A3 CORNELL UNIVERSITY LIBRARY .1» 3 1924 074 825 963 DATE DUE ^Hff'S'^ ^^Ou*** 1 iWM'''Wi ^2QQ^ i - - -1 -H -^ Q ~ f - - - - - - 1 - - - - - - - - k GAYLORD PRINTED IN U.S.A. Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924074825963 HARPER'S CLASSICAL SERIES FOE SCHOOLS AND COLLEGES UNDER THE EDITORIAL SUPERVISION OF HENRY DRISLER, LL.D. JAY PROFESSOR OP GREEK IN COLUMBIA COLLEGE Copyright, 1881, by HARPER 8i BROlriMES PINDAR THE OLYMPIAN AND PYTHIAN ODES AN INTRODUCTORY ESSAY, NOTES, AND INDEXES By basil L. GILDERSLEEVE PR0FE8S0E OF GREEK IN THE JOHNS HOPKINS UNIVERSITY, BALTIMORE NEW YOKE • : • CINCINNATI • : • CHICAGO AMERICAN BOOK COMPANY t .YfiAf, I. Copyright, 1885, by Haepeb & Brothirs. W. P. 3 #3 /^^ P*^ "^ PREFACE. Thb Text of this edition of the Olympian and Pythian Odes of Pindar has been constituted according to my best judgment, and that best judgment has excluded all emenda- tions of my own. The Notes owe much to preceding edit- ors ; it would be affectation to say that they owe everything. The Introductory Essay is intended, as the whole book is in- tended, for beginners in Pindar, and much of the earlier part has been transferred from a series of semi-popular lectures, the sources of which I could not always indicate with exactness, even if it were worth while. The Metrical Schemes are due to the generosity of Dr. J. H. Heinkich Schmidt, who kindly placed at my disposal the MS. of his unpublished Pindar. In these schemes the comma indicates regular caesura or diaere- sis, the dot, shifting caesura or diaeresis. The other points are sufficiently explained in the Introductory Essay. In or- der to facilitate the rhythmical recitation of the text, I have indicated the stressed syllables by an inferior dot wherever it seemed advisable, the simple indication of the KiiXa not being sufficient, according to my experience with classes in Pindar. This has added much to the trouble of proof-reading, and I owe especial thanks to Mr. C. W. E. Miller, Fellow of the Johns Hopkins University, for his careful revision of text and schemes in this regard. My friend and colleague. Pro- fessor C. D. Morris, has done me the inestimable favor of ex- vi PREFACE. amining the Notes and the Introductory Essay, and the treat- ment of every ode is much indebted to his candid criticism, his sound scholarship, and his refined taste. Mr. Gonzalez Lodge, Scholar of the Johns Hopkins University, has light- ened, in thankworthy measure, the task of preparing the In- dexes ; and Dr. Alfred Emerson, Lecturer on Classical Archae- ology, has aided me in the selection of the illustrations, most of which are reproduced from the admirable work of Percy Gardner, "Types of Greek Coins." Every effort has been made to secure typographical accuracy, and in the last stage of the revision Professor Drislbr's practised eye and wide knowledge have been of great service in bringing about such degree of correctness as this edition presents. Basil L. Gildersleeve. Johns Hopkins University, Baltihori, January 1, 1886. A new edition of this work having been called for, I have gladly availed myself of the opportunity thus afforded of correct- ing a number of slips and oversights. In the search for minor errors, which are not less vexatious to the scholar because they are minute, I owe much to the keen vision of my friend. Pro- fessor Milton W. Humphreys, late of the University of Texas, now of the University of Virginia, and I desire to ex- press my warmest thanks to proof-readers and compositors for their patience and courtesy under a long and heavy strain. B. L. G. Johns Hopkins University, Baltimorh April 1, 1890. INTRODUCTORY ESSAY. I. The names of Pindar's parents are variously given. If W8 follow the prevalent statement, he was the son of Daiphantos ; and his son, in turn, after established Greek usage, bore the name Daiphantos. His brother, of uncer- tain name, was a mighty hunter, and much given to athletic sports, and this has suggested the unfailing parallel of Amphion and Zethos. The names of his mother, Kleodike (or Kleidike), of his wife, whether Timoxene or Megakleia, his daughters, Protomache and Eumetis, have an aristocratic ring, for there were aristocratic names in antiquity as in modern times. There is no reason for mythologizing Kleodike, Timoxene, Megakleia. As well allegorize Aristeides, Perikles, Demos- thenes, because their names happen to fit their fortunes. But Pindar's aristocratic origin rests on surer foundations, and we have good reason for calling him an Aigeid (P. 5, 69-71). Pindar an What the relations were between the Theban and Aigeid. j.|jg Spartan Aigeidai is a matter of lively discussion. It is enough for understanding Pindar that it was an ancient and an honored house, and that Pindar was in every fibre an aristocrat. This explains his intimacy with men of rank, and his evident connection with the priesthood — the stronghold of the aristocracy. To his aristocratic birth, no less than to his lofty character, was due his participation in the deo^ivia, or banquet of the gods at Delphi — an honor which was per- petuated in his family ; and the story that he was a priest of Magna Mater is confirmed by his own words (P. 3, 11-19), if not suggested by them. viii INTRODUCTORY ESSAY. Pindar was born at Thebes, the head of Boeotia — Boeotia, a canton hopelessly behind the times, a slow canton, as the nimble Attics would say, a glorious climate for eels, but a bad air for brains. Large historical views are not always entertained by the cleverest minds, ancient and modern, transatlantic and cisatlantic ; and the annals of poli- tics, of literature, of thought, have shown that out of the depths of crass conservatism and proverbial sluggishness come, not by any miracle, but by the process of accumulated force, some of the finest intelligences, some of the greatest powers, of political, literary, and especially religious life. Modern illustrations might be invidious, but modern illustra- tions certainly lie very near. Carriere compares Boeotia with Austria and the Catholic South of Germany at the close of the eighteenth century, with their large contributions to the general rise of culture in song and music. If such parallels are not safe, it may be safe to adduce one that has itself been paralleled with the story of the Island of the Saints, and to call attention to the part that the despised province of Cappadocia played in the history of the Christian Church. A Cappado- cian king was a butt in the time of Cicero ; the Cappadocians were the laughing-stock of the Greek anthology, and yet there are no prouder names in the literary history of the Church than the names of the Cappadocian fathers, Basil and the Gregories. But, apart from this, Boeotia has been sadly misjudged. Pindar, Pelopidas, and Epameinondas were not all, nor yet the wfji(Tl3etpa Kiow^Swv KopSiv of the Acharnians. There is no greater recommendation of the study of Greek lyric poetry than this — that it enfranchises the reader from Athenian prejudice and Athenian malice, while Athens herself is not less dear than before. Pindar, then, was an aristocrat in a canton ' that a modern census-taker might have shaded with select and special blackness. Himself born at Thebes, his ' Of course it may be said that Pindar was a Boeotian only in name, not in blood — belonging, as he did, to the old pre-Boeotian stocli ; but as he himself accepts the name with the responsibility (Boiwrin vq), we need go no further. LIFE OP PINDAR. ix parents arc said to have come to tlie city from an outlying northwestern deme, Kynoskephalai, a high hill overlooking the Pindar swump Ilylike. Of his infancy we know nothing. of Kyiios- The tale that bees distilled honey on his lips is told over and over of the childhood of poets and philoso- phers. Non sine dis animosus infans, we are as ready to be- lieve to be true of him as of any other great man. Of course he enjoyed the advantage of an elaborate training. Perhaps Boeotians trained even more than did the Athenians. The flute he learned at home, and it is supposed that at a later period „ . . he enioyed the instructions of Lasos of Herraione, Xraining. . the regenerator of the dithyramb ; although it must be noted that the Greeks have an innocent weakness for con- necting as many famous names as possible in the relation of teacher and pupil. The statement imposes on nobody. One goes to school to every great influence. It is only honest to say, however, that if Pindar studied under Lasos he was either an ungrateful scholar or underrated his indebtedness to his master. TJnfortnnately the jibbing pupils are sometimes the best, and the teacher's fairest results are sometimes gained by the resistance of an active young mind. At all events, Pindar has very little to say about training in his poems, much about native endowment, which was to him, as an aristocrat, largely hereditary. We may therefore dismiss Pindar's teachers — Skopelinos, Apollodoros, Agathokles. It is enough for us to know or to divine that he was carefully trained, and had to submit to the rude apprenticeship of genius. First a drill- master for others, then a composer on his own account, he had to work and wait. His great commissions did not come until he had won a national name. Goethe has comigended, as others had done before and others have done since, the counsel of noble women to all who seek the consummation of art, the caput artis, decere. Korinna — the story is at least well invented — Pindar's fellow-student, not his teacher, gave him a great lesson. In his trst poem, he had neglected to insert myths. Admonished of this omission by Korinna, and remembering that his monitress was herself f**- 1* X INTRODUCTORY ESSAY. mous for her handling of the myth, he crowded his next hymn with mythological figures — the fragment is still preserved (II. 1, 2) — whereupon she said, with a smile: "One ought to sow with the hand, not with the whole sack " {ry x"P'' ^""^ (TveipEiv aWa fifi oXo) rS OvXuko)). It is unnecessary to em- phasize the feminine tact of the advice. On another occasion Korinna is said to have blamed Pindar for having used an Attic vpord. This, also, is not a bad invention. It accords with the conservative character of woman ; it accords with the story that Korinna won a victory over Pindar by the familiar charm of her Boeotian dialect as well as by the beauty of her person, a beauty not lost in the picture at Tanagra, which represented her in the act of encircling her head with a fillet of victory. Aelian, an utterly untrustworthy scribbler, adds that Pindar, in the bitterness of his heart, called his suc- cessful rival a swine. If Pindar used the phrase at all, it must be remembered that BoiwWa ve (O. 6, 90) was a common ex- pression — half spiteful, half sportive — and that the moral character of the swine stood higher with the Greeks than it stands with us. The swine-woman of Phokylides, who was neither good nor bad, was not the sow of the Old Testament or the New. The Greeks were brotherly to the lower animals. Bull, cow, heifer, cock, ass, dog, were at all events not beneath the level of the highest poetry. Encouraged, perhaps, by Korinna's success, a younger poet- ess, Myrtis, attempted to cope with Pindar. She was ingloii- ously defeated, and sharply chidden by Korinna, with the sweet inconsistency of her sex. Pindar was twenty years old when he composed the tenth Pythian in honor of liippokleas of Thessaly. This poem, as Pindar's car- the firstling of Pindar's genius, has a special inter- iicst poem, gg^ . jjy^ jj. ,.gq^ijgs determined criticism to find in it abundant evidence of the crudeness of youth. If Pindar was twenty years old at the time when he composed the tenth Date of Pythian, and the tenth Pythian was written in hon- his birth. Qj, Qf g victory gained Pyth. 22 (01. 69, 3 = 502 b.c), Pindar must have been born in 522 b.c. A close contempo' LIFE OF PINDAR. xi rary of Aischylos (born 526 b.c), Pindar suggests a compari- son with the great Athenian ; but no matter how many ex- ternal resemblances may be found, nay, no matter how many fine sentiments and exemplary reflections they may have in common, the inner dissidence remains.' One question always arises when the MapaBavofia^rjc and Pindar are compared, and that is the attitude of the Theban poet during the Persian Pindar and "'^'"' ^^^ Pindar in thorough sympathy with the the Persian party of the Theban nobility to which he belonged >yar, i j j o by birth, by training, by temperament, or was he a friend of the national cause — as it is safe to call a cause after it has been successful ? Within the state there seems to be no question that Pindar was a thoroughpaced aristocrat, and those who think they have noticed greater liberality in the middle of his life have to acknowledge that he became more rigid towards the close. Without the state his imagination must have been fired by the splendid achievements of the Hellenes, and his re- ligious sense must have been stirred by the visible working of the divine power in setting up and putting down. He could not but be proud of the very victories that told against his own country, and yet there is no note in all his poems that shows the kinship that reveals itself in Simonides. The story that the famous fragment in praise of Athens brought upon him the displeasure of his countrymen, which they manifested by the imposition of a heavy fine, reimbursed twofold by the Athenians — this story, with all its variations, the statue, the wpo^evia, has not escaped the cavils of the critics, and does not, in any case, prove anything more than a generous recog- nition of the prowess of an alien state, if, after all, anything Greek could be alien to a man so fully in sympathy with all ' " Both Aeschylus and Pindar apeak of Etna in volcanic eruption. But Aeschylus — thoroughly Greek in this — fixes our thought on the scathe done to man's labor. Pindar gfves a picture of natural grandeur and terror (P. 1, 20). The lines on the eclipse of the sun [fr. VII. 4] are sublime. But it is not the moral sublimity of Aeschylus. Pindar never rises into the sphere of titanic battle between destiny and will. He Is always of the earth, even when he is among the gods." — Jebb. xi'i INTRODUCTORY ESSAY. that made Greece what it was. For in the sense that he loved all Greece, that he felt the ties of blood, of speech, above all, the ties of religion, Pindar was Panhellenic. The pressure of the barbarian that drew those ties tighter for Greece general- ly, drew them tighter for him also ; but how ? We are in dan- ger of losing our historical perspective by making Pindar feel the same stir in the same way as Aischylos. If he had, he would not have been a true Theban ; and if he had not been a true Theban, he would not have been a true Greek. The man whose love for his country knows no local root, is a man whose love for his country is a poor abstraction ; and it is no discredit to I*indar that he went honestly with his state in the struggle. It was no treason to Medize before there was a Greece, and the Greece that came out of the Persian war was a very different thing from the cantons that ranged themselves on this side and on that of a quarrel which, we may be sure, bore another aspect to those who stood aloof from it than it wears in the eyes of moderns, who have all learned to be Hel- lenic patriots. A little experience of a losing side might aid historical vision. That Pindar should have had an intense ad- miration of the New Greece, should have felt the impulse of the grand period that followed Salamis and Plataia, should have appreciated the woe that would have come on Greece had the Persians been successful, and should have seen the finger of God in the new evolution of Hellas — all this is not incompat- ible with an attitude during the Persian war that those who see the end and do not understand the beginning may not 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 far and wide, and although we must not suppose that Pindar went whithersoever his song went, lie was not a home-keeping man. His long sojourn in Sicily is beyond a doubt. Aigina must have been to him a second home. Journeys to Olympia, to Delphi, to Neniea, are cer- tain. If he studied under Lasos, he must have studied at Athens, and it is likely that he was familiar with many parts LIFE OF PINDAR. xiii of Greece, that he went as far north as Macedon, as far south as Kyrene. Everywhere he was received with respect, with Mvth veneration. Myths were woven about him as about few poets, even in myth-loving Greece. Not only did the princes of earth treat him as their peer, but the gods showed him distinguished honor. The Delphic priests, as we have seen, invited him to the Sto^evia as a guest of the divinities, and, more than this. Pan himself sang a poem of Pindar's, and Pindar returned thanks for the honor in the parihenion beginning '^Si Ildj'. Of a piece with this story is the other that Pindar had a vision of a walking statue of Magna Mater, and it is needless to say that Magna Mater, Pan, and the rest are all combinations from various allusions in his poems. Unworthy of critical examination as they are, such stories are not to be passed by in silence, because they reflect the esteem in which the poet was held. The death of Pindar, as well as his life, was a fruitful theme. The poet prayed for that which was best for man. The god, — Ammon, or Apollo, — sent him death on the lap of his favorite Theoxenos, — according to one legend, in the theatre at Argos, according to another, in the gymnasium. His bones, how- ever, rested in Thebes. Persephone — or was it Demeter? — Death of appeared to him in vision, and reproached him with Pindar. ^^^ having celebrated her in song, her alone of all the deities, and she prophesied at the same time that he would soon make up for his shortcomings when he should be with her. In less than ten days Pindar had gone to " the black- walled house of Phersephona" (0. 14, 20), daughter of Demeter. After his death he appeared in vision to an aged kinswoman, and repeated a poem on Persephone, which she wrote down after she awoke, as Coleridge did Kubla.Khan, and thus preserved it for after-times. The time of Pindar's death is very uncer- tain. It is commonly supposed that he lived to an Pindar's advanced age. Some make him die at eighty ; oth- ers see no proof of his having gone beyond sixty- six. One prudent soul, with wise reserve, says he did not live to see the outbreak of the Peloponnesian war. The latest poem xiv INTRODUCTORY ESSAY. that we can date certainly is O. 4 (01. 82, 452 B.C.), but P. 8 is often assigned to 450 B.C. Sundry apophthegms are attributed to Pindar. Most of them show the aloofness, so to speak, of his character. Apoph- " What is sharper than a saw ? Calumny." " What ti'egms. ^jn ^^Jp^ 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." "Simonides has gone to the courts of the Sicilian tyrants. Why hast thou no desire to do the same ? I wish to live for myself, not for others." These expressions at least repro- duce the temper of the man as conceived by antiquity. Such a self-contained personage could never have made himself loved by a wide circle. Admired he was without stint, often without true insight. The reverence paid his genius was manifested in many ways. Familiar to all is the story that when Thebes was pillaged and destroyed by the Macedonian soldiery, the house of Pindar was spared' by the express or- der of Alexander the Great, whose ancestor he had celebrated in song (fr. VIII. 3). The poems on which Pindar's fame chiefly rests are the iirivkta, or Songs of Victory, composed in celebration of suc- WORES cesses gained at the great national games. It is true that these poems constituted only one phase of his work, but they are the most important, the most characteristic, of all. Else they had not alone survived entire. They were more popular than the others, says Eusta- thios, because they addressed themselves more to human in- terests, the myths were fewer, and the obscurity was less. But these reasons, which are strange to us now, do not account for the survival. That vphich embodies the truest, inliest life of a people comes down, the rest perishes and passes over in.to new forms. Antique epos, antique tragedy, the Old Attic ' " The great Emathian conqueror bid spare The house of Pindarus when temple and tow'r Went to the ground," — Muton. PINDAR'S WORKS. XV comedy, the eiriviKia of Pindar — for these there is no Avatar, and they live on ; and yet it would not be doing justice to the rare genius of Pindar to judge him by the kiriviKia alone, and fortunately the fragments of the other poems that remain are long enough to justify a characteristic, or at all events long enough to vindicate his versatility. The Pindar of dp^vog, inropxriiJia, crKoXwi', is the Pindar of the l-n-iviKia, but now his mood is svpeeter, tenderer, now brighter and more sportive, than in the knivlKia. But a rapid enumeration must sufiBce here. The Pindaric fragments are arranged under the following heads : 1. "Yfivoi, Fragments, the fundamental notion of which is praise (kXe'oc). 1. Sjivoi. The fragment of the vjxvoe that called forth the counsel of Korinna suggests a kKioq in every line. 2. Ylaiavec The Doric name {Jiaiav — UaiiiV) shows a Doric origin, and „ , the rhythms were Dorian (rtTayjiivri koi aixppdiv Movira, says Plutarch). The theme is either petition or thanksgiving. Pindar's paeans are mainly on Apollo, to whom, with his sister Artemis, the paean originally was exclusively addressed. The paean seldom had orchestic accompaniment, and so forms a contrast to 3. 'Yn-opx^yuara, „ , , in which the dancing is prominent, and in 3. inropYTiuoiTci* o i which there is a close correlation between the theme and the orchestic movement. The greatest master of this mimetic composition was Simonides of Keos, airoc avrov Kpanaroe. The hyporchemata were more secular than the paean, and represented the exuberant joy of the festival. Pindar composed a hyporchema in honor of Hieron, of which we have fragments ; and famous is the passage also from the hyporchemata touching the eclipse of the sun. 4. Of irpoiroSia, ,_ or processional songs with flute accompaniment, Pindar composed two books, the most consid- erable fragment of which was prepared for a irofnrrj to Delos, the others for a irofnrii to Delphi. 5. TlapQevia, with flute ., accompaniment in the Dorian mood for chorus- ' es of virgins in honor of gods, as Apollo or Pan, in the fragments of Pindar; or of men, as Hieron (P. 2, 19). xvi mTRODUCTORY ESSAY. 6.. 'Eymi/uto are laudatory poems in the widest sense. In a „ , , narrower sense they are songs sung at the Dorian Kuifiog m honor of distinguished men, and evi- dently it would often be diflScult to tell an tTrivkiov from an eyKwixtov. 1. Uapoivia, or " drinking - songs," of which the 7. iropoivio, iTKoXia, or rather (tkoKio.,^ were sung by individ- o-KoXid. uals at banquets. The name is puzzling, and has been variously explained in ancient and in modern times ; the " obliquity " of the (tkoXiov being referred now to the zigzag way in which the song was passed on from singer to singer, now to the character of the rhythm. Engelbrecht, the most recent investigator, maintains that it was a generic name for the lighter Aiolian (Terpandrian) composition in contra- distinction to the gravity of the epic. As developed in litera- ture the skolia were brief, pithy songs, almost epigrammatic. The themes were love, wine, the philosophy of life, the stirring scenes of history. Clement of Alexandreia compares them oddly, but not ineffectively, with the psalms. The most fa- mous of all the Greek o-icoXtd is that of Kallistratos in honor of Harmodios and Aristogeiton, the slayers of Hipparchos {If fivpTov KkaSt TO ^i^OQ foprjaio). Bockh thinks that Pindar developed the itkoXwv and put it into a choral form, the chorus dancing while the singer was singing. All which is much disputed." The fragments that we have are dactylo-epitrite. One of them is referred to in the introduction to O. 13. 8. The dithyramb {Stdvpaiij3oe) — a half-dozen etymologies 8 8fl' B ™ig'^'' 1*6 given, each absurder than the other — is a hymn to lakchos (Bakchos), the mystic god, whose more mundane side is expressed by the name Dionysos. It is a fragment of one of Pindar's dithyrambs that preserves to us the memorable encomium of Athens : & Tol Xarapal kol loarif^avoi koi aoibiiioi, 'EXXafios epfUTfia, KXeival 'hBavai, haijxoviov irroKUOpov. ' See A. G. Engelbrecht, De Scoliorum Poesi, Vienna, 1882, p. 20 * Engelbrecht, 1. c. p. 96. PINDAR'S THEME. Xvii 9. Yet one more department must be mentioned — one in which Pindar attained the highest excellence. Simonides, his rival, touched tenderer chords in the Opfjyoe, or "lament," and the 9. eptivos. f''»g™e'it that tells of Danae's lullaby to Perseus, the noble tribute to those who died at Thermopylai, are among the most precious remains of Greek poetry. But Pindar's dpfjvoi struck a higher key, and at the sound of his music the gates of the world beyond roll back. The poet becomes a hierophant. III. A song of victory is as old as victory itself, and only younger than strife, " the father of all things." The unrenowned iv- THEME. Sofiaxae oKUriop, spoken of by Pindar, chanted his The own epinikion before the flood. Old songs of vic- Eplnlkion. ^Qj,y gj.g fanjiiiar to us from the Bible— Miriam's song, Deborah's song, the chorals of virgins that sang " Saul hath slain his thousands, but David his ten thousands." Pin- dar himself mentions the old fiiXoQ of Archilochos, a hymn on the heroes of the games, Herakles and lolaos, the TrjveWa KoKKiviKOQ, the " See the conquering hero comes," which was chanted by the victor's friends in default of any special epini- kion. No one who has read the close of the Acharnians of Aristophanes is likely to forget it. There were singers of epinikia before Simonides and Pindar, but we shall pass over the obscure predecessors of these two princes of Hellenic song, to whom the full artistic develop- ment of the lyric chorus was peculiarly due, pausing only to point out to the beginner in Pindar, who is ordinarily more familiar with the tragic chorus than with any other, the funda- mental difference between tragic and lyric. The tragic chorus has been called the ideal spectator, the spectator who repre- sents the people. It is the conscience, the heart of the people. In the best days of the drama the chorus follows every turn Lyric of the action, heightens every effect of joy or sorrow chorus. ]jy j^g sympathy, rebukes every violation of the sa- cred law by indignant protest or earnest appeal to the powers xviii INTRODUCTORY ESSAY. above. If the coryphaeus or head man speaks, he speaks as the representative of the whole. But in Pindar the chorus is the mouthpiece of the poet, and does not represent the people except so far as Pindar, Mouthpiece through the chorus, expresses the thought of the of the poet. Greeks and reflects their nationality. In the tragic chorus old men and young maidens, hardy mariners and cap- tive women are introduced; but under all the dramatic pro- prieties of expression, we see the beating of the Greek heart, we hear the sound of the Greek voice. In Pindar's epinikion we never forget Pindar. The victories in honor of which these epiniMa were com- posed gave rise to general rejoicing in the cantons of the vic- tors, and a numerous chorus was trained to celebrate duly the solemn festivity. This public character brought with it Scope of the ^ grander scale, a more ample sweep, and the epini- Epinikion. ^j^yj ^qqJj. ^ -wider scope. It is not limited to one narrow line of thought, one narrow channel of feeling. There is festal joy in the epinikion, wise and thoughtful counsel, the uplifting of the heart in prayer, the inspiration of a fervent patriotism ; all these, but none of them constitutes its charac- ter. That character is to be sought in the name itself. The epinikion lifts the temporary victory to the high level of the eternal prevalence of the beautiful and the good over the foul and the base, the victor is transfigured into a glorious person- ification of his race, and the present is reflected, magnified, illuminated in the mirror of the mythic past. Pindar rises to the height of his great argument. A Theban of the The- bans, an Aigeid, a Kadmeian he is, and continues to be, but the games were a pledge and a prophecy of unity, and in the epinikia Pindar is national, is Panhellenic. From the summit of Parnassos he sweeps with impartial eye the horizon that bounds Greek habitation. Far in the west lies Sicily, "the Panheiien- "''^'" ""'^^^ Syracuse, "the renowned, the mighty isni of the City," " sacred pale of warrior Ares," " of heroes and pin on. ^^ jjofggg glad in iron, foster-mother divine," and " the fair-built citadel of Akragas, abode of splendor, most beauti- PINDAR'S THEME. xix ful among the cities of men, abiding-place of Persephone," and Kamarina, watered by the Hipparis, with its " storied forest of stedfast dwellings," and Himera with its hot springs, haunted by the nymphs, and Aitna, "all the year long the nurse of biting snow." He looks across the firth to Italy, to the land of the Epizephyrian Lokrians, and from his height " bedews the city of brave men with honey." Then, turning southward, he descries Libya, " the lovely third stock of the mainland," where "Queen Kyrene" "unfolds her bloom." Eastward