc
The
victor
is
but this
is
who combines
'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.
Our
phalos.
cusans.
B.C.),
(468
earlier
B.C.),
than Ol.
76, 1
latest
fall
this
I/VKTI
6oas (K vaos
a7re<7Ki'/i</>$ai
8v' ayKvpai.
NOTES.
172
must be celebrated at Syracuse (v. 99). His charioteer, Phinmust speed to the banks of the Eurotas, and Pindar's
leader, Aineas (v. 88), must conduct the festal song.
Agesias's
maternal stock was Arkadian from thence came his prophetic
blood from Euadne, daughter of Poseidon (v. 29), a prophetic
god from lamos (v. 43), whom Euadne bore to Apollo, a pro-
it
phetic god.
help
(v.
idle.
May Amphitrite's lord speed Agesias's ship, and
prosper the poet's song (v. 104).
anchors
is
color, if
(ov8t TTOT
such a ganglion of personal and tribal relations involved in this piece that one is tempted to long historical and
antiquarian disquisitions; but if we accept Pindar's statement
as to the connection between Thebes and Arkadia, nothing more
is necessary to the enjoyment of the ode.
There
is
OLYMPIA
VI.
173
26
O.
8,
0.
5, 13.
1.
5 (6),
"
Golden"
for "gilded."
viroarao-avres
"
House," as
OaXdjiov
2. is 8re: Without a verb, as P. 11,40; N. 9, 16;
With us art the verb is in the ind., and not in the
1.
Xpwo-^as
vTTtarao-f
1.
KIOVO. 8aip,oviav.
. . . re
See 0. 4, 13. 5. PW|JLO> . . . (xavTeiai Tafias
often varies with the genitive so as to produce a
chiastic or cross-wise stress, thus emphasizing each element alter-
N.
9, 46.
jwv
The dative
nately.
K\fivav
Sfprj
Here the
on
stress is
2vpaKoo~<rav it
is
on
rap.ias,
Aapei'ou 8 e
yv ro> jSouXo^ie'i/o) KOI ov y vvfj
traipa
8' eVeiS))
rov
a-rtppov
17
O-UI/OIKIOT^P rav
Comp. Hdt.
dSfX<e^r
dvc^fios,
p.tv
while in
2vpaKo<r<rav,
p-fri
fjdr)
7,
TJV
Cf. Isai. 3, 13 :
pov dfiov. Cf.
irais.
rovfjiov
dvTtKvrjftiov
TraXaiw \aKpari8rj
TO
cr
Cf. v. 74.
implicit way.
There are
Ator, a o-vj/otKionjp
O. 3,
5.
a'.
8.
tort*
Sai|i<$viov inSB'
rxwv
exwv
N.
9,
45
Cf. Aisch.
IOTW Xa^wi/.
irotf.
\\
NOTES.
174
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.
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
"
Bqaavpos.
He
flung
it off
freely."-
tirirovs
gender, see P.
On
2, 8.
TU>V.
The
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:
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. $1X0VIKOS Bergk writes cpi\6viKos from i/tV?;, as he thinks with Cobet,
N. L. 691, that velxos would require <f)i\oviKT)s. The passage is re:
this
ferred to
pto-Tos
by Isokr. 1,31:
-rrpbs
fJLT}8(
&v
p.r/8f
8vad-
20. \Uyav
P. is a challenging herald.
O. 2, 101 aifiao-o/wu
opicov 6(i6cr0-cus
tvopmov \6yov dXadtl >d<a. 21. fwX^Ooyyoi: So I. 2, 7 p,(\i(p06y" will
yov Tfp^t^dpar. liriTptyovri
<rv/ji(pa>vfjarovtriv (Gloss),
ap" shall not
"
me
prove,"
say
nay (E. Myers).
:
*vns
22.
Srp. ft.
= *tXTif A
.
Sicilian-Doric name.
Comp.
8<J>pa
X<>s.
iceXcvOy 4v
KaOap^
For
K(\a8r)<rfTf,
26. arc^avovs
The
chariot
was
nymph
'Ayr. /3'.
29. a: The myth is often introduced by a relative
or equivalent demonstrative, O. 1, 25 3, 13 8, 31.
p.ix6cl<ra: P.
much prefers the first aor. p. of this verb to the second. Kpovty
;
2, 13.
30.
NOTES.
176
common enough
are
cisive
in all literature.
W|Mrowr(a): See O.
month.
iropo-aiveiv 86p.ev
may be
:
X.
45
7,
Xvot K v xaXivov
'ETT. /3'.
considered
3,
The
As
de-
a. is
fern. here.
33.
inf.
apJ>iir<5Xovs
Trope Kei/ravpw
ElXariSqi
Tpd(p(iv Xe/pwi/i 8S>Kdv.
v. 36.
34. 4>aKrxv<f. In southern
oUciv: Epexegetic
2, 23.
VTTO
feuyXaiy dcpuKTOty,
and
esp.
I.
icXem-oiaa
The
aor. e\a6f
would
mother.
KaXiriv
40. icdXiriBa
As
Od.
in
xov<rrj.
7,
:
20
The
Trapdevu(fi eiKvla
1/6171/181
er
"
(v. 85),
N.
7, 1
'EXct'^via TrapeSpe
was the
0crf<f>pova
'
Fit
word
xP vvoX a lTa
Moipav ftadvfppovwv.
O.
26, KXa>$o> is
of KXcodob Kaaiyvr)1,
2rp. y.
row."
nowhere
43. wSivos
Comp. N.
1,
calls "ArpoTros
36
eparas
for
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
:
C: pj dypiaivt
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.
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.
4*i
i<j>
-.
Homer
in
is
Trjv ie
The
TtKTovfrav \tiroi.
ex-
y.
As
e'orl
in Od.
1,
66:
Bergk reads
ddavaroio-iv (8a>Kf.
Trtpi
"
tity aTTetp^ro),
(direipTjTos,
unexplored,"
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
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
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
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
TT.,
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.
67. Opeurvp-dxavos
"
"
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
:
'
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,
5, 13, 9.
71. i{ ov:
"
"
drjo-avpov.
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,
'l/ii8aj/,
OLYMPIA
179
VI.
'
dirdopot irroxrarovri.
So xp^'
(thereof).
ffaa-rov,
Ktpvarai.
KptjiaTai = oriKpf'/iarat
source.
(Schol.).
ures.
the generic
viri
(without
sul>j.
KvXXavas Spovs
O.
av), see
So Christ,
3,
13
<a
nvi
77.
0X77.
The
82.
(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
NOTES.
ISO
"
ing loth
(Myers).
We
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.
iriojjiai
pres.
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
>
Paus.
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
He adds
own.
92. elirov
So the best editors with Ailios Dionysios.
'Ayr. f.
94. $om'Oprvyias Sacred to Artemis, an Arkadian goddess.
K6ircav So called with reference to the color of the ripening grain
:
95. Aa.fj.arpa
Persephone,
who belonged
OLYMPIA
181
VI.
1, 144), and Demeter and Persephone were much worshipped in Arkadia. \VKiirirov So, especially, when she returns in
(Hdt.
the spring.
Cf.
title
1,
1,
6
is
Zrjvos Alrvaiov
\^P LV
evo$ P. 3, 69.
Alrvaios
N.
who
com-
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'.
Wp'
'AptcaSias
Hand
Stymphalos.
Cf. O. 9,
22
Ketvwv TC:
On
97.
wjivwv
3,
.
Sfflot
= 8i8ov.
xpvraXaK-
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
many
years
SS).
earth
NOTES.
184:
helmsman
is
who have
'
dpd\avov
fvpelv,
The
25) need not have been ominous.
close may bring good as well as evil.
overlap
groom
1.
*io\ov
The father of the bride pledged the brideand then presented him with the
in a beaker of wine
OLYMPIA
once
(II. 9,
VR
185
Swp^o-frai is the
13, 492).
(II.
The
here.
effect
not implicit.
4.
can be got at
irpoirivwv
all
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
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.
K<U
7.
now
as then,
Comp. O. 10
eivas, so-
(11),
94
&T(
KOI.
Soo-iv
the figure
is
"
NOTES.
186
10. itaT^xovr(i)
oi>8(
viv
See P.
(poppiyya
Song
SfKovrai.
is
1,
96
f'x$pa &d\apiv
vira>p6<piai Koivutviav
Kart^a
iravrq. (pdris
similar formation
is ftioddXpios,
is
"
dapaKis,
in
Hymn,
often
Ven. 190.
"
12. 0djia
(Bergk).
tion of this
Qdfjia
Herinathena, No.
N.
'ETT. a'.
O.
4,
child of Aphrodite
With
rav trovriav
15.
Traitf
irap"AX$y
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
to be revived for
xP "
the
v/zi/os is
airoiva, I.
Slicrjv.
(4),
The
fvic\t<av
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),
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.
{pplXy
OLYMPIA VH.
2rp.
20. J6tXij<rw
/3*.
187
8iop6w0 ai=c'dcXa'
>
8iop0a><ra>.
P. uses
= 8if\0(lv opdas.
23. I* Aids
.-
The
line is
AXKfJiT)in)-\-ZfVS
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.
Comp.
'l(pi-
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.
'Avr.
/S
58 N.
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
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,
Comp. P. 4, 48.
249
36.
8, 60.
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
p.vt]O"r^pas dyti-
(e. g.
vrapeo-Keuao-tfat),
Od.
Duty." The
with burnt-offerings. 42. ws av
onus
which involves the " how " of an action.
:
Cyr.
1, 2, 5).
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
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.
in
P.
her presence to Athens, but did not leave the Rhodians comfort8UvTi . . . T\^6ci: "To the wise man (to him that knows),
less.
no magic
trick."
who came up
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
est ex-
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$v
hStiKvvvai
is
the practical
11
"
new cast." |UM*V As a verb of purpose, /iAXo> may take
the aor. inf. as well as the present, which is far more common.
Ai a verb of thinking it has the future inf., which is the
:
NOTES.
190
it.
See O.
62.
8, 82.
elirc
. .
Cf. O. 1, 75.
6pav: Instead of the usual finite construction.
Allusion to the name 'PoSos, the Island of the
oA/|op.evav ircS60cv
:
Hence also
Rhodes was famous
Rose.
'Avr. #.
3,
89
here.
The
64.
xpwafwniKa
"
:
Clara
Comp. P.
A. only
See 0. 1, 26. 65. 6cv Spicov (ifyav Cf. Hesiod, Theog. 400.
formula is given II. 15, 36 Od. 5, 184 Hymn, in Apoll. 83
I. 2, 1
xpuo-a/iTruKwi' Moitrai/.
Adx<riv: Cf.
v. 58.
yaia
Srvyo? v8(op core
66.
Qfoivi.
KCL\
Ovpavbs
1
/xfyttrros
Trap4>a.[iv
ftrj
vain."
("fell out").
70. 6|ct.av
'ETT. 8'.
Kairos
6dais
aKTivwv
O.
24
3,
avyals dXtou.