then to Ehodes, " child of Aphrodite and bride of the sun," to Tenedos, " resonant with lute and song." Now home to Greece and Argos, " city of Danaos and the fifty maidens with resplendent thrones," " the dwelling of Hera," " meet residence for gods, all lighted up with valorous deeds." Long does his gaze linger on Aigina, no eyesore to him, how- ever it may be to the Peiraieus. One fourth of the epinikia have for their heroes residents of that famous island which Pindar loved with all the love of kindred. " Nor far from the Charites fellTier lot," " this city of justice," " this island that had reached unto the valorous deeds of the Aiakidai," "her fame perfect from the beginning," "the hospitable Doric island of Aigina." Yet he is not blind to the merits of Aigina's foe. Every one knows by heart the words that earned him the great reward. In the dithyramb Athens is 'EWaSoc 'ipcurfia, KXeival 'Adavaf. in the epinikia she is "the fairest prelude for founding songs." His glance takes in with rapid sweep Lakedaimon and Thessaly. " If Lakedai- mon is prosperous, Thessaly is happy ; the race of one, even Herakles, ruleth both." Nearer he comes, now to "famed" Opus, now to Orchomenos by the waters of Kephissos, land of steeds, dwelling-place of the Charites, and then his eye rests in brooding love on Thebes, the theme of his earliest song, " Thebes of the seven gates, mother mine, Thebes of the golden shield." It is evident, then, that the theme was no narrow one, that all that was best, highest, most consecrated, all the essential Hellenism in Pindar had ample scope. And now, even to XX INTRODUCTORY ESSAY. those who know nothing of Pindar, except by the hearing of the ear, the great games of Greece have been brought nearer by the recent excavations at Olyrapia, and the brilliant scene of the Olympian festival is more vivid than ever to The games. , . . . ,„ .1 , j^ m ■ the imagmation. We see the troops of pilgrims and the hosts of traflSckers wending their way to the banks of the Alpheios, the rhetorician conning his speech, the poet hugging his roll of verse, the painter nursing his picture, all seeking gold or glory at the festival. Few landscapes so fa- miliar now as the plain of Pisa, with its sacred river and his mischievous brother, Kladeos. The fancy can clothe the Altis again with the olive, and raise sunny Kronion to its pristine height, and crown it with the shrine to which it owes its name. We see again temples and treasure-houses, the flashing feet of the runners, the whirlwind rush of the chariots, the darting of the race-horses, the resolute faces of the men who ran in armor, the gleaming flight of the javelins, the tough per- sistence of the wrestlers, each striving to put off on his antago- nist the foulness of defeat. The scene is lighted up by the mid- month 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, for the games. The Hermes of Praxiteles is henceforth for us the impersonation of the youthful athlete, whose physical prowess has not made him forget tender- ness and reverence. The Nike of Paionios revives for us the resistless rush of victory ; the breeze that fills her robe quick- ens the blood in our veins. Stadion, the oldest of all the games, most characteristic of all, as it symbolized Greek nim- bleness of wit, Greek simplicity of taste, pentathlon, pancra- tion, the chariot race, the race with horses, all these become more real to us for statue and vase, disk and tablet. We mingle in the eager crowds, we feel the tremulous excitement, we too become passionate partisans, and swell the volume of cheers. Many masters of style have pictured to us the Olym- pic games, but these things belong to masters of style, and no PINDAR'S THEME. XXi futile rivalry will be attempted here with what has helped so many to a clearer image of the great scene. Yet, after all that has been said by word-painter and by archaeologist, the poet must give the poet's meaning to the whole. Keconstruct Greek life and we shall better understand Pindar. With all my heart ; but after the reconstruction we shall need the 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 games of Greece are as thoroughly characteristic of her na- tionality as the choral poetry which was the expression of them and the crown of them. Choruses we find everywhere, games we find everywhere, but despite all recent advance in athleticism, the Greek games were superior in plastic beauty to their modern analogues, as superior as were the Greek choruses to the rude dance and the ruder song of May-pole and vintage. The point of departure may have been the same, but the Greeks alone arrived. The origin of the great games of Greece is to be sought in Oriffin of *^® religion of Greece,' and the influence of Delphi, — games, centre of the religious life of the people, — was felt in _ Delphic every regulation that controlled these famous con- tests. The times of the performance were in the hands of the priests, the cycle was a religious as well as an astronomical cycle. Eight years, the great year of expiation, the great Xura/Sac, the hecatomb of months, the period of the great tto/xtt^ from Tempe to Delphi, was subdivided into shorter periods for the performance of the games. 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 as- tonished the attendants of Xerxes. At other games prizes of value were bestowed, and lists are given in Pindar, but at the great games the prize was a simple wreath. It is ' This section follows CiTKTins closely. xxii INTRODUCTORY ESSAY. true that abandant honor awaited the victor at home, special seats at festivals, free table in the prytaneion, and other im- munities and privileges, but the honor was the main thing, and though it was not dearly bought,— for the two great historians, Herodotos and Thukydides, unlike m so many things, never forget to mention the agonistic achievements 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 be- tween Greek games and Oriental. The human form, as some- thing sacred in its perfection, was displayed in all (rames and its beauty and strength to the eye of day, as to the Oriental. ^^^ ^^ ^-^^ ^^^ rpj^^ Oriental games bore the mark of their bloody origin in self-mutilation. Under Dorian in- fluence, even the Ionian dropped his trailing robes and brought a living sacrifice to his deity, the fresh bloom of young man- hood, the rich efflorescence of the gifts of fortune. Of these festivals the greatest was the Olympian, " the sun in the void ether," that makes the lesser lights pale into noth- Oiympian ingness, the fire that shines in the blackne.ss of games, night, and makes night look blacker by its brill- iancy. The establishment of it, or the re-establishment of it, marks the union of the Doric island of Pelops, and it speed- ily rose to national importance. The first recorded victory is that of Koroibos {aradi^ vudiaao), 776 B.C. The Olympian games were celebrated at the end of every four years, begin- ning, according to the older view, with the first full moon fol- lowing the first new moon after the summer solstice, according to the recent investigations of Unger, with the second full moon Pythian ^^^^^ *^® same. The Pythian festival, celebrated in Nemean, the third year of each Olympiad, was revived and put ' ■ on a firmer footing in 586 b.c, and the establishment or revival of the Nemean is assigned to 673 b.c, of the Isthmian to 582 B.C., and it is no mere coincidence that the rise of this PINDAR'S THEME. xxiii new life belongs to the same century that witnessed the down- fall of the ambitious houses that had acquired despotic power in Corinth and Sikyon. There were games all over Greece — one sometimes wearies of such lists as are unrolled in O. 13 — but these four were of National national significance, all of them Amphiktyonic, all "of the"""* Diore or less under Delphic, under Apollinic inflii- games. g„gg_ ^ sacred truce was proclaimed to guarantee the safety of pilgrims to the games, and a heavy fine was im- posed on any armed body that should cross the border of Elis in the sacred month. In this peace of God the opposing ele- 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 sooner found than lost. And yet, despite this Panhellenic 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 op- portunity for commercial exchange. Two moral elements, already indicated, enter into the games. irovos They are called by homely names, toil and ex- Sairava pense, irovoe Sawava r£.' They are moral ele- "■ ments because they involve self-sacrifice, submis- sion to authority, devotion to the public weal. " So run that ye may obtain " is not merely an illustration, it is a lesson. Whether it be fleetness of foot or swiftness of horse, it de- mands the renunciation of self-will, and the glory is, after all, 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. Honor paid Came alike from God. The games themselves are tiie gods. jjg](j jjj ]jonor of the gods, the Olympian and Ne- mean of Zeus, the Pythian of Apollo, the Isthmian of Posei- don. Their praise is often the burden of the song, and the ' 0. 6, 15. If, however, that is not accepted as Pindaric, we have I. 1, 42, a/KJioTepov Sairdvcug re Koi irovoif. I. 6 (6), 10, Sairdvg. re x«P"i! Kai irovig. xxiv INTRODUCTORY ESSAY. poems in which they are not magnified may be counted on one hand. The great national heroes of Greece share in the honor. Herakles is hardly less vividly present to our mind at the Olympian games than Zeus himself. Indeed the Herakles of Pindar might well claim a separate chapter.' And as the games are a part of the worship of the gods, so victory is a token of their favor, and the epinikion becomes a hymn of thanksgiving to the god, an exaltation of the deity or of some favorite hero. The god, the hero, is often the centre of some myth that occupies the bulk of the poem, and it may seem at the first glance, perhaps after repeated read- ing, that mere caprice had dictated the choice of this or that myth rather than another, but closer study seldom fails to re- veal 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 Scene of of song. We learn how Pelops of yore won the the victory, chariot-race against Oinoraaos, we learn how Hera- kles planted the Altis with trees, and brought the olive from the distant land that lies behind the blast of shrill Boreas. Not less favored is the land of the victor. Country and city are often blended with goddess or heroine whose history of City of the *"^^ ^°*^ triumph prefigures the trial and triumph victor, of the victor. Then the history of the house often History of carried the poet up to the higher levels of poetry, for the house was not unfrequently an old heroic line going back into the mythic past. The epinikion is thus lifted up above the mere occasional poem, and we can well understand how such a crown of glory as a Pindaric ode would be carefully preserved and brought forth on each re- currence of the festal day. Such a poem has often for its theme a grand tradition, traditional hospitality, traditional freedom from i)/3|0tc, that arch-crime against tiie life of a Greek state, traditional victories. Even when the fortunes of ' V. Menghini, Ercole nei canti di Pindaro. Milano, ISVG. PINDAR'S THEME. xxv a house have been chequered, what is lost in brilliancy is gained in human interest. The line disowned of Fortune comes to its rights again. The glory of the grandsire is re- vived in the third generation. Then there is the victory it- self with all the splendor that attends it — the sacrifices, the processions, the banquets, the songs; and, not least, the songs, for Pindar magnifies his calling, and large space is given to the praise of poetry. From this rapid enumeration of the elements of the epini- kion, it will appear that the range is not narrow. There is scope enough for the highest work, as high as the brazen heaven not to be climbed of men, deep as the hell in which "yon people" bear toil and anguish not to be looted at with mortal eye, broad as the family, the house, the race, mankind. And yet the poetry of Pindar does not lose itself in generali- ties. He compares his song to a bee that hastes from flower to flower, but the bee has a hive. He compares his song to a ship, but the ship has a freight and a port. His song does not fly on and on like a bird of passage. Its flight is the flight of an eagle, to which it has so often been likened, cir- cling the heavens, it is true, stirring the ether, but there is a point on which the eye is bent, a mark, as he says, at which the arrow is aimed. The victory is not forgotten. The epi- nikion is what its name implies. Not a set piece of poetic fire-works, nor yet, as many would make it out to be, a sermon in rhythm. It is a song of praise. But all extravagance of eulogy is repressed by the dread of Nemesis, by that law of The Epini- balance which kept the Greek in awe of presump- kionasong tion. The victor may see his image transfigured of praise. . , „ - , i i i • into the form of hero, or even god ; only he is re- minded that he is of the earth. Mfj fxarcvE Ztvg yeviadai. Sometimes the praise is veiled with the myth, but when it is direct, it is delicate. The victor's garland, he says, demands the song, but the song is not such a trumpet-blast as would blow the garland off the victor's head, if not the vic- tor's head as well. That is modern eulogy. Of course it will be said that Pindar's eulogy was eulogy to order, but it was 2 xxvi INTRODUCTORY ESSAY. not falsehood with a cunning makeweight of good advice. The eulogy spends itself where eulogy is earned. To whiten Hieron is easier than to blacken Pindar. The excellence of the victors in the athletic contest, of men like Diagoras, of boys like Agesidamos, the liberality of Theron, of Hieron, of Arkesilas in the chariot-race, are assuredly fit themes for praise. The prosperity of the victor and his house, as a sign of God's favor, might well deserve the commendation of the poet. But Pindar was too high a character to make deliberate mer- chandise of falsehood, and while it runs counter to common- sense to suppose that he availed himself of his commission to read the high and mighty tyrants of Greece lectures on their moral defects, he is too much a reflection of the Apollo, who is his master, to meddle with lies. With all his faults, Hieron was a Doric prince of whom Dorians needed not to be ashamed, but there is reserve enough in Pindar's praise of a man like Hieron to make us feel the contrast when he comes to Theron. Unfortunately, Pindar is not expected to have humor, and the jest of "the hireling Muse" and "the silvered countenance" — be it " of Terpsichore " or "of songs" (I. 2, 7) — has done him harm with critics of narrow vision. In all estimates of Pindar's poetry, it is important to re- Pindar's ™ember that he belonged to the aristocracy of relations to Greece, that his poems were composed for the aris- tlie Tictors. Til 1 tocraoy, and that he spoke of them and to them as their peer. No man of the people is praised in his poems. It is the purest fancy that Thrasydaios (P. 11) was other than a man of the highest birth. Now men of aristocratic habits are scrupulously polite to persons of inferior position with whom they may be brought into social contact. Among their own set their manners are less reserved. And Pindar was in his own set when he was among these Olympian and Pythian victors, and there was a strain of familiar banter in his poems that would not have been tolerated or tolerable in any or- dinary man. It is not likely that he made an allusion to Psaurais's gray hair (O. 4). If he did, it would pass. It is undeniable that he made a harmless jest at the insignificant PINDAR'S THOUGHT. ^xvii appearance of his townsman Melissos (I. 3). When he hints at envy and feud, he has the tone of one who knows all the secrets of a coterie, and when he sorrows, he sorrows as one who has carried the body of a friend to the tomb. If we had memoires pour servir, Pindar's reserves, his enigmas, his aristocratic intimacies might be forgiven. As it is, those who cannot amuse themselves by reconstructing the scandalous chronicle of the fifth century, often end by hating a poet whose personality for love or hate is stamped deep on all his works. IV. Men who themselves owed everything to form have been found to maintain that translation conveys the essential, and THOUGHT *^^* ^^^ highest survives the process of transmis- sion without any considerable loss. Far less dan- gerous is the paradox of Moriz Haupt, "Do not translate: translation is the death of understanding. The first stage is to learn to translate ; the second to see that translation is im- possible." ' In the transfer to a foreign language the word loses its atmosphere, its associations, its vitality. The angle at which it meets the mental vision is often changed, the rhythm of the sentence is lost. The further one penetrates into the life of a language, the harder does translation be- come ; and so we often have the result that the version of the young student is better than that of the experienced scholar, because the latter tries to express too much, and hence falls into paraphrase and sheer cumbrousness. The true vision of a work of literary art is to be gained by the study of the original, and by that alone. And this holds even as to the ethic value of poetry. To put Pindar's thoughts, his views of life, into other words, is often to sacrifice the delicate point on which the whole moral turns. If this is true of the single 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 ' See H. Kettleship, Maurice Haupt, a Lecture, p. 18. xxviii INTRODUCTORY ESSAY. his most striking thoughts under certain rubrics. This has been done by various scholars, notably by Bippart and by Buchholz." With their help one can give o.de and verse for Pindar's attitude towards the beliefs of his time, for his views of the gods and heroes, of human destiny, of polities, prac- tical and speculative, of Pindar's relations to persons.' One 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 life, of government, if, indeed, we dare break up the antique unity in which all three are merged. But the methodical channels in which Pindar's poetical vein is thus made to run give no notion of the play of the poet's genius. The stream that escapes from the waste-pipe of a fountain gives no no- tion of the rise and fall and swirl and spray and rainbow glitter of the volume of water that rejoices to return the sportive touch of the sunlight. The catechism has its uses, but it is not the Bible, and as there is no space in this essay for a Piudaric catechism, it must suffice to show how much the study of a few odes will teach us of what Pindar believed concerning God, and what duty he thought God required of man. True, to the great question, " What is God ?" Pindar has no answer in any of his odes; he is as silent as Simonides. But when we ask, " Are there more gods than one ?" the answer comes speedily from the first Olympian, " There be gods many and lords many." Zeus dominates officially (v. 10), and some see in this, as in the use of OeSs and iaifxiav elsewhere, a tendency to the monotheistic idea, but Poseidon (vv. 40, 73, 75), who held the Peloponne- sos in his embrace, rules the myth. We are reminded of Kronos (v. 10) ; Aphrodite is not forgotten (v. 75), nor one of the great powers behind the throne, Klotho (v. 26), — to say nothing of the unfailing Muses (v. 112). We are in the fa- ' BirpART, Pindar's Leben, Weltanschauung, und Kunst, Jena, 1848. Bdchholz, Die sittliche Weltanschauung des Pindaros und Aeschylos, Leipzig, 1869. ' A. Croiset, Pindare, pp. 162-291, has treated these matters in the right spirit, because he has kept the setting for the most part. PINDAR'S THOUGHT. xxix miliar world of Greek divinities. The poet's attitude towards the gods is that of his people, and a study of all the odes would only confirm the impression of the first. Nearly every ode is full of gods. Not one of the shining forms of the great divinities is lacking, not even Hestia, who has a large space in N. 11. Pindar's world of the gods is an organized state, won by the victory of Zeus over the Titanic brood. In the first Olympian, as in all the Olympians, Zeus rules se- renely. It is true that his throne, Aitna, rests, on the violent hundred-headed Typhoeus (0. 4, 6), but we do not feel the stirrings of the revolted spirit as in P. 1, 15, or in P. 8, 16, for the Pythians magnify the ofiice of Apollo, who is the Word of Zeus, the god that bids harmony and measure reign in state and man. The being of Apollo is much more deeply in- wrought with the Pythian odes than that of Zeus with the Olympian. This belief in the gods, or acceptance of the gods, did not involve belief in this or that special myth. The historical books of the unwritten Bible, so to speak, were open to all manner of scepticism, as we know from the annals of the time, as well as from Pindar. Every one re- members Xenophanes' revolt against the fables of Greek my- thology. So, Pindar, in the famous passage, beginning (v. 28) ^ Qavfiarh ■TroWd, Kai iroii rt Koi jSporuiv, kte., speaks of legends cunningly set ofE with glittering falsehoods. He distrusts the myth, he resolutely refuses to believe it when it jeopards the honor of God. He who himself invokes Charis for the praise of man, dreads her persuasive power in things divine. " I can- not call one of the blessed cannibal." There is a conflict in Pin- dar's poems on this subject as on others. We of this time know well what this means, for doubt runs through all our literature. Only the antique poet is not tortured by his doubts; the priestly temper conquers. He keeps his tongue from aught that would offend the god, and leaves the god himself to rec- oncile the partial views of his worshippers. The cultivation of a religious temper is his resource against scepticism, and this age has seen many shining examples of critical knowledge XXX INTRODUCTORY ESSAY. held in harmless solution by reverence for the divine. Pin- dar's criticism, it must be confessed, is of the crudest. His interpretation of the story of the cannibalic meal of the gods is very much in the vein of the most prosaic school of Greek mythologists, and not unlike what we find in early rationalistic criticism of the Biblical narrative. In similar straits he sim- ply cries out, 0. 9, 38: aizo fioi \6yov | tovtov, aTo/jia, p7\pov' | eiTEi TO yt Xoidopfjaai Oeovc \ ^X^P" aofjiia. Still limiting our vision to the first Olympian, we ask, "What is Pindar's view of human life, human destiny ?" The Greek wail over our mortality is heard here also. " The immortals sent Pelops straight back to dwell again among the tribes of men whose doom is speedy " (v. 65). And banished Pelops cries — Qaveiv S' olaiv avayKa (v. 82) — "As we needs must die, why should one nurse a nameless old age in darkness idly sitting, and all in vain ?" Life is darkness unless it be lighted up by victory such as the sunshine of Olympia (v. 97), but that is all. The light within man is darkness, and the light that comes from without depends on the favor of God. God has Hieron's cause at heart (v. 106), but God may fail. "If he fail not speedily" (v. 108), then — This strain is heard over and over again, the shortness and the sorrows of human Man i8 of life, the transitoriness of its pleasures, the utter de- smAtailot pendence on the will of an envious God. We feel trouble, throughout that we are in the atmosphere of Hesiod rather than in the atmosphere of Homer, and yet Homer is sadder than either by reason of the contrasting sunshine. Instead of searching for texts, read the eighth Pythian, the Ecclesiastes of the odes. It is true that the first Olympian would not be the best place to look for Pindar's views of government. The ode from beginning to end has to do with the summits of things, not the foundations. But when in another Hieronic ode (P. The State ^' ^^^ ^^ comes to the basis of the state, we find that Hieron founded Aitna in honor of Zeus, " with god- built freedom in the use and wont {vofioig) of Hyllid standard." In these few words we have everything. We have the dedi- PINDAR'S THOUGHT. xxxi cation to the Supreme, we have liberty based on God's will, we have a life directed by hereditary usage. The word v6- fioie is a concession to the times — for Homer knows nothing of i/d/uoc — but we still feel the " use and wont ;" vofjoe is not " law " to Pindar, it is " way." So in his earliest poem he says, P. 10, 70 : v\pov (pipovri vofiov QcaaakSv, and a high and mighty way was the way of the Thessalians. How Pindar felt when the spirit of Tranquillity was violated we see by P. 8 — the truest expression of the aristocrat alarmed and grieved for his order. The next point suggested by the first Olympian is the rep- resentative position of Pindar as the expounder of Greek Pindar an ethics. Is Pindar speaking for himself or for his oforeek' people? Many of his thoughts are not his own. ethics. Tijgy ajg fragments of the popular Hellenic cate- chism, and they become remarkable in Pindar partly by the mode 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 'OXBos— K(i- Sin and Death in the Christian system. "OXfioe — pos— "YPpis Kopoc — "X(ipiQ — "Arj). The prosperity that pro- Att). duces pride and fulness of bread culminates in overweening insolence and outrage, and brings on itself mis- chief sent from heaven. That is not Pindar, any more than it is Solon, than it is Theognis, Aischylos. But the genius that stamps these commonplaces into artistic form, that gives to the wisdom of the many the wit of the one, and makes the doctrine a proverb, this was Pindar's, and Pindar's was the believing soul that breathed into the dead dogma the breath of a living and a working faith ; and we call that man great who thinks and utters the people's thought best. So it is no new doctrine that he teaches when he insists so much on the corollary of the abhorred genealogy jnst cited^ — the necessity of self-control. Laws are only symptoms, not remedies of disease in the body politic. Whenever crime is rife, legislation is rife, that is all, and the firiZ^v ixyav, the (ppotTvvri, on which the Greek laid so much stress, points to the moral difficulties of an impulsive race, whose moral har- xxxii . INTRODUCTORY ESSAY. mony seems to be artistic rather than moral. The Greeks were too airy, too much like Hermes, of whom comparative , mythologists have made the morning breeze, too yvio[u^ SiuKiDv, little like Apollo. The text, then, on which Greek (icTpa Sc KOI moralists preached longest and loudest, on which KOT x<»v. pin(ja]- preached loudest and oftenest, is the need of self-control. Pindar cares not whether it be the old, old story or not. This negative gospel is the burden of his mor- alizing. So in the first Olympian, v. 114: firfKin wdnraive ■Kopawv. " Be thou not tempted to strain thy gaze to aught beyond." " As far as the pillars of Herakles, but no further ; that is not to be approached by wise or unwise " (O. 3, 44). And so in every key, " Let him not seek to become a god " (0. 5, 24), or, if that is not Pindar, " Seek thou not to become Zeus" (I. 4 [5], 14). "The brazen heavens are not to be mounted," says the moralist of twenty (P. 10, 27). fiiTpip Kara/iaivc, says Pindar the aged (P. 8, 18). Another point also discernible in the first Olympian is the lofty self - consciousness of genius. This Pindar shows in Self-con- all his poems, and strikingly here. His theme is scionsness. jjjgjj^ ^^^ jjg jg jg^gj ^j^jj jjjg jjjgj^ theme. If higher come, he can still ascend. A more glorious victory shall re- ceive a still sweeter song. The arrow shot has reached the lone ether, but the Muse has still her strongest bolt in reserve for him, and in his closing prayer he wishes a lofty career for Hieron, and side by side with the prince let the poet stand, Trp6(j>avTov tro(j)i)f icaff "EWai'ac iovra wavr^. The proud self- assertion is hardly veiled by the prayer. In the second Olym- pian there is the same maintenance of high pretension. In the first Olympian it is the Muse that keeps her strongest bolt in reserve. In the second it is the poet himself that keeps his arrow within his quiver (v. 92). He seems, as has been said, to rise to the stature of Apollo himself in his proud scorn of the Python brood. How, then, is this to be recon- ciled with the self-control, the freedom from boasting, which Hellenic ethic enjoins ? It is because of the source of genius — God himself. Pindar looks down on lesser poets as eagles PINDAU'S THOUGHT. xxxiii on ravens (O. 2, 96), on daws (N. 3, 82). Contempt, scorn, superciliousness are hardly the words. It is a sublime look- ing over the heads of his rivals with at most a faint conscious- ness of their cawing far below. This is a dangerous assump- tion, an attitude that may be nothing but a posture, and we resent it in inferior poets, who take on Pindaric airs. But Pindar at his greatest height does not forget by whom he is borne up, the limits of his god-given power, ■xpfj M (far avTOv aiel Travroe bpdv fiirpov (P. 2, 34). The little that he has to say about training bears on the games rather than on his art. In 0. 8, 59 he is speaking expressly of a trainer,' and there the meaning is disputed. Mild enough is O. 10 (11), 22.'' But elsewhere Nature is praised — often blended ^ with God and Fortune — to the exclusion of mere learning, of the SiSaKral apcrai of 0. 9, 108. to Be avmfi- (ipoToe 'YirepioviSag (O. 1, 39), and Amphitrite is xpuo-aXa/caroe (0. 6, 104), and Athena eyxei ppofiog Kopa (0. 7, 43). And so the whole world of things, animate and inanimate, is endued with life, or quickened to a higher vitality, by Pindar's com- pounds. The cry is hlvyXiaaaoq (0. 13, 100), the lyre alve-rrn ■ BrXuning, De adjectivis compositis apud Pindarum, Berlin, 1881. " Hor. Od.4,2, 10. 11: Seu per audaces nova dithyrambos\verba devolvit. PINDAR'S STYLE AND ART. xli (O. 10 [11], 103). Lions acquire something of a human os- tentation by (iapvKOfiTroi (P. 5, 57). The majestic chambers of Zeus are fXEyaXoKEvOelg (P. 2, 33), and hide awful shapes of doom to punish the intruder. oTrSofifipoTov avxvf^a (P. ,1, 92) resounds as if the words of themselves echoed down the corridors of Time. There are no pijfiuTa yofia\6\pv)(pi,' and there is an undeniable charm about the scheme. The three certain parts are beginning, middle, and end, and for these we have the high authority of Aris- totle (Poet. c. 1). 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 ' The organism is so elastic that Mezger makes eight parts, retaining the iitapx& rejected by Westphal. ' 'On(jia\6-i\/vxoi dicti primum Bogomili ; deinde ita appellati per ludi- brium a Barlamo Calabro monachi aetatis istius qui se riavxaaTaQ voca- bant, a modo quo preces fundebant, kivovvt^q nempe rbv aiaQijTov 6^9a\fibv avv '6\(f) voX tv p.i(7q) riJQ KoiXiag riyovv Kara tov bfifaXov, etc. DUCANGE. 3 1 INTRODUCTORY ESSAY. the Terpandrian vo/xoc seldom has its full nuraber. The name 6fi(l)a\6c is not only mystic and Delphic, it has indirectly a Platonic warrant. Plato demands of every \6yoe that it shall be a i^aov, that it shall lack neither head nor foot,' and if neither head nor foot, why should it lack the central navel ? The 6fi(j>a\6c, then, is the organic centre of the poem, and con- tains a myth. True, " there is no myth in the d/i0aXoc of P. 1 and 9, N. 1 and 10, 1. 2 and 6," but the rule is not rigid" at any rate, and we must be satisfied with an approximation. As a rule, then, the 6ix(l>a\6e contains a myth, while the begin- ning {apxa) and the close (o-^pay/c) contain the praises of the victor and his house. Then there are transitions between the apxa and the d/u^aXoc, just as in oratory the -irpoKaTairraaig prepares the way for the Striywig: there are transitions be- tween the 6fi(j>aX6c and the a6pfiiy^, to be Lyric ^'^"g ^°<^ ^°^ simply recited. Instead of the lyre, ^nclh ^^^ ^"'®' °'' I'at'ier clarionet, sometimes served to accompany the voice ; sometimes both instruments were used. The rhythmical movement of the body, the dance, completed the trinity, which could not be dissociated without loss. The Shield of Achilles in Homer,' II. 18, 569-672, shows the rudimentary union of voice, instrument, and dance, which survives, still rudimentary, among the people of our stock. In Greece the popular became the artistic, and passed through a long development, which cannot be exhibited here. The great musicians of the eighth century ' — Olympos, Terpandros, Thaletas — were followed in the seventh by Alkman, the Lydi- an, the sweet singer of Sparta, Stesichoros of Himera, " who bore upon the lyre the weight of the epos," and these were succeeded by Simonides of Keos and Pindar, who represent the third great stage of lyric poetry proper. The Lesbian school is called melic rather than lyric, and Sappho and Al- kaios are not the artistic ancestors of Pindar. Their poetry, full of passion and fire as it was, had not the sustained flight of the choral ode. It was from the poems of Stesichoros that Pindar learned how to build the fourth Pythian. The dithyramb is a thing apart. Common to poetry, music, and dance is rhythm, which means " regular flow." Kegular flow can be recognized only by interruptions; time unbroken is eternity; we must have groups, and these groups must be of such dimensions as to be comprehensible. Hence the definition it is given in tlie Introduction to Jebb's Oedipus Tyrannus. The sum- mary presented here rests chieily on what I have learned from West- PHAL, and especially from Schmidt, and the phraseology is adapted from my Latin Grammar. ' ToTaiv d' Ev /isaaom irdtf (popiiiyyi Xiyeiy ifiepoev KtQapt^e ' Xivov 5' vtco koXov aetSev XeTTTaXiy iJuDvg ' Toi Ss priaaovTtQ apapry poXny T tvypi^ re iroai ffKaipovreg 'iirovTO. ' For the controversy as to dates, see Flach, Lyrik der Grieoh. pp. 119. 188. Ixvi INTRODUCTORY ESSAY. of rhythm as ^^povioy tu^iq cKJMopiirfiivri, " a definite arrangement of times." The recurrence of groups was marked by the re- currence of a beat. So we have a strong time and a weak time, fltVtc and aparie, the sense of which terms was afterwards inverted. In these simple statements lies the whole theory of rhythm. There must be an orderly succession of groups of time, these groups must be accentuated by stress, they must have simple proportions and a moderate extent, so that the ear can recognize them, and finally they must be equal to one an- other. The conditions of verse-rhythm are the same as those of musical rhythm. As a rule, we have in every Greek verse a sequence of equal or equivalent feet under the domination of a regulai'ly recurring stress. The elements of verses are called feet, just as we call the elements of a dance steps, and they correspond to bars in music. In language, as we have seen, rhythm is marked by stress of voice. The stressed part is called arsis, the unstressed thesis, the stress itself the ictus. Rhythm when represented in language is embodied in metre. A metre is a system of syllables that stand in a de- termined order. Of course only those metres are Metre of importance that embody the principal rhythms. The unit of measure is the short syllable, ^^ {^(povoe, mora) = 3 (i note). The long, — , is double the short and — J (^ note). The classes of rhythm are based on the relation of arsis to thesis. The number is restricted by the necessity of having sim- ciasses of p'e recognizable relations. The Greek has but three, Bhytiims. ^jj^j ^jjg third occurs very seldom in modern music' I. Equal Class (yf'i'oc 'i(Toy), in which the arsis is equal to the thesis. Represented in Pindar by The dactyl — _ w J J^ °^ J J ' Bars having five quavers are said to be used in the Combat des lut- teurs, a part of Les Troyais a Carthage, by Berlioz. METRES OF PINDAR. Ixvii II. Unequal Class {yivoQ StTrXaattov), in which the arsis is double of the thesis. Represented in Pindar by The trochee — ^_- J J^ or by resolution, the tribrach ._ ^ v_, J^ > > III. Quinquepartite or Sescuple or Five-eighths Class (yf'i'oc rifitoKiov), in which the arsis is to the thesis as 3 : 2 (1^ : 1). Represented in Pindar by the various forms of the paionian measure. The Cretic _ _ _ J ■^ ' First Paeon — ._ v_- ^. J ^ H Fourth Paeon ^^ ._^ w — H h I mm » m Resolved Cretic ■^~_.>_.._.^.^ Fl ^ PI mm m mm Bacchius -^^ J J ^ or ^^-_= JJ J } So far we have considered the value of syllables as limited to the simple relations of the short and the long, J* and J, ■J- notes and J notes. But if we assume, as we have to assume, the equality of the bars, it is impossible to restrict the range of the elements to these two proportions, nor was it so re- , stricted. The long syllable may be drawn out be- yond its normal quantity. This is called Tovy\ or protraction, and serves to make up for the omission of one or , more theses. When this protraction fills up a whole (ruYKoini. ... ,, , / n i • bar it IS called (rvyKoirri, and the verse is a synco- pated verse. Sometimes two shorts occupy only the time of one. This is called correption, and instead of writing: ------ we Correption. —^ / ° write ft) or Js = J^ The final syllable of a verse is usually considered indiffer- ent, and is marked in the schemes here employed according Syllaba to the metrical requirements. Within the verse anceps. ^ j^^g gy]]a,ble which takes the place of a short, or a short which takes the place of a long, is called irrational, and is designated by >. Ixviii INTRODUCTORY ESSAY. An irrational or two-tittie trochee is one in which the value is not that of three eighth-notes, but two, and it is rep- irrstional- resented by — ^ J!^, the proportions being not 2 + •ty- 1 eighth-notes, but li + i- So the irrational dactyl is one in which the values are 1-^ + -^ + 1 eighth-notes. It is written ^ or J. J J The rhythm always begins with stress. The unstressed syllable or syllables preceding do not count as a part of the rhythm, but as an avciKpovaie or signal -beat, marked off thus ; . The value of the anacrusis must not exceed that of the regular thesis. Missing theses at the close of a verse are made P AU AD up as in music by the pause or rest. These pauses have different values. So A denote a pause of one eighth-note T A " " two eighth-notes r A . " " three " p- A " " four " -- One or two examples from the leading kinds of Pindaric metres will illustrate these points. 0. 1 2, 1 : Aiaao- \ j^ai TraX \ Zrjvbg i- \ \Ev9epi- \ ov. If this verse is measured by the mechanical values of the syllables, we should have Measured by this system, we have all bars equal, the missing thesis made up by pause. 0. 10 (11), 6 : ^viirdv aXiTo^^vov. This verse would be divided, according to the mechanical values, thus : with utter disregard of rhythm. It is now read ^: i-\ ,_|__|_A a D c d with anacrusis (a), protraction (b), irrationality (c), and pause (d). "^ -^— APPROACH TO PINDAR. ]xix How are we to know when to make use of these difievent methods of reproducing the equality of the bars? When a single long syllable comes between two trochees, — ^ | — | — •— , it is evident that we must read — -^ | i- I — -_-. We have avyKmri). But the case is not so clear wEen we have such a verse as 0. 9, 27 : ayyikiav Trifiif/u) ravTav. Are we to read this ._|->| ^ 1-^11 or — .^ ^ I i_ I _ > I _ _ II or ,_1_>|_>|_A||? It is clear that here as elsewhere observation must come in. We must find the great periods, which in Pindar are so clearly marked by the sense that there is little dispute about them, and then within the periods mark the KbiXa or members, and observe the regular sequences. True, such n-JXa are already laid down by the metrical scholiasts, but scholars are divided as to the value of them, and the schemes followed here rest on the observations of J. H. H. Schmidt, who has rejected the 'antique kolometry, and has based his results on wide induc- tion. The details belong to the systematic study of the sub- ject and cannot be introduced here. The KiSXa are designated in the schemes by ||, the periods by ]. Within each period there is a correspondence in the number of the bars of each kQXov, and the groupings have received different names according to the order of the recurrence. TTpoi^liKov and tTr^St/cov are respectively " prelude " and " post- lude," and stand outside of the responsions, which are usually indicated by curved lines.' We have izpoaliKo. in the following : irpouoiKa. 0. 2, Ep. I. 3. irp. 3 2.3 2. 0. 9, Str. I. 3. ■n-p. 4 4. 0. 11 (10), Ep. I. 5. irp. 3 4 3. ' In conformity with a hint from Dr. Schmidt himself, I have omitted in this edition the graphical designation of the responsions. It is hoped that the recurrent numbers will suffice to impress upon the student the principle of symmetry. Ixx INTRODtJCTORY ESSAY. 0. 13, Str. I. 3. Trp. 6.5.5.6. Ep. I. 3. Trp. 3 2 . 2 3. 0. 14, I. 3. Trp. 6 . fi. P. 5, Str. I. 2. n-p. 3.2. 3. i-n-wStKo. are far more common in Pindar. 0. 2, Str. I. 3 . 3 2 £7r. ciruSiKa. II. 3.3.2 sir. Ep. II. 2 2.22.4 It. 0. 4, Str. I. JTTi . 44^ . 5 Iw. Ep. I. 4.4.4.5 t?r. 0. 6, Ep. 5 4 . .5 4 4 Iff. 0. 6, Ep. III. 4 4 . 4 3 Iff. 0. 1, Ep. II. ri 2T2 4*3 . 4 Iff. So also 0. 8, Str. III., Ep. I. II. III. ; 0. 9, Ep. I. ; 0. 10 (11), Ep. U. ; 0. 12, Str. I. III. ; 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. 5, Ep. II. IH. ; P. 6, III. ; P. 1, Str. III. ; P. 9, Str. III., Ep. I. III. ; P. 10, Str. I. ; P. 11, Str. II., Ep. II.; P. 12,111. A period is stichic when two or more equal KuiXa follow one after another. a a So 0. 4, Str. IV., 4 . 4. Stichic 0. 6, Str. v., 4 4. ""'*•""'• 0. 7, Str. I. 33 Str. VI. 3_3. 0. 10 (11), Str. II.Y. 6, III. 4 X. It is palinodic when a group is repeated, as Pslinodic. 1, j, (^ j, g „ ■ METRES OF PINDAR. Ixxi 0. 1, Str. IV. &T5 . e^. 0. 4, Ep. II. 4 3 . 4 3. 0. 5, Str. II. 5*4 . ?4. 0. 9, Str. III. Z7l . 4T2. It is antithetic when a group is repeated in inverse order: Antithetic. 1- \^^- 2. abojba. 1. 0. 3, Ep. II. 3 5 . .5 . 8. 0. 8, Ep. I. 6 . 3 3 . 5 . 3 'en. 0. 13, Str. I. 3 Trp. 6.5.5.6. P. 5, Str. IV, 6.44.6. 2. 0. 6, Str. III. 4 2 3.324. P. 10, Ep. II. 3 4 . 5 . 6 . 4 3. In the palinodic-antithetic period, palinodic groups are re peated antithetically, e. g. : Palinodic- "^ antitlietic. • ^-5=r^;iiri./ ■ '/ 1 „^X— — (^ 0. 6, Str. I. 4 3 5.5.4 0. 7, Ep. II. 4"i 2.2 4 3. p. 7, Ep. X. 3"3 4 4 P. 9, Str. II. 3~1 . 5 . 5 3 ^_jiJU--y=-'<5 Ixxii INTRODUCTORY ESSAY. When the antithetic period has a solitary ca/Xov in the middle it is mesodic : 1. a b a. 2. a b b a. Mesodic. 1. 0. 1, Str. II. 4 . 3 . 4 ; Ep. I. 4 2 4. 0. B, Str. I. 3 2 3. 0. 6, Ep. I. 3 2 3; II. 424. 0. 7, Str. II. 2 4 . 2; V. 3 2 3; Ep. III. 3 2 8. 2. 0. 3, Str. I. 5 3 . 5 . 3 5 ; Ep. I. 4 3 . 2 3 4. 8, Str. II. 2 3 3 . 3 2. P. 5, Ep. II. 6 . 5 . 2 5.6.4 ijr. P. 7, Str. I. 6 . 2 3 2 . 6. When a ixtai^liKov is introduced into a palinodic period it becomes palinodic-mesodic. Palinodic- "^ ~T , "^ T Mesodic. * D ^ " becomes a b e a b. On this principle are constructed such periods as : 0. 3, Str. n. il 5 . n. P. 2, Str. II. 6.34.6.6.3 4. The principal rhythms used by Pindar are the Dactyio- epitrite and the Logaoedic. There are only a few specimens of the Paeon and the Bacchius. 1. The Dactylo-epitrite measures receive the name from the combination of the dactyl, — ^-' ~-^, with the so-called Dactyio- epitrite, — ^ , epitrite meaning 1^ = ^, and cpitrlte. supposed to be a rhythm in which arsis is to thesis as 4 to 3. — ^ would bo divided thus — -1- — — . The ] name is retained for convenience' sake; the true measure is, as we have seen, *- — I I • METRES OF PINDAR. Ixxiii The model dactylo-epitrite rhythm is shown in O. 3. About half the extant odes of Pindar are composed in these rhythms, which are also called Dorian. They are ele- vated, well-balanced, equable, and present a marked contrast to the lively, lilting, excited logaoedic measures, and the still more stirring cretic. There is a thorough correspondence between the sense and the rhythm. The Dorian odes are much easier to follow, the development is, as a rule, much more reg- ular, the forms are not so puzzling, even the tenses sympathize with the rhythm, and the leisurely unfolding of the imperfect is more common in the dactylo-epitrite than in the logaoedic. 2. The Logaoedic rhythm is a f rhythm, the basis of which is the trochee, but not the trochee with the ordinary ictus, J. . -L o. This trochee has a stronger secondary ictus on the short, ± ^, admits irrationality, — >, and takes as a substitute the so-called cyclical or light dactyl, — •— — , in which the proportions are, as we have seen, not 2 -|- 1 -f- 1 mo- rae, but 1^ + ^+1=3 J"53 The apparent jumble of dac- tyls and trochees, as in prose, gave rise to the name logaoedic (from \6yoQ and aoiSri). The logaoedics are much used in 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 dactylo- epitrite. They have festal glitter rather than steady light, a rapid flitting rather than a compassed march. All fancy apart, no stronger contrasts can be felt than between the movements of the two odes on the victory of Agesidamos (0. 10 and 11). The shorter ode rocks gently through a series of antitheses. It is grave and stately, despite its short compass. Not a pre- liminary flourish, not an anacrusis, throughout. Contrast the dash and the whirl and the surprise of the longer ode. O. 3 and O. 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. 3. Those who have read the Acharnians of Aristophanes are familiar with the passionate cretics that abound in that 4 Ixxiv INTRODUCTORY ESSAY. young and lusty play. The Cretic or Paionian rhythm shows itself in two of our odes, O. 2 and P. 5, both of them counted among the more difficult Pindaric poems by reason of their extreme elasticity. But the rhythm of these odes reveals the secret of their soul, and instead of being the most difficult, they are among the most easily un- derstood. The passionate movement betrays them. The keynote is struck at the very beginning. In O. 2, Oeoe, ijpue, avfip recur with a persistency that cannot escape the most careless observer, and in P. 5 we have really nothing but a series of variations on irXovroe, apcTo., TroT/xoe, another trinity. Passion comes out with its story ; passion will not let its story rest. In what relation do these rhythms stand to the " moods " made so familiar to us by our own poets — by Milton, who says, " Lap me in soft Lydian airs," who speaks of the "Dorian mood of flutes and soft recorders;" by Gray, who cries, "Awake, Aeolian lyre, awake " ? These three moods are all mentioned by Pindar himself.' O. 3 is des- ignated as Dorian in v. 5 : A w p j « ipwvav ivapfio^ai ireSiXoi. The Dorian harp of O. 1, 17 is generally understood to refer to the instrument and not to the mood of the poem, which is called Aiolian in v. 102 : ifie 2e (rTe(^aviSri, and erraSoQ remain to remind us that the rhythmical movement of the chorus added to the charm of the performance. The strophic poems of Pindar are pro- cessional, not orchestic. VIII. Careful dialect study will always separate the more or less sophisticated language of literature from the native speech. There is scarcely a writer in dialect that has not been assailed for infidelity to the spoken tongue ; and if this is true of those who have tried to reproduce the dialect faithfully, what shall be said of the make-believes, such as Burns and Mistral ? ' What shall be said of the lyric poets of Greece, who seem to have shifted and blended dia- lects according to rhythm and mood ? ^ Doubtless, to a certain extent, the dialect was dictated by the origin of the department. Lyric poetry emerging from the Epos could not throw ofiE the authority of Epic forms, but the so-called Epic dialect is itself composite, and the Doric strains, with which the Epic language was tempered by Stesi- choros, became characteristic of the higher lyric. And yet such is the freedom with which the Ionian Simonides and the Theban Pindar handle the language, that we must leave a wide margin for individual susceptibility. Those who trans- late Homer back into the original Aiolic may yet reconstruct a Pindar in uniform dialect. But till this is done it may be provisionally assumed that Pindar used an artistic dialect that had no definite relation to the spoken language, and it may be added that if such a uniform dialect should be established, ' " [Mistral's poems] are written in a dialect which is neither the real old Provenyal nor the modern patois, but a combination of the poet's own." — G. MoNOD. " Ahkens, Ueber die Mischung der Dialecte in der griechisohen Lyrik. (Verb, der Gott. Phil.-versamml., 1852, p. 66 sq.) PINDAR'S DIALECT. Ixxvii it would be a contradiction of the subtile variety that Pindar is always producing out of his material, and always producing with as full consciousness as true poets ever have. Pindar rejoices in his play with language ; he rings changes on words, he toys with synonyms, he loves the discord of the oxymoron, and those who think that such artistic devices are too me- chanical forget that before plastic art had developed its finesse, song had served an apprenticeship of ages. While awaiting, then, new light, it may be permissible to call Pindar's language an artistic dialect, and to give a rapid summary of the chief peculiarities that mark it. The basis is the language of the Epic, itself composite, and with this are blended in varying proportions Aiolic and Doric _. , forms. None of these elements appears in its ex- Sl]X6u tremes. The flow of the Epic is retained, but cer- tain forms familiar in Homer are discarded. There are no echoing verbs in -aw, there is no -(|>i, no infinitive in -E|j:cvai.. The Doric majesty and sonorous fulness of utterance enter into the composition, but the older and stifEer inflections are set aside. The first person plural ends in -|*£v and not in -(its, Pindar says tov not tQ, rove not rtog. The Aiolic gives fire and passion and a certain familiar sweetness as well, but- the Boeotian variety was not refined, and, in spite of local criti- cism, Pindar preferred the Asiatic form of the dialect. Thus trebly and more than trebly composite, Pindar's language shifts with the character of his rhythms. The three moods — Dorian, Aiolian, Lydian — call for different coloring, and the mobile Aiolian measures show the greatest number of recondite forms, so that dialect, rhythm, plan, imagery, are all in accord. Ahrens has seen in the dialect of Pindar the in- fluence of Delphic speech. So, for instance, the use of ev with the accusative, the elision of -i in ■n-ept. But the evidence seems too slight, and while the study of Pindar by the light of- Hesiod is instructive, the theory that they both used a Delphic dialect remains an ingenious suggestion and nothing more. In the following exhibit only those points are dwelt on that Ixxviii INTRODUCTORY ESSAY. might give the student trouble as to the recognition of forms. The more familiar facts are briefly stated.' Vowels. — a for Epic i. So where ij comes from an original a, as in the sing, of the A- declension, apxa, apxae, apx^' "PX"''- in fut., aor., perf. of verbs in -ow as avlaaofxai (O. 2, Vowels, j^^^^ kroXfi-aaav (0. 2, 75), r£rdX/iaK£ (P. 5, 117). So also TEQvaKOTiav. But forms from Kraofiai retain i as KTriaafxc- vai (N. 9, 52), (btXoKTrifao (P. 1, 50), and also those from ■xp"<'^j ■Xpa.op.ai, as XPV"^'' i^- ^> ^)' XP^"^^'' (O- 2, 43), xPWF-oq (P. 4, 60). On o in the augment see p. Ixxxv. Derivatives of the A- declension and of verbs in -au have o, as viKa(j)opia (P. 1, 59), Kvfiepvaaiac (P. 10, 72), fivaiwtrvvav (O. 8, 74). So in compounds of which the second part usually be- gins with 1), as KUKayopiSv (P. 2, 53), evavopi (O. 1, 24). The personal endings -ii.i\v and -o-Biiv (3 p. dual) are in Pindar -|«iv and -, Kalofxai, and forms from T-\fi(T(TU) and wriyvvfii are the main exceptions. Other re- tentions of n than those mentioned cannot be reduced to rule. o for t. This also is Doric. So (TKiapog (0. 3, 14. 18) for (TKupoQ. Still Pindar does not say lapog nor 'lapwr. TafiviD is Ionic and Epic as well as Doric, rafivoiaai (0. 12, 6), Tpaoi(ra = rpiipoiaa (P. 2, 44), Tpa(f>ev = Tpeeiv (P. 4, 1 1 5), rpcixc = rpt'xov (P. 8,32).^ Under c note that Pindar has Keveog (or Keivog), aSeXipeoe, never ictvdf, aSeX(p6g. i is rejected in avc6s, as acpveav (0. 1, 10), a.(j)vedXQ (P. 11, 15). For kXeii'dc, ^ativdc, KiXa- ItivoQ, we find also the Aiolic form in -evi-os. So KXeEvvaQ (P. 5, 20, etc.), KfXaZtvviSv (P. 3, 113 al.), (j>aevvnv (0. 1, 6, etc.). ovv in Pindar is always (Jr (0. 1, 111 al.). OiiXi;;u?roc (0. 3, 36 al.) varies with "OXvfiiroQ (O. 1, 54 al.), but the 'OX. form is far more common (more than 4 : 1). ndvog is more common than jxovvoq, voaoQ than vovaoc, Kovpog alone is used, but Kopa outnumbers Koipa. We find dovpl (0. 6, 17) as well as Sopl (I. 4 [5], 42), ovpoc less frequently than opoQ. Aiuvvaoc is the normal form for Pindar. Syracuse is Ixxx INTRODUCTORY ESSAY. 'SvpaKoaai (P. 2, 1) or "^vpaKoaaai (O. 6, 6), never 'Stvpa.Kovaai. So the derivatives. The Aiolic ow/ia has expelled both ovo/ia and mivofia, the Aiolic -oio-a (for -ovna) in the present parti- ciple has taken the place of -ovaa. So tpipoiira (P. 3, 15), Kpeioitra (P. 9, 17), Moia-a (for MovTia). Aiolic -oio-i is used as well as Doric -ovn, wepiirvcoicnv (O. 2, 79). See p. Ixxxv. Consonants. — y\iapov for p\e■ in KEKaSfiiyov (O. 1, 27), TEdfioe is a Doric form for 0fo-/uoc (0. 8, 25 and often). Metathesis and other slight variations explain themselves. DiGAMMA. — Pindar seems to have used the digamma both in speech and in writing, and in this edition the example of Moramsen and Christ has been followed after some hesitation, and the digamma, though in skeleton- form, has been restored to the text.' That the use was not rigid is clear. But from this irregularity we are not to draw the inference that Pindar only imitates the effects of the di- gamma, as seen in Epic poetry, although it must be admit- ted that the digaramated words in Pindar are nearly all Ho- ' Against the introduction of the digamma, see Mucke, p. 39. PINDAR'S DIALECT. j^xxi meric. Foi, Fi, f6v (= iav), orig. ^Fol, ^Fi, „Fe6v. olZa and "ilov (comp. wot and wit) have the digamma : woWh feidiie (O. 2, 94), TrAyra fhavri voip (P. 3, 29), LtteI filov (P. 5, 84), and yet oir' llelv (O. 6, 53), S^p' llola (0. 14, 22). Add Fulos (0. 8, 19), Fdlo,xai (P. 4, 21). FavlAvtiv (fr. o-Za^Sdva,/) is found (P. 1, 29), FalovTi (P. 6, 51). Fipyov and its congeners, yutya y^ipyov (P. 1, 29), Feiiruv (O. 13, 68 al.), yet dtreh' (0. 1, 52 ah), AVoc (0. 6, 16; P. 2, 16; 3, 2; N. 7, 48), but tVos is more common, though some examples may be got rid of by emendation. FoIkoq (P. 7, 4) occurs, but also oIkoq (P. 1, 72), o'lKetv is certain (P. 11, 64), not so Foikuv. Fdvai,, and Favkaaio, once kvliKri^v (O. 10 [11], 64). FiXm^ (0. 13, 83), but kXitk (O. 12, 6), as often. Firoq (0. 2, 102). FdKOfji (N. 6, 67). Feoiripa (I. 7 [8], 44), but 'iaitE^ov (0. 10 [11], 82), Flmo^ (O. 13, 49). There are examples of Fiaoq in Nemeans and Isth- mians; "wov (0. 4, 22). ra FioiKOTa occurs (P. 3, 59), koiKoq everywhere else, AVart (O. 14, 20), Fr)Qo<^ (O. 11 [10], 21), Fw-kXokov (0. 6, 30), but loTrXoKafxiav (P. 1, 1). In proper names Faxot (0. 14, 21), kq U FiuXkov (P. 4, 188), FiKiaSa (O. 9, 120), FwXaoy (P. 9, 85 al.), FiaXvirov (0. 7, 76) [?]. In the Isthmians Fiadfiog, elsewhere 'IcrOfwg (0. 8, 48). Probably Fi)aviv (O. 5, 11). The digamma in the middle of a word, aFeXvnif (P. 12, 31), ciFiSpie (P. 2, 37), is seldona indicated in this edition, e. g. aFarav (P. 2, 28 ; 3, 24), as the chief object of the insertion is the very practical one of avoiding the per- petual explanation of hiatus, to which the young student of Greek should be made as sensitive as possible. Hiatus. — True hiatus is rare in Pindar, though he some- times keeps a long vowel long before another vowel, as yXiiaiTif. uKovag (0. 6, 82). For 'Opduiuiff 'iypa^^ev (0. 3, 29) Ahrens writes 'Opduxriag. The shortening of a long vowel before a vowel is not hiatus, as afoovXiq. vtrraroe (0. 10 [11], 45), Ev m<7^ eXaaie (0. 10 [11], 47). In the case of a diphthong it would seem that i and v may be semi-consonant. Notice especially ei short in Pindar before a vowel, e. g. "ncTtXov (0. 13, 68 al.). ai- is short in avarav (P. 2, 28), but in this ed. aFarav is preferred, eir- is short in Ixveviov (P. 8, 35). 4* Ixxxii INTRODUCTORY ESSAY. Crasis. — The ordinary erases, sacli aa those with rai, to, tov, belong to the grammar. Some read iSva^ (P. 8, 67). w 'piaro- Crasisand fiEvec (P. 8, 80), is ApHAERESis rather than crasis. Aphaeresis. ]3e,.g]j gogg §(, f^r as to write ap\ri V&'^aro (P. 4, 70), and oXfib, 'vSet^aro (P. 4, 256). Elision. — a is sometimes elided in 1 s. perf. act., eiriXeXaff (O. 10 [11], 4) ; oi in 1 s. midd., ixifi^ofx aiaav (P. 11, 53), xf/evaofx a.fi£a (O. 13, 24), Declension, k^k,,^,^ (Q. 10 [ll], 17), Mivvtia (0. 14, 17). Comp. the Aiolic form 'Olvaaua, retained in standard Greek. Also ■^vaoxaiTa (P. 2, 16), tinjilav (P. 4, 140), and words in ^pCaiva (O. 1, 40, 70 ; 0. 8, 48 ; P. 2, 12). G. s. masc. -ao (Aiolic), Kpo>'tSao'(P. 4, 171), more commonly -a (Doric), KpoWSa (O. 8, 43). G. pi. -ov (Doric), the only form : aperav otto iraadv (0. 1, 14). So the adj. aWdv (O. 6, 25), etc., with the accent on the last syllable, not aXKiov. Dat. pi. -ois far more fre- quently than -oio-i, as -ois far more frequently than -oio-i. Ace. pi. -OS, but also the Aiolic -ois (I. 1, 24), as Aiolic -ois is sus- pected by Bergk (O. 2, 82). Proper names in -Xoos be- come -Xos (Doric), and follow the A- declension 'Apwo-fXac (P. 4, 65), 'ApKtal\v varies (fem. P. 4, 186; 5, 7), aidrip is sometimes fem., as in Homer (O. 1, 6 ; 13, 88), sometimes masc. (O. V, 67 al.). Adjectives. — Pindar, like other posts, sometimes uses ad- jectives of two terminations instead of three, avv fioipiZiio na- A^Uectlves. ^"^? ^^- ^' ^^)' '"^"^"'' "^"X""'"" (P; 9, 100) ; more commonly and more poetically adjectives of three terminations instead of two: aQavara Qirig (P. 3, 100), AaXou 0£oS/iarac (0. 6, 59), aicivriTav pajilov (0. 9, 35), Trap- fxoviixai' evSaifioviav (P. V, 15). Of the less common forms of iroXiis note iroWov = troXv (O. 10 [11], 40), ttoXus = TroXXoue (P. 4, 56), ttoXeViv = voXKotQ (0. 13, 44). The old accentua- tions — bfxoloQ^ epijfioc, kroifioe — are retained. Comparison. — Pindar is fairly regular in his comparison. Eustathios says that he has a leaning to the endings -eorepos, -6i, (rpiK0vrae (P. 4, 183), KexXaSovrag (P. 4, 179). In the passive the open forms, -eoi, -eo, are preferred, with synizesis, if needful (but always StKev). -|j.eo-6o for -^cda oc- curs (P. 10, 28). In the 3 pi. aor. pass, -ev is used ''*'"'"■ as needed, ,pavev (0. 10 [11], 88), g/xaflE^ (P. 8, 17). So in the active ifiav (0. 