VTraKovtfJLfv
?8oev
72. <ro$wraTa
yvp.vos avrw
:
Mommsen
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
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.
76. <r^iv
l=yivfTai
It is
forced to
is it
make
p.
8,
OLYMPIA VIL
viicav is
"
not violent.
icpavoats iv 'AOavais
sion.
'Ayr.
83. xaXicrfs
'.
191
So O.
The
13,
38
was a
prize
in
N.
immediate succes-
8, 11.
2x" Xfyov
3,3.
*Er. t.
89. iperav
= operas
K\eos.
0. 8,
6.
ewpovra :
Where
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
;
of Aiakos to
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
known.
The rhythms
point
mood
is
Of the
are dactylo-epitrite.
a mixture of Dorian
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
O. 13, 10:
"Y/Sptj*
>
"where"
tion
in P.
by means of
3.
Ifxirupois
altar flames,
TCK(iaip<5p.voi
NOTES.
194
O.
6).
shyness.
ap-yiicepavvov
produces the
The thunderbolt
is
effect
of reverent
figured on coins of
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.
ir6r|*o*:
Here=Motpa.
16.
Zrjvl -ytvtOXiy.
man
Every
rvs
f<rrot
Zcvs
"illustrious."
of the
inf.
yfve6\tos
19. ?P>C[)
were
felt
irp^arov
dp<f>or(pois.
= Trpotpavrov,
= ctyet)-
The
re
complements: appearance
and
was conspicuous.
So just below,
TrairoSaTroitrti/
Kiova
{-evens
\
up.
P. 3, 108
Sat/ioi/'
OLYMPIA
23. *{ox*
&.
2rp.
Mf&iri*Y
pfirjj
VIH.
195
Wi . . . p^iqj I
Where there ia
" Where
there is much in the
Comp. O.
1, 2.
"
with Bergk.
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
Schol.
orav yap TO tv
r<a
(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.
/3'.
For the
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^:
Qoiftos 'ATrdXXwi/
evpvfUSwv
d0\r)<ravT(.
(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.
"
:
Battlement."
The
aor. after
AAco, as O.
= <rrt^>avnv.
viv
o-f'Xar
'En-.
f.
apposition,
37. Spattovres
much more
. . .
ol 8vo |iiv
. .
cts 8(^)
Distributive
yXavnoi
it
NOTES.
196
glossed by <oj3fpo$0oX/ioi.
45
o<piv, O. 6,
yXauKWTra
.
For the
:
yXavit&Tres dpaitovres.
= vfaxrri.
who
39. ov8i:
We
"On
6pfuxvwv
StoXoytfopevos diavoovfievos (Schol.). Not
The Scholia give also 6pS>v, 6fa<rdfj.ti>os pointing to
a corruption in oppaivav.
possible translation is "Apollo
(Schol.).
satisfactory.
came rushing on and openly (dvriov) declared the prodComp. Od. 17, 529: tp-^eo, devpo K.aXf<r<rov, 1v avrlov aur6$
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,
2rp. y.
<
"The
many
conjectures
prjgfrai..
-dyo-opai futures,
pdgfrai,
rtprdrois (Aeol.)
ilogy is this :
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
horse.
N.
capture of Troy.
36: Aao/w'Sovra
3,
See O.
P.
divine
Thermodon.
<fw Karaftas
20, 74
ov Sdvdov KaAeoveri
T<ivvv
'I<r6fj.u>
fatiyf or
lived on the
Cf. O. 6,
58
*AX-
..
Cf. O. 2,
99
50. diro'irfy.irwv
7, 81.
Xpvae'ais: SO O. 1,
who
fKaXfcrcrf
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.
\
name of
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
between the
53. repirvbv
ovSeV:
The
contrast
is
tious tone.
the
This
aor.,
is
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
56. Kal
x*p<-v
sense seems to be
it is
sometimes repre
Do
is
much
dis-
NOTES.
198
taught.
own
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
Melesias
was a
It
OLYMPIA
The
((fxftpos
199
VIII.
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
lots
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
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
\dpiv
passages.
irpaais
rols ovrt
\
ovSt poXovrav
"That
v Trpa^ar, as P. 8, 52
wrestles with."
73. appcva
8inov <pv\\'
MSS. have
tpSdv
ejrt
KOI (TT<f)di>ovs.
epSopevov,
is sacrificial.
dv6pu>iTu>v
78. icav
nard.
Ip8o(tevwv
The
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
by their
kindred.
'ETT.
$'.81.
'Epjta:
Hermes
an extemporized daughter
the well
is
'AyyeXt'a,
'!<|>Cv
KaXXifxa-
colorless.
-
eirt TI
87. o-ywv
Kal
TT^/*'
= eVaywj/.
ayet.
Comp. O.
88. ovrovg
2,
= TOVS
41
ovro>
Moto(a)
OLYMPIA
THE
IX.
variance.
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
woman among
Hippodajneia
Themis and Eunomia (v. 15) are the parenowned city, mother of the Lokrians (v. 22).
(v. 10).
tronesses of the
12
NOTES.
202
The
(v. 62),
bore the
name of
is
TO Se
$va Kparurrov
The
(f>vd
vov ov (TKaiartpov
XPW
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
(v. 28).
Men
are
father of Patroklos,
From
this story,
OLYMPIA
IX.
203
God
The
avros re KOI 'loXaor, al^p.Tjra 8vo.
called simply KO.\\IVIKOS, the burden being KaXXiVtKe,
'HpaK\(fS
hymn was
and
in the
3.
aytp^vevo-ai
6.
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.
'
14.
NOTES.
'204:
See P.
2, 62.
j><5p|UYy'
the /3K.
eXeXi'W
tcXeivas 4
'Oircfevros
is
:
aini<rai
Dissen puts a
cess.
full
makes
alvTj<rait
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.
To renown "
j>iXav
paXepos
is
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,
(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
is
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.
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." $c*pois
" Lend."
npamrycvctas P. seems to have been very
Imper. opt.
familiar with local myths of the Lokrians.
The story as told by
:
NOTES.
206
75 (Bergk) : e^eXe'y^et 6 veos olvos OUTTW (ov TO, Schneidew.) nt8>pov dp.irf\ov 6 8e p-vdos 58f K.fvfo<$>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
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.
Refers to Epharmostos
and
and
his family.
59. 'lairenovCSos
See O.
3, 14.
2rp.
full
iv Scipais
Cf. 0. 1,46.
63. pl\to\
'
Cf. O. 6, 29.
64. Aoicpcp:
olv: "Time."
i^ii|/ais
MaivoXtuuriv
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,
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
On
change from
account of the joyance
reason of the Olympian
significant
So MfvoindSrjs,
II. 1,
307
9,
211
001/a)
80. 8i|oi
cal
y.
"
sing.,
"
84. o-^r^pas
his," O. 13, 61
their,"
I. 2,
27
Homer
P. 4, 83;
P. 10, 38.
I.
The
Of
pi.,
how much
Scholiast remarks
Homer does.
Homer
in small matters
much
Which of
e'pwfievo?,
is
the
which
See Plato's
Remember that
discussed.
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
which
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
itself.
Ki Not
:
in the
Homeric
sense, but
= ^ap/iara.
So
also Profess-
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
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
P. dwells
NOTES.
210
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
pf) (pva.
6.
good specimen
TO avev dtov
is
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
0os
(AeXira:
TroAe/^ta
116. TOVTO
The
Schol. cites
II.
13,
730:
A howl
117. wpvo-oi:
So
trip
OLYMPIA
211
IX.
upon."
city.
OLYMPIA
THK victory celebrated
in this
X.
(XI.).
would put
it
OL
76.
distinct opposition
to the traditions of the Eleian priests, who referred the establishment of the games to the Idaian Herakles, and the Dactyls, his
to the
poem lock
the third
it.
OLYMPIA
X. (XL).
213
NOTES.
214
At the
close, P. sings
how welcome
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
iyypdfyov
rr\> p.vr)p.o(Tiv
Emphatic accusaavdyvwre
common
Famil-
in Aischylos,
SfXrots (ppfvatv.
Conip.,
Truth
fying
{evov
is
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,
postponed
8.
4 ji&Xwv xpovos
my payment
T^KOS
in full
metrical
OLYMPIA
X. (XI.).
Hermann
"a good round
215
song
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:
d\7)0(ia is truth, as
XaXiceo? "Aprjs
The
short
a,
choros.
nexus
The
help of his trainer. Has, whether that help was the training itself
or encouragement during the struggle. The parallel of Patroklos
NOTES.
216
See O.8,54.
21.
'AxiX
ILvrpoicXos
es-
Nam
The same
1, 2,
$wr'
10. 6,41.
P.'s
apera <pi6f is
reconcilable with the
:
out
24. OTTOVOV
/3'.
toil."
An
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.
On the
would
The passage
(v. 6),
. . .
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?
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,
'HpaicXeTis
The name
nes.
'ETT.
MoXfovc?
38.
/3'.
MoXi'oi/f TralSf.
fable,
no
mother's side
of the house.
.
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
(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
to Artemis
58. irapeVrav
O.
to help, as at the
NOTES.
218
'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
:
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.
O. 4, 22 : VIKO>V 8po-
72.
Oiv6
Mi8e'a6cv
So
Nephew
According to Pausan.
fjXiKiav pfipaKiov,
\avva>v.
ev^or fXo>v.
3,
Midea was
in Argolis.
T&OS
'A.VT. 8'.
'
" Prize."
77. SOJAOS
P.
9,
128;
Mentioned
Choliambi of Diphilos:
in the
27.
1. 1,
'A\tppo0iov.
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.
ircrpy
In
I. 1,
BJ Niicevs
Od.
See
afterwards substituted.
(<fi
ficd<rT(p
1. 1,
26: ov yap
r\v
irfvratffkiov dXX'
Ktlro re\os.
fpyp,ari
It
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'.
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
lirwwpiav \apiv.
is
fir(M>vvp.iav.
Od. 1,2, 2:
derbolt
is
rubente
The thun-
90.
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
reverse of youth."
TraAiv
97. irotfxcva
yva>p.as.
"
Master."
falsely, if
ot 8e Trodfvvres fv
fjfjiaTi yrjpdo-Kovo-iv.
The
late
is
song
as
welcome
We
"
:
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<*
108. ajx<|>irtrov
"Lending a helping hand."
took to my heart." What was promise is per:
I. 5,
21
pawtpfv
evXayt'ais,
Kal u/uj/w.
paivca 8f
Above
P.
8,
dva-
"
Cf. v.
blended
;"
68
Death
ddvaros avails.
"regardless," "rathless."
Aphrodite.
114. KCKpafxc'vov
^fipeo-ort.
1 15.
is
av<uS&
forgot.
xP
"
Endued," literally
p6pov Theogn. 207
:
OLYMPIA
XI. (X.).
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
and
7. A48dvtjTos:
The
here.
"
the
As
often,
/j.4v
with chiastic
9. iroijwuviiv
and
8e attack different
effect,
P.
"Tend,"
members of the
antithesis
OLYMPIA
223
XI. (X.).
Comp.
O.
the
66.
1,
to-coy
6p.oius
ical
and
it
out of
axrirfp KO\
6/j.oicas
av
vfviKTjKas
vp.vS>v
(Schol.).
17. C|t|uv:
The
/xtv.
Comp. Od.
viv,
60)
7,
after the
subject of d<pi(o-0ai
12,
212
"We,"
is
P.TIT'
\tyovaa
pr)8e SpSxra.
The
neg. ^^, as
poets
The
pecially noted
^<
"
"
part holds.
OLYMPIA Xn.
ERGOTELES of Himera, an exile from Knosos in Crete, won the
The SoXt^o? is variously estimated at
Olympian
Nemean
contests (Paus.
6, 4, 11).
The poem
(vv. 1-12).
OLYMPIA
Nymphs' hot
own (vv. 13-19).
225
XII.
Now
baths.
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.
2rp.
1.
ZTJVOS 'EXcvOcpiov
Zds
'E\fv6epios
was honored
in
"
Tyche", ace. to
a Nereid; ace. to Hesiod
Notice the sea atmosphere.
SuSreipa
is
Tv\a
lic
councils
it
was a formula
to
commence ayaQy
TVXJ] (Paley).
verbial, as N. 9, 43.
waves by
ships.
The
ly'mir
ficTapwvia
world
is
K2
ploughed by hopes as
(Schol.).
The
NOTES.
226
>
Not
fall
back.
KllAtVSoiTt
ruXivSerr(t)
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.
*Ae'oj-
Still
Cf. O. 2,
ace. to
some
pun on 'lp.4oa
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
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.
;
first
It
(v. 17).
Corinth.
NOTES.
228
Bellerophon
dvTff36\r)(rv
T>V
dvrjp
dvarbs
ovir<o
ns
beyond
Swim
Srp.
ning.
a'.
So
1.
TpiaoXvuirioviKav
Notice the
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
3.
6pdirovra:
A word involving
kindly
See P.
4,
287.
who had
r)
The seasons
IYJV re
A / JCi} y
T( Kal
Eunomia
E Ip
is
TJ
17
v Tfda\vlav.
preparation (seed-
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.
:
for
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\:
XaKis.
<ro(f>i<rfuiTa (v.
17).
15. virepeX6<SvTv
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:
at coprat at TO eVaywyoi/
TOV xaXti/ou.
who had
to
mean
naturally that
OLYMPIA
"
placed as uxpurq/Ka, or
finials,"
231
XIII.
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) :
x<paf
compounds of verbals in
Zfvs.
25. &|>6<5vT|Tos
Cf. O. 6,
67
Active, as
:
-^(vSftav
*AVT.
/3*.
33. <rt\{vv :
16
N.
4,
88
),
at first
made
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.
d(6\vv
aiy\av
Tlv6ia>v
37. oraSfov
1,
39
N.
9,
55
Homer does
1. 1,
not elide
16.
aiyXa comp. P.
3,
73
KW/XOI/
(rrftpdvois.
Six hundred
With
7ro8a>i>.
rtpa
35. 0c<rrdXoi(o)
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:
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.
found P.
4,
Scholia, Terpsias
2rp.
y.
47.
lircrai:
Used absolutely
= firofifvov
(<mv, "is
TO
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
eV(Ko>/ita.
dv&p>v
dpicrrcvoicriv al^pai.
52.
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
663.
eKOTo/ij8oi'
fweafioivv)
7,
(summoned by Sarpedon
to
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.
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
just as
feet, erect."
'AI/T. 8'.
Sc. Ho\vi8os.
75.
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:
/criVat is
A variation
of ^tXrpov,
v. 68.
v^wi
Dissyllabic.
OLYMPIA
of Apollo.
ites
e'pij/xaj
Si'
u
aidfpos.
1 '
Chill,
235
XIII.
Bosom of
of the ocean."
oiS'
yfvos
dv6pa>ira>v
XeW,
irpoa-df
oirtdev
8f
Spdwav,
fJL(<r(rr)
x</i<upa),
8f) rfjv
91. 8iao-uira.(ro(J.at
CTWTT-
for
Fo\.
(Aeolic).
TI
dv6p<air<av d\(tv<ov.
92. WKOVTCU,
aXaTO
Not
shelter."
2rp.
93.
t'.
again.
He has
)i
8'
darts enough
TOI
iroXXa p.
" These
many,"
"
all
these."
icap-rvveiv
x^poiv
"
:
To
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
:
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
109.
'ETT. e'.
Mfyap(a)
O.
HAXava: In Achaia,
7, 86.
AiaiciSav
O.
7, 86.
N.
Sucvciv:
9, 1.
Aigina, O. 7, 86.
111. ra(
Xiirapa MapaOwv: O. 9, 95.
.
aXros
by
OLYMPIA
XIV.
chos,
the massive structure of the strophe gives the piece the effect of
a torso.
The song
(icavfa
is
i/3&>jra, v.
1.
Ka<|uriv:
On
NOTES.
238
0. C. 668
Xiirapas
17
I. 2,
(viinrov,
20
and
*re.,
tvf,
used of Thebes, P.
X. is
in the
avoi Kal
doi8tfj.oi,
'EXXuSos
2>
rai
it
3.
4,
apa
(pti<Tfj.a,
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.
/xe'X^/xa
Tfpnvov,
For
Xdpirfs.
XopiTr,and Alkaios,
.
fr.
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)
.
is
"
as a river."
v. 7),
<p
IpcurtpoXirc
Btfiv
OLYMPIA
XIV.
239
Orchomenos
0. 10 (11), 17.
Kvicj/fta,
is
so called to distinguish
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,
:
-.
22.
.
. .
4>avcoo-e
The middle
(O.
7, 15),
though natural,
is
not necessary.
PHILOKTRTBS.
(After
(em.)
PYTHIA t
THB victory commemorated
in this
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.
Kym6
PYTHIA L
and
Sicily,
241
fire,
held.
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
v. 58.
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
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
the sweet silence from the barbaric cry, have to do with Aitna
and Himera. The last triad avoids the weariness of praise by
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-
The
Od.
"
dtiSdv.
Cf.
dj/a/SaXXfl.
766
fr.
KVUV
See note on O. 12, 3.
crKqirropdfitw aifrbs
inherent quality.
'Arr. a'.
ipx*
8.
oYKvXy
ttpari
<r\6}i*vo*
= KaTfxopt vos
334 Kr}\r]()p.(p
238 D, 244 E.
:
11. loivei:
S'
to^oi/To,
12. KT|XO:
Comp.
O.
1,
112;
2,
91
9,
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
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
-.
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.
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
TYV
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.
For the
a
inf.,
comp.
I.
common Homeric
"
nai is naturally
even,"
" It is a marvel of
marvels to see, a mar-
I8e(rdai is
:
/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.
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
bnawpiav
32. IlvOidSos
8a>i>
tv Spo/ioty,
claimed."
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,
iro\it>.
'"Mid tuneful
revels."
39.
AVKU:
So Hor. Od.
in Lykia.
:
1,
9;
NOTES.
246
1,
12
N.
7, 23.
and
be
may
. .
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
boldly, is
See O.
forged, v. 86.
6, 82.
WO-CIT(C)
Cf. O. 6, 2
felt.
hardly
7,
opcrai
The
a>s ore.
ellipsis
dywvos
refer to
Supposed to
It is
con-
image was
still
v 6vv f
Cf. v.
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
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
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.
PYTHIA
vvv Y
F-
av
247
I.
Cf. v. 63.
-<jiXoKTi)Tao
by Pythagoras of Rhegion, of
which Pliny says that those who looked at it seemed to feel the
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
for Philoktetes.
Odysseus was
evi-
is
( v
av(
'HpaK\(ot fxyovovs).
We
stress
xp<"Ti paivwv,
on npidfioio and
aXXa fioipiSiov fjv
irovovs, see
O.
6, 5.
55.
On
*
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
"
give the season
is
" to
give in season."
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.
iniXiv Kcivav: *.
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
They
AuptW.
64. vafovres:
are
still
a Awpts
far
diroiKia, I.
KING OF KINGS
is
PYTHIA L
'Ai/r. 8'.
Zeus,
God
249
of the Accomplishment, in
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
and kings."
"
to
whom
he gives commands."
receives Hie-
= Poenus, Carthaginian.
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,
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
The middle
5 (6), 13:
/SoXXrr' Syicvpav.
'EXXdS':
75.
Where
" 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
('.
season."
J>6e-y|aio
ireipara oAivravvo-ais
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
zens hear."
"What
in secret.
251
I.
is
is
28
On
&
xaXv
(rrp.
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
better to
to Kroisos.
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\
t.
early logographers
"
rijpa: K.
Phalaris as Aitna
fjLovva TToifiaivovri
oX/3<
e? TIS cv Tratr^wv
The two
PYTHIA
THIS
Theban
IL
"
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:
7Tf<f)l\T)Ke
NOTES.
254
This
It
is,
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
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).
and wins.
A.
Show
B.
dren
(v. 72).
the
ers
monkey finds no acceptance, what of foxy slanderThey are an evil, but an evil that cannot be mas-
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,"
B.
My own
A.
Nay, nay.
creed
is:
Love your
friends.
An enemy
Flat-
(v. 82).
circum-
NOTES.
256
The rhythms
2rp. a.
8, 1
&>
similar position, O.
Athens
Qvyartp.
pe-yiOTOTToXt
myth
MeyaXairoXus w ZvpaKooxu
1.
parfp
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
foot.
2.
avBpwv
iirirwv re:
See 0.
1,
62.
as in P. 5, 82
See 0.
(voi.
^aXKoxap/iai
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
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.
Trpoo-wTToi/ TTjXavyes
gold is
See O. 6, 92.
irora^as
numerous functions,
is
'Apre'|uSos
a river-goddess,
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
:
'AX<eoG,
ffivov
'Apre'/itSor,
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.
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
8r)
ai-yXacvra
11.
aiyakofvra.
ie6o-(iov
v:
K.
So for
ay
et decorae
|
more palae-
va
TroXXa
Comp.
fjvia
Cf. v. 86;
P.
irfia-i-
O.
is
active.
6, 22: a-dtvos
KOTa|eu yvv jj
Hieron.
dpo-orpiaivav
evpvpiav O. 6, 58.
r)p.iov(av.
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
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 >
.
the faded
this non-Pythian
ode
genealogical connection
"
Elsewhere
x/jvo-oKo/xas,
"own," "made
O.
6,
41
Xi
7, 32.
"
If <pi\os
is
his
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
OTTM/.
PYTHIA
IL
259
Why
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
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.
Trair.
vfo-dai.
"
pi.
Tpoirdis 'li-iovos.
coals,
covered
it
NOTES.
260
33.
/3'.
|AryaXoKcv9e'e<r<rtv
OaXapois
Stately plural.
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,
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>
Pharmakeutriai.
not eVpa^aTo, I. 4 (5),
tos'
'ETT. 0'.
$irpo|<
8.