2, 38), eyvov (P. 4, 120). Many verbs in -t,a form the future and aor. in | instead of the ordinary have -ova in the aor. Contract Verbs. Pindar contracts regularly the verbs in -oa|iC has for its third pers. pi. favri. urafii is a Doric verb = oiBa. Prepositions. — iropa, ovo, Kord are apocopated when apo- cope is needful, afivdirei (P. 4, 64) = avafivarrei, so afivaaciev Preposl- (P- Ij 47). mv vofiov (O. 8, 78) = Kara rdjuor, ra- **«"«• ■KETov (O. 8, 38) — KaTeweaoy. Comp. Alkm. fr. 38 : Ka^aivwv. irori (Doric) = irpog. It is elided once iror aaTuiv (O. 7, 90), and rarely used in compounds Troriaral^wv (P. 4, 137), and in five other words. The regular irpoQ is far more common. «U is suffered only before vowels, and when a long syllable is needed, and in composition dcriUTio (I. 7 [8], 36) is the only example. Everywhere else we find is. Iv with the ace, es- pecially noticeable in Boeotian inscriptions, is found only in Aiolic odes (P. 2, 11. 86; 5, 38). ir«pi is elided ircp utXcltov (O. 6, 38), n-tp' aurac (P. 4, 265), irepaTTTuiv (P. 3, 52). For jxeTo, Aiol.-Dov. ireSd is found (P. 5, 47; 8, 74). In comp. inBcifieixpav (0. 12, 12). |w occurs only three times, once alone (N. 4, 25), twice in composition. IX. Pindar's syntax differs from Homer's at many points, but it is not easy to tell what belongs to the period, what to the department, what to the individual. Only the most important points can be touched here,' and com- pleteness of statistic is not attempted. One mark of advance is the extension of the substantive use of the neuter adjective, which can itself take another ad- Neuter jective. We feel ourselves nearer to Thukydides A^jectire. ij^n^ to Homer when we read Ttp-Kvov i-rrajiipov (I. 6 [7], 40), (tTtipel avv ayad^ (0. 2, 33), iy afidj3oyTi (N. 11, 42). The scarcity of the dual is also noteworthy. The dual is preserved chiefly by Homer and the Attic writers. In the Attic orators, even, it dies out as we come down. It is not found in the Ionic of Herodotos. It is a ' Erdmann, De Pindari usu syntactico, Halle, 1867. Ixxxviii INTRODUCTORY ESSAY. stranger to Asiatic Aiolic, as it is a stranger to Latin. In P. there are very few examples. The dual substantive, xepoiv (0. 13, 95), is a rarity, and so is mloiv (N. 9, 4*7), but such duals are found occasionally even in the so-called com- mon dialect. KaaiyvijTa (0. 13, 6) is not dual, and we must be satisfied with an occasional dual participle, arv^ofiii'io (O. 8, 39), KarafiavTE (0. 9, 46). It is very unlikely that P. should have used the few dual verbs (O. 2, 97 : yapviToy, O. 9, 49 : KTiaaaaQav) without a full appreciation of the dual force.' The distributive plural as 0. 12, 9 ; tSv fieWovTuv (ppaSai, O. 9, 21 : iTT£(j>av(i)y atoroi, P. 1,4: Trpooiixiiov a/xfioXag, P. 10, 72 : TToXlav Kvl3fpva.tTiee, the use of the plural abstract as con- crete, dyXatai, aperai, and the like, are Pindaric. The Homeric use of the abstract plural is not corainon. See note on O. 5, 20. The plural of stateliness — ayyeXlai, dofioi, daXafioi, XsKTpa — occurs often. In P. 3, 66 we have a plural of courtliness and reserve. A remarkable plural for singular is found in O. 9, 60. Peculiarities of concord, such as the singular verb with combined subjects (O. 5, 15 ; P. 2, 10 ; 4, 66 ; 10, 4. 10 ; 11, Concord. 45), and neut. pi. with verb pi. (O. 8, 12 ; 10 [ll], (TXTJiia 93 ; P. 1, 13 ; 4, 121), may be passed over with IIivSapiKov. jjj^pg mention. Not so the ax^f-'^ HivlapiKov, which, however, hardly deserves its name, for the trustworthy examples are few. The peculiarity of this figure is the com- bination of a plural substantive with a singular verb. But the singular is the general and the plural the particular ; and if the verb precedes, we have not so much a want of con' cord as an after-thought. As it is, most of the Pindaric in- stances have disappeared under critical treatment. See the note on 0. 11 (10), 6. The case-register of a poet is of especial importance for his style, and Pindar's use of the cases shows in an eminent de- ' The dual is claimed as Boeotian on slight evidence, Meister, Gr. Dial. I. p. 272. PINDAR'S SYNTAX. Ixxxix gree his genius for vivid presentation.' His free use of the accusative is a return to the original sweep of the case. What Cases. is called the outer object is really an extension of the inner object. avSpa KTEiruv is avZpoKTaaiav ■noiEinQai or else uvlpoKTOvov elvai. The countless number of outer objects is apt to obscure the inner object, in which al- most all the variety of the accusative lies. In Pindar the inner object has its wide poetic, its wide popular sweep. viKav 'EWaSa (P. 12, 6) is commonplace. Not so vikSv 2pd- fiov (0. 4, 20), viKav ari^avov (N. 5, 5). To the same class belongs irvp -irveovTbtv (O. 1, 11 ; 13, 90), clXkUv opajvra (O. 9, 119), vtre xP^aov (0. 7, 50), d^flaXjUoc avrsipXc^e Mriva (0. 3, 20), ov KaXa SivSpea daWev 6 xiSpoQ (0. 3, 23). A very dif- ferent effect would have been produced by vat xP^a^, Uvlpm- aiv iQaXKEV. The adverbial accusative is so familiar a form of the inner object that it is not necessary to cite examples, especially of Adverbial the neuter accusatives. Nor need we note such IccDSatire. common uses as ZiKr}v and Tpoirov. Kaipbv d diy^aw (P. 1, 81) reminds one of Sophokles' Kaipbv S' kipiiKeiQ (Ai. 34). The appositive accusative, the object effected, of the sentence, amiva (O. 7, 16 al.), x^P"' (0. 10 [11], 86 al.), is often dis- tinctly felt in its case-relation, though the post-Homeric dead- ening of xapiv is also found, Atoc xapiv (P. 3, 95). An old use of the accusative of the outer object is the com- bination with passives, intransitives, adjectives, verbal nouns, Accusatire not otherwise felt than such loose English com- of part, pounds as "hoof-bound," "shoulder-shotten," "foot- sore," " heart-sick." In Pindar these accusatives refer chiefly to the body and its parts, either as such or as the seat of thought and emotion, seldom to abstracts. trcSfjia, /jc'Xjj, xpiSra, Kapa, TrpotTiDTra, vara, ^Top, aap, (j>pevai, Spyai', \pvxav, dvfinv, voov, ^vaiv, raxoQ, i^^Tf, aptrav. elhoQ and oi^tiv are hardly felt as abstracts. ' Erdmann, 1. c. ; Fbiese, De casuum singular! apud Pindarum usu, Ber- lin, 1866. xc INTRODUCTORY ESSAY. Double accusatives in Pindar show few extensions of any importance, tpiipui takes the ace. of the whole and the ace. Double of the part, a familiar Homeric figure, Xaxfat "iv Accusati™. ^^^^^ ytvEiov ipt(j>ov (O. 1, 68). ipri)i6o) takes the ace. of the person and the ace. of the thing (P. 3, 9Y), some- what strangely; fiipos, however, may be an after - thought. The factitive predicate is boldly used in P. 4, 6 : xpijirev oki- oTrjpa BoTTov, " Battos for the leader." Proleptic (predica- tive) uses must be watched. , The absence of the article leaves the adjective and substantive, as in Latin, without any exter- nal indication of the figure. So 0. 1, 68 : \a-)^yai viv fiiXav ("to blackness") yiveiov £pE(pov, v. 82: ra ke ric ariovvfiov yrjpae . . . £i/'oi ; v. 88 : eXev . . . irapdivov avvEvvov, and so in almost every ode. The ace. of extent in space and time requires no notice.' The terminal accusative, which is not a whither-case, but only Terminal a characteristic of motion, occurs in Pindar, who, AccnsatiTe. jjj^g Homer, limits it to a comparatively narrow range of verbs and substantives. 'Ikuv and its kindred should not be counted, — they are transitive like Shakespeare's '' arrive," — but eXOeTv, fioXeiv, jjrjvai, viaeadai cannot be excluded. So Ekdelv with veSlov (P. 5, 52), fieyapov (P. 4, 134), Zofxov (O. 14, 20), Kpoviov (O. 1, 111), Atjivav (I. 3 [4], 72). I. 2, 48 : ^dawv eXdrig seems doubtful. O. 2, 105 : alvov ij3a KopoQ has given way to alvov eirifia, but O. 9, 76 : TreStot' juo\(ii', and N. 10, 35 : 'ifioXEv "HpaQ Tov eiiavopa Xaov stand. Pindar far prefers the more concrete preposition, and it is a mistake to attempt the extension of the terminal accusative, as has been done. The genitive as a fossilized adjective stands in the same relation to the substantive as the accusative to the verb. The „ .,. denominative verb takes the genitive by reason of its substantive element, just as the adjective takes the accusative by reason of the verbal activity in the floating predi- cate. Noteworthy is the large employment of the adj. in -toe ' Two rather free uses of the ace. of extent are to be found in P. 4, 83 ; 6, 33. PINDAR'S SYNtAlt. xel for relations otherwise expressed by the genitive, especially of possession, origin, time, place. The dialectical preference for _ and -los instead of the gen. of the father is marked.' In dj-m-ios. ^^^.jg 5 ^^j, KXf„„'£(oj Q^^pg ^p]j^^ (^Qj.g ^g2 jys^ jg said with a tone of poetic persiflage ; to Pindar himself the effect must have been less striking than it Is to us. So w Kpovte TTO? (0. 2, 13), Uo(TiiSariov Kriarov (0. 10 [ll], 30), StvapKuor . . . vwv (P. 8, 19). With the genitive proper is blended the ablative. The sig- Abifttire nifications of the two cases often meet in languages Geuiti™. ;„ vihich. the forms are quite distinct. Of special uses of the genitive in either direction there is not much to note. Possession, origin, cause, material, are familiar every- Geii.of where. The genitive of material varies with the Material, adjective. XiQtvoQ is the rule, but nctplov XiOov (N. 4, 81) is a necessity, as in prose.' aSafiapTn'ot; is used once (P. 4, 224), aSafiavToe once (P. 4, 11), kl hMfiavTOQ once (fr. IX. 2, 3). xP^iTcoe, which, however, is often used figuratively, is far more common than ■)(pvaov. Quality is everywhere in the language expressed by the adjective, and there is no example of a genitive of quality in Pindar.' The appositive genitive is rare, as SpciKovTMv fofiai (P. 10, 47), where SpaKovrcwi i. In O. 6, 58 : 'A\0fw KaTajiae fiEirrrw, it is better to personify. An unusual extension of the personal" dative is seen in verbs of touching, which in Pindar are construed as verbs of ap- proach, though the other construction with the gen. is also known to him. ^avo) has the dat., P. 9, 130; the normal gen., 0. 6, 35; N. 5, 42; awTOfxai the dat., P. 10, 28; N. 8, 36 (tf ) ; I. 3 (4), 30 ; the gen., O. 3, 43 ; P. 3, 29 ; N. 8, 13. 22 ; Qiyyav,., the dat., P. 4, 296 ; 9, 42 ; gen., I. 1, 18. With some verbs which familiarly take the dative, Pindar occasionally uses a preposition to make the image more vivid. So especially iv with the favorite fiiywfii, 0. 1, 90 ; P. 4, 251 ; 1. 2, 29. The adjectives that vary between gen. and dat. vary accord- ing to the predominance of the fixed element or floating ele- ment (" his like," " like him "), N. 5, 8. 0i\oc as a subst. takes gen., as an adj., the dat, N. 4, 22 ; I. 1, 5. There is a certain caprice in these matters that it is not profitable to pursue. In O. 3, 30 : 'Opdiatriq. eypa\pEv lEpav, the dat. gives an ugly but not unexampled hiatus which can be removed by substituting the gen. Of the adverbs, iySov, which regularly takes the gen. (as O. 2, 93; 7, 62; P. 11, 64), takes the dat. (N. 3, 52; 7, 44). ayx' with dat. (N. 6, 11) is figurative, but ayxov (N. 9, 40) is local. The government of a dative by such a word as Koifw- viav (P. 1, 98) is an extension not to be wondered at in post- Homeric Greek, though not very common in the standard language. The comitative, or, as it is more usually called, the instru- mental dative, is common enough in Pindar, as O. 1, 49: Comitative /^"X"')"? '""i""!', but he often uses the more per- (Instruineiital) sonal tritv, as aiiv ivTiai (P. 12, 21), the more Dati?e. , , ,^^ ^ " concrete ev, as ev-xepiri (P. 2, 8). As the verbal noun has much of the verbal motion in Pindar, we are pre- pared for such extensions as I. 2, 13: 'Itrdfiiav 'Uirotat viicav. Instrument, manner, cause, run into one another. They are all common in Pindar, and need not be cited. The causal PINDAR'S SYNTAX. xcv dative construction, however, it may be noted, is not so com- mon in Homer. Whether the dative as the measure of dif- ference is instrumental or local is open to discussion. The local conception has simplicity in its favor. We can say Sta- ia- prjov I (pOey^aro, each preposition is used in its full force. The word moves roundly ofE the tongue, the praise is not simply about Amphiaraos, but goes out towards the lost orpanac 6(j>da\fj.6e. Compare the festal picture, O. 1, I : a(j)vetaQ ano X^'P"e Biopritrerai. Another passage where the awo of time is also the lisro of space is P. 5, 114: woravog euro /larpoe (fiiXae, "a winged soul from his mother's lap," "from the time he left his mother's lap." 1$ is to ev as and is to iiri, and while airo and i^ occur in similar combination, t? largely outnumbers airo. In N. 5, 7 : k- Be Kpot'ov ijptoae (pvTivdivTae Ku'i ano NjjpjjtSwy, it would be unwise to insist on the difference, but aTro Oeov would not satisfy us for ek Beov in O. 11 (10), 10: £K deov h' avrip (rofaig avOei irpairiZeaaiv. il[, in the sense of " outside of," " beyond," " above," occurs once in 0. 6, 25. Pindar's favorite preposition is iv. Every one who has watched the behavior of kv in composition, where the original force best shows itself, is ac- quainted with its realistic touch. Compare, for instance, even in prose, cnroltUwiJn, iniBeUvvfii, and ivZiUvvixi. Pindar uses it adverbially. So 0. 13, 22 and O. 7, 5. He uses it occa- sionally in Aiolic odes for tic with the ace, P. 2, 11. 86; 5, 38; N. 7, 31. Especially noteworthy is what is called the instrumental use of iv, a use which is especially familiar to us ' BosSLKK, De praepositionum usu apud Pindarum, Darmstadt, 1862. PINDAR'S SYNTAX. xcvii from the Greek of the New Testament, although there it is the result of Semitic influences. Everywhere in this so-called instrumental cv we can trace the local ev, the seat of the mani- festation, the abode of the power. In many of the examples English itself would tolerate the local "in" as well as the instrumental "with." We can understand N. 11, 28: avSijo-a- fievoe KOfiav iv iropclivpeoiQ 'ipvcmv, as well as I. 1, 28 : dvSjjo-a- fXEvoi ipvEcn xaiVac. So N. 1, 52 : iv ■)(cpl TLvacriruiv (paayavov, P. 2, 8 : ayavdlmv ev X^P"^' '''^oiKiXaviovg ilafxaaat -irwXovg, which brings before us the image of the reins in the hands of the tamer. O. 5, 19 : awvuv iv avkoiQ is a perfectly comprehen- sible combination to any one who considers the nature of that wind-instrument. The combination of iv with vofxia gives the limits, the environment (P. 1, 62; N. 10, 28; I. 2, 38). iv ZiKq. is not a stranger to prose. The proleptic use of iv with the dat., instead of dg with the ace, is common everywhere with Tidhai, and common in Pindar, who, however, extends it. The anticipation of the result has the same effect of resist- lessness that thrusts the local 2ta with the ace. out of prose in favor of Zia with the gen. In some of the Pindaric pas- sages iv has been made adverbial, or, in other words, tmesis has been assumed, but the image often loses by it. There can be no tmesis in O. V, 69 : \6yoiv icopv(l>ai \ iv aXadetg. Treroi- aai = aXadele yEvoficvai. avv is an intensely personal preposition. In standard prose its use is limited to consecrated phrases of religion {avv Oeu) and business. The comparatively frequent use of it in Xenophon and in later Greek has made scholars regardless of its infrequency in model prose. Thukydides does not use it often, Isokrates never. Pindar, as a poet, has avv very often, jjeto. with the gen. very rarely. The use of avv where we should have expected the simple dative has already been touched. It serves to personify, to make the tool an accomplice. To bring this to our consciousness we sometimes do well to translate " with the help of," as " with" by itself has become faint to us. P. 12, 21 : 6(l)pa avv 'ivreai fiifiriaaiT' ipiKkayKrav yoov, N. 9, 48 : vfoflaXijc 2' avlerai \ 5 xcviii INTRODUCTORY ESSAY. fiaXOiiK^ viKa(j>opla aiiv aoilq.. The avv of time is not infre- quent, P. 11, 10: KEKatiiiTtT CLKpq. txvv Iffirtp^, P. 8, 7 : KmpS avv arpsKtl, but it is well to remember that the Greek con- siders time as an attendant (of. 6 ■xpovoQ fiaicpoQ avviiv) and not as a medium merely. With lia in a local sense, the genitive is more common, as it is the exclusive use in prose. With the genitive the pas- - , sage is already made, or as good as made. With the accusative Std is 'along' as well as 'through' (comp. ava and Kara), but it is not safe to insist. He who says TTETCTai S" kiri rt -f^dova koX Sia daXaaaaQ (N. 6, 55), says also tTTi yQova Kol Zia ttovtov fiejiaKev (I. 3, 59). In a trans- ferred sense, Sia with the ace. is " owing to," never " by means of." So N. 7, 21 : Sia tov alveTrfj "Ofirjpov, is "thanks to," "because of;" so lia laifiovag (I. 4, 11). xmip in Pindar with the gen. is " above," both literally and metaphorically; once "beyond" (N. 3, 21), where virip with . , ace. would be more common. He who stands over stands to protect, hence v-rip is "in behalf of;" only once "by reason of" (I. 5 [6], 29); with the ace. it is "be- yond " (0. 1, 28) ; " above " (P. 2, 80). Kara occurs only once with the gen., O. 2, 65 : /caret yae. With the ace. the perpendicular motion is transformed into horizontal motion, " along," and then, to extent, po- sition, (car oiKov (P. 1, 72), is "at home," Kar "OXvixmv (N. 10, 17), of the abode of Hebe, mr &Kpav (0. 7, 36), of the head of the Olympian, the stage of Athena's first appearance. The transferred meaning of Kara, " according to," " in accordance with," needs no illustration. Kara, " after the likeness of," is found in P. 2, 67 : Kara ^oLviaaav ifiwoKav. In P. 4, 125, Kara K\t'oc, k'. is "following hard." , , am, which has little scope in prose, has in P. the poetical use with the dat. (0. 1, 41 ; 8, 51, etc.), and is as horizontal as Kara with the aoc. (P. 2, 60, etc.). ' Lifcf "/"^') another preposition for which prose has little use, is frequent in Pindar. It is an adverb, 0. 1, 50 (though the passage is disputed) ; P. 4, 81. On P. 8, PINDAR'S SYNTAX. xcix 85, see note. As a preposition it has all the oblique cases, most frequently the dat. The " both-sidedness " of a^^t may be inside, or, more commonly, outside the dat, iificpl troSi, "about the foot" (P. 4, 96), dju^l KOfiaig, "about the hair" (O. 13, 39). In this outside use afKpi is sometines weakened as the English " about " is weakened. So ajui^J KpowoiQ, " at the fountain" (0. 13, 63), «/i^' avSpiavn (Tx^i<>v, "hard by the statue" (P. 5, 41). In nyu0t tomvoiv (P. 6, 42), where we should use in prose irepl roKtag, encompassing affection may come in. The parents are guarded on the right hand and on the left. Then afi^i with the dat. is used of the prize, like TTEpt with dat., cifj.^ dpyvpiZtaaiv (0. 9, 97), and thence trans- ferred to other relations. For the inside use comp. P. 1, 12, where a^iq. is " with the environment of art," and P. 8, 34: ifx^ TTOTavbv cificpi yuaj^ai'^. So in O. 13, 37: aXiu) aix kvi, it is the sun that compasses, where afi(j>i is felt almost as an adverb. a.fi(j)i is also found with gen. and ace. The most noteworthy use is 0. 10 (11), 85, where rdi' iyKwfiiov aufi rpoTTov seems to make the tune the centre of the song. In afj.(pi KUTTOV (P. 5, 24) and afxipl iravayvpiv (O. 9, 103) the ra- TToc and the iravayvpic are measured from within. As a/Kpi is comparatively common in Pindar, so irepi is com- , paratively rare. In -ircpt Sei/jari (P. 5, 58) it is fear '"^'"" that surrounds. In ircpl i/zux"" (P- 4, 122) joy fills the heart from within. ^ETo. (used adverbially, P. 4, 64), besides the usual prose constructions (O. 1, 60 al.; P. 5, 11 al.), has the ace. (O. 1, |iCTd, 66) and the dat. (0. 2, 32) in the sense of "amid," irtSd! and the ace. as " after " in the sense of " to get," as O. 4, 21 : fitra aTEo(; tteS' a(j>p6- vm' (P. 8, 74) would be represented in prose by h with dat. ' , kirl, the most difficult of the Greek prepositions, ''"'■ is used most frequently with the dative, when the superposition sense makes itself felt. So O. 11 (10), 13 : iirX C INTRODUCTORY ESSAY. (Tre^ai'^ is not " on account of," but " in addition to." (See note on 0. 9, 121.) irapa is limited in prose to persons and personified things, except in the ace. As P. uses Trapa freely, there is danger , of feeling the personal sense too much. An old ''''''"■ phrase is irap ttoUq (P. 3, 60 ; 10, 62). Trapa is used freely with the dat. of place. See note on O. 1, 20. Trapa with the Acc^ propter, appears once in P., KeLvixv irapa liaiTuv (0. 2, 71). It is the first instance of this use, which does not become common until much later times. Trpoe, not unfrequently in the form Trori, once in the form voT (0. 7, 90), is a favorite preposition with persons and seems sometimes to personify slightly. Hence P. 4, 295 : dv^ov EKSoudat Trpoe rjfiav woWaKig, we feel ijliav almost as a person, and the difference from the personal dative is not great. So Trpde fie in prose is almost fxoi. Even with designations of time, Trpoc aiS (P. 9, 27), Trpoc yfjpag (N. 9, 44), the coming of dawn, of old age, is felt as the ap- proach of an enemy. Trpde with the dat. is seldom used. . , Trpde with the gen. of the agent is preferred to wTrd with the gen., which is the ordinary prose con- struction, and therefore colorless. Pindar tries to keep his i/Trd fresh, and his wTrd with the gen. is still " under," still what we should call vircK, although the local meaning comes out more distinctly with the dative. See note on O. 6, 35. These are only specimens, but they are sufiBcient to show that in Pindar's poetry the prepositions stand out with local vividness. The large use of the adjective instead of the genitive has already been remarked on, and needs no further emphasis, . except so far as it seems to show that neither geni- Proieptic tive of place nor genitive of time is local. The proleptic, or predicative, use of the adjective is com- mon, and must be watched. See p. xc. In the use of the demonstratives Pindar differs from the tragic poets in his comparatively scant employment of oBt, which is pre-eminently dramatic. PINDAR'S SYNTAX. ci Lyric poetry makes little use of the article proper. This is best shown by a comparison of chorus and dialogue in the ... , drama. In Pindar the old demonstrative sense is Article. stul conspicuous, the article can still represent and does represent freely an independent demonstrative pronoun ; it can be used as a relative. In combination v?ith the sub- stantive it has the familiar anaphoric use, the emphatic refer- ence to that which is known, the use in vision, like oSi. In the dactylo-epitrite poems, in which the article is generally less freely employed, the article seems to serve to bind the qualifier to the far-distant substantive, as in the noted pas- sage, 0. 12, 5 : at yt fieu avSpuiy \ ttoXX avio, to. S' av Karcj \j/evifj fiirafiitviu TafivoiauL Kvkivlovr eXtt/Ses. That this occurs only in the dactylo-epitrites ' is not surprising. It is only in the dactylo-epitrites that the movement is deliberate enough to allow the separation. In the tumult of the logaoedic the nexus would be lost. The ordinary use of the article is also found in Pindar, but it would take very little stress to revive the demonstrative meaning. The extensions of the article tliat are most noteworthy, in comparison with Homer, are the combination with the adjective rh rtpwva. (O. 9, 30), that with the participle 6 /ii) avvuii (N. 4, 31), and especially that with the inf., always, except in the disputed passage, O. 2, 107, in the nom. The full development of the articular inf. was re- served for prose. The free position of the relative and its equivalent article belongs under another head. Especially worthy of note IS the use of the relative m transitions. The voices present few peculiarities in Pindar, and it is hardly worth while to notice the so-called intransitive use of transitive verbs, as any verb can be used intransi- tively in any sphere of the language. The shifting use of Zpiwuv and SpiireaOai, of Kr/'o-ai and Krwatrdai, may be easily explained on general principles. The middle is no more ' Stun, De articuli apud Pindarum usu, Breslau, 1868, p. 34. ' See Index of Subjects under Relative. cii INTRODUCTORY ESSAY, causative than the active, and it is a mistake to apply the causative formula as the key wherever the conception seems remote to us. Difficult is ^aXeff HKmav (P. 1, V4), and the causative explanation may be the true one there, though (iaXi- adai as a nautical term may have been extended. The middle has more color, more feeling, than the active, and we might be tempted to see in Pindar's use of evpttv, where we might ex- pect tiipiadai (P. 2, 64), a certain aristocratic contempt of ef- fect, but we find the fut. middle of iceXaSiS (0. 10 [11], 19) and of yapvo) (I. 1, 30) where it is worth while to notice the analogy of l^aofiai, Poriaofiai, and the rest.' In avaoriaavTcc Kofiag (P. 10, 40), ra^ag' takes the place of the reflexive pro- noun as corpus does in Latin, and so does yairav in kart^a- vwtTt ■\a.'iTav (O. 14, 24). On the passive use of KaTaa-)(i'>fiivoQ, see P. 1, 10. Pindar has no future passive apart from the future middle (see note on 0. 8, 45 : ap^erai). As to the present indicative in Pindar, chiefly worthy of note is the absence of the so-called historical present. Brugmann Present has recently vindicated the proethnic rights of the Tense, historical present on the just ground of the time- lessness of the present. It is therefore not a little remarkable that Pindar uses it as little as Homer uses it. To them the historical present must have been either too vulgar or too hur- ried. I'tVtrat (0. 3, 34) is a true present, and so is BtV-ovrai (P. 5, 86). The oracular use of the praesens propheticum is put in the mouth of Apollo, O. 8, 40 : aXiaKerai, of Medeia, P. 4, 49 : i^aviuTavTat. The conative force of the present participle is conspicuous, so that it may stand, as in prose, where we might expect the fut., though some would read KOfiii,b)v (P. 4, 106) and KOfii- foirac (O. 13, 15). But all Pindar's uses of the present par- ticiple can be paralleled in good prose. The present inf. in Imperfect oratio ohliqua to represent the imperfect after a anaAorist. ppes. tense occurs in 0. 7, 55, a usage very common in Hcrodotos. A special study has been consecrated to the ' See the list in Rctherford's New Phryniehus, p. 383. PINDAR'S SYNTAX. ciii use of the imperfect and aorist in Pindar,' and it has been shown that the aorist, prepondei'ating as it does in lyric narrative, is used, as a rule, with more frequency in the logaoe- die poems than in the dactyl o-epitrite. An interchange of tenses is not to be conceded. \ft7r£ is not equivalent to iXnre, but means " had to leave " (O. 6, 45), tUte, " she was a moth- er " (O. 6, 85). The negatived aor. of a negative notion has for its pendant a positive imperfect in P. 3, 21 : ovS' eXaOe (jKowov . . . aiev vaov j3aai\cvc. The conative imperfect is Perfect P^nhellenic. The perfect has originally nothing to do with completed action aa such. Completed ac- tion is only the result of intense action. The perfects of the senses, such as BiSopKe (0. 1, 94), of emotion, yeyade (N. 3, 33), like the perfects of sound, KEKpaya, K£/c\ayya, Ttrpiya, are not perfects in the ordinary sense. The perfect of the result of action requires no notice. The pluperfect, the perfect of the past, is of rare occurrence in Pindar (0. 6, 54) as in Aischylos. The picturesque Homeric use is not found. The . . ^ aorist abounds in sharp summaries, and is used with Aorist. . I ... full consciousness. Ihe gnomic aorist, cither as the aorist of the typical action, or as the aorist of experience (em- piric aorist), with a negative as ov ttw tiq evpcv (0. 12, 8), or with iroTS as Evvai iraparpoiroi 'il^aXov iroTt (P. 2, 36), has many examples in Pindar. In combination with the universal pres- ent it sometimes produces the effect of sharp, incisive action (see note on P. 2, 90) ; but we must not overstrain the point. The future has many marks of a modal origin. It is not simply predictive. Like the English periphrastic " shall " and " will," it was originally something more than the foretelling of what was to come. Traces of this modal future are found here and there in P. Ipiw, " I must needs tell " (O. 8, 57). So KwficDrofxai (P. 9, 96). The tenses of the moods — durative (present) and complexive •Tenses of (aoristic) — are used in conformity with the general tiie Moov, 0. 13, 86 : avajSas . . . kirai- ftv, P. 4, 112 : kSSoc . . . OrjKafiEvoi . . . irefitrov, v. 149 : awov- paiQ . . . vifxeai, P. 9, 32 : aefivov avrpov . . . wpoXnrwv dv/j.6v . . . davfiaiTOV, N. 1, 43 : ireipdro Se TrpiSrov fxa-)(ag . . Soiovg . . . fiap\(/aiQ . . . o(piag. The tenses are often so combined that the durative tense of the participle accompanies and colors the leading verb in the aor. The efEect of this is to hold the balance between the tenses. Any descriptive pas- sage will give examples.' So O. 6, 46 : iQpi\\javTO . . . kuSo- jxevoi, V. 48 : eXavvwy 'Ikcto, P. 4, 95: Iketo avevSwv, v. 135: iaavfiEvoi . . . Kariarav. The action is often coincident. O. 10 (ll), 53 : edriKe Sopirov Xvaiv | Tijxaaaig iropov 'AX^tou, I. 5 (6), 51 : eiTrev re (jxovritraig &re fiavng avr/p, P. 3, 35 : ec KaKov rpiipaiQ klafiaaaaTo viv. So with the durative tenses, P. 4, 271 : ■)(pri jiaXaKav Xf'pa vpoa^aXXovra rpuifiav iXKtog afufinro- Xeiv. The coincidence is sometimes disguised by the negative. So 0. 8, 29 : rovTO trpaatrivv ju)) Kafioi (=: Kaprepoirj), O. 6, 36 : ovS' iXade ( = ^ai'E|Oa ^v) . . . KXEirTOiaa. The participle is used after verbs of perception (intellectual and actual) as usual. 