Effected,"
PYTHIA
261
II.
urally held at
avSe'lar'
the Graces.'' Cf. avtv faov, O. 9, 111. 43. p5va KO.I fiovov nai unusual in such juxtapositions, and hence impressive. No mother
:
ycp<ur$6pov=Tip.iov.
v6|xois
= rols
44. rpdufxncra
vop.iofj.fvois.
Dor. for
rpe'cpoKra.
So
asm
"The dam's
\v
as
is
Chi-
side
to us.
is
"
49. Oeis . . . ovverai,:
God accomplishes for himself
2rp. y.
"
"
every aim according to his desires." ftXnis, pleasure," wish,"
shows here its kinship to wlup. tiri as in eV evx?, P. 9, 96.
The wish
50. 0<J
is
:
8
5s.
See introd.
KI\
irapap-tipeTai
wa.ptCKa|u|rc
SWK() The gnomic aorist often varies with the present. Many
examples in Solon, fr. XIII. (Bergk). See also Tyrtaios, fr. XII.
(Bergk). In the absence of an aoristic present, the Greek often
uses an aor. for concentrated action in the present with a conSo
scious contrast to the durative. See Plat. Phaidr. 247 B.
.
. .
here
fKap.^,
irTp^VT(a)
alerov
N. 3, 80
Kt'^t,
proverbial.
7rape'8&)K(f)
= ravvTTTfpov.
cess.
N.
6,
(a)
72
"
Many
(p I v I
Ktv
\
51. SeX^ivo
ra^os 81 oX/xa? et
So P. 4, 86. 52.
Also
a one," tel.
see introduction.
53. Saxos
NOTES.
262
ironically.
we combine
'Apr,
57. viv
exis
may be
= Sovvai,
TTtiroptlv
to TO irkovrdv
24 <fpawS>v
"
Battlemeuted." .This is an early
evore^dvwv:
use of (TTtfyavos. Comp. O. 8, 32. orpoTov Sc. TroXXov (rrparov.
59. irepi rip^: IT. with the dat. of the stake, as, to some exalone.
.
58. irpvravi
6,
irpvraviv.
flabby soul, his wrestlings are all in vain." 62. evavBca The ship
<rr<5Xov:
of the victor is wreathed with flowers.
Cogn. ace. to
"
"
if.^' iper$
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,
>
and
lie is
If
evjSovXi'a.
Comp.
I.
5, 109.
(pepfifrai.
(5),
crint
oX/3&),
et
|
TIS
"
('
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
different
8t is so peculiar,
16
fj
Kacrropf to)
fj
'loXaoi'
1,
100: epf 8(
TTQ,
70.
crrf<pavS)(rai
Ktlvov iirirdtp
vi>p.a>
Awptav
N.
5,
24
8io>K<i>v.
The
Absolute.
NOTES.
264
"Coming
Pindar's
again.
(v.
67)
Rhadamanthys, who
is
2, 94),
but
1,
22
KaXos TOI
iridr/Kos
TO>I>
iraXaiav,
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-
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
:
hero, except in
the
SaifjLovts.
PYTHIA
"
MSS., Pporwv,
of whisperers
"
!"
265
II.
liaunt a
man by
!"
dj/Spwi',
KM TW
viro4>aTs
Bockh has
VTTO-
First Voice
game ?"
The pun
"
iccpSoi
To me convincing emendation
popular name for fox, Ar. Eq.
K(p8o> is a
in <fp8ol
K<fpSeo-<ri is
his
The prov-
obvious.
11,5 (Bergk)
tls
vpeow
pfv
f/cao-roy
d\<bire KOS
t^veo-t /3at'm.
SXfios
clvdXiov ir6vov
a/i<pdrep<H
above mentioned
NOTES.
266
The comparison
slanderer.
t<\X&?
"
as in English.
Cork
"
'
'AVT.
81. First
8'.
Voice
"
But you
mere cork.
eror in
"I
(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
verbial.
88. ol o-ocfxu:
The
aristocracy.
XPT
1r
P^
^* v
^K
<p^i'
PYTHIA
H.
267
The
(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,
upholding,"
holding high."
TO,
KapSia
As
if
"
one's 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
:
"
police of wraKovorai',
eavesdroppers," and 7roraya>yi'8
(-8a),
Aristot.
Pol. 5, 11, is to me incredible.
94. irori
"tale-bearers,"
Cf. O. 3, 1
7, 17.
PTTHIA
THIS poem, which
Hieronem,
is
is
not so
HI.
much an
f-mvliuov as
it
a Consolatio ad
(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
all
due to
The
PYTHIA
269
III.
with a sigh.
The poet
homage
in music,
Make
88).
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.
We
Asklepios,
with
have at
full
less detail
Kadmos and
Peleus,
all this
sorrow
is lost in
(II. 11,
832).
NOTES.
270
was a plea
See N.
Centaur
is
3,
43,
Comp. N.
called, P. 9, 32.
foil.
43
3,
. . .
re'icTovo:
dp. like
must be lengthened
rd/ieSov,
"
5t'Sa|j/,
bred."
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.
XP^01*
men.
11. *v OaXdp,?:
P-l>
1-
8'
10-
With
full time."
reXeo-ay ravpoKepoav
'ApWju&os: A. kills women, Apollo
&vina Mdipai
Sa/xelo-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
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.
On
tolerant of
P. 12, 19
human
successors.
av\a>i>
Trdp,<pa>vov /xe'Xor.
TroXvs 8' vpivmos opapct
Kovpoi
8'
TV
23. (icrofwivia
of the quest.
the hopes
Cf. N. 11, 47 KcpdcW 8e
tial,"
2rp.
2, 10.
82,
1,
14,
\pr)
"
24. fox*
Caught." On the ingressiveness, see O.
roiavrav jiryaXav
Keep the words separate. d/^Tav
f.
P.
2, 28.
NOTES.
272
'
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.
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
46
Cf. P. 9,
:"
f l8oTi.
ore,
On
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.
r,
8"
rep air.
'
38.
*E?r. ft.
:
P.
TCXI
1,
25
. . .
Iv $vXiv<(>:
On
the pyre.
'A^aiWoto upovvovs.
I8ov,
7,
48
39.
PYTHIA
273
HI.
The old
45. Si8a|<u:
final infinitive.
46. dv9pwirourvv
More sym-
y.
waovs
in
47. avTo<|>vTv
In contradistinction to wounds.
48.
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
is
7rw8ar
dpodv
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.
.
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
54. S&erai:
'An-, y'.
Scirat
would mean
eipaTTf
The
irap<pdp.fv.
prose
irporpfTTfiv
has lost
its color.
2,
56. avSp(a)
"
himself.
in the condition.
The
So O. 11
(10),
4; N.
3,
4.
66. dvSpao-iv
PYTHIA
275
HI.
"
'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
Alrvoiov &ov
1.
2Tp.S'.
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
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
4v Kippq, iror^:
Out of construction.
Cf. O. 1, 14
The song
Delphian hippodrome.
before.
cufyXav <rrc<{>dvois
iraynpariov (rretpavov.
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
:
who sang
Among
the
icovpai,
have been
irapQevia
P.'s daughters,
Ildv,
. . .
trf^vusv a8vru)v
Kopv<t>dv
80. X<5-y*v
j
NOTES.
276
"
The
Learning."
Jv
wap'
eo-Xbv, Kre.
lesson
is
It is
a proverb.
81.
So we have not
are typical.
to
"
"
putting the best foot foremost (of shoes).
say,
upon the
are
N.
42
4,
Comp. O.
righteous."
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.
8pu
Pelion.
N.
Cf.
5,
22
a>
pos.
of
Comp. O.
fivlKa.
V.
fr.
37;
1,
92. NTJP^OS
1, 6.
9,
104; P.
8,
4J
11, 19;
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.
"
erect."
101.
'Aj^r. ('.
rCic-rev:
all in dactylo-epitrites),
41
(tcvos:
with two
Agaue, Autonoe.
fpfinaxrav,
Ino,
T<5ois
'AjrcJXXo)!'
98. [J^pos
al rpeis
See O.
3, 6.
PYTHIA
Comp. O.
2,
56
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
:
flepaircvwv is
p-axavav:
"To
Cf. V. 62
the extent of
my
used of service.
power," "with all
icar'
my
Ipav
p,a^avd v.
might."
:
Some
(parts
"whose names
are in every
mouth."
ovOpwirwv 4>aris
talk of the town "
7, 21).
113. TcVroves:
So Kra-
N.
4,
6:
pfjfui
8'
fpyfjidratv
xpovubrepov
fjiarcufi.
irpa{a<H)(<u)
PYTHIA
IV.
odes.
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
their
So
bulk of the
On
poem
(vv. 70-256).
of Lemnian heroines.
woman
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.
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).
;
NOTES.
280
Muse
(v. 4).
We
slip
But
is
this
enough that
It is natural
of Arkesilas, Pindar
and the introduction of
PYTHIA
There are those who
Damophilos
parable.
which
281
IV.
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,
else.
(v. 159),
|_^^|_s^v^|_A,
l>^|
"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.
'ApiccaiX? :
The
9,
parepi KOI
8i8vfi.ois nai8ftr-
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.
alrjTwv
is felt,
= 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
59 i ox&ov
Kyrene was
a/i0i7re8oj/.
built
researches, see F. B.
on a chalk
cliff.
Goddard
Am.
in
foil.
"
"
"
Cf.
"
a'.
9. oYKo|i.(0-ai
my word
"
"
"
"
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
13.
K^tXvre
The
PYTHIA
speech ends,
and
v. 56.
The
lo.
IV.
283
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
:
sacred
17.
'E?r. a'.
On the
done.
(Taiov
8i
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,
here,
Lake
Tritonis that
we know
is
inland,
and Pindar
is
poetry.
NOTES.
284
"
irpla>p.ai
<roi
irpupaOcv
" As a
Because he was
23. afo-tov
rrpwpfvs.
. . .
cKXaylc Ppovrdv
eVc
v(<p((t>v
is,
Aeolic participle,
24. a-yicvpav
2rp. ft.
fr.
pp6vTaip.i=ppovrS>.
Comp. v. 197
Bergk reads
ayitvpai,
tvvai.
only
With
KpT)p.vdvro)v.
fTTfrvx* in prose.
On
lirro<r<rc
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,
al.
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
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
\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."
ylos).
avrtpdo-ais.
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
mental use of
by which
'ETT.
/3'.
it
o-vv.
The
was washed
40. coire'pas
sea.
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
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
dv8po<p6t>(i)v.
classic poetry.
See O. 4, 17.
61. TLv8c . . . vao-ov
Ev<pap.os.
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
iceXaivc<j>&ov
Ky-
as v.
54. ojivcum
uyyt\i(us, O. 3, 28.
5.
'Avr.
y.
55.
Karapavro
Doric
Od.
= dvapvavfi.
4, 680.
XP^V
= ayaydv (see 0.
The threshold
SXro
I
O^juamv
8'
"
With
PI. as
is
wWp<j>
Oracles."
hence,
KCLT
ov8ov
56. d-ya-y^v
Karaftavra.
The Homeric
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.
narily
287
<riyfj
irrff^tiav
3<p<avoi.
60. wpOuxrcv
"Exalted,"
"
juXkrcras
glorified."
"The bee"
by jcfXa&a,
Herodotos,
"
4,
p.r)\orp6<pov
"
'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-
66. 'Air<5XX<ov
Others
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.
O.
fie
iicdvfi.
ficToL:
pos.
64.
Xvcrt? (Schol.).
507
9,
a re IIv6u
.
A complex
"
Iiriro8pop.(as
dfj.(piKri6vo>i>
"
depend on
Battos
:
counted in
is
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
Libyan
appdraiv
Muses "
it
rivals of Arkesilas.
firia-rdTcu.
67. airi
force to the
{vyvrvv
At'/3vey
assign
him
to the
fit
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.
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'
(Schol. v. 142).
Kprjdevs
(v. 143).
(v. 142).
Aicro)!'
<frfpT]S
Tupo>
Afivddatv
CApvddv)
(v. 125).
IA2QN
"A8p.rfros
(v. 126).
-f-
Ilocrfi&Siv
4>p
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
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
Comp.
Pelias
v.
is
PYTHIA
289
IV.
tional vocabulary.
'AJT.
used
78.
8'.
f ire
air'
{ivo
Even
wv
atrrife
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),
|
had not
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
p-dnaipav
e'<rri'ai>.
5, 11),
<rl>T*pas
v. 98.
Comp.
a boy, and
youths were wont to dedHence Pelias'
hair to the river-gods (Schol.).
nfQpiKvtai.
As
"flared
c'5s.
drapftdroio.
all
down
his back."
Comp. dyXaoi
See O.
9, 78.
absol.,
with
.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
-.
'A.pfj.68i,
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
TO:
89. *flrov
'E<t>ia\Ta
TroAi/
KaXAiorous /xera
A bit
cparai
eparai is subj.
e'.
2rp.
96.
T'
ainjvg,:
18).
94. -yapvov
PYTHIA
as
among the
96.
Sicilians.
8{tTcpJ
291
IV.
:
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)
irporporrcLBav,
100. Karajudvais
Ironical.
May be an
oureiv:
undifferentiated
fut.,
. .
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.
solent."
If dp\aiav
NOTES.
292
'ETT.
t.
"
"
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
112. tcaSos
0T)icd-
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
rjpan,
117. XevicfiMrttv:
"Si-rp.
s.
66
XevKOTTebXooi/
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),
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
commentators on
II. 2,
734
6,
457.
126. IK Si Mco-crdvas
'ApvOdv
= 'A/iu^awj/, as
f'yyiis
Mes-
^iv.
PYTHIA
293
IV.
See
nicum.
v. 179.
It is
^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.
. . .
rdwcv
"
to its full
'EJT. s'.
In contra-
(i>(ppo(Tiiva.
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
"
feast," the
N.
swift."
140. ftripSav
"
:
11,
48
Day
dirpo<r-
after the
'
"Having
:
woman.
NOTES.
294
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 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
.
r6v
KVfia is
PYTHIA
295
IV.
Pelias' conscience.
2r/>. rf.
"
ace. to P.,
Demodike
common
(Schol.).
164.
Whether
pcTaXXarrfv
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
T&CO-OV
icat
(TKairrov
Z.
165.
6,
nporj&m.
Qaivfiv
ancestor, Aiolos.
mv.
Svra>s
among
168. KpiOcv
171.
fire-signals.
rpcts
Hymn. Horn. V.
173. 'Ewocr8a:
19.
modern
al8S> Biaff
tvl dvp.(a.
alSus and
II. 15, 561
alo-xvinj
:
S> <f>[\oi,
dvtpes
etrrt,
'
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.
:
'ETT. r).
xp^o'op*'"' 1 ?
*s
xP V(r PP airis
an
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
8fj
easier
'.
2r/j.
N.
9,
44.
The
article
has a contemptuous
fling.
P. 5, 7;
So. Ai.
473
"
alcrxpbv
t|/o
52.
On
6, 101.
PYTHIA
297
IV.
'Aw.
0'.
194.
yx
llt
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
201.
'Err. ff.
afterwards
204. JWavr(o)
Evf-eivos.
but a new
cVt'nra>,
= Ka6i8pvo-av.
Cf.
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
:
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
210. orfyes:
files
211. *eUriv:
NOTES.
298
ptav ja|av
213. irap(d)
|
ous adventures.
inJrvia
f)t\Euv:
t'.
catory,"
'EXXds
'EXXay
irodovfj.fvri
= irodos
'EXXaSos.
219. icaiop^vav
ded
222. KaraivTioxtv
"
Od.
o>p><ra
252:
They pledged
sponderunt.
223. fxi|ai:
4,
Ag. 17:
as in Aisch.
(rffivtiv),
fjivctv &KOS.
evre-
(themselves).
Be-
in mutual wedlock."
On
ev
with piyvvvai, 0.
1, 90.
224. aSajxavrivov:
t'.
rit|i\|aTo
Spm-pov.
&
TTf\d<r(TT)
fvy\rj ^a\Kfir).
6p0as
8*
117.
227.
iravri
vdevei
avXaxas, are.
"
:
Straight
229.
230.
arpw|ivdv: "Coverlet."
2rp. M'.
PYTHIA
IV.
299
:
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
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:
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,
"
xaipos yap
presses."
Spa
"
<nvdirTci
248.
tVei'yet (Schol.).
p.'
a-yrjjiai.
"
Time
= ^ye/ia)?
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
(v. 26).
is
(J.CYCV:
fKTap.av Sopl.
laOaros
d|i|>Cs
"About
Such a
(for) raiment."
This does not exclude the wreath
2rp.
t/3'.
254. eV dXXoSairats
=
.
dp,<pi
only here.
dpovpais
Familiar symbolism.
"
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.
'AJ/T. t^'.
in P.
262. ipOdpovXov
. . .
9.
!<f*vpop.e'vois
An
after- thought
PYTHIA
301
IV.
on
concerning
interpreters to
Ol8iir68a
<ro<f>iav
mean "show
is
whom
Theban
vos.
all
Although
building.
cannot bear
it
Trore
fruit, it is
for burning,
good
XP
good
for
V<
Trare
the
beam
KIUV,
horizontal
is
and the
oTovov
according to others,
it,
too, is
an 6p6a
268. (i.6x0ov
8v-
bility
NOTES.
302
'
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
270. laoi
t'.
'ETT.
parable that
is
Apollo
o-citrai
is
X&pas
ecrtrat
= opdaxrat.
the
rXaOi:
The
u>
firi
thee
The
276.
rXgs, as v. 165.
2rp. iy.
in our
fib?/.
is II. 15,
<ruv9fivos
207 eV0X6j>
Od. 17, 153
:
PYTHIA
"take to heart."
303
IV.
"
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'
:
versatility that
Qvs
(Ka.Toi>TaTT)s.
283. ip^avitci
sense.
286.
285.
o-uBJ
action "
282. tytcvpo-ai?
Adjective
fanfe:
He hushes
=irpi<r-
the loud
284.
as
companions
See O.
2, 11.
If,
as
He-
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:
NOTES.
304
Whoever chooses
stress.
'ETT. ty'.
to hear in
it
welcome.
293. ovXofie'vov vovcrov :' vo<ros is a common word for
294. icpdvq,: The great fountain Kyr6 or "ring,"
any misfortune.
whence
PYTHIA
V.
3466
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
vepuv, v. 102
But Honor
(T<f>bv
SXfiov.
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),
There
is
a a-vyytvfjs utydaXpos
(v. 17),
a/
NOTES.
306
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
;
structure of O. 2,*
is
J.
PYTHIA
V.
307
rcav rt KOI
See O.
it
1,
T>V\ xaipov.
22.
ica0ap$:
as xadapov
2.
As dptrd
used of (ptyyos.
is
Blended withrrwedded
Kpa|ievov:
is
to.
"
The
XI. 3 nadapov d/w'par crtXas
poet strikes the keynote of the ode: "Wealth with Honor" as
a gift of God, who appears here as 71-617101.
3. irapoSrfvros . .
(pfyyos,
fr.
There is a festal, bridal notion in both words. For dvdy f iv, see II. 3, 48 Od. 3, 272 4, 534. 5. 6e<$|>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)
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.
28, 11),
1,
12,
25-32
Dicam
et
voluere, ponto
KaraiOvo-aci
down
his
KaraMa-a-dv
back
is
(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
is
P.
2,
88
It is
o-vyyev^s TVOT^OS (I. 1, 39).
from exalted birth. " Born fortune hath
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
(Synon.
makes
(wvov
'ETT. a'.
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
.
27.
''
'EirijtaOe'os
PYTHIA
309
V.
P. 4, 53 rbv fiev
Ne iXoto irpbs nlov
31.
v8an KaoraXias
{cvuOeis
*ol/3or dp-vdvH
Tffttvos Kpovida.
reference to the usual lustra-
With
and not merely a
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
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
'AI/T. /3'.
L.
The
at
is
implied as
implied P.
(ij/xas) is
e'/ie
45. 'AXcgif3idSa
1, 36.
1, 29.
8(): See 0.
trk
fyikav iro\iv
fj.aXfpa.ls
Christ
reomv (Aeolic)
pv^'iov (Bergk).
Tco-aapaKovra
/ii/a/xjji'.
= KaraTreoxnJo-i (Schol.).
708 but
50. ircrrfv-
ten.
Cf. P.
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'.
8'
eo-erai
In another
mood Pindar
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
irarrjp.
PYTHIA
V.
311
rrdpfi/,
is
to the musical
to the Greek.
and the
political,
The development
perfectly normal.
is
64.
the
Krotoniates, were
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
(popfjuyf-
p.iav.
tvvo-
crowning
64.
On
eV
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.
:
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
identifies himself
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
authority.
'Avrrivopi8S>v.
hill
84. icairvttOeurav
f iSov
is
'ETT.
85. IXdo-iinrov
y.
ttiv-
&W-
86.
ropts "iiriruv (II. 5, 102) and i7nr68ap.oi (II. 2, 230, etc.).
TOI : Not historical present. The Antenoridai are still worshipped
O.
tomb
is
by
Catull. 7, 6
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
<
PYTHIA
The
codices have
the metre.
8e
paivui
99.
/cat
K&>/WI>I>,
SpcSo-w
vp.vu>,
I.
for
^aXOaicql
(6),
313
V.
21
favorite figure.
P.
8,
57
100.
The
pav0io-av:
after verbs of
the
OKOTI
involved in OKOVOVTI.
be run together.
104.
1, 1.
'Aw.
Both
by
to them and
due to Arkesilas
which should not
8'.
adj.
(wvov
epe'uj
all
See P.
3,
He
Not
colorless.
arts,"
among
'ETT. 8'.
X<*pia.
. . .
TTJX(Mucc: rt sums up. The e'mthe forms of generous rivalry in Kyrene.