0. 6, 8 : lorw . . . exw, I- 6 (7), 27 : Participle '<'■'■<«' • • ■ nv^iiiv, 0. 14, 16 : iSoiciX(i)v iiriXiXada. Actual perception is ' See American Journal of Philology, TV. p. 16B. PINDAR'S SYNTAX. ^xi seldom put in the aor. part., usually in pres. or perf., P. 5 84: KaTTvwdrKTav TvaTpav . . . 'iSoy, P. 10, 23: oe ai/ . . . viov 'iSrj TvxovTU aTE(j>dvwi', T. 7 (8), 36 : vioi/ d<7i&'™ Oavopr kv Causal is an inference from temporal. So often with verbs of emotion. So P. 1, 13: nrv^ovTat . . . alovra, P. 4, 112: Causal SeiaavTce vfipiv . . . irifiirov, v. 122 : yadr)(rev . . . yo- ar icip e. j,^^ ^^^^^ -^ g^ gg . y^y^fj^ _ TUfiMv. For a re- markable construction, where the participle is treated exactly as on with a finite verb, see P. 7, 15. The adversative relation is expressed in Greek chiefly by the participle. The language is sometimes kind enough to AdversatiTe give warning of this by Kaiircp and 6fi(os, but often Participle. ^^ notice is given, and failure to understand it is charged to stupidity. I. 1 (8), 5 : Kalwep axviifxcvoe, N. 6, 7 : KaLwtp ouK £i2or££, P. 4, 140 : Tpaxdav kpivovTiav irpoe ETnjjSav o/iiiiQ, O. 1, 46 : fiaiofitvoi, N. 4, 85 : Ketvog ajj.^' 'Ax^povri vaic- Tciutv c/xav I yXtStrirap evpiru) KeXaSfJTiv. So P. 1, 64: valovres, P. 4, 180 : vaieTax)VTEe. Pindar has a number of participles, which, if analyzed, would yield a conditional precipitate. This analysis is some- Conditional times forcibly suggested by ks. So O. 6, 7 : tViKup- Particlple. ^aiQ^d kiriKvpaeie, 0. 10 (11), 22 : 0^^a(c=£J dri^eu, P. 10, 29 : liov = ft "lOiQ, V. 62 : ruj^ao/ := fi rvxoti, N. 4, 93 : aiviutv = El alvoir), N. 9, 34 : vwaawU^iof = tl vwriairti^Ee. But it is often best to let analysis alone. Given, ti/pijo-fic ipEwiSv (0. 13, 113), and causal and conditional meet. The Attic would resolve : iai' ipevv^s, tvprjdEig, not so Pindar. The fut. participle, as is well known, has a very limited range in Greek, being employed chiefly ' in the old modal Fntnre sense of the future after verbs of motion, or as the Participle, j.epresentative of the indicative after verbs of per- ception and after wc — the last a comparatively late growth. ' iaaofikvag amounts to an adj. (0. 12, 8), like the Jj2d. futurus. An extension of tlie use is seen in N. 5, 1 : tkivvaovTa Fspycuiiadai dyaXfiara. I. 2, 46 : oiiK iXivliaovraQ avTOvQ eipyaadpav. cxil INTRODUCTORY ESSAY. After verbs of motion Pindar has the future participle, e. g. 0. 6, 38 : w)^£r' liiiv fiaiTevauficvos, 0. 5, 19 : tp^o/xai alrritruv '. but the presL'ut participle occurs so often with verbs of mo- tion that it is not worth while to change uyKOfiii^iDv (P. 4, 105) into ciyKOyui^wv. P. 2, 3 : ^ipiav jxiKoQ ip-)(Ofiai, N. 5, 3 : arei^e . . . SiayyeWoirra, N. 10, 16 : avXav icrrjkOtv . . , (j)ipu)v, V. 66 : ^Xde . . . Siuikwi', N. 11, 34: 'ijja . , . avdyuiv. There is of course a difference, as appears 0. 5, 19 : spy^p/xai AvSioig inrvwv ev avXole aiTrjau)!', but the two blend, as is seen 0. 8, 49 : clpyua Qobv Tavvev awoTrCfj.irti>v . . . CTro^ufiivos. This is not the place to discuss the origin and development of the genitive absolute. The detachment must have been GenitiTe gradual, beginning probably with the gen. of the Absolute, ^jjj^g within which with the present and extending to the aorist, beginning with the pure genitive and extending to the abl. genitive until it became phraseological and lost to consciousness. The last step is taken when the subject is omitted, a step not taken by Homer except II. 18, 406 — Od. 4, 19. In Pindar it is rare. See note on P. 8, 43. In Pindar the gen. abs. is evidently not so free as it is in later times, and whenever there is easy dependence we must accept it. P. 3, 26 : iXdovTog eviaa-dri ^ivov \ XtKTpowiv air 'Ap- KaSinc, P. 11, 33 : ■Kvpi3>divT(i)v \ Tpwiiiy tXvae Zn^ovQ nfiporaros. See also note on P. 8, 85. In Homer the present part, is far more common than the aor. ; ' in Pindar, ace. to a recent count, aor. and pres. nearly balance. The relation is chiefly temporal ; cause and condition come in incident- ally. Of time aor., P. 1, 80: avSpiSv Kafxavn^v, 0. 3, 19: ^oi^wc ayiaQivTov,^ P. 4, 69 : irXevcrcu'Twy Mti'vai; P. 4, 292 : » Classen, Beobachtungen ubei- den homerischen Sprachgebrauch p. 180. 1-8 ' N. 1, 41 : oix^tmdv icvXdv. Fennell in his note admits the possibil- ity of the dragons having opened the gates. This would have been naturally oi^avng wvXag. In Latin the first inference with the passive form of the abl. absol. is the identity of the agent with the subject of the sentence; in (ireek with the passive form of the gen. absol. it is the last, and, to say the least, rare. PINDAR'S SYNTAX. cxiii kfi^avTOQ ovpov al., pres., 0. 5, 23 : vliSv Trapttrra^t'i'wc, P. 11, 17 : (povevofiivov Trarpoc Of cause or condition, O. 3, 39 : eviTrirMy SiBovTuv TvfSaptSav, P. 10, 55 : 'Efvpaiwi' . . , wpo-)(£6vTb)v al. The participle differs from the infinitive, from the verbal noun in concreteness, and concreteness is one of the marks of Pindar's style ; so that it is not surprising to find use of him using the participle instead of the infinitive, instead of the abstract noun. We are so used to this in certain Latin authors that we overlook its rarity in Greek, and yet we are startled when we meet such a specimen as O. 9, 111: avtv St Oeov aeoiyafiivov \ ov crKatorspot' XPVH-' iKaaTov, where the participle has a much more cogent effect than aeaiydadat. An analysis into eav aiaiyrjfiivov jj would weaken the sentence hopelessly. P. 11, 22: voTcpov viv Up' 'I(j)iyevei iw F^vpiira \ ^(payQeiaa rrjXe irarpac ecvKTEv; P. 3, 102 : ['A^iWei)?] lopuev irvpl Kawfjiei'oe | e/c AavaiSv yoov. See note on 0. 3, 6. In like manner interpret P. 2, 21 : 'I^i'ova (pavri Tavra jipordiQ \ \iytiv iv Trripoevri Tpo)(^ \ iravr^ KvXivSofXEvov. Ixion does not preach ; he gives an object lesson. The few examples of the participle in the predicate fall un- der the rule. They are either adjectives or are dissociated Participle In from the copulative verb.' Comp. note on P. 6., Predicate. gS, and notice the parallelism, N. 9, 32 : evri roi "^LifeXiq, Speirav f^ev Kopv(j)a'; aperav diro waadp 2« dyXat^erai Be Kal 15 lioy a iKa<; ev acoTto, , ^ , ola iraO^o/jbev (f>iXav ^^ '■ ' ^ , _', V avBpe<} afi^l 6afia rpmrt^avk oKKa Ampiav atro ^op- jMi/yrya iratTCTcCKov ' ^ \dljLJ3av, ei tC roi Ilt'o-a? re Kat ^epevUoy xdpi<; voov iiTTO ykvKVTdTai,<; eOrjKe ^povriaLv, 20 ore Trap' ' Axi^eo) cruVo 6e/Aa? a/cevrrjTov ev hpofiotai Trape^^^cov, Kpdrei he Trpoa-ifM^e heairoTav, " ' I ' ' '' ' , , Ett. a. ^vpaKoariovhrTTO'yapfiav ^aaCKrja. XdfnreiBe\Foi,KXeo<; 36 eV evdvopi AvBoy IleXoTro? aTroi/cia • ' fl 25 Toy ueyacrOevr]'? ipdcra-aTO 'ydi,do')(^o<; fij^s IlocretSaz', evret vrp-iiaOapov Xe^riTO<; e^eXe K\&)dei> *o iXi; ^- 1. 4 2 4. Epodi. i_ II ^~- I II 11^- I >- I -_ I A II ■A ] I. 3 4.34. II ^_ I I III. 3 3 2.33 -A] ■- II I ---I >- II -- I -All 1_ II ^_ I I ] IV. 3 3 3 2 3 3 3. 60' OAYMniONIKAI A'. 3 efifievai to TroXXa/ct? • afiepat 8' iirCKoiiroi f^S':* fldpTvpe<; crol Sevrara Kpemv so aedev BiehdaavTo koX po(7vva<; dXdTai.l 4 OLYMPIA I. '' ' \ ^ ' I : ' , ■ > ZTp. y . e')(ei B' q^TToKafiov ^mv Toyrov ip,7reB6fjifOydov, yy 9s 60 /^fT^, rpuov rerapTov irovov, adavdrcov oti KXe'\lrai<; gXiKecrcri avfnroTai<; veKTap afi^poaiav re loo hwKev, olcrly d(f)diTov ^ , , edeaav. ei Se 6eov avrjp Tt? ps/jrerai tl XaOefiev epSmv, d/jLiipTavei. , , , , , G5 Toy veKa/TrpofJKav viov ddavaroi Foi iroKiv mb fi^TO, TO Tw^iroT^iov avTK dvepcov edvo^. •7rpopa KWpt'a? dry el' ri, HoaelBaov, i<; -^apiv"^ ^ '-'■'"'- r V ■ 120 TeXXerat, TreBaaov eiy^i^o? Oivofiday 'xaXKeov, i/j,e S' eTTt Ta'^vrarwv Tropevanv dpfiarcov 125 . ^ es 'AXm^, KpdreL Be ireKaaov. iirei Tpei'i re koI BeK dvBpa<; oXetrat? 80 /jLvaaTTjpaijuuLfidWeTai rydfiov ;.,'''■ I ■ ' , 1 ' , ' ' '■ 'Ett. /. 6vyaTpo<;. 6 fieya'; Be KlvByvo<; dvaXxiv ov (fiWTa Xa/j,- , ^fiLvei. -■..'■ I isj Oaveiv S' OMrti/ avajKa, ra ks Tt? dvcovvfiov 'yrjpa'i iv v Teg,iiXei Be viv UaXXa^ alel 30 Ka/ Zkv- 1 -A 1 1. 3.82.82. II. 2 2.22.4 (chorei). OAYMniONIKAI B'. 9 Ivoi Teraj^^at tov 6\ov dfi^l '^^povov. ■^rot ^porwv ye KeKpirai 66 "TTejpas 01) n Oavdrov, 35 ovK ya-v'x^ifiov dfiepav oirore, iralb'' aeXiov, areipel crvv dyadm TeXeyrdcrofiev • poai 8' aXXoT aWai eo evdvfiiav re fiera kul ttovwv e? avBpa<; e^av. 'Ett. /3'. ovrco 8e Motp', a re Trarpwiov 65 40 rmvh' ej^et rov ey(f>pova TroT/nov, ffeoprco crvv o\^(o eiro n /cat tt'^/j,' ar/ei iraXuvrpdireKov aXKm "f/pdvm • e'f oiirep etcreive A.aov /i,6pifio<; uto? lo a-vvavTOfjievo';, iv Be Hvdmvi j(^pr)a-dev 7ra\aiaTov reXetraev. si-p. y. 45 IBoicra S' o^et' '^pi,vv<; eTrepovav. 96 fidv ttXoOto? ajoerat? BeBabBaXfievc; A'2 10 OLYMPIA 11. ^epei T&v re koX twv 60 Kaipov, ^adeiav viTe'xcov fiepi/ivav dyporepav, ip 115 Keivav irapa hiairav • aXKa irapa p,ev np.ioi'; deSv, oiTivei; e')(aipov eyopKiab<;, aBaKpvv vepovrat 120 al&va • Tot 8' dTrpoaoparov 6Kj(eavTt ttovov. 'AvT. S'. 75 ocroi S' eToKpaaav ecnp\<; ov re defiev iaXcov Ka\oi<; eppd(rai hvvano ; OATMniONIKAI T'. eHPQNI AKPArANTINQi EIS eEOSENIA. Srp, a. TvvSctplBaii; re avoi 10 nrpda-a-ovri //.e tovto 0e6B/j,aTOV %j06o?, (fiopfiiiyiyd T€ irotKiKoyapw Kat ^oav avKmv eirecov re Oicriv AlvrjcnBdfiov ttmSI t7Vfip,l^ai irpeirovrco';, S, re Tlicra fie yeycovelv ra? airo 15 10 ffeofiopoi vCtrovT eV dvdpcoiroy'; doiiai, Strophae. I — I II ^1 I _x II l— I -A II 1_^| I w| I -X 1 11.-1 S. 1-w|-AU — I , — I — 1 I. S 3.6.3 5. II. 2 4 5.24. OAYMmONIKAl r'. 13 Ett. a . t^ Tivi, Kpalvcov evdfJM Twv OvXvfiiria koXXuttov dedXwv, 26 Sa/jLOv "Tirep^opecov Treto-at? 'ATroXXwro? OepdirovTa Xoya 30 TTto-Ttt (f>povea)v Ato? alVet iravhoKm aXaei criciapov re tpvrevfia ^vvbv dvOpwiroi'; oTe^avov T dperdv. ■ijBr] yap avrm irq/rpX p,ev ^(op-mv dyiaBevTcov Bi'^opj'rjvi,'; oKov j(pvaappaTO<; 35 20 ecrirepa'i o^OqXpov dvTe\e^e M.'^va, 'AVT. 0. Kal p,eyaKmv de&Xcov dr/vav Kplaiv Koi irevTaer'qpiK ap^a drjKe ^a9ioi€ov • dX\' ov KoXd BevSpe ed' ■""? iv ^da-a-aii; 'K.poviov ITeXoTTo?. *o TOVT(pv eSo^ev yvp' viraKovepbev aiiyuK oeXtp* 25 St) tot' 69 yalav *5 I. i_^ 1 -' L— 1, 11. :.7 III. i_^ I. 4 3.234. ^1. 3 5.5 3. 2 2. 14 OLYMPIA III. 'Ett. /3'. 'l(TTplav Viv ev6a Aarou? lirnroaoa dujaTrjp Se^ar eKdovr ' ApKaSia<; dvo heipav Kai TroKvjvdfiTTTCpv eyre viv wyyekiai's Evpycrdeo^ evrv avdyKa irarpoOev so ^(^pyaoicepwv eXaipov drjXeiav a^ov0', av ttote Tavjera W avTtOela 'OpdcpcTia eypa'\jrev lepdv. ■S,Tp. y. rav fxeQeircov I'Se koX Kelvav yQova 'jrvota<; oinOev ^opea ■>^v')(poy, ToOi BevSpea 6dfj,^atve araOei';. 66 T&v VIV 'yXvkv<; ifiepoi; ea^^ev Bcohejcdr/vafJbiTTav nrepl repfia Bpofiov hrTTtov ^VTevaai. j Kai vvv e's ravrav iopTav 'l\ao<; dvTi- OkoKTiv vlcerai 60 35 ayv ^aOv^atvoy BiBvfj,voi<; iraial AjfSa?. 'Avt. y. Toi<; yap ewerpairev OvKvfiTrovB' Icov darjrov dryava ve/Meiv 65 dvBpSv T dpera^ irepi Kai pifi(j)apfidTov Bi(j)p7]Xaa-ia^. ifie B' Siv irdp 6yfj,o^ orpvvei ^dfiev 'Efj,fj,evlBai<; ®ijpcovi T eXdelv KyBo<;, eviiTTrwv BiBovrav TyvBapiBdv, OTt -rrXeicrraicrb PporSiv 70 40 ^eiviai: ^. > III. IV. > I. 3 3 3. -> Steopha. -A II -- I-Alj ■ |^w|-All |^-|-,>I1--|--|-Al II. 44.4.44,4.5. ill. 333. IV. 4 . 4. 16 OLYMPIA IV. ffvevSei Kafiapiva. 0eo<; evcppcov elr] Xonrai^ ev'xal'i • ewei vcv alvew fiaXa fiev rpoipapi erolfiov iTnrcov, ihxaipovra re ^eviai^ iravBoKoi'; 25 Ka^ irpo's 'Hau^lav (ppUnroXw KaOapa lyvajia reTpa/j,- (livov. ov f^evBe'i rej^co Xoyov • Sidireipd rot fipoTwv e\e'y)(p^ • so 'En-. airep KXv/ievoio iraiSa 30 AafividScov 'yvvaiK&v eXucrev i^ dnfiCas. j^aXKeopai 8' eV evretri vikwv Bpofiov eeiirev "T^^iirvkeia fiera arei^avov Iwv • OvTO<; ijo) raj^yran • %e«/5e? Be koX ^rop Xaov. 35 ^vovTau Be Kol yeot? iv dvBpdai ■iroXiai 6a/jLa koI Trapa rov dXi,Kia<; eouKOTa ')(p6vov. 35 10 I. > I -~- > i -~- 6 II. w: —^ III. > Epodus. 1_ -A II 1_ -A II — ^ -A II 1_ -- 1 -AI l_ |-,-ll--l---l-All — l_ ||_-| ^^ l-Al 1 . 1 _A 11 -- 1 ^1 l-"l I. 4.4. 4. S. II. 4 3.43. I-Al III. 6.2 6. NYMPH KAMARiNA ON SWAN. (Coiu of Kamariua.) OAYMniONIKAI E" ^AYMIAI KAMAPINAIQi AnHNHi. 2rp. a , TylrrjXav aperav Kat aretjidvcov aanov lyXvKvv rdov 0v\v//,7ria, 'HKeavov Ovjarep, KapBia jeXavel 5 aKafiavToiroSoi t aTrrjva'i SeKev '^avfuo^ re S&pa • 'Avt. a. o? rav aav ttoXiv av^cov, K.afidpiva, \aoTp6<^ov 5 ^(pfiov^ e^ BiBvfiov; iyepaipev koprac'; deSiv fieyiaTai'i lo virb /3ov0V(rMi,<; deOXcov re "Tre/iirTafiepoii; dfilWaii;, 'Ett. a. 'lirirot,!; r]p,i,6voi<; re /MovafiTrvKia re. riv Be kvBo<; dfipov 15 viKaaaif dveOrjice, koX ov iraTep "AKpmv eKupy^e koI rav veotKov eBpav. Stbophae. I. -> I-.-I 1_. 11-.^!- II L_ l-^J-A] II. -> |-^-|-^^|^~^| 1_. II I I l_ I -All wl-v-l I 1_ I I 1_. II 1-^1 l_ |_A] I. 3 2 3. II. 5 4 . 8 4. Epodi. ->l — I— -l^-'l II I -I 1- l-AII ->l — l^-l-— I I- II — I 1- I — I 1- II 1 ll-l-Al 5 4.544. 18 OLYMPIA V. Srp. iS'. 'Uwv K Olvofidov Kat IleXoTro? Trap evr/paTcov 2" 10 crrad/Mcov, w iroKido^e JlaXKas, delSei. /J.ev a\,a-o<; cuyvov TO reov, TTorafiov re "Haviv, iyxmpiav re ~Kifwav, 25 'hvT. 0'. Kai cre/j.vov^ o')(eTov<;,"\'mrapi<; olaiv apBei errparov, KoXKa re araBlav 6aXdfia>v ra-)(ea)<; vijriyviov aXcro?, 30 vir dfia'xavia<; dycov e? (/jaos TovBe Bafiov darSiv 'En-. 0'. 15atel 8' a/i^' dperaia-L irovo^ Bairdva re fj,apvarao Trpo? epyov 35 KbvBvvai K€KaXvfi/Mevov • rjv S' ej(^ovTeov « n/Mwv T 'AX^ew eu/aii peovra FiBalov re aefwov avrpov, tKerav aeOev ep'^^^o/jbai AvBioi<; airixov iv av\oi<;, a 'Ayr. y. 2Q atTrjawv "ttoXiv evavopiaieri, rdvBe /cXurat? BabBdWeiv, ere t, 'OXv/j,'7n6viK€, Ti.oaeiBavlai(nv "tt- TTOl'; 60 iiriTepTrofievov (pepeiv jfipai evdvfiov e? TeXewrai', 'Ett. y. vl&v, ^avfjbi, Trapia'Ta/jLevcav. vyievra B' ei tk oX^ov dpBei, 65 i^apKecov KTedrecrcri koX evXoyiav TrpptTTt^ei'?, firj fiarev- arj 6eodaXfjiov ifias, ^ dfiAoTepov jJidvTiv t ar/aOov koL hoypl [lapvacrvai. to Koi dvSpl Kaifiov SeairoTa irdpeaTt, "XvpaKoaua. so ovTe SuffijjOt? ea>v ovt a>v ^i\oveiKO<; ayav, 20 Kai i^ijav opKov ofwaaaK touto ye foi ebv oiKelv • 35 ev6a rpa<^elopov AdXoy OeoBfidTai; aKoirov, loo 60 aiTeav Xaorpoipov rofiav ti,v ea KetpaXa, vyKTOi viral6pto<;. dvreipOey^aro S' dpTieTrrji; los Trarpia ocraa, fierdWaaev re viv • "Opao, re/eo?, Beypo irdyKOivov es ^(wpav ifiev (pajxa^ oiriadev. ■2Tp. 8'. iKOVTO S' vy^rfKoLO Trerpav qXt^arov K-poviov. no 65 ev6a Foi anratre Orjaavpov BiBvfiov IMVToavva<;, roKa fiev (fxovav aKoveiv ylrevBeav dyvaxTTOv, evT av Be Opaavfidyavo'; iXOwp 'H/sa/cXeT??, aefivov 6d\o^ 'Ett. S'. vaieTdovTe<; iBmprja-av Oewv Kdpvxa Xtrat? dvcriaK TToWa Br] iroXS.aicriv 'Hp/Aciv eJcre/Seo)?, o? dymva'i eyei fioipdv t' ae^Xwi' 13b 80'ApKaBiav t evavopa rt/ia • Keivo<;, & wal ItOurrpaTov, cryv ^apvySovirm Trwrpl Kpaivei aiOev eiiTv^iav. So^av e%o> fi'v' eiri yXcoaaa dKova<; \i,yvpd<;, uo a ji iOeKovTa Trpocrep'Tret KqWtpoocai Trvoai<; • fiUTpofidTCpp ifid XTVfi^aXif, evav0'rjpoa'vvai,<; evrjpdTOLi; 'Ayrjcrla Be^aiTO kw- /MOV 165 'Ett. e'. OLKoOev o'iKaB' dvo "ZrvficpaXlmv Teij^emv TroTiviaofievov, 100 ixarip^ evfirjXoLO XeiTrovr ^ApKaBia^-^ djadat Be TreXovr ^-. /„ c^ u ' :- ■ ' ,-- 17(1 ev '^(eifiepia 170 vvktI 6oa<; ck vao^ d'rreaKlfK^Oai Bv dyKvpai. deo<; rmvBe Keivav re KXvrdv alaav irapeyoi (piXecov. ws Bea-TTOTa irovTOfieBov, ev6vv Be irXoov Kafiartov eKTO? eovra BiBoi,, •ypvagXaKdroio Trocrt? iOS 'Afi(f)iTplTa';, ificjv B' vjuimv ae^' eurepTre? avdo^. Coin of Stytnphalos. OAYMniONIKAI Z' AIArOPAt POAIOi nYKTHi. ^laKav ft)9 et Tt? a^veia^ a/iro '^eipb^ eXcov evSov dfiTreXov KayKa^oiaav Bpoam haprjaerai veavia ya/jb^pm irpoirivwv oiKoOev ooKaSe ircuy^vaov Kopv^av KTedvcov b 5 ayfJLiroaiov re %a/3fi' KaSo? re Ti/idaai,^ eov, ev he (fiiXmv trapeovTwv OfjKe viv ^aXmrov 6fi6^povo<; evvaf • lo 'Ayr. a. Koi iycp veKTap ■)(yr6v, M.oi(Tav Boaiv, ae&\o<^6poi<; dvhpdaiv irenirwv, yXvKvv icapirov (ppevoi;, 16 iXdcTKOfiai, 10 'OXvfnrla UvOoi re viKavreffaiv. o S' oX/8f 09, ov ^djxai, KaTe')(pvT d'yaOai. Stkophae. I.w^: 1 i_w I II — ^-^l-wwl -- 1 II. i_^| -> II i_^ I I L_w I -- p -=1-^1 -X 11 {\"; li ^-1 11 ' — I 1 — -I ---I 11-^^1 6. r. _^^|-^^l II ._- I — II — ,^1 — -I -;^5 VI.„_: I L^ I II .j-^^l ] I. 3 3. II. 2 4 . 2. III. 2 2. IV. 3 3. V. 3 3 3, VI. 3 § B 26 OLYMPIA VII. aXKore B' dXXop iiroinevei Xapt? l^(o6akfit,o<; aBvfieXei 20 6afia fiev (pop/itryji, ira/ji^covota-i t iv evreaiv avKwv. 'Ett. a. Kal vvv vir dfKpoTepwv crvv Aicfr/opa Kare^av, tclv TTOvriav Vfivecov waiB' 'A^poBt,Ta<; 'AeXioio re vvfj,(f}av, 'PoBov, 25 15 evOvfid-yav o(ppa TreXcopiov dvBpa irap ' AX(^eto5 o'TEKJiavco- aafievov aiveato Trvjfia'i diroiva 30 Kab irapd T^aaraXia, warepa re Aa/idryriTov dhoina AIko,, 'Atrta? eypv-^opov rpiiroXiv vacrov TreXa? ifi^oXa vaCovTa<; 'Apyeia avv aljQia. 35 30 effeX'qaco Tolcriv i^ "■/^X?? ^Trb TXairoXe/jLov ^vov dyyiXXcov Biopdwaai Xoyov, 'HpaKXeo^ evpvadevel jevva. rb fiev paalv afi.'KXaKiat, a 35 avapl6/j/r]T0L Kpefiavrai • tovto B' dfid'^avov evpeip, « Epodi. -a" I LJ. II >|_ww|_. I II I w| -Til l_w I -- I l_w I — I .5 III. -WW |-ww|_. >||ww.>| II |_^„ I _- ] IV.wwl Lj|-ww| wj II l_w I _- II l_w I I l-w I II 1_„ I ] 1.832. 11.432,243,4. III. 3 2 S. IV. 42.42. OAYMIIIONIKAI Z'. 27 'AVT. ff. o Tt vyv iv nai reXevTo, ^ipraTOV dvBpl rvyeXv. Kai yap 'AXk/m'^vo,^ Kaaiyvrjrov voOov 60 atcamToa devav aKkrfpa^ eKala<; exravev TipyvOi Aikv/mvoov e\96vT eK ddXdfiaiv MtSea? 30Ta(r8e Trore j^dovo'i oiKicTTrjp -x^oXcodei^. at he (j)peva)v Tapaj(^al ee irapi'irXaj^av xai ao^ov. fiavTeyaaro S' 6? deov iXdcov. 'Ett. /3'. TtS iJ,ev ^pvcroKOfjtat; eiqaSeo? e'f aSuTou i/aoSi/ TrXooi" etTre Aepvaia<; air aKTa 6ed irp&Toi KTicraiev ^cofibv ivapjea, kol arefivav Ova-Lav OejJievot, 75 irarpi re dvfiov idvaiev Kopa r iyx^ei^pofim. ev S' dperdv e^aXev koI 'xapp.aT dvOpmiroicn Ilpo/j,a6eo<; At'SoJ? ■ so 'Avt. y. 45 eVt fidv ^aivet n Koi Xd6a<; dreKfiapTa ve(f)o<;, Kai irapeXicei irpqr/iidrmv opdav oBbv 86 28 OLYMPIA VII. efft) (f>pev&v. Kal Toi yap al0oiaa0ai. 105 2rp. ^. aTrewTO? S' oii'ti? evBei^ev Xa,'^o<; 'AeXi'ou • Kal pa viv 'xcopa'i aKXdpwrov Xiirov, 60 dyvov Oeov. /ivacrdevTi Be Zev<; afiiraXov fieXXev 0efiev. dXXd viv ovK eXaa Saelf a re Foi irarepwv 6p6ai ^peve<; e^ dyaO&v i'xpeov. fir) Kpyirre kolvov I'o aireppJ aTvo K.aXXidvaKTO'; • '^paroBdv roi ayv '^a- pCreacnv e'^et da\ia t I. I — — i 1— — n. i-~ 6. III. _.> Strophab. — I 1 II 1_- — I 1 — ] I. 52.6. — II 1-- II. 2 3 3.32. III. 3.3.4. 32 OLYMPIA Vlll. tpTivi (70V yepai; eaTrrjT ayXaov. qXTui 8' eV aXXov e^av cuyaOwv, iroKKai 8' oSol cryv deal's evTrpar/ia^ • u 'Ett. a. 15 Tifioadevei;, vfifie S' i/cXdpcocrev 7roT/x.o9 Zr)vl yevedXio) • o? ere fjsv Nefiea ■n-p6(^aTov, 20 ^AXKifieBovTa 8e Trap K.povov Xoa) OrJKev 'OXvfiTnoviKav. Tjv B' eaopav KaX6<;, epym r oy Kara /etSo? iXiyxcov 25 20 e^eveire Kparicov •jraXa SoXij^^per/iov Aiyipav iraTpav • evda XcoTeipa Ato? ^evlov TrdpeSpo's acrKetrat. ®efit<; trp. ff. e^oy' dv6pa)7ra>p. 061 yap "ttoXv koI "jroKKa peiry, 6p6a SiaKpiveiv ||1_^|_-1 I. 5.33.5.3. II. 3 3.332. III. 23.22. OAYMrilONIKAl H'. 33 'Ayr. ff. 30 Acopiet Xaft) Ta/Mevo/jLevav ef Aiaicov • « Tov Traf? o Aarov? eypufiiSayv re UocreiSav, 'iXtffl /teXXwre? eVt aTe^avov rev^ai, KoXeaavTO <;, 'Xepo<; epyaaiai6repai, v deSXcov (leWovra ■jroOeivora.Tav Bo^av ipepetv. 85 65 vyv fiev avTm ykpa's ^ AXKifieBrnv vLkov rpiaKoarav ekwv • 2rp. d'. 09 TU^a /j,ev Baifwvo<;, avopka's B' ovk dfiTrXaKtbv ev Terpaaiv TralBmv airedijKaTO yvioi<; so v6(TTov e)(6i<7T0v KoX aTL/MOTepav yXaxraav kuI eVtVpu- apfio(rTco aw eTaipoi:^„|-„| ^ 1 -.> ||_„|_^|_^|_ -I II. -i l^^l _-^|_. > . Il^^l II -> 1-^-1 -^1-. >. Il-v--|-~^l| 6. _> l^^l --I -. > ||-^w| 1 UI. ^ 1 -> l^-l -A U >: -~-'l 11 _> |_„|_„| _A » > : ^-'l 1 10. IV. - 1 ^ w 1 - w 1 1_ 1 _ w 1 - A II >:^.,L_.|,-.| -> |^„| ^,_A, I. 3 . 4 4. II. 4 2 . 4 2 . 4 2. III. 4.2.4.2. IV. 6.2 5. OAYMniONIKAI 6'. 37 , 'Ait. a. TrrepoevTU 8' let ryXvKvv HvaavdB' oicrrov • ovTot, -x^afiaiTrerewv Xoymv ed>dylreai avSp6<; dfufn iraXaia/iaaiv (popfiirYj eXeXi^wp w 15 K\eLva, 5. > > ;-> i-v-i ^w |->l -- 1 -A II -w 1 -w II u- 1 -- II ^w| -A II -.^1 i_ 1 1 III. > =--i->i — l_.fc,ii_> i-.^n-^ -1 — |i_|- -Al I. 4.4.2 II. 5.4.4.6. III. 4 2 4. 38 OLYMPIA IX. avLK ajx^l YliiXov (TTadels ■ijpeiSe TloaeiSav, ypeiBev 8e viv dpyvpew to^w 7roXe/j,i^a)v 35 oi^o<;, ovB' 'At'Sa? aKivrjTav ej(e pd^hov, oo l3poTea awfiaff' a KaToyei KOtXav e? aymav dvacTKOvreov ; otto fioi \6yov rovTOP (TTOfjba ph^ov • 65 40 eirei to ye XoiBopTJcrai 0eov<; e'xOpa (TO(j)ia xai to Kavx^dadai irapd Kaipov 'AvT. j3'. fiaviaiiv olfiov Xiyvv, aivei Be iraXaiov fiep olvov, avdea S' v/iviov 'Ett. ff. veanepoov. XeyovTi fihv k •xPSva fiev KaTaKXvaai fiiXaivav 55 vBaTO<; adevoi;, dXXd Zrjvg<; Te'yyai'i dvaTrcoTiv e^ai(pva<; clvtXov eXeiv. Keivaiv S' ecrcrav j^aX^atTTTtSe? vfieTepoi nrpoyovot, so dp')(a,6ev 'JaTreTiovlBo'i T]'i hyvafitf 40 OLYMPIA IX. eairoiTo. Trpo^evia 8' apera t rikdov 90 Tifiaopo<; 'laOfiiaiai Aafinrpofidj^^oy /jLiTpat<;, or afuj)OTe- poi Kpa,Tr)aav 125 ^Tp. 8'. filav epyov av afiepav. aXKai he hv ev K.opivdov vrvXat? eyevovr eireira '^apfiai, rat Be koI ^efiea<; 'Eap/x.aKov avpdv 1*6 105 YieKKava (f)epe • avvBiKOi; 8' avrw 'loKdov TVfj,/3o<; elvakia t 'EXevo-t? ayXataiaiv. I60 TO Se ^va KpdnaTOv dirav • TToXXoL Se Si8aKTal<; dvOpwirwv dpeTal<; KKeo<; 110 apoyaav dpeaOai. iss avev Se 6eov creciyafievov ov (TKaLorepov %/3^/i' e/caa-rov. ivrl yap aWai "Ett. S". oSSv oSol irepalTepai, fjbla K oy-x^ diravTa<; afifjbe Bpe^jrei leo 115 ^eXera • cro^tat /Mev alireivai • tovto Be irpoat^epav ae&Xov, OAYMIIlONiKAl 6'. 41 opdiov copvaai, dapaiav, TovB' dvepa Baifiovia yeyafiev ev'yetpa, Be^i.ojviov, opoiVT akKav, 16« 130 AldvTeoov t iv BmtI fuKuaha viKm> iireaTe^avcoae /3w. ^^>^.l m'^ f-j^' IKy ^^r^ ^^^^m, g^'^_ ■ y AIAS OILIADES. Coin of Opus. OAYMniONIKAI I' (lA ) ATHSIAAMQi AOKPQi EniZEp6vo<; e/ia^ yiypaTTTat. yXvKV yap avrm /ie\o9 o(p€tX(ov eirCKekaO' . do Motcr', aWa epy/cerov i^euSemi' iviirav dXiTo^evov. Srp. a. eKaOev yap iireXOcpv 6 fieWmv ')(p6vo^d(^ov eXiacrofievav OTTO, KVfia KaTUKKvaaei peov OTTO, Te KOivov Xoyov (f>CKav TUTOfiev e? ')(apiv. AvT. a. 10 Strophae, 1. w ! ^- l_ 1 — ^- j 1 — 1 ^^— — > -All > .; 1_ 1 -^w 1 — - 1 -A > : -> 1 1 -> 1--- — 1 II. „ 1_ 1 _> l^^l -^^ -All '■ >i - ■- 1 — -1 >- 1 — -AJ III.w:-^ 1- 1 -- 1 -A 11 >; "- -^„| 1 -A] I. 6.8.6. II. 6.6. III. 4.4. OAYMmONIKAI I' (lA). 43 'Ett. a. 15 vefieu yap 'ArpeKeia iroXiv AoKpSv Zetjivplmp, fieXei Te crdove Krearov d/j,v/jLOva, 2rp. 0'. 30 7rell L. 1- v.- w 1 _ A II ^ ■ 1— — - 1— -1 -A 1 n. :=i^> — -1 l_ l„-_l 1_. II - — |->l I-AII > ■■. -.- 1_ l-^-l ^^ 1 -A II > : -> III. 1- _„ 1 ^1 _A U (J : —^-^ — A II • > ;-v- ^- 1 1 -A J IV. _:^- -> 1 1_, II 1 II l_ |_,._|_A]1 I. 4 3.4. II. 5 4.5.4(4ir.). III. 4.2.4. IV. 3 2 3. irpaaaoiTo • Xo')^fiaicri 8e SoKevaai'; vtto KXecovav Bdfiaae koX Kelvovi 'JipaicXerj^ i ^pix^"^" "TroXXa vi,(f)dSi. ravrd 8' iv irpcoToyovm reXera "Trapearav /lev dpa M.olpai o-^eSw 65 o t' i^eXeyxasv /jlovo^ 60 aXa^ef ai* irrjTVjiov OAYMniONIKAI I' (lA). 45 'ett. y. Xpoj/09. TO Be a-a(j)aveKe^ev evdiriSoi a-eKaval Tpoirov. dpxaldvev • dXV tare Trots i^ aXoj^ov irarpl 95 ■KoOeivo'i LKOvn j/eoTaro? to vraXcv t^St], fiaka Se Foi Oeppaivei ^iXorari voov • eVet ttXoOtos o Xaj^wv Troifieva eiraKTov dXKorptov, OvacTKovn gvTi, 8' evpd /cXeo? Kopai TliepiBe^ A(09. "Ejr. f. iym Be crvve^a-nTofievo'; CTTovBd, kXvtov Wvot; AoKpmv dfi(f>e'ire<70v p.eXi.T(, evdvopa troXiv Kara/3 pe'x^wv • ira?B' eparov S' 'Kp^e- a-rpdrov 120 110 aXvrjaa, rov elBov Kpariovra x^P°^ dXKq /StB/iw •Trap' ^OXv/iiriov Keivov Kara ')(povov, IBeg, re KaXov &pa T6 KeKpafMevov, d troTe 115 dvaiBea VavvfJLrjBei fiopov dXaXKe ayv K^virpoyevel. 125 OAYMniONIKAI lA' (I*) ATHSIAAMQi AOKPQt EniZE A I 5.5. II. 4.4 3.4.4 S. Ait, Srp. "EcTTH' dv6pa)7roi<; avificov ore TrXeicrra Y/3i}o"t9, ecTTiv S' oypavioav vSdrcov, ofi^pifov "TratBcpv j/e^eXa?. et Be criiv Trovm ti<; ev irpdcraei, fieXi/yapve^ vfivoi 5 ycrrepwv dp^a Xoymv ^ TeWerai koI itio'tov opKiov fieydXat-i; aperatf. d^06vrjTO<; S' aivoi; 'OXvp/iriovlKai^ ovTOf dr/Keirat. to, fiev dfierepa rfKcoaaa TTot/jualveiv iOeXei • 10 6/c 6eov S' dvrjp ffo^ats dv0ei irpairiZeaaiv 6fwlcDi^ea'6ai. to yap 30 e/t^i/6S ovT aW(pv oXwitt]^ ovT epi^pofioi Xeovref hiaXkd^avTO frjdo<;. I. — -^ II. I — I III. i_- ir - i, 5.3.4 3 Epodits. I ■— - I g -II 1 i-aJ t__ I _> I, L„ I -- I — I _> II I — I -- •— I -A II II ■ I I I .3 1_- I i I LJ II. 4 2.42. II I I II 1 J III. 4.3 4. IV. 4.4 4 COIN UF KN1D06. OAYMniONIKAI IB' EPrOTEAEI IMEPAIQt AOAIXEI. Aiaaofiai, iral Ztyi/o? 'EXev^e/jtou, 'Ifiepav evpyadeve cifufinroXet, Xcoreipa Tv'^a. Tiv yap ev irovrco KV^epvAvrat, Ooal me?, ev ^eptrto re Xaiyjrripot iroXeftoi s 5 Kayopai j3ov\.a^opot. al ye fiev avSpcov 7roX\ avo), ra 8' av Karco -^jrevSr) fierafMovia rdupoicrai, KvXlvSovT eXTTtSe? • avfi^oXov S' ov TTCO Tt? eiriyOoviav iriaTOV dfi i III. -> A " --I I A^ -1 I. S . 5 2. II. 2 4 . 5 2 . 3 . 2 4. III. 4 2 4. OATMniONIKAI IF' EENO=— I L- |-w|^~-| 1- l-AII _: -^ |^^^|->| I -A II >: I __ |_^|_^| _A II 6. ft. ; -w I i_ |-.^|-^-| 1- l-A] II. > I I ^w |->| _w|-. >||-^>^|-^w|l_| l-Al III.>| -w-l ^- |->ll^-| -w- I — II ■"__ I 1_ |_w| -> I -v.- I -Aj I. 3 . 6 . 6 . 5 . 6. II. 6 5. III. 3 3.6. 52 OLYMPIA XIII. afiw^ov Be Kpvylrai to avyjevef rjOof. v/i/Miv Si, TratSe? 'AXdra, •jroXXa fiev viKatfjopov ov/Katav miraaav 15 aKpai = ---! ->ll- i_ 1 -^^ ^- 1 -A 1 ->ll -- 1 —II II. Gz^^ 1 ->l -^w 1 1- 1 -> -- 1 -- 1 --II -Al III. l i_ l-> • 1 1 >- 1 ^tLJ -A] -A II IT. -- 1 ->l -^ 1 •-, 1 1 ->M ==-| — 1 I. 33 2.23 II 6. 6. I [I. 4 3. 4 2. IV. 4 4. OAYMniONIKAI IT' 53 'AvT. |3'. Svo 8' avTov epe'yjrav u •jfKoKOi (TeKLvmv ev ^laOfibaBeacriv (pavevTa • Ne/iea t' ovk avTi^oel- 35 irarpo^ he ^ecrcraXoV eV 'AX^eov peeOpoicriv auyXa -KohSiv avaKeorat, IlvBot T 6^6t arahlov ti/jAv BtavXov t aeki(p dfuf) kvi, firjvm T6 foi 60 TwvTov Kpavaal<; ev 'Addvaicrt rpia Fep^a TrohapKT]'; dfiepa BfJKe KaWtar d/MtjA K6fji,ai<;, 66 'Ett. 0'. 40'EWei)Tta S' eTrraKt? • ei/ S' d/M(j)idXoi(Ti TloTeiSdvo'; Te0/JLOI(TIV TlTOioBcopo) crvv Trarpl fxaKpoTepai Tep-^fria 0' e-fJrovT 'T&piTifim t doiSal. 6o oa-cra t ev AeXv TraXacyovav 7o TToKep^v T ev rjptotaK aperaiaiv ov yfrevaop,' dfitfu T^oplvdco, 'Xlcrvid>Beo<; vlov irore Topyovo^ rj ttoW' dfi^l Kpov- voh 90 Tldyaaov ^ev^ai iroBecov eiradev, 65 irplv ye foi T^puo-a/A7rv«a Kovpa ■xp^ivov IlaWa? rjveyK • i^ oveipov S' ayriKa riv virap • ^wvaae 8' • EvSety, Aio\iSa ^CLaiXev ; dye P''OV fJMVTiv dcrfievo^ r dvd /Sw/icjJ 6ed<; los Koi/rd^aro vvkt d-Ko Keivov xpvo'i'O^i w? re Foi avrd Zrp/odei<; eiraii^ev. ayv he Keivcp Kal iroT 'Afia^oviScov aWepoi; i^v')(pa<; airo KoKiroav iprjfiav us To^orav ^aXXmv jvvatKelov arparov, 90 /cat ^ifiaipav iryp irveoiaav Kai 2o\u/i.ou? eire^vev. hiaaayiraaofiai foi pMpov ijo) • 130 Tov S' iv OvXvfiTrco (pdrvai 7irjvov 'OXiyaiOiBaicriv t e^av inriKOvpo';. 'I(70/j,oi TO, T iv ^efiia iravpm OLaiv SKvevaai trocnv • 115 Zei? TekeC, alhm BiSol Kai TV')(av repirvSv yXvKeiav. fe -^ j^j&^ ■*■ /^eS 1^^ ^^ ,x^jHMhH^H|^^ fiB.*^g|^aEM P A ^^^^^Bi ^^S^i B ^ -m^^Sf ^^7^ S ^^ "W ^^^^mK^SKS^^ff u ^ ^^^^^ ATHEN.i PEGASUS. Coin of Corinth. OAYMniONlKAl lA' A2QniXQi, OPXOMENIQt HAIAI STAAIEI. St p. a\ Ka<^fo■^o)l' iiSdrmv Tui'xota'ai arre vaiere KaXkbTrcoKov eSpav, ^ XtTrapa? aolBtfioi ^acriXeiai Xa/3tT6? 'Op^oyu.ei'oi), iraXau^ovrnv M.ivvav eirLaico'TTOi,, s 5 kXOt, iirel evj^ofiai. cryv yap vfifj,iv to, re repirva koI TO, yXvKe aveTai TravTa ^poTolf, el II. w^w III. ^- IV. -^-' T. -^ TI. ^- 10. VII. > I VIII. > ; :=;:=^- I. 3.6.6. II. 4 4. VI. 4 4 2. Strophae. II --I — I --II ^^1 l_ I _A1 11-^^1 _„| |_AI I l_ ||-^^|_„|_A] -^^\ -A II ^^1 ^1 ---I --I -AJ l_ ||_....| -^\-^\ l_ 11- I 1_ ll^^j |_AI -All ^-1 I I 1 III. 3 2 3. IV. 5 . 5. V. 3 3. VII. 3 2 3. VIII. 4.34. C2 •l-A] 68 OLYMPIA XIV. Srp. /3'. 0) troTVi 'AyXata ^Oi/qaijioKire t ^v<^poavva,'6e5)v KpariaTov 20 15 TratSe?, eiraKoolte vyv, &aXla re epaaifioK'Ke, Fihoiaa rovBe Kcofiov iir eiifievei TV')(a Koy^a j8t/3wi'Ta • AwSc^ r^ap ^ Aa(cnn')(pv iv Tpoirm 2b ev fj,eXeTai<; r delSmv efioXov, opvex' 'OXv/MinoviKo^ a M.ivvei,a 30 aev FkKaTi,. p,eKavTei')(ia vvv Bofiov ^epop/jbij^, 'ATroW(ovp<; Kol loTrXoKafiwv <7vvSiK0V yioiaav Kreavov • ras aKovei fiev /Sao-ts, ayXataeXap djKvXq) Kpari, yXeipdpQyv aSv KSAtarpov, /care^euas • o U e Kvmacreov vjpov v(pTov avcopei, reat? 10 piTratai KUTua'^^ofievo';. koX yap ^laras "Api}<;, Tpaj(^eiav dvevOe "Kiiroiv ey^kwv CLKfiav, laivei KapSiav 20 KWfiart, KrjXa Se Kol Bai/j,6va>v 6e\/yei ^pevaf, afu^i, re AarolBa cro(j)ia ^aOvKoXnrcpv re 'M.oicrav. 'Ett. a. oacra he fir) 7re(j)i\r]Ke Zez)? drv^ovTai ^oav 25 TlieptZav diovra, jav re kol ttovtov kut dfiaifiaxerov, 15 2? t' ev alva Taprdpa KelraL, deaiv TroXefiiof, so Tu0oJ9 eKarovTaKdpavo'i • top Trore T^iXiKiov 6pe^frev iroXvavvfiov avrpov • vyv ye fidv ral 0" inrep Kv/tta? dXiepxee^ 6j(6ai, ItiKeXia T avToy irie^ei, arepva Xaj(ydevra • kLwv S' oypavla 6ecr(T A'lTva, Trai/eres 'Xiovo'i ofet'a? TuOrjva • I. — -' — II. l_w III. - : -w^ IV. Epodi. -I — I 1-- I • l-> •-- I II 1 1 .-I II L-^ I ^ ---I — « 1-- II- 1 l^^>l-71 I -A " --X I I 1— I ,11 I I I i I II I I _-„ --I U I U I I LJ, ll-->| I 1-- I 1 I. 52.53. 11.44. III. 32.282.23. IV. 443.44. nYGIONIKAl A'. 61 27-p. j3'. Tft? ipevyovrai, fiev dirXdroy 7rvp6<; dyvoraTai, « e« fiv^Siv TTwyai • iroTafioi K dfiepaiaiv fiev wpoyeovTi poov Kairvov aiOcov' ' a\X' iv op(pvaiaiv Trer/aa? ^olvi(Tara KvXivBofiiva ^\o^ e9 /3adeiav epei '<> Xoiirbv eaareaOai, arei^dvoLcrl, vcv tTTTrot? Te kXvtuv Kai aiiv evcfxovoi^ OaXlai^ ovvfiaardv. AvKie KaX A.dXoi avda-awv ^oi^e, Hapvaaoy re xpavav 'KatTTaXiav cfyiXemv, 's 40 ideXi^crai,<; rayra vow riOifiev evavBpov re ^copai/. 