Ka\d embrace
all
117. rcXei
118. 6pota:
'
P. 4, 265.
Comp.
v. 10.
121. Kara
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,
was gained
12; 9,120.
Ol. 80.
rn-i
TG>UTO,
0.
8, 57.
"As a crowning
PYTHIA
VI.
dfjiot
The
Tf
uyayov.
Bockh
doth corrupt.
The
which
is
treasure
its
fierce
armament of wintry
rain
a victory
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,
!
years separate
it
from P.
10,
The
ness.
parallel
Eight
many
traces of youthful-
who died
who drove
danger of
the chariot-race must not be overlooked, the step from Antilochos to Thrasybulos is too great for sober art.
two
tell
filial self-sacrifice,
The rhythm
"S,rp.
a.
1.
is
logaoedic.
'AKowo-aT(e)
courts.
herald cry.
This adj.
IXiicwiriSos:
is
used of
"
who
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.
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
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
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
'
TVITT^IWVOV:
not likely.
mob
We
need the
TC<J>
that
we
have.
15. irarpl
TCW
KOIVOIV rt ycvc$:
TT.
NOTES.
318
aoiSotf.
we
Shall
19. <rx^8wv:
13, 69.
vinav.
tJTTroteri
2rp. y.
viicav
Kpicraiais tv irrvchariot-victory," as I. 2, 13:
ap(Aan
"a Pythian
See O. 7, 59 ;
ffypoarvvav.
father, who stands on the
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.
the
first
shift,
Qtovs rt np.av
6p<|>aviEo(iva)
yovtW
PIOV ireirpwiUvov
2rp. S*.
himself."
roiis
yovtas
&v
eats
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
In
Homer it
is
toi
Diomed
PYTHIA
Still
VI.
319
was known
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
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,
2rp. s.
P.
5, 2.
46. irirpy
3 : orav ns
Theron.
[TrXoOroi*]
common enough
is
in English.
NOTES.
320
<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
All the
a/uXXcu.
Kai
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.
Athens
a
is
6, 115).
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,
(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
noteworthy
ances
itself.
is the way in which each member of the triad balThe strophe has to do with Athens and the Alk-
The measures
it costs.
Compare the
struct-
are logaoedic.
2rp.
pcya\T)v
TroXii/.
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:
blest
'Hpo8oTo>
Tfv\<ii>v
TO
fj.(v
3. KpijirlS'
aoiSav
paXeo-Oai:
Cf. P. 4,
Alkmaionidai.
vaiovr':
With
riva.
"Whom
shall I
name
as in-
PYTHIA
323
VII.
as they
itself irresistibly.
irv66r8ai:
7.
'AI/T.
(Schol.
story
6.
Epexegetic
infinitive.
).
is
<rrwv:
AXara.
M<TT(
Qarjrbv
flvai.
in splendor."
10.
Other
13. vjiai:
'ETT.
kind of
XtroTTjf.
14.
8'
\a.ipu> Tl:
axwpu: "But
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
:
bloom
for a
man
brings with
it'
t'ois
(good and
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
Fennell,
who
advocates 462
B.C.,
6tS)v fjifTaTpoTriais
71
ciiTea,
famous passage P.
8, 92."
But
There
;
is
own
inter-
lacks the
plummet
In P. 8 Pindar
The opening,
is
NOTES.
326
who knows
PYTHIA
327
VIII.
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,
all
the
To sum up The
sychia,
ending
first
triad
is
welfare.
sion.
for
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
:
ance of P.
2rp.
a'.
marked contrast
1.
1.
*i\6|>pov: "Kindly."
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
of
A/JCT;
NOTES.
328
ia,
domestic tranquillity,
between
is
and
if
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
no fpai without
sychia
Tradflv,
There
He-
her people
(Schol.).
'Avr.
Whose
8.
a'.
heart
ridfvm
is
opposed
TV
jSao-tXeii?
conjectures.
14. ci
ble course.
ns
on O.
Comp.
I.
J>^poi:
6, 11),
(5),
PYTHIA
There
is
329
VIH.
IK 8<S|iv:
definitely fix.
Adds
'
<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>
Kpdm
Cf. P.
when
addressing Dorians.
O.
With
Xouri:
viKa<rais
\
OVTOS
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
(v 7roo-t,
62), TO 7rp6 TToSds (I. 7 [8], 13).
" in
Scoi/,
way." Tpdxov shows that the
my
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
TraTSa, Tra\aicrfj.ocrvvT)s
dOXflv
fifv I8f1v,
Kare\eyx fl
Cf. P. 1, 12,
J
I
"
ev.
H^X*"*
Moitraj/.
35. lyvcvwy
/3'.
i^l
7, 22).
a ^advKo\Tra>v T
fJ-op<pds,
9, 1.
avfj.<pvTOv ov
KarcXe'y^ei,
O.
8, 68, for
irarpav
" Clan."
2Tp. y.
15.
44.
that
is
41. 6mfrr():
$v$
^H*
"
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
y.
who had
is
trtpos
beside."
young man,"
trtpos vfavias,
irportpa 686s
The
was a
Here
r&
is ace.
young
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.
55. "Apovros:
y.
21:
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
which
62.
4, 3.
'AiT.
68.
8'.
O.
1,
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."
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^
irapfaraicc
NOTES.
332
demand
oraKe,
"
-.
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
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'
iir*
and P.
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.
See O. 8, 68.
e^irf-res
In the other description (O. 8, 68)
81. TcVpcwn,
Troi\Xrjs f
cWfl-ftref
we have
82.
yviois,
PYTHIA
333
VIII.
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
7n-fpa NtVay).
From
this height he
down on
Hermann, and many after
may
well look
ovrw: Sc. (v
14,5.
oXt'yo).
94.
dirorpairy
yvw^
"Adverse
doom."
'ETT.
sis.
('.
95.
ird|icpoi
Sc. t cr/ieV.
"What
A rare and
is
impressive ellip-
man? what
is
he not?"
Man
NOTES.
334
startles the
Scholiast
tv
ipfyatrfi
777
96.
avSpwv
right,
atyXa
we must understand
fTri^aiva).
P.'s eVt,
P. 4, 273; 8,46; N.
and
97. &reo-uv
the text
with gen.,
is
on."
1,
is
Cf.
77
5, 1.
HERA.
Coin of
Elis.
PYTHIA
IX.
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
5, 76).
The acknowledged
difficulty
of the
poem
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
:
PYTHIA
IX.
337
and
full justice
him
commandment
He bade
of old
praise with
(So
let
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.
NOTES.
338
Season's."
(Xti K.opv<f)dv.
uios (v. 131), who won the" prize by his impetuous rush in the
race (<pvye Xanfapov Spd/iov). Mezger, who emphasizes the recur-
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.
2rp.
a'.
1.
40&w: "I
PYTHIA
IX.
am
x<iXica<nri8a
fain."
339
The
6ir\iTobpo-
made prominent.
here
is
2.
Comp. Paus.
f3a0vwvoi<riv
2, 11,
8:
Cf. O. 3, 35
ical yvpvbs
$a6va>vov
ical
.
727).
<rre<|>av|Aa
The
and
who
We
Comp.
dK(ip(Kop.as, P. 3, 14
v.
'Ai^-. a',
specially
dfjKt to olnelv is
note-
worthy
honored
Comp.
P. 5, 24.
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
:
tnrepoirXwv
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<{>
:
Od.
2,
ova\urKoio-a
sleep.
dawn
"Wasting
p^irovra irpos
Zirnrrev.
Cf. v. 13.
27.
aw: Sleep
is
PYTHIA
when
IX.
341
a naturalist says,
"when
savages always
"This
make
is
the time," as
their attacks."
tvat
avrpov
tri
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
NOTES-.
342
more than
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
538 "Epcura
:
43. IleiOovs . .
" Secret are the
Not
first
time.
'ETT. 3'.
thought, P.
" Bland
29
"
3,
On
\^fv8fo>v
oi>x
4, 296.
For the
awrfTai.
piov
irap<|>a|Mv
"To
"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
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.).
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
.
nAXtis
ITOTI KUITOV
for Kanos.
343
IX.
Epaphos
(P.
abide, not
'?,
as N. 11, 3
<rvvTtXc6iv frvofiov
v. 31.
xpvWois
Where she
will
Always "where"
61. tva:
60. Scapao-iv
4, 14).
"To
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
5) is
as tvOpovos
as TroiKi\66povos (Sappho).
at Delphi, see 0. 13, 8.
"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/,
Aristaios,
Ti6fa-6ai
NOTES.
344
his place.
71. KoXetv: Epexegetic inf. By
on the fruit of the union, the Centaur hallows
much
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
KaXXiyvvaiKL -rrdrpq.
See introduction.
K.
O.
O.2,93
7,
(pwvdevTa crvvtrdiviv.
KTtdvtav.
fyvov
KopvQav
85. iravros
= tyvuxrav.
cxi
Kopxi^dv
'IdXaov
Cf.
The son
PYTHIA
[olaos.
foi
O.
9,
16: dvyarrjp re
345
IX.
Foi.
$Ao
Hypallage
Amphitryon had
90. XevKiinroio-i
Cf. O.
for
(Vdu,
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
"
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.
"
must
Nothing suggests
?2
NOTES.
346
ward
to other themes.
99. rdv8(e)
Dissen has
The poet
rovftt .
Others refer
rai/Se to
Kyrene.
Pindar
is
and
common
the
weal.
in the
common
interest
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
is
in silence.
Ka\ols tpyois, N. 9,
IJLTJ
Kpinrrf KOIVOV
'
(nrcpfi
OTTO KaXXiai/aKTOS.
Would apply
only to heighten
and the Scholia,
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
.
and
sleep,
a naipos story.
this, too, is
involved.
TroXij/
cite this
'AI/T. e'.
special
31.
O.
"
2, 46.
(rxno-oi
Opt. in
6, 49,
127. I88ov
'ETT. ('.
See
128.
v. 14.
= ind.
or. obi.
Homer, except O.
WXos
of," instead
which
see.
" Offered."
Alpvs
Antaios.
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:
we
feel
135. irrtpa
PYTHIA
X.
poem
as the earliest
work
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.
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
Now
Then
follows the brief story of Perseus' visit to the Hyperboand sacrifices. The Muse dwells there, and
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
The highest
Again a moralizing
is
blessing
who
On
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
Mommsen's
reading,
than
ri K0fj.ir(<a
'
NOTES.
352
(as
it
'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.
9,
9.
8iavXo8po(iav
10.
1, 32.
:
100; P.
4.
Te'Xi;
<n>Yycvc'9
tion for
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.
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
irrpav
For
irtrpav,
" victorious in
the race."
PYTHIA
If Phrixos
353
X.
is
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.
is
"
Yivtrai
-.
<ro<f>ois
Is
1,
32
3,
Cf.
I.
(jjcriv
'Avr.
with
KTf.
r)
Cf.
Od.