2t/). y . iic 0eu)v yap na')(^avai irda-ai ^poreaif dpeTah, so 62 PYTHIA I. Kai ao ksivov alvrjcrai fievoiv&v eKivofJiai fiT] ')^qXKOTrdpaov UKOvd' wcretT ay&vo's ^aXelv e^a ira- Xdfia Boveiop, 85 ~ is fj,aKpa Be pi-<^ai<; dfievcraa-Q^ avriov^. et yap 6 Trfif ')(p6vo<; oX^ov fiev ovrm icai Kredvcov Boaiv evOvvoi, Kafidrwv S' eTriXaaiv Trapda-^oi. so 'Avt. y. 17 Kev dfjLvdcretev, otat9 ev TroXefioia-i fidj(ai vavauTTOvov v^piv IBwv rav irpp K.vfia<; • uo 'Ett. 8'. oia ^vpaKoaimv opxtS Safiaa6evTe<; TraOov, (OKVTTopmv dnro vaS)v o (riv ev ttovtw j3dXe6^ dXiKiav, us 75'EXXaS' i^eXKCOv /Sapetas SoiiXet'a?. apiofiai •Trap /lev XaXa/uvo'; ^ KOavaimv X'^P''^ fiiadov, ev %7rdpTg, S' ipeco irpo K.i6aipa)vo<; ixd^av, iso Taicrt M.'^Seioi Kafiov djKvXoTo^ot, iraph Be rdv evvBpov dicrdv 'Ifiepa TralBeaaiv vfivov Aeivofieveo<; TeXeerai<;, 80 Tov iBe^avT dfitpi' dpera, iroXe/ibcov dvBpSv KapAvTcav. les Srp. e'. Kaipov el oTepois TTiaroL eyavOei S' ev opya irapfievav, 90 eiTrep ti ^tXet? aKodv dSeiav alei Kkveiv, fir] KUfive Xlav SairdvaK • its i^iei S' &iai KOivawhav HaXdaKav iraiBaw odpoicn BeKOVTat. 190 TO Be iradeiv ev irpwTov ae&Xav • ey B' aKoveiv Beyripa fiolp' ■ dfupOTepoiai B' dvqp 100 b? dv eyKvpar], kol eXrj, (TTe^avov vyfricrrgv BeBeKTai. i95 HBAD OF NIKE. Demareteion of Gelon I., n.c. 480, VICTOHIOUS QUADRIGA. Coin of Syracuse. nreioNiKAi b' lEPtiNl 2YPAK02IQi APMATI. Srp. a. MfYaXoTToXte? w "ZvpaKOcrai,, ^admroke/jLov Te/juevo'; "Apeo?, avBpav 'iir'rrmv re aihapo^apfiav Saifio- viai rpooi, vfifiiv ToSe rav Xtirapav dirb ®r)^av (pepcov fieXo<; ep'^^ofiai wyyeKiav TeTpaopoa<; eXeXt^^oyo?, 5 evapfiaTO<; 'lepmv ev a Kparemv rrjXav'yeaiv dveBrjaev 'Oprvylav (TTe l^-l -^ l_>.ll^>^l -^ I -A] II. > 5. > > ^-1 ^^ l^-^l • 1_ I _^| _A II ^w| -^^ |_^|| ^w |-^„| -- I -A 11 -^ 1^ l-^l _^ I -All -^ I |_-.| -^_ |-^_| -A II ^^ I ^^ I 1_ ll^w^l l_ I _„ I -A I III. >|^w| -- I 1-. II -- I--I II ^- I -^ I -w] I. 4 3 . 3 4 3. II. 6 . 3 4 . S . 6 . 3 4. III. 3 3 3. gg PYTHIA 11. ev 6' apfuira veia-i-x^aXiva Kara^eyyvvT) adhio<; hriretov, opa-OTpiaivav eypv^iav KaXewv aeov. aXKoL<; Be Tt? ereKeaaev qXKo<; dvrjp evaded' ^aaiXevaiv vfivov, awoiv dperai;. 26 15 KeXaBegvn fxev dfi^i Kivvpav TroWa/ct? ipafiai Kvrrpicov, rbv 6 'x^pyaoxaiTa -irpoi^povm i^lXija-' 'AttoWcov, ' 3" 'Ett. a. lepia KTiXov 'ApoSiTa|-^^| -^ I 1_ II l-A] -.,,1 ■_ II . I -A -~-|-Al V. ^ : > ; --I vi.-; 1- I -wi-,.^1-. -II I- I-. -^ii-^-i_-l i_ l-A] 1.44. 11.33. in. 43.433. IV. 42.242. V. 32.3. VI. 4 24. nreioNiKAi b'. 67 iroXvyaOee's • aXKd viv v^pie\a irapeXe^aro, ■yfrevho^ jXvKV fiedeTrav, doBpi<; dvrjp • etSo? yap v'jrepo'x^ardTa irpeTrev Ovpavihav 70 dvyaript K.p6vov • dvre BoXov avrm Oeaav 40 Zr]vo<; iraXdfiai, koXov 7r?}/i.a. tov he TeTpUKVafiop hrpa^e heap,6v, 'Ett. /3'. kov oXeOpov oy ■ ev 8' d^viCTOiai yvioiriBai'; "jreaajv Tav TToXvKoivov dvSe^ar dryyeXiav. avev Foi l^apiTcov Texev yovov VTrepiaa vtv e^j^et?, iXevOepa <^pevl "Treirapelv, 105 irpvTavi, Kvpie TroWav /lev evaTepeva>v nreioNiKAi b'. 69 eXa^e Kapirov dfiaifirjTov, ovB' d-jraTaicrt dvfiov Tepirerai evBodev, 135 75 ola -yfrLOvpcov ^aXafiaf; eirer alei ^por&v. afiaf(ov KaKov afi^oT6poi<; Biai^oXidv WTro^arte?, no 6p'yai<; arei/es dXeoireKcuv iKeXoi. KepBot Be TL fidXa tovto KepBaXeov reXidei ; are ryap eivdXvov irovov i'^oicra<; ^aOv ns 80 aKevat; eTepa<;, a/SaTTTtffTO? elfii v, bo iravra PicravTi v6(p • ■yjreyBiwv S' ovi^ airTerat • KXeTrrei re vov 30 oiJ 0e6<; ov ^poTo<; epai,ve Trvpd • 45 Kai pd vLv yid/yvqri ipepccv irope T^evTavpw BiBd^ai so TToXvirrifiovai; dvOpcoiroiaiv idadai voaov^. Toj)? fiev &v, oaaoi fioXov aiiTO(f>VT(ov eXketov ^vvaove<;, rj iroXim ^aX/co) fieXrj Terpcofievoi es ^ 'XepfiaBi, T7;Xe/36X&), nreiONiKAi r'- 73 50 ■^ Oepivw irvpl TrepBofievoi 8efia<: rj ■)(et,fi(uvt, \iiaai<; aWov aXXoicov aj^ewv so e^ayev, tov? fiev fjuaKaKoi's i7raoiBal<; aiJ,(f>e7rQ)v, Toy<; Be Trpoaavia •jrlvovTa';, rj jvIok TrepairTwv iravTodev ^apixaica, tov? Se To/iats earaaev opOov^. 'Avt. y . qXXa KepBei, icai ao^ia SiSerai. 95 55eTpaTTev koI Kelvov djavopi fiicrOtS ')(pyaoafu TTjXavyecrTepov Keivm Marpt, Tav Kovpat trap ifiov irpoOvpov &vv Havl fiek- iTovrai da/ia aefivdv Oeov h/v6')(iai. i«i SOet he Xoycov avvefiev Kopv^dv, 'lepcov, opOav eiriaTa, fiavQdvoiv ol<70a trpoTeprnv • ev Trap' ecrXbv irrifiaTa crvvhvo Saiovrai ^poToi<; us dOdvaroi • to, fiev &v oy Bvvavrai vrprioi, Koafico ^epeiv, aXX' dfyaOoi, ra KaXa Tpe'^avTe<; e^co. 'Ejt. S'. rtv 8e fioip" evSaifiovia'i eirerai. iso 85 Xayerav dTt,<;, e^ iireeov KeXaSevv&v, Te«T0i/e? ola ao^ol 200 apfiocrav, yiveocrKOfiev. d S' dperd KXeivap; doiSaif 115 -x^povia TeXedei. m-avpok'i Se irpd^a<7&' evfiapev. 205 THE MOTHER OF THE GODS. Coin of Smyrna. nreioNiKAi &'. APKESIAAt KYPHNAIQi APMATI. Srp. a. Xa/iepov /Mev ^pi? (re Trap" avBpl ^tXw (TTa/iev, evLirirov ^acriXfji K-vpavwi, opa Kmfia^ovTi aw 'ApKecrtXa, Mof(7a, AaTOiBaL(riv 6 I — I. 5.5 5.S4. II --I -XI — I II. 4 2.4 4. III. 4 4.4 4.4, nreiONiKAi a'j 77 10 e/SSo/jba Kol a-yv SeKara vXd^ai ■ ra>v B' eXdOovro <}>peve<; • Kal vvv iv TaB' d^dtrov vdcrco Ke^vTai Ai/3va<; 76 eypvxppov airipfia irplv wpae0vdiaiv Tifiai aXov evBevBpoto ptjdev iJ,arepo<; • 75 Tov fiovoKpijmBa travTat; ev vXaKa cr'x^ede/j.ev fieydXa, evT av aiireivSv diro crradfiSv e? evBeieXov 135 j(d6va fioX-rj KXeiTaa\aia \(yya)v iare. 'KevKiiviTcov Se S6fiov<; irarepaiv, leeSvoi iroXiTai,, tppaaaari fioi, aacpemii • PiXaovos oTepoi(i. avvOeaiv ravrav i'7rai,vr]dpov Aj;8a? re, Sotol S' vyfrfx^alrai 305 dvepe^, 'EwocrtSa yivoi;, alZeadevTe^ dXvdv, eK re IlvXov Kal air aKpa'i Taivdpov. ratv fiev KXeo<; 3io 175 eaXov ¥jv(f)dfioy t eKpdvdrj aov re, TlepiKXvfi,ev evpv^la. i^ 'ATr6XX(ovo<; Be (fjopfiiKras doiBav irarrjp efJ^oXev, evaivrjTO<; 'Opc}>ev<;. 315 'Ett. t]'. 7re/47r6 S" 'Ep/Ji,a<; 'x^pya-opairi'; SlBv/movi vloy^ eir arpvrop TTOVOV, Tov p-ev 'E')(^iova, «:e%\aSwTa? ^/Sa, tov B' "EpuToi'. ra'x^ee'i 180 8' ap,(pl Uayyaloy OefiidXoi^ vai.eTdovre<; e^av • 320 nreioNiKAi a'. 85 Kai jap eKoiv dvfM(S yeKavet Oaaaov evrvev ^aaiXei)^ avkfKov Tiryrav KaXaiV re 'jrarrjp Bopea?, avBpaapfiaKov icaXkicTTOv ea? apera^ aXi^iv evpecrOai avv aX\,oip7j(Tev Taj^ebdv bk iraXap.dv cbKopo'i. aeo ffyV-NoTOi' S' avpabi iir' ^ K^eivoy aropa Trep-irofievob 86 PYTHIA IV. rjXvOov • ev6' opfvov TloaeiZdawo'i ecaavr eivaXiov re- /J'evo';, 305 ^oiviaaa Se ©pijiKiav cuyeKa ravpcov VTrap'^ev 3G6 Kai veoKTiarov Xidmv ^co/moio Oevap. 6? Se kIvSvvov ^aOvv iefievoi Seairorap Xlaaovro vawv, 'S.Tp. I. cyvBpo/jiWV Kivijfffiov afiatfiaKerov 370 eKov irep' avrai;, ei "TTOTe yeifiepiov irvp i^iKrjTai XoiaQiov, rj (Tvv 6p0ai<; Kioyecrcnv Beairocrvvaicnv epeiBofieva 475 fW')(6ov dXXoit; dp.ipe'Kr) BvaTavov ev ref'x^ecriv, eov eprj/MocraLa-a '^wpov. 'Ett. tjS'. 270 iaal S' larrjp eTriKaipoTaroi;, Haidv re aot Tifia tpdoi;. 480 nYGIONIKAI A'. 89 %/377 fioKaKav %6/3a irpoa^aXKovTa rpaifiav eX/ceos a/i- paocov fjLev yap ttoKlv aelaai koX a<^avpoTepoi<; • 48s aXX eVt ^j^tBjoa? ayri^ e(r(rai Bycr'ira\e<; Br] (yiverat, i^a- el firj 6eo^ dr/e/Movea-o-t Kv^epvaTrjp yevqrai. 275 Tiv Be TOVTfov e^v^alvovrai ydpt.Te';. 490 rXaOt TO,'! evBalfiovo<; afj,avL^ei fiev kukuv 'yXaxraav (j)aevva<; otto^, sos efiaOe S' v^pii^oma jMiaeiv, AjJT. iy\ 285 ovK epi^cov avria rot? djadoK, oyBe fia/cvvaiv reXo? ovBev. o yap Kaipo<; ttjOO? dvdpdo- -TTCov Ppa')(p /Merpov e%e(- ey^i,v eyvaicev • depdiraiv Be foi, ov Bpdo'Ta^ o-jraBel. (pavTi B' efifiev sio rovT dviaporarov, Ka\d yivmaKOvr dvar/KO, eKTO'i e%eiv 'rroBa. koI fidv Keivo'; "ArXa? oypavm eis 890 TrpoairdKaieL vyv ye TraTpwa'i dirb yd<; diro re Kredvcov • Xiae Be Zeu? a(l)dcro'i Tirava<;. ev Be XP^^'P IJ,eraj3o\al 'Kri^avTO<; ovpov 520 'Ett. ty. iariwv. aXX' ev^eTai, ovXo/ievav vovaov BiavTXrjaai'i TTOTe 90 PYTHIA IV. oIkov ISeiv, e-TT 'AttoXXwi/o? t6 Kpdva I IV. - ! - I. 2.3.2 3. II u A LJ A •I uA 1 ^_ , _„ I _A II __ I I -A 1 I 1_ I I _AI — - I "-• II I •- I >- I - II. 2.2.8. I I III. 5.5. -Al ■ I -A] IV. 6.4 4.6. 92 PYTHIA V. 0-6 8' ep'xpnevov ev BUa irdKix; o\^o^ dfi^ive/ierai, • 15 TO fiev on l3acriKeii<} iacrl fiejaXav ttoXIcov, 2" S'x^ei (Tvyyev'T)'; 6(j)dqXfj,o<; alSoioTarop yepai;, red TOVTO fiijvvfievov <^pevi • 20 [J-aKap he Koi vyv, KXeevva<; on 26 eu^o? rjBr} irapa Ti.v6iaZo<; tTTTTOt? eKatv BeSe^ai rovSe K&fiov avepav, 'Ett. a. ' AttoXXcoviov adypfia. tw ere firj XaOeTca so JLvpavav 'yXvKvv afi^l Kairov ' A "ITJ -^i II l^-j -All II 1 -- 1 1- II 1-^^ -^ -w- •- II- j^-j-A] 11.^: -^ ■^ : 1— i_ -^ 1 -.^ 1 1_ 1 -All 1_ |^^„| _A II w: !_■ l_ 1 ^^ 1 l_ 1--^| _„ 1 ^_-| l_ 1 -All 1 -A ] -A II I -All III. =^^ I ^s^ I -, I. 3 3.333.33. L ||-^>.,|-„| ==:^| l_ -Al II. 6.5.25.6.4. III. 4 4 2. nreiONiKAi e'. 93 KareKkaae yap ivrimv adevo^ ovhev ■ dXKa Kpe/j,aTai, 35 OTTocra ')(€piapav TeKTovcov 8alSa)C aytav ^piaalov \6^op afietyfrev iv KoiKoirehov vdiroi; 6o deoy • Tov a-ff)' e^et KVTrapiacrivov 4S /jLeXadpov ap^_ dvSpidvTi a'^e^ov, K/3^T6? ov To^o^opot Teyel Tlapvaalm Kadeacrav tov fiovoSpoTrov (I)vt6v. bs 'Ait. /S'. eKovTi Tolvvv irpeTrei vo(ff TOV eiiepyeTav VTravTida-ai. 45 ' AXe^i^iaBa, ere S' t^vko/jloi, ^Xeyovrt Xaotre?. eo fiaicapiot;, o? e^et? Kat ireBa fiejav KUfiaTOv 'Koycpv (pepTarayv /jLvap,jjov. iv Te6v oX^ov vim re Koivav xa/Ofv evhiKov T 'ApKecrlXa. tov iv doiBa veav Trpeiret '^(pvaaopa ^oi^ov dirveiv. Srp. 8'. 'AVT. 8'. 105 'i'xavTa Iiv6opv6dev TO KaWivtKov XvTripiov SaTravdv /teXo? 'Xjctpiev. avSpa Kelvov iiraiveovn a-vverol. Xeyofievov epico • 1*6 Kpeopa) j^epaZei Stkophae. I.w: ^1 1_ I V.-- I ^>^ |-w| H w;-w| -^^ I —A II ^^^1 ^^ I 1_ l-c^l I -A II w ; 1_ I I I ^- l-Al 6. II. ^w I I i_ II I ---I -^-^ I -All ^^^1 -^w I II 1- I I- 1 l-Al - = --l -- ] III. > I --I --- I <- I -A II ^1 1-1 -.11 -- I -> I--I -A 1 I. 6 . 3 . 6 . 5. II. 3 4 . 3 4 . 8. III. 4.24. E Srp. a. Srp.^. 98 PYTHIA VI. rvTTTOfievov. (fydei Se irpoawTrov ev Kadapcp 15 iraTpl T6(o, @paa-v^ovXe, Kouvdv re = > : -^ II. ~- i l- 111. -^ Stbophae. I .| i_ |_AII -- I -> I ll-^-'l-AII -> I -^^ I i_ I -A] -^w I ._ II -> |^w|_^|_/v] -A II -A 1 I. 6.232.6. II. 4 4. III. 3.3. HYeiONIKAI 11. 101 fij McYaKXees, u/ta/ re koX •wpo'^bvav. via B' evirpayla '^aipco Tt • to S' a')(yvfiai, 15 ^Oovov afiei^Ofievov ra koXm Fepja. (jjavTi je fjLav ovrcp k€v avSpl irapiiovifiav 6aX\oi 'Ett. 15 > ; — I. 3 3.44.33. ElJODUS. 1_ II -w \-^^\ -All I 1_. II 1_ |^w| 1_AI1 l_ . Il-wwl l_ I -A] ^1 -^ |_^„| -All II. 6.6. ATHENA. OWL. Coin of Athens. nreioNiKAi H'. API2T0MENEI AIFINHTHi nAAAISTHi. m fieyicTTOTToXi Ovyarep, ^OVKaV T6 Koi TToXi/JiCOV e')(Oi(ja K\aiBa<; virepTara^, 5 TlydioviKov Ti/Mav ^ Apia-ro/jLevei BeKev. TV yap TO fiaXOuKov ep^ai re Kai iradelv 6fim<; hruTTaaai, Kaip^ aiiv drpeKel' TV 8', oTTOTav Ti<; afieiKi'Xpv Kaphia KOTOv eveXdarj, idTpaj^eia hvarfievimv VTravTid^aiaa Kparei Ti0ei : — ^— 1 — A 11 ~' I 1- II -^— 1 — — l-Al III -^- 1- 1 _> 1 --. ll^-l — -1- All > i-- ^-1 1- 1 _. > II-- I-- '1- All > : _^ ->l — - 1 l-A] I. 4. 4. II. 3.2 3. III. 4 3 43 .5. nYetoNikAi I!'. los 15 /3ta 06 Koi fieyaXavxpv ea<^qXev ev ■ypovo^. Tv^o)? KtXif eKaToyKpavo<; oy viv aXv^ev, oyZe fiav j3aa'i\,ev'; TiyavTCpv • S/xadev Be Kepavvw ro^oicri, T ^ A.TroSXmvo'i • 09 evfievel vom Kevapxeiov eSexro K.lppadev iare^avafiivov 30 vlov TTOt'a TlapvacriSt Awpiel re Kmfieoi)<; ^OXy/Miria re ©eoyvrjTov oy KareXiyx^eK, 'Apt. ff. a 'Ett. /3'. I.-i — I— - >: — I-- n. -> \^~ Epodi. _> , 1- II -> I. 4 3.43. •A -All -A] ■- l-All --I-AII II. 4 4.6.44.6. 104 tYTHlA Vltt. oySe KXeoTOfid'^oio viKav 'I<70/j,oi dpaaviyvlov ' aij^cpv Be irdrpav MtSuXtSai/ \6yov (})ep€i, I - II. i_^ I ,„. _|_^^|_^I I-: II .-- I u II 1 — J II 1— -I — n -^^l-^wj ||l_^| — i-w^i — ^1 -- II l__.ii 1 i-^j — II u . II 1 — I — 1 1 — I -;;^ 1 IV. \-~^ \ I I I II I I 1 1 I J 1.4.222.4. 11.33.68.33. III. 3.34. IV. 4 4. 108 PYTHIA IX. Kal a-(j}ip iirl . Epodi. II. III. IV. :^o> 1 I I. 6.5 6. 1 -;^ 1 -A II , II l_- I I I I I I 1 11. 2 5.4.2 6. III. 2 3.234. IV. 3.23. nreiONiKAi e'. 109 Sr/../3'. Ktp^e viv Xeovri itot evpv^apeTpav *5 o^plfim jjLovvav TrdXaio^crav 30 arep ij')(^e(pv eKaep^o^ 'AttoWoji'. avTiKa B' eK /leydpav ~K.eipa)va irpoa-evve'ire (pava • "Zep-vov avTpov, ^CKvpiBa, TrpoKiirmv Ovpov jvvaiKO'; Kai p,eyaXav Bvvaaiv Oavp-acrov, olov arap^el veiKoi; ayei Ke^aXa, Ii6')(dav Kadvirepde v€av(,<; 65 35 -qrop ej^oiaa • (f}6^q) B' oy Ke'x^eipavrai ^pevai. Tt? vcv av0pco7reov rexev ; iroia's B" aTTOcnraa-Oeiaa ^VTXa<; AVT. B'. opemv Kev6p,wva<; e^et aKioevTwv ; «" 'yeyerai S' aXwa? aTreipavTov. ocria kXvtuv %e/3a /^ot TrpoaeveyKeiv, 40^ pa; Koi iK\e')(^ecov xeipai peKiaBea Troiav ; Tov Be K.evTavpo's ^ap,ev'^<;, dyava ■^(Xapov jeXdaaaLi; o(j)pvi, p,riTiv eav 66 eydv<; dpei^ero • KjOUTrrat KXaiBe<; ivrl <70(pa'i Tleidoy<; iepav ipCkoTaTaiv, 'o ^ol^e, Kal ev re 6eoK royro KavOptoTTOK op,S)^ 45 alBeovT, dp^avBov dBeia<; TV^ew ToirpwTov 6vvd<;. 'En. ^'. Kal jap (7e, tov ov OepbiTov ylrevBei Otjeiv, 75 erpaire //.etXtj^o? opyd irap^dpev tovtov Xoyov. Kovpa - i -> II. - ! 1- 6. III. - ; L Steophae. -A II _> I- • > 1- I 1 -Al l-Al --I >-• II — I — I -A3 w -A] I. 4 . 4 4 . 6. II. 3 5 3. III. 3 3.33. nreioNiKAi r. 115 'Ett. a. 'OXyfiTTioviKa St? eV TroXe/iaSoKot? "Ajoeo? oTrXot? • 15 drjKev Se zeal ^advKeifiwv vtto Hippaf ajwv irerpav KpaTrjeriiroSa ^piKt,av. 25 eiroiTO fjbolpa koX vcrrepaiaiv iv qixepaK dydvopa vXovtov dvQelv a^iauv • 2rp./3'. Twv S' iv 'EXXaSf repirvSiV 20 Xa^wre? ou« oKi/yav Bocrov, p,ri ^6ovepal<; Ik deav so /jLeTaTpo7riat,<; iiriKvpcraiev. 0eb<; e'ir) aTT'qficov Keap • eiiBai/iwv Se xal vfivrp-b^ ovTO'i dvrjp ryiveraL (70^oi<;, 35 OS av '^epcrlv rj ttoBcov dpera KpaTrjaai,dvap HyBtav. « o ')(aKiceo<; ovpavo<; ov ttot' aytt/Saro? avTfS • 0(jai<; Se ^poTov edvo<; ajXatai^ aTrro/Mecrda, irepaivei •7rpo<; e : -^ ■ > ■-. -- 5. > ; - - Epodi. 1- ll-> |-vw|-w|-All --1 -^,~^| 1_ II -w^ I ._ I I -A II _„| 1_ I _^|_All _^| --I L. I-All |-^„| _^|| l_ I l-A] I. 2 4 . 2. II. 3 4 . 5 . 5 . 4 3. 116 PYTHIA X. S(o/j,aT icreXdav, KXeiTa<; ovcov eKaT6fi^a<; e-rriToa'crai'; Bern pe^ovTa<; • wv 0aXlai,i _^ i^^i II. > i — 1 I m. — Ifi^-i -• > >i — . 1-^-1 I. 4 4. ■- l-A] I II. 3 3 3 . S. Epodi. - I -A ] - I- -I -^- l-AII ■I I l-A] III. 3 4.34. -I— All I. -^^ I -- I 1- l-All - I-Al II. >:^-| I 1- |-w| -^ l-All -w| i_ I |_All i_ I l_ |_.^^|_AII >: !-> |-~-l--B I. 4.4. II. 6.6.6.4. nreioNiKAi ia'. 119 eV Tffl &pa(TvBaio<; envaaev eariav TpiTov eVt (TTecpavov irarpaiav ^aXcov, 15 iv d<^vealv eycfjpoavva re koL 86^' i-TTt^Xeyei. TO, jxev iv apfiaai, koXXIvikoi. TrdXai 7o 'OXvfiirlav dymvwv 7roXviKXelSav 'Ett. S*. 60 Bi.aepet fioXaov v/jLvrjTov eovTa, Koi Kdaropo'; ^lav, ere Te, fdva^ YloXvhevKS^, viol OeStv, TO (lev Trap ajxap eBpaicri, @epdTrvaiXov avBpa ttovcov ippyaaTO 7rap6evo<; axiXSyv Teyye irdfi^eovov fieXo'i, 20 o(j)pa Tov ILvpvdXa'i iK KapTraXifJiav ryevvcov 35 ■X^pifufiOevTa avv evTeac fiifi-^aaiT ipiKXdjKrav yoov • evpev de6<; • dXXd viv evpolcr' avBpdai dvaroK ej^eiv, io (ovofiaaev Ke^aXav ttoXX&v vofjiov, evKXea Xaocraowv iwaarfip djwvasv, Srp. 8'. !J5 XeTTToy Siavitrofievov y^aXKoy 6dp,a Koi BovdKcov, Toi Trapa KaXXiyopa vaioicn iroXei ^apiTcov, is Ka^tcrt'So? ev re/ievei, iriaToi j^opevTav fiapTvpe^;. et Be Tf? oXI3o<; ev dvOpmiroiaiv, dvev Ka/idrov 50 ov (ftalverai • iK Be reXevrdaet viv rjroi adfiepov 30 BaifjLwv • TO 76 /Mopcrifiov ov TrapcpyicTOv • dXX' earai ■Xp6vo<; oyTO<;, o Kai tiv deXirria ^aXmv efiTraXiv jvdofiq,'; to /JLev Baxrei, rb B' ovTrco, MEDUSA RONDANTNI. NOTES |^~ The abbreviations in the Notes are all, or nearly all, familiar — such as O. =: Olympian Odes, P. = Pythian or Pindar, N. =Nemean, I.=Isthmian. Once or fwice A. is used for the Codex Ambrosianus, Schol. Germ.=Scholia Germani, Cod. Perus. = Codex Perusinus. The Nemean and Isthmian Odes and the Fragments are cited for convenience' sake according to the edi- tion of Christ (Teubner). NOTES. OLYMPIA I. Sthacuse ' was founded by a colony of Dorians from Corinth, under the Herakleid Archias, in 01. 11, 3 (734 B.C.). The first point settled was the island Ortygia (N. 1, 1 : a.jmvevjj,a SvpaKoirai. The constitution of Syracuse, originally aristocratic,was cl i anged into a tyrannis by Gelon, prince of Gela, who reconciled the fac- tions of the city, 01. 73, 4 (485 e.g.). After Gelon became lord of Syracuse, he made it his residence, enlarged it, built up Achra- dina, added Tyche, and what was afterwards called Neapolis. All this was not accomplished without high-handed measures, such as the transplanting of the populations of other cities. Gela lost half its inhabitants. Kamarina was razed to the ground, and the Kamarinaians transferred in a body to Syracuse (see 0. 4). Under Gelon's rule Syracuse became the chief city of Sicily, the tyrant of Syracuse one of the most important personages on Gre- cian soil. Applied to by the Greeks for aid, when the invasion of Xerxes was impending, Gelon offered two hundred triremes, twenty thousand men-at-arms, two thousand cavalry, two thou- sand archers, two thousand slingers, two thousand light troops, and provisions for the whole Greek army until the close of the war, on condition that he should have the command in chief 1 In the historical introductious, especial acknowledgments are due to Mezger. 126 NOTES. (Herod. 7, 158). Soon after this oflfer was declined, Gelon was called on to help his father-in-law, Theron of Akragas, against the Carthaginians, who had espoused the cause of Terillos of Hi- mera (see O. 12), and Anaxilas of Rh'egion, son-in-law of Terillos. The great battle of Himera, popularly put on the same day as the battle of Salamis — really fought somewhat earlier — ended in the signal defeat of the Carthaginians, who lost one hundred and fifty tliousand men dead on the field. The Carthaginians sued for peace, which was granted on singularly easy terms; for the Carthaginians were backed by the Persian empire with its vast resources. The battle of Salamis had not yet shown the weakness of the Persian power ; and, in fact, the immediate effect of that battle has been exaggerated. Persia lost little of her prestige until the close of the fifth century, and Persian gold was a potent element in Greek history far into the fourth. The consequence of the victory at Himera was a vast acces- sion of power and influence for Gelon. Anaxilas of Rhegion, and a number of Sicilian cities, recognized his supremacy. But in the midst of his plans and projects Gelon died of dropsy, 01. 75, 3 (478 B.C.). To his brother, Polyzelos, he left the com- mand of the army, the guardianship of his minor son, and the hand of his widow, daughter of Theron. Hieron, the elder of the surviving brothers, who had been prince of Gela, succeeded to the government. Owing to the machinations of Hieron, Polyze- los was forced to take refuge with Theron of Akragas, who was at once his father-in-law and his son-in-law ; and a war between Hieron and Theron was imminent, had not a reconciliation been effected by Simonides, the poet. Polyzelos was allowed to re- turn to Syracuse, but Hieron was thenceforward sole ruler. In 477 the Bpizephyrian Lokrians invoked the help of Hieron against Anaxilas of Rhegion; the prince sent his brother-in- law, Chromios (see N. 1 and 9), to Anaxilas, and the lord of Rhe- gion held his hand. In 474 the inhabitants of Kyme (Cumae) were hard pressed by the Etruscans. Hieron immediately grant- ed the desired aid, and defeated the Etruscans in a naval engage- ment off Cumae. A helmet with the inscription 'Idpav 6 AeivofU- Vfos I Koi Tol SvpaKoa-ioi | ™ Ai Tvpdv otto Kv/ias was found at Olympia in 1817 (Hicks, No. 15). The year after— 01. 76, 4 (473 B.C.) —Hieron defeated Thrasydaios, son of Theron, and Akragas and Himera both acknowledged his sway; but he granted them their independence and a democratic constitution. OLYMPIA I. 127 To his success in war Hieron wished to add the heroic honors paid to the founder of a new city. This new city, Aitna, was founded, 01. 76, 1 (476 b.c), in the territory of Katana, the old inhabitants having been removed to Leontini. Ten thousand citizens were imported, half from Syracuse and Gela, the other half Peloponnesian immigrants. The constitution was Doric; and Hieron's son, Deinomenes, and his brother-iu-law, Chromios, were put in charge. Hieron often called himself Ahvaios (P. 1) ; Chromios followed his example (N. 1), and the founding of the city was celebrated by the " Aitnaian women " of Aischylos, and by Pindar's first Pythian. The court of Hieron was a centre of literature and art. Epi- charmos was a frequent guest. Aischylos, Simonides, BakchyLi- des, Pindar were among the visitors. No Doric prince ever reached such a height of glory. He was brilliantly successful at the great games : 01. 73 and 77, with the single horse ; 01. 78, with the chariot; Pyth. 26 and 27, with the single horse; Pyth. 29, with the chariot, and again with mules. Successes elsewhere are not unlikely. He devised and performed liberal things. A special treasury was erected at Olympia for the Car- thaginian booty, and the noble gift which he vowed to the Olympian Zeus was set up after his death by his son Deinome- nes — a bronze four-horse chariot and driver, 'the work of Onatas, on either side a horse with a boy rider by Kalamis. As a Doric prince, Hieron has found as little favor with pos- terity as he did with his Athenian contemporary Themistokles. A tyrant, he helped the moralists to make the uneasiness of crowned heads still more uneasy. He became the type of splen- did success and of splendid misery ; for he was tortured by bod- ily suffering, he was surrounded by,' sycophants and informers, and lived in an atmosphere of treachery and meanness. Those who see in Pindar's Hieronic odes sermons levelled at the unfor- tunate prince will be inclined to despise the greatest ruler of his day. A more humane' judgment will recognize high qualities impaired by the faults that were engendered arid exaggerated by the tyrannia. Hieron died 01. 78, 2 (467 B.C.), at Aitna, and upon his death received heroic honors. The first Olympian celebrates the victory gained by Hieron, 01. 77 (473 B.C.), with his race-horse Pherenikos. He was then 128 KOTES. at the height of his power and glory. Some put the ode four years earlier, 01. 76 (476 B.C.). The theme of the poem is given in v. 7, ixr/S' 'oXu/am'af dyava (piprepov aiSda-o/iev ; and while every Olympian does honor to Olym- pia, this is the irpoa-aivov Trjkavyis, this is, as Lucian says (Gall. 7), TO KiSKKuTTov Tav q.(T p.aT<))v airdvrav. It may have been put first, be- cause it was the most beautiful ; but it owes, in turn, no little of its celebrity to its position, for which it was commended by its myth as well as by its theme. The chariot-race of Pelops for Hippodameia was the true beginning of Olympian contests, and the Pelopion was the heart of Pisa. The Aiolian rhythms are bright and festal, and glitter as the language glitters. Pindar is consciously treading a lofty measure. " No better element than water," he says, " no brighter blaze than fire by night, no form of wealth that outdazzles gold, no light of heaven so luminous, so warming, as the sun, which dims the ether into voidness, no contest more noble than the Olympian, the source of highest songs to highest bards, chanting Zeus supreme in the palace of Sicily's chief lord, who plucks the loftiest fruits of emprise, who is 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 bore his lord to triumph (vv. 1-23). 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. 33) — the fame of the Olympiads looks forth (v. 94) — and the story of Pelops is encircled by a belt of glory." In his version of the Pelops legend (vv. 35-96), Pindar contra- dicts the popular account: hence the elaborate ameat at the out- set. To make the myth resplendent as his tlieme, he must re- move the foulness of envious tongues. No cannibal feast was offered to the gods by Tantalos, none shared by them (v. 53). Tantalos's sin — the giving of the sacred nectar and ambrosia to his fellows — brought ceaseless woe on himself; but his son, though sent to earth again, was remembered by Poseidon,' to whom he had been what Ganymede was afterwards to Zeus. The darkness of the fate of Tantalos ouly heightens the brilliancy of the fortunes of Lydian Pelops. The story told, the tone is sensibly lowered. An Olympian victory is still sunshine for life, and Pindar avers that no prince OLYMPIA I. 129 more deserving of what is noble — none of more powerful sway — ■ shall be set forth by his hymns; but there is the old moral that the present good is the highest, and the old restlessness of hope for a yet sweeter song, and a yet more glorious victory. And then, at the last, the poem rises to the height at which it began. The Muse has her most powerful shaft in keeping for the poet's bow. The king, as king, whatever else others may attain, is at the summit of human fortune. Look no further. Prayer can only seek the keeping of this lofty height for king and bard alike (vv. 97-116). The poem is an epitome of Pindar's manner — 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 (AioX;;i*St /hoXttS, v. 102), the tune the rider-tune {InTretcp vofico, v. 101). On the reconciliation of this statement with v. 18, Aapiav ^opfuyya, 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. 2t/3. a. — 1. "ApioTov (iJv BSop : Much cited in antiquity, and variously interpreted, fj XPV"''-^ vwepex^h says Aristotle, odcv Xe- yerai apitrrov jxh vScop (Rhet. 1, 7, 14). No profound philosophical tenet is involved, as is shown by the parallel passage, O. 3, 43 : ct 8' apicrT€V€L fiev vSap, Kredvatv 8f XP^'''''^ al8oi4(TTaTOv, Kri. The poet emphasizes, after the Greek fashion, water as the source and sustenance of life. The copula ia-rl, dcrl is rare in P. Tiiis first sentence is characteristic of P.'s advance by a series of steps. "Water,'' "gold," "sun" are only for the enhancement of the Olympic games. Much in P. is merely foil. — 6 Si : The article is still largely deictic in P. Notice the rhythm, which is an im- portant guide, o 84, " but there is another — gold — a blazing fire like it loometh — a night fire far above all proud wealth." — irvp is brought into close relation with wktI by its position. — 2. vvktC : The local-temporal dative. Below iv d/iepa. — (lEYdvopos: P. 10, 18 : aydvopa ttXovtov. — 3. yoputv : Dor. for yrjpieiv. The inf. in -ev is well authenticated in several Pindaric passages. — 5. |ir|KeT(i) : More vivid than firj (Herm.). Look for no other light, now that the sun has risen. — 6a\irva«vv6pos, Paus. 1, 44, 3.— 13. Bp^iruv; Where we might expect Spewofievos, P. 1, 49; 4, 130 ; 6, 48. The Spinavov is a woodman's bill, Lycurg. 86. — Kopv<|>ds : O. 2, 14: de'^Xoii' Kopv(j)dv, 7,4: irdy^^pvaov Kopvipav KTedvav. — 14. ovXat^tTai 8^: The change to the finite construction brings out the nearer image in bolder relief Special reason is discernible also in P. 3, 53. When there is no piv the change is easier, I. 3 (4), 13. — 15. ev duru: P. uses eV with plastic vividness. Comp. N. 3, 33 : iv dperais yiyrjBt, as in Latin sometimes gaudere in. — 16. oto: Not to be roughly explained as^on ToiaCra. It is the exclamatory relative from which the causal sense can be OLYMPIA I. 131 picked out. " Such are the plays we play." Comp. P. 1, 73 ; 2, 75 ; 3, 18. — 17. AwpCov . . . (f>dp|ii,i7'Ya : A. does not refer to the me- tres, as is shown by v. 103, Ai'oAi/i'Si /xoXtto. Hieron is a Doric prince ; the (fiopfiiy^ may well be a Doric instjunient. O. 3, 5 : Aapim n-eSiXa) does refer to the measure ; but neSiXov is not (jiop- fiiy^, and at the worst the Aiolic melody may be considered as a subdivision of the Doric. See Aristot. Pol. 4, 3, where it is said that some recognize only two &pp,oviai, the Dorian and the Phry- gian. — 18. \o|iPov(€) ; Here the aor. might be expected, but the pres. shows that the action is watched. The poet addresses him- self, his (j)i\ov TjTop. — ci Ti . . . £9t|k€: TMs the regular form of condition in adjurations. Cf. I. 5 (6), 43. — *€pev£Ko« : Name of Hieron's horse, " Victor." In the form BepevUrj (Macedonian), the name is familiar. The *. of P. 3 was doubtless grandsire to this *. — re Kai : This combination is common in P. ; the occurrence varies much in various authors. In P. it serves to unite comple- ments, both opposites and similars. Here nia-as, the scene, and *., Victor, make up the sum of the song. — x^pi^ : Usu. rendered " beauty," " charm." Why should it not be " song," the grace of poetry, as below ? Pindar had pledged himself to siug the victory ; and, when the steed sped to the goal, the promised song made him feel the stir of sweetest cares.— 19. vXuKVTOTais . . . ^povTto-iv : (f>povTi8cs is used of the poet's musings. " Brought me under the empire of sweet musings."— 30. irap' 'AX(|>cu : irapa in prose, with gen. or dat., is shrivelled into an exclusively per- sonal preposition, like Fr. ehez. It is freer and more original in Pindar, although " in the domain of Alpheios " would err only in suggesting too much. — Sefias : The living body, originally distinct from o-S/xa. Used plastically as the Lat. corpus = se. — 83. irpoo-ciiilc : The concrete, personal fuyvivai is common in Pindar, and must have its rights of contact. Here "brought to victory's embrace." " Wedded," " clasped," " embraced," " en- circled," will answer for many cases. With this passage comp. P. 9, 77 : Kai vvv iv JJvdavi nv ayaOia KapveidSa | vios cida\ci avvi- ■ fu^e TV)(a. 'Ett. a. — 33. tiriroxop|iav : Prom xap/^a or X"W? ? ^^^ P. 3, 3. — kXms : Echoed, v. 93. — 34. AdSov : The gold of v. 1 glitters in the rich adjective. — Il^Xoiros ottoikC^: Emphasizes the scene for the third time, and prepares the transition. — 35. to5 : The story often begins with a relative. — 36. eireC: "Since" (causal). — 132 NOTES. KaOapov X.