147
8,
6 (7), 39
fi'
= drj av.
ov
p,ev
yap
o TI TToavlv T(
= KOTO TO
Cf. P. 4, 107.
rv;(oi/Ta.
ol
/3'.
p.rj
H iroSwv dpT(j,
av xp<riv
K\fos dvepos
23. 8
p.(~iov
(i)<riv.
"
irpoa-rJKOv (Schol.).
Tvx5vra:
On
Duly
"
"Sr/,
<rre<f>avv:
Combine
8" eV^dratcrtj/
close of O.
9,
3.
29. vavai:
106.
comp. below,
in the old
Comp. the
41
v.
MSS.
av
sages, P. prefers
/.
On
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.
NOTES.
354:
Christ
Cf. P. 3,
(TTITVX<*>V-
foal
27
rocrcrais, 4,
Apollo.
p^ovras
Sr/j.
P.
y.
1, 84.
$oa,
set forth.
<r$cTlpoun
N. 5, 38:
:
9, 84.
8ov6>vr<u:
The
13
eVt <m(pdv(a
avaSijcravTcs :
clXairivaouriv : Od.
'Avr.y.
1,
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
rouse
my
uiTHrrov.
Svva&Oai ov
is
on
yr
PYTHIA
51. a-^&arov
*Eir. y'.
"Check," "hold."
word.
nvods.
Asyndeton
in a
355
X.
cr^dvov
Se
is
<rx-
Seti/li/
Sfjtfui
a nautical
KOI
Ovpov
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
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.
5 (6),
Comp.
aitl ffKOTTtlv.
A year hence."
apfior
64. {ev($:
The
NOTES.
356
salian
note on P.
rt
Xen. Hell.
4, 129.
wpaicos
Thorax
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
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
to
X.
t-fraiviiero|iv
67. irp^rei.:
:
dyaOoto-k KCIVTUI
MSS. have
Kelrai
PYTH1A
XI.
ACCORDING
rious, as
flection
Apollo, to
don of a
whom
victory.
NOTES.
358
51-64).
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.
deeper significance
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
not
is
all
that the
poem means
The rhythms
2rp. a.
are logaoedic.
Ko8(M>v Kopai: O.
24:
K a 8 p. oto Kovpais.
SefiAa
2,
. . .
of Olympos.
:
Mommsen
'An-,
a'.
(Schol.).
6. (lavrfwv:
The
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
ras
6r)j3as.
host of heroines
(6/xayvpe'a),
is
firivo^nov
invited to
NOTES.
360
See P.
6, 3.
tive.
See O.
tte\a$nti<rtr(e)
6, 24.
We have
<nv
a*p<j.
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
To
P. 10, 15
16. Aoxwvos
phios, king of Phokis.
Lakedaimon, ace. to Paus. 2, 18, 5.
2rp.
17. T&V:
fj>.
Index.
= vn(K
The
Orestes
See
myth, as often.
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."
:
'*
'Ai/r.
48; P.
22. vtiXtjs
ft'.
12, 17.
'Ij)iYvei(o)
Aulis.
24.
0.
1,
81
10 (11),
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.
light."
ri Si
tr.
vt'ais,
KT.
Pindar as to Euripides.
'ETT. ft.
"
:
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
:
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.
= 86povs
ajBpovs, Tr\ovcriovs, is
very un-
touch.
38.
'Air. y'.
The
i(tv<riiropov rpioSov
Lit.
"
path-shifting fork."
e'
last syllable, P. 3, 6.
39. ApOav
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
o-wv linrois
2rp.
Not simply
= 81
iTnra>v.
8'.
o-raBiov
rrrl
"The
Spd/ioy, as 1. 1, 23.
ap/Muri,
vvv
epa.Cp.av icaXwv
ITTTTOIS.
rjXry|av:
"Put
first
Swaoreia
'AVT.
8*.
Mezger
sen).
all,"
"
prefers
such as victories.
" Those
101. Jebb
But the stress is laid
:
"I
am
Comp.
all,
virtues
P. 9,129: or
55. ITCU:
8'
av irpaiTos 6opa>v
ara, ar?.
dp.<pi
The
dat.
makes no
satis-
PYTHIA XL
factory sense.
common
the
in
36S
makes
pass.)
a tolerable
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
T(I)V
6fv
"
8'
Zeus said
papvatrai, irav-
a>j/,
Day
fell,
rjp.i(rv
9e pair v as
OIKCOJ/ (8os.
N.
10,
56
VTTO
lum Rome.
8*
Qtpdirvas.
Nowhere does
ancient Sparta
come
so vividly be-
PYTHIA
XII.
positively for
composed
tory,
the
first.
but
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
The rhythms
2rp. a.
of \\y\aia.
1.
the olive
are dactylo-epitrite.
friXd-yXoe
O. 14, 13.
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
mon
tradition.
flute,
Olympos
this special
melody
We
7rXeaiera.
8.
8iairX^|air(a)
9.
ST/J. /3'.
"Winding."
irapOeviois
irapdttxav.
vn-6 T' dirXdrois :
On
VTTO,
The
(I.
7 [8], 58
6pfjvov
it
ex fa ")>
a shower of tears
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,
.
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.
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.
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
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.
2rp.
4ir6
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
>
Xaoo-crouv
2rp.
8'.
The
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.
& \nrapas
The
K.a<io*i8os
The avXdf
the time-
is
read
riv
(rot,
dependent on
Sdxrfi.
aeXin-uj.
^aXuv
''Smiting
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.
Kippav, P.
11, 12.
d&tlvddtiv, 0.
82.
24.
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.
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.
<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.
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,
dju</H/3aXXi-T<u,
dXti/i/3|OoVots, P. 5, 91.
du<^nroXoDS, 0.
'Au^>tT/ovu>md(5, O. 3, 14.
d/u<f>oT/oos
anfyoTipov, 0.
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,
3,
4,27.
P. 11, 55.
dXXd
0.
uXcrfi,
3, 36.
UfJiai/JiaKlTOIt
rat,
dxju,
fern.,
d. u\J/iyviov,
18.
afjitijiia
O.
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
;
;
aor.,
P.
9,
aor..
GREEK INDEX.
Ava,
Ava
&iranP\vvu, P.
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.
tlfarai;
i*
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.
avaaatav
371
tiva6tfj.iv,
39.
P.
8, 29.
Avl-
5, 8.^
avarpf)(ito
nvnrpatvw
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.
6, 3.
(11), 56.
P. 3, 109.
drrKw
fiojjUoi/ d<TK>'i<rio,
danctiTai 0t/tus, O. 8, 22.
doros
d<rrpafli] Ktofo, O.
"
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.
/3a<rtXeus,
/3d<ris,
P.
a J0i, 0. 8, 39.
auXos
aiiXali/ /3odi, O.
Kavayat, P. 10, 39.
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?,
ifjtft.fi
aiiTos
au-rofpvTiov, P. 3, 47.
"above envy," 0.
11 (10),
dipiKovTo, with
3ta\aKU Caiuovutu, P.
Fotos OuydTtj/j, P.
"
iflpoi,
O.
6, 55.
4, 37.
9, 19.
suitors," P. 9, 126.
O.
1ptX.to
60.
3o)XaTO
3, 8.
aCftt,i/,P.8,38.
1,
1, 2.
3oai Xu/odi/,P.10,39.
39.
auyd
d<piKvtofjiifi
4,
43.
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.
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,
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;($,
6tI<T
0.
3, 19.
(ppriv,
adfa
ti
P. 6, 36.
aoja e t>ti/os, o.
8oav,
Sopirov
"belief," P. 1,36.
0. 10 (11), 52.
Xu<rti/,
6, 48.
Spt-rwv, 0.
Aai/t)if i'iv
O.
7, 2.
Aw/ml Xao, 0.
Kfliftiit,
Aaiptos
1, 13.
4, 130.
Svtrfppovav, O. 2, 57.
SvwStKaSpofjitav, O. 2, 55.
ptel
65.
apodotic, 0. 2, 62 ; 7, 5.
after voc., see Fbco/ie.
ftiKvv/j.1.
StSoi=SiSov,0. 1,85;
;
Spocria ufnrt\ov,
SuairaX't's, O. 8, 25.
19.
*
89
265.
Spoffos
121.
SapSaviv
tunrXi
O. 13, 91.
diauXoOfio/tnv, P. 10, 9.
cnipdtvf, P. 3, 44.
Sia<f>aivw
"
Siafptpu, spreads abroad," P. 11, 60.
iW/xa x*p, P- 2, 9.
cpmrwv, P.
(caTaiauaXJoi), P.
a/uaXtot
a^jji/oi;
titafftoirutrofiai,
dptirti, P.
9, 30.
Saitppwv, P. 9, 91.
caKuto
OtSayfifvoi, P. 8, 87.
6dKos=6fjyfJia, P. 2, 53.
Aa/uatw ira-rpi, O. 13, 69.
o,
fnaTriipa, 0. 4, 18.
^taTrXtictt, P. 2, 82.
at<ra, P. 12, 8.
9, 4.
0. 8, 20.
5oXtj(i/oT/uoi/ Aiyti/av,
Soveo
Sovtovrai, P. 10, 39.
P. 11, 49.
6atu(>i'ii'
0.
P. 3, 28.'
yuiois, O. 8, 68.
yufivov
c5ia
7,
P. 4,
KpCtTl'lp,
rai,
373
SiSwfii
yXavKOYjooa, O.
yXl/(CU
"
Swpjj
P.
8, 20.
Aw
8, 30.
Aaipmv, P.
Awptav
(fiopfjiiyya,
icwpijcrciv, 0. 6, 78.
O.
1,
1,
17.
ActVO/UCI/flE
foli/os^^Ii/os, "dance."
i^Mt, P. 9, 21.
ofipav, O. 3, 27.
ciivtav -rip-
_'.".
Ctf>KOfJ.ai
9,
&6av, P. 9, 1 12.
os av iyKuptrri
iyKvptraii, P. 4, 282.
KOI i'Xj;, P.I, 100.
iyilptu
Sti6yvioi>, O.
119.
SttiOpKt,
O.
1,
94.
Ot'/>Kt-
Zqpdt
GREEK INDEX.
374
0.
7, 20.
fain,"
9,
z0tXf}<rat, P.
1,
iOtXnono,
40.
intern, 0. 8, 4.
il,
P.
cijco's,
construction
of,
tlfii
omission of
t<rri, tl<rl,
1,
35.
0.
1, 1
ifffit v,
Elpjva, 0. 13,
Is
ii>
imp*
ivi, 0.
7.
<r\oi/,
P. 3, 81
AtXlto
13, 37.
i'/caXos, 0. 9, 62.
i (cds Jtt.1/, P. 2, 54.
dfji<t>'
f j/,
adv., O. 7, 5.
ti/aycoj/io? 'Ep/xas,
ivaXiav
P.
2, 10.
/3a/xi/, P. 4, 39.
IvSoOtv, P. 2, 74.
ivdo/jid^af dXiicriap, O. 12, 14.
si/t'xtTai, P. 8, 49.
si/iV-Tois P. 4, 201.
ivvtiri, 0. 1, 47.
cWo/ucu, 0. 7, 84. Ivvofiov, P. 9, 62.
'Ei/i/o<ric$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,
iirri,
P.
fim;,0.3,28;
"
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.
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
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.
'""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 =
firoirrsuti, O.
7, 11.
/>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,
89.
5, 14.
0.
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.,
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-
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
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.
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.
fav&dvuv, P.
1,
29.
fii&o/jiwco, P. 4, 21.
A75os, O'. 8, 19.
FftSuK, 0. 2, 94.
/irtli, O.
13, 71.
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
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,
F 01, O.
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),
1,
91
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.
QipfiHv vo-
11,48.
tipdaos iroXt/jiwv, P.
P. 2, 83.
Qpacrvyviov, P. 8, 37.
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.
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,
'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.
P. 9, 33.
P. 12, 23.
KKpaXdv troXXdv
vdfiov,
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.
KfpdvvviiL
1,
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.
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.
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.
GREEK INDEX.
378
KoiTav fcuviav, P.
KoXXa, O.
KoX-jrtov
5, 13.
aldtpot, O. 13,88.
Kpv\J/t
P.
9, 90.
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.
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.
/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
Kvpito iv Mtjin.
2,
87.
XtXoyxti;, O.
ydin-s dicau, P.
O. 14, 2.
AaKtpuair, P. 3, 34.
5, 96.
Xao<r/3j, P.
0.
\dfipoi,
8, 36.
O.
1,
53.
Xa-
Xavoitrat.
P.
2, 95.
1, 81.
5, 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.
O.
/naKpd
uui/i/E,
0.6,32.
Xa/3/os (TTpaTos, P.
P. 4, 216.
2, 13.
111.
fj.t\av yivtiov,
HtXiydpvfs
O.
vfjuioi,
1,
68.
0. 11 (10), 4
P.
3,
64.
with
aor.,
O.
7,
61 ;
8,
32 ;
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.
"among," 0. 10
fi.iyvvfi.tvov <pptvi,
P. 5 19.
f-iyiv,
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-
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.
7, 4.
aioi o/x</>a\oi/, P. 6, 4.
olfjLOv iiriuov,
O.
1,
72.
9, 51.
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,
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.
P.
9, 63.
o=Ss, P.
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
/ufajujjoi/,
4.
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.
Xdyos, P. 7, 7.
tipovpats, O. 12, 19.
o/x/ua, P. 5, 56.
Ofj.i\i1
6fj.i\twu trap
GREEK INDEX.
380
oi/, O. 9, 48.
O. 2, 54.
bu.oK\apov,
t
t
OlAOTpOuJOS.
f\ 1 Q
rj
\J, -lv, /.
uias, O. 7, 6.
op-fpaXou ivdivdpoio juaTtpos, P. 4,74.
bpotppovov
ofMpaXov xOovos, P.
6, 3.
'Epii/us,
O.
6%iia
oTtdova
u.ri\tov. P. 9, 70.
67ri<vKi/a, P. 2, 17.
fiviav. O. 2, 6.
fUfXtTa, O. 6, 37.
offtais auyats,
O. 3, 24. ogciSv dK-rivwv, 0. 7, 70.
oirti;
oyflats. P.
2>
yas
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.
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.
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.
Trdp=Trapd
62.
3, 3.
o-rpvvio
0.
TTTa/,O.
a>p6(oaevt P. 4, 60.
opQooo
7raXi'y*.-oToi/,
3, 20.
fut. ind.(?),
O.
<rrpaTias
6,
23
with
7, 46.
1, 39.
Tot/xoi/ ird-
Trapd<r\ot, P.
1,
46.
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.
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
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.
3, 8.
TroiKiXots
114.
5,
iro-
\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,
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.
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.
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.
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.
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.
fXw-
pavQtlarav &pt-
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.
o-ui/
GREEK INDEX.
trvviixot,
'
O. 9, 105.
P. 1,2.
TtXos axpov, P.
2, 19.
Hvtiv
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.
7,
35.
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.
Tiflwa, P.
1,
20.
Kal
-rtiov,
O.
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.
XaX<cup,P. 1,95.
"rarity
ro)(*tas tX-
P. 4, 179.
l/3ai>,
ir/Sas, P. 1, 83.
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.
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.
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,
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,
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,
inr&
5, 14.
tpati
<p.
iv
6, 14.
<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.
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,
$iVrts=<I>fXTts, O. 6, 22.
<f>XtyovTi Xa/oiTs, P. 5, 45.
(poiviKavOt/nov i]pos, P. 4, 64.
O.
1,
P.
1.
17.
97.
d>6puiyyts inriep6d>iat t
(ppdaai,
0.2,110.
<pa<rydvou, P. 9, 87.
KaOapov, P.
fp.
98.
<ppa8ai, O. 12, 9.
(ppn^to
<ppd<raK, O. 2, 66.
farocTa<rairrts, O. 6, 1.
itif/iyviov aX<ros, 0. 5, 13.
irv//ixaiTu, P. 4, 172.
vi}/ov (pipovrt, P. 10, 70.
vat
vfft t 0. 7, 50.
Ka6apta, P.
7, 39.
v<t>laTt]fU
O.
2, 62.
VTTffiPlOV,
(^>a/x/,
Qtyyos, O.
4>do?,
(pavtrlfiftpoTot,
&v6ptatru>v
<pva, 0. 2, 94
GREEK INDEX.
<UTOV
fj.ordipOTrov, P. 5, 42.
8, 33.
(fxa-rti
T, 0.
1,
flto'fyarov x-, O- 3, 7.
(11), 9.
/3a6i
X ., 0.10
<u>s
385
\ajuj3avtt,
0.
(ptavdiirra
1, 81.
<u>-
46.
P.
1,
57.
2, 33.
dXov anfyt
T<5i;
XPO"f
" at
O.
4 78
-^poi/ov,
"*! P
aipi, P. 2, 67.
JVIKOV, P. 9, 1.
Adx*o'H', O. 7, 64.
xXaXll/OK, 0. 13, 65.
XJilHTU/uLTrVKW
P.
89.
Moiaai/,
3,
\pvadopa 4>ol/3oi/, P. 5, 104.
X/5U<rd/9/iaTOS M;;i/a, O. 3, 19.
XP""
X/offfdjuTruKa
pavov, P.
27.
10,'
\a\Ktvt yXwcrcrai;, P.
1, 86.
\a\KOTrdpaov aKoira, P.
1,
44.
YO/UEI/OV, O.l4,4.
XdjOiTfs TJVKO/JLOI,
P. 5, 45. ai/su XajOiTO)!/, P. 2, 42.
ou Xa/5/Tcoi; *dc, P. 8, 21. XapiTui apovpav, P. 6, 2. vdpiv, O. 7,
5 ; P. 2, 70 ; 11, 12. ljutij; X -, P. 10,
64.
i-jrtavv/Jiiav X-, 0. 10 (11), 86.
s X M 0. 1, 75.
KotvAv X; P- 5, 102.
aapfjuxrov Kdcrropos, P. 5, 9.
~
quantity of, P. 4, 144. XP U
<j>o'p/uiy, P. 1, 1.
x/DUO (/a *
tXat'aSjO. 11 (10), 13.$d<pva x/owvia, P. 10, 40. \pvaiav iiyittav, P.
3,73. ypvaiutv TpiiroStov, P. 11,4.
X/oufftos,
via
'/TTTTOtS
<
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,
'
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
wpvatu, O.
tis
fiv^oTrais
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.
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,
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.
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,
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.
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.
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,
contemptuous, P. 4, 186.
with proper name, P. 10, 57.
widely separated from subst.,
0.11(10), 19; 12,5; P. 12,
20.
P.
Cor Lothian, 0.
13, 20.
lake, P. 3, 84.
Boreas, P. 4, 182.
Bit,
Boibias
Brachylogy, P.
4,
242
48
8,
5,
9, 27.
20
8,
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,
Chariklo, P. 4, 103.
Chariot, poetic, O. 6, 22
9,
87
P.
P. 10,
65.
P.
5,
'
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.
75 ; 12,
9,
3.
5,120; 9,97.
announcing end, 0.
3,48; 4,115.
1,
14.
substantive, P. 9, 107.
Conative present, 0. 13, 59 ; P. 4, 106.
Condition, formal, 0. 3, 42 ; 9, 28 ; P.
1,90.
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
See Hypallage.
7, 2.
Future, modal, 0. 8, 57 ; P.
local-temporal, O. 1,2.
locative, P. 1, 40. 78.
passive,
without subject, O.
13,15; P.l,26(?);
4,232;8,43.85(?).
and
P. 11,61.
and dative
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;
9,
and
Ephialtes, P. 4, 89.
Ephyraians, P. 10, 55.
Epimetheus, P. 5, 27.
(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.
INDEX OF SUBJECTS.
390
Harmonia, P.
Hektor, O.
2,
&,
91
Imperfect and
11, 7.
89.
Hellenodikes, O.
3, 12.
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.
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.
5,
0.1,2.
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),
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.
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.
1,
26.
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.
1,
4, 19.
94.
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.
5,
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
P. 8, 78.
Home-bringing, P. 5,
keys, P. 8, 4; 9,42.
2,
Menoitios, 0.
91
P. 6, 32.
9, 75.
10, 54.
bit,
bloom (blossom), 0.
breezes, O. 7, 95
5, 10.
1,
67; P. 4, 158.
P. 4, 292.
3.
24 ;
13,
86
P.
4, 263.
pathway, 0.
Melia, P. 11, 4.
Memnon, O.
10, 66.
lopping tree, P.
17.
calm,
dress, P. 3, 83.
9, 00.
391
1,
35
115 ;
;
7, 31.
10, 12.
90
P.
2,
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.
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.
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.
4,
Okeanos, 0.
5,
P. 9, 16.
273.
Metonymy, P.
0. 2, 102.
P. 2, 88.
opt., P. 4, 118.
inf.,
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
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.
See
w.
irregular,
(10), 21.
ft
Oracular language, O.
P. 4, 27; 9f59
Orators, P.
1,
94.
Orchomenos, 0.
14, 4.
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.
49
noun, O. 3, 6 ; 8, 65 ; 9,
111; P. 2, 23; 3, 102; 11,
P.
8, 8.
Patroklos, O.
4,
175.
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
8,
25
P.
1,
52
P.
5, 20.
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
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.
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.
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.
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.
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,
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,
25
13, 31
P.
5,
78.
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.
;
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
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,
8,
22
16
9,
13, 8
P. 11,
395
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,
Wrestling, order
Timosthenes, 0. 8, 15.
Tiryns, 0. 7, 29 ; 10 (11), 75.
Tmesis, O.
1, 1.
White
apyiKtpavvov, O.
8, 3.
54>0iTos, P. 4, 291.
yiifl\tos,
0.
8,
16
P.
4,
21.'
167.
P.
194.
1.
;
1,
tXivMpios, O. 12,
39.
P.
1,
16
8, 16.
72.
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.
PA
4274
.05
G5
Pindar.