^Pt|tos : k. possibly to present a contrast to the fuapos Xf';3i)s of the familiar story (Ov. Met. 6, 407), which P. is at the pains of denying below. The abl. gen. is used below v. 58. Later Greek meets poetry here. — K\w6u : Klotho, Lachesis, and Atro- pos, the three fates, are Xdxiai deal, ace. to Euripides, I. T. 306. — 27. IX^cfiavTi <|>aiSi)i.ov u|iav KCKaSfiivov : &. depends on k(k. (jjaiSifjLov is explained by e\4(j)avn. — 38. 6aD|iaTd: So the best MSS. On the omission of eVri, see v. 1. — Kai itoi ti xal : So Thuk. 3, 87 : Kal nov n Koi f/ aimpia irparov vavjiaxovvras e(r(j)rjKev. — (^aris : The interpolated MSS. have (jjphas, Christ suggests (ppoviv. (pans cannot be ace. pi., and would not do us much good, if it were. We must connect closely, after the Pindaric fashion, (jjans vTrip tov ciKad^ \6yov, as one element, put SeSatSoK- fievoi . . . fivdoi in apposition with it, and make e^airarSivn abso- lute, " mislead " = " are misleading." So /cXcTrret, absol. N. 7, 33; cf. P. 3, 17. Notice the contrast between (j)dns, the poetical story, and \6yos, the prosaic truth ; piidos has departed from its Homeric sense. — 39. itoikiXois : The etymology points to embroi- dery (fj TTomiKeifimv vv$ anoKpvyjfet (pdos) and embroidery to false- hood, as we have learned from Fr. hroder, whereas aifkovs 6 p-vdos T^s aKr]6eias e(pv. Srp. (3'. — 30. Xdpis: The charm of poetry. Comp. O. 14, 5, where there are three XapiTf s : criiv yap vppiv to. rt repirva koi to yXvK€ averai navra ^poTois. — T«i!x«'' = The rule, present. — 31. I|iiri- o-aTo : The manifestation, aor. — 33. afucpai 8' lirCXoiiroi . . . cro^una.- TOi : O. 10 (11), 59 : o T e^fXdyxov povos dXddeiav iTifTvpov Xpovos. — 35. eoTi: c. in this position is never otiose. Often = ojn-i: A favorite preposition in P., esp. with dat., little used in prose. In the sense of this passage irtpl is more commonly employed even in P. : dp^i, being the narrower, is the more picturesque. — 36. uU TavraXov, v viv yXvKvs ifispos ec^^ev . . . dah.p.6v ip,ds. — xpva-iaunv av tirirois : 1., here of the chariot, dpd is another Pindaric preposition that is very little used in prose, even with the ace. — 43. [ieToPaC(rra)i.ai : Asyndeton is especially in place where repugnance is to be expressed. See Dissen, Exc. II. — 53. oKt'pSeio Xe'XoTxtv : Gnomic perfect. For the sentiment comp. P. 3, 55. 'Kayxavio has more commonly a person for a subject. — KOKayiSpos : Dor. for Ka- Krjyopovs. — 55. TJv^ See V. 35. — oXXo Yap: yap gives the reason for the aXKa, as who should say, SKKas 8' ^v, " but all in vain ; for." — KaTair^t|/at . . . K(5pdos fTriKdKiyjfav. — 69. lTot|jiov av€<|)pi5vTKrtv yd^uiv : t . here is al- most equivalent to " tempting." dvetjipovTiiTcv, " woke to the desire of." Love is a (^povrk. Notice that this triad is welded together, and moves very fast, with stress on ydfiov (v. 69, 80). 'Avt. y. — 70. nto-oTo . . . irarpiSs = Olvofiaov, v. 76. Oinomaos, king of Pisa, had offered his daughter Hippodameia in marriage to any one who should overcome him in a chariot race. Frag- ments of the sculptures representing the ay&v of Pelops, from the eastern pediment of the temple of Zeus, have been unearthed at Olympia. — 71. u>Ta: So I. 1, 15: dXKorplais oi x^P"''- The rhythm calls for a prolonged oi, and SvuXkiv is thought over again with cfyara. "A coward — no ! no coward wight." — 83. olo-iv: Not to be dis- sected into rovrav oltriv. — ra : So Monimsen after good MSS. Doric for tl. — avuvvfiov . . . iidrav : An impressive cumulation in which it must be remembered that Koflijiievos means more than "sitting" in English. It is "sitting idle, useless." — 83. ^i|roi: "Nurse." — (idTav: "Aimlessly," " and all to no good end." — 85. fmoKtia-trai : Ace. to Schol. := Trpoxf icrt rat. "On this I shall take my stand." "This struggle shall be my business." — irpafiv: " Achievement," " consummation," not yet colorless. — 8£8oi ^ Si'Sou : More solemn and impressive than the aorist with which he began. — 86. iweircv : Bergk writes fjvfKtv everywhere in P. A formal imperf, but it has no clear imperfect force in P. — aKpdvToif : em in i^ay\raTo eases the dat., which P. however uses, as well as the gen., with verbs of contact. Dat. P. 8, 60 ; N. 8, 36 ; Gen. O. 9, 13 ; P. 3, 39.— ovdXXwv : " Honoring," " by way of honoring." N. 5, 43. — 87. 8ipov . . . xP"<«ov : v. 43. — wTtpoto-iv : The horses of Pelops on the chest of Kypselos were winged, Paus. 5, 17, 7. TTT. instrumental rather than local. Srp. 8'. — 88. tkty . . . tiroXov : Sec O. 10 (11), 26: dySiva . . . dpxaico (rdfian Trap IleXonos ^a>p.S>v i^dptd- fiov. The tomb of Pelops was near the great altar of Zeus in the Altis. — TTopo P(i>|i(a : On napd, see v. 30. — rh Sc kX^os . . . S^SopKc : Echo of Xaprrci S4 Foi /cXe'or, V. 33. Combine to kKcos rdv 'OXv/i- iriAbwv and cV Spopois XlAoTrof. The Spopot refers not to the ex- ploits of Pelops, but to the scene (Iva), where not only speed but strength is shown. — 94. S^SopKE : Perceptual perfect = present. Comp. onanra, o8co8a. Glory is an 6v iv Tavrri TTj TToXei. — efie Se : The rider-tune, TO Kaa-Topeiov {Castor gaudet equis), well suited to the achieve- 138 NOTES. ment. Comp. P. 2, 69 : to Kaa-ropeiov 8' ev AloKiSecra-i ^opSaii Se- \a)v, I. 1,16: fj KaaTopdoj rj 'loXdoi ivapjxo^ai viv v/iva. The Aioli- ans were the great equestrians of Greece. — 103. ir^irotOa . . . jii^ : Verbs of believing incline to the swearing negative fir). " I am confident," "I am ready to swear that." — 104. o|i,(|)i5tepo : Adv., like afi(j)6T€pov. — o|i(i.e : With Mommsen for apa. — 105. SoiSaXwo-e- (j.£v : Ace. to Mommsen, an old aor. inf., like d^ipev, II. 24, 663. But even if this is granted, it does not affect the sphere of time, as an aorist inf, after such a verb as neiroiBa, may be thrown into the future. See note on (\iropai, P. 1, 43. The compliment of a comparison with the past is not so great as with the future. The case O. 2, 102 is diJBferent. — S|ivv adevd vt.Ka.a-ai, and the older use of Lat. cum. — liriKoupov . . . 484v \6yav : Combine imnovpov \6yaiv. The path is the path of song, which will help forward the gloiy of Hieron, as told in the \6yoi by the Xoyioi. See P. 1, 94 : oiriBop^porov ailxripa 86^as \ oiov airoixopivCla. a-, is "poetic art." The tone is high enough, for P. pairs himself with Hieron by the parallel v-e . . . te , " as . . . so " (o-e Tf . . ifie re), but edi/ra is part of the prayer, and not an assertion merely. OLYMPIA II. Akkagas (Agrigentum) was a daughter of Gela. Gela was founded, 01. 32, 4 (689 B.C.), by a Rhodian colony ; Akragas more than a hundred years afterwards, 01. 49, 4 (581 n.c). In 01. 52, 3 (570 B.C.) the notorious Phalaris made himself tyrant of the city, and, after a rule of sixteen years, was dethroned by Telema- chos, the grandfather of Emmenes or Emmenides, who gave his name to the line, and became the father of Ainesidamos. Under the sons of Ainesidamos, Theron and Xenokrates, the name of the Emmenidai was brought to the height of its glory, and an alliance formed with the ruling house of Syracuse. Damareta, the daugh- ter of Theron, married first Qelon, and, upon his death, Polyzelos, his brother. Theron married a daughter of Polyzelos, and, finally, Hieron married a daughter of Xenokrates. The Emmenidai belonged to the ancient race of the Aigeidai, to which Pindar traced his origin, and claimed descent from Kadmos, through Polyneikes, who was the father of Thersan- dros by Argeia, daughter of Adrastos. Evidently a roving, and doubtless a quarrelsome, race, the descendants of Thersandros went successively to Sparta, to Thera, to Rhodes, and finally to Akragas. Such was the ancestry of Theron, who made him- self master of Akragas by a trick, which lie is said to have redeemed by a just, mild, and beneficent reign. Under his rule Akragas' reached its highest eminence, and Theron's sway ex- tended to the neighborhood of Hiraera and the Tyrrhenian sea. When he drove out Terillos, tyrant of Himera, and seized his tlirone, Terillos applied to his son-in-law, Anaxilas of Rhegion, for help, who, in his turn, invoked the aid of the Carthaginians. Thereupon Theron summoned to his assistance his son-in-law, Gelon, of Syracuse, and in the fnmous battle of Himera the Sicilian princes gained a brilliant victory. (See Introd. to 01. 1.) The enormous booty was spent on the adornment of Syracuse and Akragas. Akragas became one of the most beautiful cities OLYMPIA II. 141 of t6e worJti', and the ruins of Girgenti are still among the most imposing remains of antiquity. A few years after the battle of Himera, Gelon died, 01. 75, 3 (478 B.C.), and was succeeded by Ms 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 reftige with Theron, who had married his daughter, and who in con- sequence of this double tie refused to give him up to Hieron. The Himeraians, oppressed by Theron's son Thrasydaios, made propositions to Hieron ; two cousins of Theron, Kapys and Hip- pokrates, joined his enemies, and the armies of Hieron and Theron faced each other on the banks of the Gela. Thanks, howeyer, to the good offices of the poet Simonides, peace was made ; Polyze- los was suffered to return, and Hieron married the daughter of Xenokrates, brother of Theron. The rebellious spirits in Himera were quelled, and our just, mild, and beneficent prince, who was elevated to the rank of a hero after his death, so thinned the ranks of the citizens by executions that it was necessary to fill them up by foreigners. Kapys and Hippokrates having been put to flight, Theron sat firmly on his throne again, and, after putting to death all his enemies, had the great satisfaction of gaining an Olympian victory, 01. 76 (476 B.C.), which Pindar celebrates in this ode and the following. Theron died 01. 76, 4 ; Xenokrates, his brother, who won two of the victories celebrated by Pindar (P. 6 and I. 2), died either before him or soon after. Thrasydaios, his son and successor, whose cruelty had roused the Himeraians to revolt, chastised the Agrigentines with scorpions, and attacked Hieron with 30,000 mercenaries. After his defeat, Akragas and Himera rose against him, and he fled to Megara, where he died, and the revolted cities became democracies. Thrasybulus, the son of Xenokrates, continued to live in Akragas, but the memory of Thrasydaios was a stench' in the nostrils of the Himeraians; hence their gratitude to Zeiis 'FXevdipios and 'Zareipa Ti3xa for having de- livered them from such a monster (0. 12). In the opening of the second Olympian, Pindar himself points out the threefold cord that runs through the ode, and recent 142 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 cele- brate all three, and god, hero, and man recur throughout : the god helping, the hero toiling, the man achieving. God is the disposer, the hero the leader, and the man the follower. The man, the Olympian victor, must walk in the footsteps of the greater victor, must endure hardness as the hero endured hard- ness, in order that he may have a reward, as the hero had his re- ward, 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 no- tice how the poet counteracts the grave tone of the poem by the final herald cry, in which he magnifies his own office and cham- pions the old king. Hymns, lords of the lyre, what god, what hero, what man shall we sound forth? Pisa belongs to Zeus (^eos), Olympia was Btablished by Herakles (ijpas), Theron (dvrip) hath won the great four-horse chariot race. His sires (lypcafs) founded Akragas ; Zeus (8e6s) 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 joy- ance. So in the line of Theron himself, the daughters of Kadmos {rip^vai, riotat), 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 (dvijp), and Theron's noble house, with its no- ble victories ( vv. 17-57). But this is not all. Earthly bliss is not everything. There is another world, and the poet sets its judg- ment-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 (3foi), Peleus, and Kadmos, and Achilles (ijpmer). Of men there is expressive silence (vv. 58-91). Theron is old, and the poet, in- stead of working out his triad mechanically, vindicates the re- serve of his art. He has arrows enough in his quiver ; he has power enough in his pinion. He can shoot, he can fly, whither- soever 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 stoops his flight, to Akragas. Now he can praise Theron with all the solemnity but without the gloom of an epitaph, and the last words fall like a benediction on the gracious king (vv. 93- 110). There is no myth proper. The canvas is covered by the pre- figuration-picture of the house of Kadmos and the vision of the world beyond. Innocent suflfering is recompensed by deep hap- piness, heroic toil by eternal reward. Theron's acliievements have the earnest of an immortal future. Time cannot express his deeds of kindness. The rhythms are Paionian, manly, vigorous, triumphant, but Bakcheiao strains seem to have been introduced with the same effect as the belts of darkness which chequer the poem. Of the five triads, the first opens the theme, the last concludes it ; the second triad deals with the mythic past ; the third re- turns to Theron, and connects the second with the fourth, which is taken up with the world beyond. Si-p. a. — 1. "Avo|i,<|»5p(<.iYY's : Originally song dominated instru- mental music. Music was " married to immortal verse," as the woman to the man. Pratinas ap. Athen. 14, 617 D. makes song the queen : rav doidav tcaTearaire Xliepls ^a(riKeiav ■ 6 8' aiikos viXiav rmv ^4va>v. onis as a masc. subst. = 6 ojrifd- /iewoy (cf. P. 4, 86 ; I. 3 [4], 5) would not be unwelcome to me, " a just respecter of guests." So Xarpis = 6 Xarpfiav and a-ivis = 6 ov dyXaov aarv, and O. 13, 61, where Corinth is called Sarv Tleipdvas. — 10, 11. SixeXCas . . . ii|>6aX|iMSs : Comp. 0. 6, 16 : noOia a-Tpands o05aX^ov epSis. Athens and Sparta wore the two eyes of Greece. See Leptines ap. Aris- tot. Rhet. 3, 10, 7, whence Milton's " Athens, the eye of Greece." — 11. aluv . . . |ji S66 O- 1; 18. 30. — 13. yvji€ov to Theron (comp. O. 1, 30 : nap' 'AXfpem a-vro Se'/iar), we should have the same order. — 14. irEov : So, 0. 10 (11), 53 : " The watercourse of the Alpheios." So-called gen. of apposi- tion. — 15. lov6evs=: ev(j)pav6eis, but the old "warming," "dissolv- ing," "melting" sense is not wholly lost. See P. 1,11. — 16. a'<|>ia'iv depends on Kopia-ov Xowra yevet. There is no irxrjfia Kaff SXov Koi fiepos for the dat. For the construction, comp. O. 8, 83, and P. 1, 7 ; Eur. Bacch. 335 : Iva Sok^ 0f6u reKeiv \ rj/uv re rt/iij jraiTi TM yevft wapfj. — KiSpos ; Dionysos. Cf Ir. IV. 3, 9 : tov KUj-a-oSirav deov. 'Avt. /3'. — 31. iv Kal 6aXd6iTov . . . riv oXov a|iV xp<5vov : The expres- sion seems redundant, unless we remember that /Siotov expresses the enjoyment of life, and not the mere duration {xpovos). — OLYMPIA II. 147 33. Tov 8\ov . . . xp<5vov : Coinp. 6 ttos xP°vos, P. 1, 46. On a.fi,<\)i see 0. 1,97, where the "both" signification is plainer. As nepi w. ace. may mean " around " (without) and " around " (within), so afi.ovi<} : The comitative (Tvv with the dat., instead of the simple instrumental dat., which has forgotten its comitative origin. Cf P. 13, 21 : oippa . . . a-iiv tvrea-i fUfirja-atT ipiKkdyKTav yoov. — Ytvos apijiov: "His fighting 148 NOTES. stock," his sons, the spear-side of his house. — 47. Q^po-ovSpos : The son of Polyneikcs and his wife Argeia, daughter of Adrastos. — Iv (idxais . . . iroX^iiov : He was slain by Telephos before Troy. — 49. 6d\os ; Cf O. 6, 68 : 'HpaKKirjs a-ffivov 6a\os 'AXKoXSav. — apcoydv : Aigialeus, the only son of Adrastos, had fallen before Thebes, so that Theraandros became the avenger of the family in the war of the Epigonoi. (So Bockh with the Schol.) — 50. inr^ppLaTos . . . piEov : " Seed root," origin. — ex"'''''" = So Aristarchos. The MSS. have exovri,, which some Scholiasts take as e;;(ov(ri,"while others note the change from dat. (txovTL) to ace. (jov Alvrjo-iSd- fiov), a change which, however natural from substantive to par- ticiple, is not natural from participle to substantive. — 53. ]u\iav Xvpav re : Blended in v. 1 : ava^iipopfuyyes v/j-voi. 'Avt. y'. — 54. yepos : " Prize.'' — onoicXopov : Likewise victo- rious. The brother was Xenokrates. Comp. P. 6 and I. 3. — Koivai: "Impartial." — XdpiT€s: Who give and grace victories. See O. 6, 76; N. 5 (end); N. 10, 38. — Sveeo reeptinruv ; The chariots are wreathed with the flowers they have gained. See P. 9, 133 : iroXKa jiev Keivoi SIkov | (jJiiW ori Koi (rrefjidvovs. — SvSEKaSpiS|i,ii>v : Chariots had to make twelve courses. Cf. P. 5, 33. Hence O. 3, 33 : SaSeKayvafiwrov Hpua, and O. 6, 75. — 56. to 8J 'n)X"v = To vi,Krj(Tm, Sohol. N. 1,10: eoTt 8' eV evrvxia \ TravSo^las aKpop. — 58. o7povav : Formed like ei(j)p6vr], a(f)p6vri =: a^potrvvrj. The best MSS. have 8v(T<{>po- (Tvvav irapaXiei. bvpovTlBa wpos r6 aypfVfiv to dyadd. dyporepos is used of the Centaur, P. 3, 4 ; dyporipa of Kyrene, P. 9, 6. But lions are dyporepoi., N. 3, 46, and as p,4pifiva leans in P. to the bad, and mixav occurs nowhere else in P., diversity of opinion may OLYMPIA II. 149 be pardoned, imx^iv, " sustain," is the other side of Korexftv, " keep down,'' and that other side appears, v. 31 : ea-Xav . . . viro XapjiaToiv wfjfia BvacrKfi \ TraXlyKOTov bajxairBev. There the monster is crushed, here the high (deep) load of carting care is shoul- dered. Wealth is an Atlas. 'Ett. y. — 61. ao-TTip api£T|\as, ktL : The shifting of the imagery is facilitated by the beginning of the epode. dpl(rfKos = dpiSriXos, an Homeric word. — 63. ^iyyog is used of the sun, the moon, or any great or conspicuous light. — el S^ : The passage has an enor- mous literature to itself. In despair, I have kept the reading of the M88., with the interpretation "If, in truth, when one hath it (viv = ttXoCtoj/) he knows (of) the future that," etc. fie in P. is often not far from S17. This would make the sentence an after-thought. Bockh's ei ye, which is simple, is not lyrical (Mommsen). fS 8e and ev d4 are not convincing conjectures. evT€ has been suggested. Bergk considers oiSfv to have been used once by brachylogy instead of twice, and punctuates el S4 viv fxeov ns, olhev to fi.i'KKov, " If any one that hath it knows, he (Theron) knows." In that case, Tberon would have been men- tioned. Mezger makes e'i ns oldev . . . dvdyKa the protasis, and lo-aiE 84 . . . Tvpa-iv the apodosis, or rather the apparent apodosis, the real apodosis being some verb of ascertainment understood. See my Lat. Gr.', 601. " If one knows . . . (why, then, he must know that) . . . the good," etc. This makes S4 apodotic. See O. 3, 43. It would be better to leave the first sentence frankly with- out an apodosis. — 63. 6av6vrav : The sins committed in the world below are punished here on earth. Earth and Hades are mutual hells. P.'s view of the yonder world, as set forth in this passage, may be supplemented by the fragments of the Bprjvoi. P. believes in the continued existence of the soul after death, in transmi- gration, in retribution, in eternal blessedness. Immediately after death the soul is judged and sent to join the ranks of the pious or of the wicked. Good souls dwell with Pluton and Persephone in perpetual light and happiness, the bad must endure anguish past beholding for punishment and purification. If they do not mend, they are sent back to earth, and after death come again before the inexorable judgment-seat. Those who are purified return to earth in the ninth year, and are made kings, heroes, sages. When a man has maintained himself in each of these transition stages, and has kept pure from all wrong, he becomes 150 NOTES. a hero, and dwells forever in the islands of the blessed. (After Mezger.) — oiitik' : " Straight," eideas, Schol. — aird\a)i.voi, : Of. O. 1, 59 : airoKafiov filov. — 64. eTiorov : The aor. disposes of Rauchen- stein's aSns. — ToSe Aibs apxa : On earth. — 65. koto yoi : KaTct with gen. in P. only here — tis : Dread indefiniteness. — 66. Xdyov <|ipda'ais : " Rendering his sentence." (ppd^eiv, of deliberate, care- ful, clear speech, \6yos is used of an oracle, P. 4, 69. 2t/3. &. — 67, 68. iirais 81 vvKT€avois, as (TT. is not applicable to X'^P'^^i opA"" being used for neclf and breast, v x^Pf* avmiKeKovn Koi a-T^^avois — opfioLs and o-re^avois being Aeohc accusatives. 'Ett. 8*. — 83. PovXais iv ipSato-i : Like iv vo/iois, P. 1, 62 ; iv voixa, N. 10, 38; I. 3, 38; and €v SUa, O. 2, 18; 6, 12; P. 5, 14; N. 5, 14. iv BiKTj is common even in prose. — 'FaSaiidvOvos : The Tts of V. 65. — 84. Sv . . .TTttpeSpov : The best MSS. have bv n-ariyp e)(fi yas with a gap. The true reading cannot be elicited with cer- tainty from the Scholia and glosses. Even in antiquity the critics were at a loss. I have resigned myself with Dissen and Schnei- dewin to the reading of the interpolated MSS. — 85. 'Pe'os . . . 9p<5- vov : Rhea, as mother of the gods, thrones above all. — 86. IlitiXeiJs : An Hellenic saint, a Greek Joseph. See N. 5, 26, where he resists the wiles of Hippolyta, and I. 7 (8), 41 : Svt' eva-e^ia-Tarov (ftdns 'IcbXkov Tpdmv \ 6 Se f^Tjpeos eipovXov Q4nv jraiSa KKyrdv. — KdBjios : Called dvrideos, P. 3, 88. — 'Axi-XX^a : ey vf]uois fiaKapav tri (jiatriv eivai | Ivmrep woBatKrjs 'A^'Xevj, ace. to the famous skolion of Kallistratos ap. Athen. 15, 695 A. See Plat. Symp. 179 E, 180 B. Ace. to N. 4, 49 Achilles has another abode, an island in the Euxine. It has been fancied that Theron was a Peleus, a Kadmos; and an Achilles in one. Srp. f'. — 90. ojioxov aoTpapi) kCovo : An allusion to "EKrap (acc. to Greek feeling = *ix^Ta>p) as the " upholder" is not impossible, though the metaphor is common enough. — Kijkvov : Son of Posei- 152 NOTES. don, who opposed the landing of the Greeks. — eovaTv$: A Pindaric cry to be heard often, e. g. O. 9, 107: TO Se (pva Kpanpcvds : The quiver usually has a hostile significance, hence tf>pfv6s is qualified. The arrows are kindly (ayavd), not biting (TTiKpa). — -eiri : As in O. 8, 48 : eV 'lirdfiw Trovrlq | ap/jLa 6obv rdwev. — 100. Tovuirais aii8dtro|xai z= reivas to to^ov aTro<^avovp,ai (Schol.). Bockh punctuates Tavva-ais ■ and makes it an optative (impera- tive opt.), counter to the Pindaric use of toi. — 101. oti8oov: A very rare substantive. — re B^jmv ; Better than nde/iev, which would depend awkwardly on XaKayfja-m. — 108. lirtX . . . BiJvaiTo: eVei 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. Xap|ui,T(a) : Echo of ^apjiuTav, v. 21 (Mezger). EAGLES AND HARB. Coin of Akragas. OLYMPIA III. The third Olympian celebrates the same victory as the pre- ceding ode. In 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 Oeo- ^ivia, 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. 39 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 'OXv/j,- moviKas vjivos. It is the Tyndaridai, the twin sons of Leda (v. 35;, that are the ruling spirits of the Olympian contests. It is 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 al- ways thinking of the third member of the triad — god, hero, man. Here Theron is kept back. The poet who was there almost, if not altogether, defiant in his heralding of Theron, utters scarce a word of praise here. Before it was merit, here it is grace. The poem is a solemn banquet-hymn. The victory calls for the fulfilment of a divine service, a deodfiarov xpios (v. 7). Pisa is the source of Beofiopot doiSat (v. 10). The myth has the same drift. It is the story of the Finding of the Olive, the token of victory. This is no native growth. It was brought by Herakles from the sources of the Istros, a memorial of Olympic contests (v. 15). It was not won by force, but olstained by entreaty from the Hyperborean servants of Apollo (v. 16), and the hero craved it as shade for the sacred enclosure of his sire, and as a wreath for human prowess (V. 18). Already had the games been estab- 156 NOTES. lished, but the ground was bare to the keen scourgings of the sun (v. 34). Sent to Istria on another errand by Zeus, he had beheld and wondered (v. 32). Thither returning at the impulse of his heart, he asked and received, and planted the olive at Olympia (v. 34), which he still visits with the sons of Leda (v. 35). The parallel with Herakles is revealed at the end. Theron has reached his bound — his Herakles' pillars. Beyond lies noth- ing. Seek no further (v. 45). The olive was a free gift of God. So is this victory of Theron. It might be dangerous to press the details. Yet it is not un- Greek to say that the beauty of life is found of those who walk in the path of duty. Theron 's praise is no less because it is in- direct. The dactylo-epitrite rhythms are peculiarly appropriate in a hymn addressed to deities so Dorian in their character as the Dioskuroi. The compass of the strophe is not great, but especial stateliness is given to the composition by the massiveness of the epode. It is noteworthy that strophe and epode end with the same measure. Of the three triads, the central one contains the heart of the Finding of the Olive. The story is begun at the close of the first triad, and finished at the beginning of the third, and thus the parts are locked together. 2Tp. a. — 1. <|)i.Xo|€£vois ; The Dioskuroi were in an especial manner gods of hospitality, though an allusion to the Beo^ivia is not excluded. — oSetv ^ dSetv, Aeolic yjflXaxris, P. 3, 96. — KoWiirXo- Kd|ici) 6' 'EX^vcf : k., used of Thetis and Denieter in Homer, who is more lavish in his use of ewTrXoKo/iot. Helen is KaWUofios, Od. 15, 58. Tf . . . re, as the brothers, so the si.ster. See O. 1, 115. H. shares her brothers' hospitable nature. See Od. 4, 130 foil., 396 foil. — 3. kXcivoiv 'AKpavovTo: With P.'s leaning to the fem. — yipalpwv: "While honoriug." — cvxo|iai: A prayer and not a boast. So also P. 8, 67, where atTia forms a sufiicient contrast. — 3. ©Tjpuvos 'OXviiiriovCKav vpov ; Instead of the prosaic 'oXv/j.- Tnov'iKov vjivov. — dp6(i- wovs doiSai, with V. 34 : tXaos avnOiounv vlcrerai \ trvv ^aBv^avov SiSvp-vois Trmcri ArjSas. The song is the refluence of the coming of Herakles and the Tyndaridai. — x"*'Taio-i. |i4v EeuxBcVrcs: P. prefers this warmer participial conception to the colder infinitive (to) xa'To'cu' cTn^evxdfjvai a-Tf(j)dvovs. See P. 2, 23 ; 3,102; 11, 22; N. 4, 34; 1.4,49; 7, 12. Dem. 18, 32: 8ia roirovs oixi ff"- a-devras, much more vigorous than Sia to tovtovs pf/ TTsia-Brivai. The familiarity of these constructions in Latin deadens our per- ception of them in Greek, where they are very much rarer. ueV, with an answering re, v. 9. See O. 4, 13. — 7. irpdo-o-ovTi: P. 9, 111 : ipk K i>v . . . ns irpaxriTu xp^os. The more familiar middle occurs 0. 10, 33. — 6€(58|iaTov : The last part of the compd. is felt elsewhere, O. 6, 59 ; P. 1, 61 ; 9, 11 ; though faintly in I 5, 11 : dfoSpdrovs dperds. There is no echo of Spffaxrais. — 8. <|>opi»v . . . vi|>ii6cv : The eyes of the victor would naturally follow the movement of the prize- giver's hand, hence v^66ev. — AlruXtfe : The Eleians were called Aitolians, after their leader, Oxylos, who accompanied, or rather guided, the Herakleidai on their return. — 13. vXanKiSxpoo: Cf. So. O. C. 701 : yXavKas . . . (fyiWov iXaias. The hue is grayish-green. On the symbolism of the olive, see Porphyr. de Antro Nymph, c. 33. P. does not distinguish the eXaia from the kotivos (wild olive). — Tov xoT«: The relative begins the myth. Cf 0. 1, 35. — 14. 'lurpov: A half-fabulous river. — 'Api<|>iTpuci)vid8as : Herakles. The mouth-filling word, well suited to the hero, occurs again, 1. 5, 38. Cf. CatuU. 68, 113 : falaiparens Amphitryoniades. 'S.Tp. /3'. — 16. Sa|iov 'YircpPop^uv : The well-known favorites of Apollo, who lived " beyond the North," according to P., as he brings them into contrast with the Nile (I. 5 [6], 23). Perseus' visit to the Hyperboreans is described in P. 10 (Pindar's earliest poem). — 'Airi5XX(i)vos BepairovTo: P. 10, 34: av BoKlais ep.7re8ov I €vpov^(i)v : " With loyal soul," if " loyal " were antique ; " true to his sire." — oirei : " He had to ask." Not aiVel, the histor. pros., which is very rare in P., and turns on P. 5, 83, which see. — iravSiSKcji: Comp. 0.1,93; 6,69. — 18. oXo-ci: " Every place conse- crated to the gods is an SKa-os, even if it be bare of trees," says the Schol. — o-KiapiSv tc (|>vT£v|i,a: It had shaded the'lorpov irayai, V. 14. — %vvhv avSpiiirois : The shade is common to all men, the wreaths are for the victors (Bockh). "A common boon." — 19. ouT\€^€if evairtSos | (reXdvas iparov ^dos. OLYMPIA III. 159 'AvT. |3'.— 21. oe'eXwv . . . Kpiv is used as a relative, the asyndeton is not felt with the ful ler toutcdj', which need not be = rourmv ovv. — kottos : So " garden " of any favored spot, P. 9, 57 : Aioy e^oxpv Katrov (Libya). — viraKovEfiicv : As a slave. "To be exposed to," "lashed by" (cf "that fierce light which beats upon a throne"). — o|eCou,s. tDavYals: 0.7,70: ex^i ri /xiv o^eiav 6 yevidXios aKTivav irarrjp, Tlieogn. 435 : aiyas o^fos r)iKiov. — 25. iropeiitiv : The Schol. makes this form here = iropfvetrBat, but it is better to make Tropevetv transitive and Zpfia intransitive. Bergk reads appxuv. 'Ett. 13'. — 36. iirirouTevcroi. : Bpexegetic infinitive. The place was called to UdvdfLov (Schoh). — rauTov Eoprdv: The Theoxenia. — vio-ctoi: The only correct spelling, ace. to the best MSS., and borne out by Gr. Meyer, Gr. Gr., § 497, vTa-ofMi for vi-vo--i-o-iiai. — 35. Pa9v£uvov : Epithet applied to the Graces, P. 9, 3; to the Muses, I. 5 (6), 74; to Latona, Fr. V. 3, 3. See P. 1, 12. 'hvT. y . — 36. lircTpairtv = enerpe'tjfev (Schol.). — 6oir|Tov dyuva ve- (leiv : The Dioskuroi were ^foi evayavioi. N. 10, 52 : fipvxopov Tap,iai 2TrapTas dyitviov. — 37. dvBpuv t' dpcras : Especially of those games that require personal prowess. 0. 1, 95 : Iva Taxurds irobav e'pi'ffTai I aKpai t Icrxvos 6patT\movoi, N. 9, 12: Itrxvos r dvBpap d/itX- Xms dpfiairl re yXafjJvpols ''ip(j)aivf KvSaivatv ttoXo', N. 5, 53 : jrvKTav T( viv KOI TrayKparia ([>dfy^at eXeiv ^Embavpco SwrXoav | vikSivt dperdv. Still charioteering was not without its dangers. See P. 6. — pi|j.(|>app.dTOV : So. O. C. 1063. — 38. SipT|Xavi T(e) : Theron crowns the line. The dat. with eXde'tv as often when equiv. to y^via-dai. — 40. Iiroixovrai : Sc. the Emmeni- dai. Comp. what is said of Xenokrates, brother of Theron, I. 3, 39 : Kol 6eS)V dalras npoaeirrvKTo irdcras. 'Ett. y. — 41. Te\cTds=raf iopTas (Sohol.). — 43. €1 8' apiorcuci, Kri.: "If" (which no one will deny). A familiar sentiment, . such as the Greeks did not hesitate to repeat on occasion. See 0. 1, 1. — 43. vvv Be: The reading vvv ye is at first sight more natural, but vvv Se has the better warrant " Now in his turn." This comes near an apodotic Se. — Icrxanav: Of one that casts anchor. I. 5 (6), 13 : cVxcriar ^8rj npos o\pov | ^dXKer ayKvpav deoTLposiav. — aperoiiriv: "By his deeds of emprise." — 44. oikoBcv: Variously interpreted. As o'Uodev o'lKaSe is proYcrbial for ease and comfort of transmission and transition (O. 6, 99 ; 7, 4), so the omission of ol'xaSf shows difficulty, trouble, arduous effort. Comp. I. 3 (4), 30 : avopiauriv 8' eaxaTaunv oiKodev (TToKaKTiv air- Tovff 'HpaKXetais. The effect is " the far distant pillars of Hera- kles." — 'HpoKX&s oraXov : Proverbs weary less by repetition than original figures. — 45. ov viv Siu^u : vw = to nopcrco. Neither oil pdv nor ov pri is Pindaric. Suavius dicit de se quae Theroni dicere vult (Dissen). — kcivos etT|v: " Set me down an empty fool" (if I do). There is no omission of Sv. Comp. Lys. 31, 31 : ^at- voipr/v (= SoKolrjv paiveo'dai), ei ava\i(rKoipt, KASTOR ANU POLVDEUKES. Coin of the Brettioi. OLYMPIA IV. Kamaeina was founded by the Syracusans, 599 b.c, one hundred and thirty-five years after Syracuse itself. Destroyed by Syracuse in consequence of a revolt, it was some time after- wards restored by Hippokrates. Again stripped of its inhabit- ants by Gelon, it was rebuilt once more by men of Gela, 01. 79, 4 (461 B.C.). The proverb ju.)) icivei Ka/idpivav • aKivrfros yap dfifi- vav is supposed to refer to the unhealthy situation of the city, but Lobeck reads Kufiapivav, cloacam. Of Psaumis we know absolutely nothing, except what Pindar is pleased to tell us in this ode and the next. Both odes are supposed to refer to the same victory, airfjvri, that is, with a mule chariot. The MSS. have in the superscription apfian or mnois : dwqvTj is due to Bockh's combinations. This gives us a terminus. The mule-race was done away with, 01. 84 (444 B.C.). Bockh puts Psaumis's victory 01. 83 (453 B.C.), and maintains that the victor had failed in the four-horse chariot race, and in the race with the single horse (kc'Xj/ti). The amjvi? victory then was a consolation, and there seems to be a note of disappointment in the rhythm. According to Bockh the ode was sung in Olympia ; accord- ing to Leopold Schmidt in Kamarina. The latter view seems to be the more probable. Tlie fourth 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 : SLcrndpa toi ^porav eXfyxos. The final test is the true test. Success may be slow in coming, but when it comes it reveals the man. The thunder- chariot of Zeus is an unwearied chariot. What though his Horai revolve and revolve ere they bring the witness of tlie lofty contest? Good fortune dawus, and then comes gratulation forthwith. The light comes late, but it is a light that shines OLYMPIA IV. 163 from the chariot of a man who hastens to bring glory to Kama- rina. Well may we pray, " God speed his other wishes." Well may we praise the man — liberal, hospitable, pure-souled, lover of peace, lover of his state. No falsehood shall stain this record of a noble life. The final trial is the test of mortals. So, by trial, Erginos, the Argonaut, was saved from the re- proach 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 fully match my feet. The race is for the young, but I am younger than my seeming. Gray hairs grow often on young men before the time. The final trial is the test of mortals." Psaumis had every virtue but success ; now this is added. So Erginos was a man of might, of courage ; now he has shown his speed. The logaoedic rhythms are handled so as to produce a peculiar effect. Prolongation is frequent (i- for — ^-^), and the result is a half-querulous, half-mocking tone. The lively Aiolian mood is tempered by the plaintive Lydian. Psaumis is only half satis- fled, after all, and his enemies are not wholly confounded. The triad distributes itself fairly into prayer, praise, and story. Srp. — 1. 'EXoTT|p wir^pTaTc ^povras aKaiiavT^TroSos Ztv: Plat. Phaidr. 346 E : 6 /ifv 8ij jiiyas fiyefiav ei> ovpavm Zeis rTTrjvov apjia cXavvav TTpSiTos Tropeverai, which irrqvbv apjia becomes a stock quotation in later Greek. Comp. Hor. Od. 1, 34, 8 : per purum toncmtes \ egit equos 'ooliwremque currum. — oKa|jiovTi5iro8os : 0. 3, 3 ; 5, 3. — reol 7op upai : yap gives the reason of the invocation. The Horai, originally but two, KapTrm and GaXXm (Paus. 9, 35, 3), are the daughters of Zeus and JThemis ; they who in their steady course — ^Qpai being from ■\/ja, " go " — bring things at their sea- son. It has taken time for Psauniis's success to ripen. — 3. iirb . . . aoLSas : Comp. O. 7, 18: vw dp,(j)0T4pcov {(jiopiuyyos Ka\ avXav) Kari^av. — iroiKiXo(5p|iiYY°5 : Cf. O. 3, 8 : (popp-tyya TroiKiKoyapw, N. 4, 14 : TToiKiXoi/ KiBapi^tuv. — l\iortr(5(i.evoi : " In their circling dance." — circ)iii|;av . . . (i.opTvp(a); It is deplorable literalism to suppose that P. actually went and bore witness to the contests. See N. 1, 19 : e(TTav 8' cV avkelais dvpais. The poet is said to go whither- soever his song goes. Comp. N. 5, 3 : ais eroifiov iniraiv, and H. (1 ) ^tviais ttovSokois, (3) 'Ha-vxiav (piKonoXiv. — 16. 'HoTixtnv <|>iXi5iroXiv : High praise in the disturbed state of Sicily. Personify with Bergk. — 17. oi i|/cvSci t^y|(i>: N. 1, 18: oi yjrevSei /SaXcoj/. For other eccentric positions of the negative, see O. 1, 81 ; 3, 34. 69. 106; 3, 33; 7, 48 ; 8, 79. Here it amounts to, " I will not lie-dye my word." Cf. also P. 4, 99 : ixdioToia-i pfj -^ffevSia^iv | Karafudvais flire yivvav. — 18. Sidirtipd Toi PpoTwv iUyxo'i ■ Of N. 3, 71 : iv 8e mipa tAos I dmfjiaivfTm. 8(a- is " flniil," " decisive." OLYMPIA IV. 165 *Ejr. — 19. KXii|t^voio TraiSa: Erginos, the Argonaut, son ofKly- menos (ace. to Apollodoros, 1, 9, 16, 8, son of Poseidon), was ridi- culed by the Lemnian women (P. 4, 353), 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 Kalais, 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, Erginos, son of Klymenos, late in life consulted the oracle as to the propriety of marriage with a view to offspring, and received the answer : 'Epytve }0\.vfi4voio irdi TJpe(T^avtddao, \ 3i//'' rjXdes ye- vef/v hi0]jifvos dXX' £Tt Kill vvv I itTTOjSo^i yepovTi verjv TTOTi'jSaXXe ko- pwvrjv. The sequel showed that his natural force was not abated, and this gives point to Erginos's reply to the taunt of the Lem- nian women. — 21. «Xvo-ev l| aTifiCas : Concrete power of the prep- osition. So I. 7 (8), 6 : fK wev6d(ov XvBevres. X. without a prep- osition in P. 3, 50 : Xvcrais . . . dxeav, where, however, e^ayev is sufficiently plastic. — 38. x^^K^oKri 8' Iv ctteo-iv : Comp. P. 9, init. : A game usu. at funerals. — vikuv Sp6|i,ov : 0. 13, 30. — 33. 'Yil/iiroXtiij : See Ovid's Heroides VI. and Chaucer's Legend of Good Women. — OT^i^ovov : The prize was raiment {Fea-daros dp^ls, P. 4, 353). The wreath was given besides, I. 1, 18 foil. — 24. OStos: Taunt- ingly: "You see." Kayser, Kauchenstein, and others punctuate oStos iyii • raxvTdn x^ 'P^* ^^ '"'' ^Top I'croy, the position of 8c as 0. 10 (11), 76. 109; P. 4, 338. But we should lose dramatic power by this. Erginos is slightly out of breath. — x<^Pp,oy{pavi if a yeptav at all, is an unnecessary hypothesis of the mechanical order. OLYMPIA V. The victory celebrated here is the same as that of the precea- ing ode. The verse about which the poem revolves is v. 15 : alA S' d/i^' dp€Tai(n novos bairava re jxapvaTai npbs efr/ov \ klvSvvco KexaXu/i- fifvov. The preceding poem dwells on the importance of the final trial (4, 16); this gives the conditions of success, wovos Sawdva tc. The wain must be untiring (v. 3), the sacrifices great and various (v. 6). To gain an Olympian victory, to found a new city, costs toil and money. The fiower of victory is sweet (aairos ykvKvs), the abode of Pelops lovely {eiripaToi (rTadp.ot), now that the work is over, the price paid. So the daughter of Okeanos, Kamarina, who is to greet the victor with laughing heart (v. 2), was builded with much toil, much cost. The stately canals, the grove of houses— these, like mrrjvT), like ^ovBva-iai, were not made for naught. May blessings rest on city and on Olympian victor ! May the one have the adornment of the noble deeds of her sons, the other a happy old age, with his sons clustering about him ! TTovos hanava re have brought their reward. Wealth sufficient remains. Add fame. What more? Let him not seek to become a god. There is no myth. The founding of Kamarina is fairy-tale, is magic achievement, enough. This poem, short as it is, has given rise to much discussion. The Breslau Scholiast (A) tells us that it was not in the iba^ia (original texts), but it was considered Pindar's from the time of Didymos on. In O. 3 and 3 we have two poems on one and the same victory, but the treatment is very different, as we have seen. P. 4 and 5 cele- brate the same success, but dififerent sides are turned out. Here, too, it might be said that O. 4 dwells on the achievement, O. 5 on the conditions; and O. 5 shows a more intimate acquaintance with local circumstances than O. 4 does. But this makes it only the harder to understand the resemblance in diction. OLYMPIA V. 167 With v'^^av aperav (5, 1) compare v-^ifKoraToiv diffXav (4, 3); with aayrov yXvKvp (5, 1), dyyeXlav y\vK€tav (4,4)^ with aicafiav- TOTToSos dirrjvas (5, 3), ^povras aKafiavToiroSos (4, 1). 8ck£v occurs 4, 8, and 5, 3 ; kvBos dvidrjKe is found 5, 7 ; kvBos optrai, 4, 11 ; lkoiv, 5, 9; Iku, 4, 10; and if the more common interpretation of 4, 4 be accepted, 'daavav avriK dyyeXiav won yXvKelav (crXoi, it is echoed by 5, 16 : tjv 8' ri^oires (TOp.ovs IS 8i8v(iovs: According to Herodoros, Herakles built six altars to twelve deities, and the pairs of a-vfi^cofiot are these: 1. Zeus and Poseidon ; 3. Hera and Athena ; 3. Hermes and Apollo ; 4. Charites and Dionysos ; 5. Artemis and Alpheios ; 6. Kronos and Rhea. — ^y^paipcv : More natural than eyipapev, on account of aii^cav : " Strove to honor." — 6. inro Pov6v(riais : Corap. I. 5 (6), 44 : ev)(ais vno 6c(riTeaiais \ \i(Tv iKaTOfimobav 'Nrjp^Sav OKoKovdos. — 8. viKddos : To light and life. 'En.^'. — 15. a(J.(|>' dpETaiiri: N. 5,47: ia-Xoitn fiapvarai iripi naa-a troKis. — irivos BairdvoTt: 1. 1,42: dp^oT^pov bmrdvais re koI novois. — [lapvarai: The singular number of a welded pair. — irp6s tpyov: " With victory in view, veiled though it be with risk." The chariot-race was a risk to person as well as to property. See P. 5, 49. — 16. •fjv 8" ExovTEs : The successful are the wise — an old sneer. So Burip. : rbv evTv^ovvra Kal (jipoveiv vopl^opev. — koi iro- Xirais : Who are the last to recognize merit in a fellow-citizen. P. 11, 28 : KUKoKoyoi 8e noXiTm, Srp. y. — 17. SwTijp: Kamarina was a redeemed city. The voc. a-Zrep is post-Homeric. — 18. .fiSatov: According to Deme- trios of Skepsis this Idaian cave was at Olympia. If so, it was doubtless named after the great Ida in Crete. There were many H 170 NOTES. Cretans among tlie original founders of Kamarina. — 19. AuSCois airvuv Iv aiiXois : The Lydian flute melody was used in suppli- cations. On eV, see O. 7, 13: 7raii<^a>voitn . . . iv cvretriv avkStv. 'Kvt. y. — 20. €vovop£oi,«ri : "With hosts of noble men." — 31. 'OXv|iiri(SviKc : The victor is apostrophized, as often, at the close of the poem. — noi- v, v. 103). Nor is the mention of the two anchors idle. May Amphitrite's lord speed Agesias's ship, and prosper the poet's song (v. 104). This is one of the most magnificent of Pindar's poems, full of color, if not so dazzling as the seventh Olympian. The myth of lamos, the fidvns ancestor of a lidvns, is beautiftiUy told. Pro- found moral there is none to me discernible. "He that hath gods on either side of his ancestry shall have the gods to right and left of him for aye," shows an aristocratic belief in blood (oiSe WOT eKXfl^|/'ell/ ycvedv, V. 51). There is such a ganglion of personal and tribal relations in- volved in this piece that one is tempted to long historical and antiquarian disquisitions; but if we accept Pinc'^^r's statement as to the connection between Thebes and Arkadia, nothing more is necessary to the enjoyment of the ode. OLYMPIA VI. 173 The rhythm is Doric (dactylo-epitrite). Of the five triads, the first contains a glorification of the victor, who is compared to Amphiaraos, also a prince and a prophet; the second takes us to Arkadia, and begins the story of lamos, which is continued in the third and the fourth. The latter half of the fourth prepares the return to Syracuse, which forms the conclusion of the poem. Srp.a. — 1. Xpvo-^as: " Golden" for "gilded." — ^witocttoo-ovtcs : O. 8, 26 : vTriaraa-f . . . Kiova haijioviav. — 6oX.d|iov : " House," as 0. 5, 13. — 3. As St£: Without a verb, as P. 11,40; N. 9, 16; 1. 5 (6), 1. With as ore the verb is in the ind., and not in the Homeric subj. (N. 8, 40); therefore supply wdyvvfiev, if anything. The ellipsis was hardly felt. — 3. ird|o|i«v: On the mood, see O. 3, 3. — apxov-^vov 8' cpyov, xri. : A favorite quotation in modern as in ancient times. The gen. absol., though not " pawing to get free," is not used with perfect freedom in P. Hence a. e. is felt to de- pend on 7rp6a-am>v. — 4. tl 8' etit|, Kri. : The ideal conditional (0. 1, 108) of a fair dream, too fair to come to pass, and yet it has come to pass. eiTj has no subject, no tw, as might be expected. So N. 9, 46. — (lev . . . T€ : See 0. 4, 13. — 5. ^upiu . . . fuwrtiif raiiias : The dative often varies with the genitive so as to produce a chiastic or cross- wise stress, thus emphasizing each element alter- nately. Here the stress is on rafiias, while in a-vvoiKia-Tfjp rav KKeivav T.vpaKoo'trav it is on 2vpaKo66vcov do-Tav. Cf. V. 74. Citizens are apt to show envy in such circumstances. Those who count three columns ^'n the npodvpov forget Pindar's implicit way. There are four. A. is an Olympian victor, a rafilas Atdr, a a-vvoiKUTTrip of Syracuse, and beloved of his people. The outside columns are personal, the inside are hereditary. — do-Tuv : Both Stymphalians and Syracusans. 'AvT. a. — 8. lOTO) . . . cx«)v : N. 9, 45 : loro) Xax^v. — irtStXcji : 0. 3, 5. — Saifidviov irdS' fxmr : Cf. Aisch. Ag. 907 : top ctov mb', 174 NOTES. iva^, 'iXi'ou TropBrjTopa. The Greeks drew largely on foot and footgear for their imagery, and yet Aristoph. laughs at xRO""^ TToda (Ran. 100). 8., "blessed of heaven." — 9. Smotpotou vWs; Bfifective suspense. — okivSwov . . . ap. : On the risk of the chariot- race, see So. El. 745 sqq. ; also O. 5, 16 ; P. 5, 49, and Introd. to P. 6. — 10. irap" ov8paidpT|ov : Amphiaraos, noblest of the seven against Thebes. N. 9, 34 : 6 S' 'Ap(j>idprj axlaacv Kcpavvm nap^'ia \ Zfvs rav ^adi- (TTcpvov ;(5dva, Kpvyjreu 8* a/i' lirirois. N. 10, 8: yflta 8' ev Qri^ais vniSeKTo KfpavvaBe'ia'a Aios ^eXecrtv. — 14. Kara: With €p,ap^ev. — (|>aiSC|j.as tirirovs: White, acc. to Philostr. Imagg. 1, 37. On the gender, see P. 3, 8. 'Ett. a. — 15. eiTTa . . . TtXeo-BevTwv : The MS. TeXcirBivTav is un- derstood now as " consumed," now as " composed " in the sense of Lat. compositus. " The corpses of seven pyres," one pyre for each contingent, not for each leader, as Adrastos escaped death, Amphiaraos disappeared, Polyneikes was buried by his sister. Of the many conjectures, van Herwerden's t€ Saia-devrav is the most convincing. Cf. N. 9, 35 : iirra yap bai(Tavro nvpal vfoyviovs (l>S)Tas, and Eur. Herakl. 914: irvpos (jAoyl crm/ia Saicrdeis. iSeiSTEpov: A clear Homeric reminiscence. Cf II. 3,179: dp(l>6Tepov ^acnXeis t ayaBhi xparepos t alxprirljs. — 18. ovSpi ku|uiii OLYMPIA VI. 175 ScinrdTi} . . . 'SvpaKotrlif : The Schol. combines d. S. and k. d., and this must stand despite the aflBnity ofdvBpl for Seo-jrdra. — 19. c^iXd- veiKos : Bergk writes (jiikoviKos from vUrj, as he thinks with Cobet, N. L. 691, that veiKos would require tfiiXovciKris. The passage is re- ferred to by Isokr. 1, 31 : ojuiXi^rocds 8' cVei /ir) 8vv firjSe Svird- pea-Tos lajSc wpos navras po : P.'s favorite final particle. — KeXeiJ9u Iv xaSap^ : For the path of poesy see N. 6, 53 : TrpdcroSot, 63 : 686v dpa^irov, I. 3, 33 : oiiSc irpotrdvnfs d k4\€v6os ylvcTai, I. 3 (4), 19 : pvpta iravra KiXeu- 6os. Had. "illumined." — 24. pdo-oiuv: ocl>pa, as a relative, may take the fut. (II. 16, 343 ; Od. 4, 163 ; 17, 6), and P. has P. 11, 9 : ov). — 36. (TTec^dvovs : The chariot was wreathed as well as the victor. — 38. irpos IIiTdvov: The nymph of the town in Laconia — not the town itself. 'AvT. 0. — 39. o : The myth is often introduced by a relative or equivalent demonstrative, 0. 1, 35 ; 3, 13 ; 8, 31. — (uxBclo-a: P. much prefers the first aor. p. of this verb to the second. — KpovC^ : See 0.3,13.-30. /idirXoKov: " Black - tressed." So Bergk for loir\6Kap.ov (unmetrical) of the best MSS. Of. P. 1, 1 : FcoirXoKd- patv I Moia-dv. Allusion to the 'Ia/ii8ai. — 31. irapOcvCav uStva: " Fruit of unwedded love." — K<5Xirois : " With the folds of her robe." References to change of belting, in the circumstances, 176 NOTES. are common enough in all literature. — 33. icvpi Iv |jiir|vi : The de- cisive month. — ir^p7roi,o-(o) : See O. 3, 33. — ttntir6Xoiis : As a. is uniformly fem. in Homer, it may be considered fem. here. — 33. iropo-oCvtiv 8(5n€v : So P. 3, 45 : Trdpt Kevravpa StSa^ai, and P. 4, 115 : Tpdipetv Xfipavi daxav. — EIXotCSi} : This son of Elatos was Aipytos, V. 36. — 34. 4>aivKTois, and esp. I. 7, 45 : \voi Kfv )(aXiv6v v' ^pto'i TrapBevias. 'Eff. j3'. — 36. ov8' e\oe(e) . . . KXeirTowro : The aor. TKaBe WOUld more naturally take the aor. part., but the neg. is killed by the neg. (oi(c ^XaOtv - cfjaveph ?jv). Of. II. 17, 676. kX., " hiding."— 37. 4|eCq. (leXcTij : As with a bit {6^vT£pa> xaXwo), Soph.). — 38. irep" : Allowed in P. for nepi. — 39. <}>oivik6kpokov : Tlie passage is charac- teristically full of color. 0., " crimson." — KaTa6T|Ka)i.^va : P. gives in detail for the daughter what he had only hinted at for the mother. — 40. KaXiriSa : As in Od. 7, 30 : irapdeviK^ eiKvIa vefjviSt KoKww ixov'TB- — ^•^XK'"* ■""'o KDov^os : The gen. with the notion of overarching. Mommsen reads with A Xoxfiaty inro Kvaviais. For gen., comp. O. 3, 91 ; 13, 111. For Xox/^a, P. 4, 344: kcIto yap Xd- Xp^a- — KKovcas ; The colors are contrasted, dark blue with yellow, cold with warm. — 41. Titert =iH^e(r6ai. f/icXXe. The imperf. of this verb is in very common use. Sometimes " she was (a) moth- er " (v. 85), sometimes " she had to bear." — it6^pova, -. Fit word for a future prophet, " upon whom was the spirit of God." — XpvaoK^- (J.OS : O. 7, 33. Comp. P. 3, 16 : xP^<^°X<^'"'°- — 4'^- 'EXeiOuiav : Cf. N. 7, 1 : 'EXei^via TrapeSpe Moipav fiadv(j)p6vav. O. 1, 36, }iXa>6a> is tlie ndpfSpos of 'EXeiBvia. — Moipos : P. speaks of KXiv. The basilisk eye is proverb- ial. — 46. 49p^»|;avTo : The aflFectionate middle, P. 9, 30. 95.— i(JieH.. <|>ei I l^: An oxymoron contrast to the naturalids of the SpaKovra. The honey, which is also mantic, was a miraculous exudation of the serpent's fangs, and so yxeXio-o-ai/ is = nfKio-a-ala. la is another play on 'la/ii8ai. — 47. KaS6|iiEvoi : As if they were human. — 48. ire- Tpa^tro-as . . . IlvSuvas : So. O. E. 463 : d 6«nrUneia AfXls Trirpa. — IXauvoiv : " Hasting." — 49. tov . . . t^koi : The opt. for the ind. in Homer is virtually confined to the interrogative sentence. This Pindaric experiment with the relative is due to the inter- rogative character of flpero, and has few parallels in classic Greek, So. O. R. 134S : koKci tov Kaiov \ fivTjp,j)v iraXaiav trnrp/ia- Tav ej^ovc' iK(. Bergk reads irepi with most of the codices. — 53. |i.dvv€ ; Specialized in prose. Here of prophetic revelations. — 53. eiJxovTo : " Vowed," " de- clared."— aWoi . . . ydp: "But (in vain) for." See 0. 1, 55.-54. oxoivu : So Odysseus, Od. 5, 463 : a-xotvco vireK\tv8r]. — direipoTip : Bergk writes cmnplToi (as Od. 10, 195), " limitless." The quan- tity aTreip&Tm, " unexplored," is, to say the least, very problematic {dTreiprjTos, Horn.), but drrelpaTos might be to ne'ipas as Ttiparos is to jTfpas. "Boundless brake." — 55. iwv: The colors assigned to the violet here seem to show that the pansy is mea,nt{viola tricolor), the yellow eye of the violet being too small for the prominence of iavdaia-l. 'iov means also " gillyflower."-— iro|jnrop(|)i!pois : " Deep purple."— pePpevji^vos : " Steeped." — 56. t<5 : '-Therefore." — cr»|io : In Homer only of the dead body. — KOT£<|)a|xi|ev : She dedicated him to be called. Her calling was a dedication ; the nomen was an omen, as often. — \pivdvov 84 Foi "H^as \ Kapirbv avdrjaavT dTro8pe\lfat \ ediKov. A consecrated epithet, Hes. Theog. 17 : 'H^ijp re )^pviTOov Ti|idv : The honor of a iroiprjv \aS>v. — t? k£i|ioX^: Cf. O. 7, 67 : ea Ke^aKa . . . yepas. — 61. wkt&s {nraCSpios : Comp. the scene, O. 1,71. — opTieinjs :" Clear speaking." Sol. 4(5), 46. Comp. aprt- 1T0VS, dpna-ropos. Not Ao|ias, the riddlesome, this time. — 62. |«- TaWoo-tv : The voice sought him in the dark and (when it found him) said. The commentators have made much difficulty about the highly poetical expression. — 63. ttoykoivov es x'^P'"' '■ Comp. O. 3, 17 : Alos a'trei TraySd/cm aK(rei. jr., a prophecy rather than a prolepsis in the usual sense of that word. — a|ui« oirio-fltv : " In the track of my voice." 2t/). 8'. — 64. oXtpaTov : An Homeric word (JjXifiaTos) of uncer- tain meaning. " Steep " might answer here, " brambly " (Goe- bel) would not. ciScicXov Kpoviov (0. 1, 111) does not help us. — 66. t(5ko = Tore. — 67. 6pacnip.dxavos : Cf. N. 4, 62 : Bpaa-vpuxdvav re XeovTiov, which shows the survival of the etymological mean- ing of p.rixavli, " might," " power." — 68. BoXos : So O. 2, 49 : 'A8pacm8dv daKos aptoyov 86ft,ois. — ^"AXkoiBSiv : From 'AXxaior, the father of Amphitryon. We are more familiar with the form Alcides, 'AXkc/St/s. — 70. kit' aKpoTdru Pii>|i.u : The altar was built of the ashes of the sacrifices, and consisted of two parts ; on the upper and lesser the thighs of the victims were burned, and the divination performed, Paus. 5, 13, 9. — riraiu: The contrast to TOKa p.4v is put characteristically at the end, not at the beginning of the 8e clause. — K^Xeucrev : A shift of construction, instead of leaving 64(r6ai in apposition with 6r)') of achievements, O. 9, 113. Others : Action proveth each man. — fiujios : Cf. fr. XI. 43 : ttoti /iS/xoy cirmvos Kipvarca. Blame and praise are inseparable. — e| : Of the source. — Kpeiiorai. = iiriKpefiarai (Schol.). — 75. irepl SoiSEKarov Sp6- (iov : See O. 8, 33. — 76. iroTMrrdlin , . . |jiop(|>dv : Victory transfig- ures. So the Schol. : oi viKavres Sokovo-lv evftScis eivai. No one who has seen can forget the light of battle even on vulgar faces, and everybody notices the beauty of homely brides. As lamos is steeped in violet light (v. 55), so Agesias has beauty distilled upon him. irona-Td^n with Bergk for nona-Ta^ei. For the generic subj. (without av), see O. 3, 13 : (S nvi . . . fiaKjl- — ''"''■ wiri KvWdvas opovs : So Christ, after the Schol., for opoir. The gen. in O. 13, 111 : rai ff vir AiTvaj vi/^iXdi^ou KaXXiVXovroi iroXies. — Iidrpucf avSpcs : The double lineage is insisted on. The ma- ternal stock is one of the two anchors, v. 100. 'Ett. S". — 78. l8(ra-av, or sharpened, as here. The trainer is a Na|ia dieoVa, I. 5 (6), 73, and the poet's tongue is to be edged as the spirit of athletes is edged, 0. 10 (11), 33. The word \iyvpai is not used in a bad sense ; the Greeks liked piercing sounds, and KoXXtpooto-t nvoais shows that in this case, at any rate, the sound of the whetstone was the voice of the Muses. The shrill whetstone that P. feels on his tongue accosts him with sweet breathings, and with a welcome message. — yXwo-o-q, : We want the dative and accept the hiatus, as O. 3, 30 : 'Opdaxria eypayjrev. — 83. irpair^pirci : So with Mommsen and the best MSS. The inferior MSS. have irpocr4\<€i, " draws to," with l9eXovTa as an oxymoron, " which to harmonious breath constraineth me noth- 180 NOTES. ing loth " (Myers). We should expect rather some such word as TT/joo-fiXfi (irpoa-eiKcT), "forces," — Ko\\ip(5owrt irvoois: It wpoareK- Kft is read, k. tt. is the dat. of approach. — 84. liaTponoToip if.a, KTc. : Metope, daughter of Ladon, and nymph of a body of water near Stymphalos, was the mother of Thebe by Asopos. Srp. e. — 85. irXaJiirirov ©ijPav : Hes. Scut. 24 : BoicoTol irKri^iTT- TToi. — €TiKT€v ; Sec V. 41. P. 9, 18 : ov ttotc . . . Kpeloicr' fTiKTfv. — cpaTciv&v vSup : Much stress is laid everywhere on the waters of Thebes. Comp. P. 9, 94: KOXJios avrjp tw, os . . . p-r/Se AipKaiav vbaraiv de pepvarm. — 86. irCojiai : A pres. form used everywhere as afut. except here, where Curtius (Gr. Verb. II'. 290) considers it to have a pres. force. — 88. Alv^a: Aineas was P.'s ^opoSiSa- cTKoKos, and was to him what Phintis was to Agesias. It is sup- posed that Aineas was a Stymphalian relative of Agesias, and a local poet — the proper man for the performance of an ode in- tended to be sung at Stymphalos. The task "tipav JIapBevlav (ceXaS^o-ai was to be the work of Aineas himself, to be followed by P.'s ode, which Aineas was to produce, and to find out by its effect whether P. was open to the old sneer against Boeotians. Aineas is a man whom he can trust with the execution of a com- mission which should silence the cavillers in Stymphalos. — 'Hpov IlapOcviav: A Stymphalian goddess. Hera had three temples there, and three names, iraiy ( irapdivos ), rfXeia, XVP'^' Paus. 8, 23, 2. — 89. apxatov oveiSos . . . BoicorCav vv: Comp. fr. IV. 9: ^v ore crvas to BoLanov (6vos (venov. The^Yavres were old in- 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 : 17 8e avos 0\oa-vprjs ovt av naKJi oi&e pev ioSKr]. — aXa9^evyo|uv = perf — avvcXos ip6(5s: Of the words. He is faithful. — 91. t|vkiS|i,uv o-kd- ToXa Mourav : Of the musical and orchestic part. He is reten- tive. — yXdkus Kpa-n^p : Shifting of the metaphor. He adds a charm of his own. See Introductory Essay, p. xli. 'Act. e. — 92. elwiSv : So the best editors with Ailios Dionysios. — 'OpTDvCos : Sacredto Artemis, an Arkadian goddess. — 94. c|)oivi- K(Sirc£av : So called with reference to the color of the ripening graiu. — 95. AdjioTpo : Hieron was an hereditary priest of Demeter and Persephone, who belonged to the Triopiau deities, as did Apollo OLYMPIA VI. 181 (Hdt. 1, 144), and Demeter and Persephone were much worship- ped in Arkadia. — XcvkCttitov : So, especially, when she returns in the spring. — 96. Zt|v6s AlrvaCou : Cf. N. 1, 6 : Zrjvos Alrvaiov xapiv. Aitna was an especial pet of Hieron, who is called Alrvalos in the title of P. 1, AItvoios $ivos P. 3, 69. — 97. Xupoi |ji,o\irai re : P. com- posed in his honor three Pythians, one Olympian, and fragments of a skolion and a hyporchema remain. — -yiviio-KovTi : So O. 7, 83 : 6 €v ''Apyei ^oXkos eypco viv. — Opoccoi =z rapdtT(roi : So for Bpavrroi, with the Schol., Bockh. The fut. opt. cannot be defended. Bergk cites So. O. R. 1374, where oijfoiaB' . . . oi yvaa-oiaro are in oratio obliqua, and represent fut. ind. We should have to read dpaia-ai with Hermann, or Bpaioi with van Herwerden. 'Ett. €. — 99. oiKoBev oixaS' : With a sweet security of transfer (comp. Aus Gottes Hand in Gottes Hand). So also O. 7, 3 : baprj- a-erm . . . oiKodev o'lKaSe, and, for the opposite, see O. 3, 44. — 100. |io- Tep" . . . 'ApKaSia; : Stymphalos. Cf O. 9, 33: kKvtciv AoKpwv iira- elpovn parip ayXaobevbpov. The metropolis is not necessarily the oldest town. — €i(ii,ii]Xoi.o : Heyne reads eipoKoio. See 0. 1, 13. — 101. 8i5' ayKvpai : On either side of the prow (Paley). Starboard and port, not fore and aft. Proverbial. The two homes, with the double line of descent. — 103. twvSc: Stymphalians. — Keivcovrc: Syracusans. — 103. BeoTroTa irovTiSiJieSov : Return to Poseidon, sug- gested by the ship. With irovTopebov, comp. P. 3, 6. — eti6w Be : On 8f' after the voc, see 0. 1, 36. — 104. SiSoi = blbov. — xP""'"^*'"*- Toio : " Gold-distaff" is a poetic way of szxing the sea (Bockh). — 105. 'A|ji(t>iTpiTas : Amphitrite has, as her special province, the waves (Od. 3, 91) and the great fishes, Kijrea, Od. 5, 433, and 13, 97. — Sjivciiv . . . ov6os : Cf. O. 9, 53 : avBta S' vpvaiv \ vecaripav. ROSE. Coin of Rhodes. OLYMPIA Vn. DiAGOKAS of Rhodes, most famous of Greek boxers, won the victory here celebrated 01. 79, 1 (464 B.C.). The poem was composed soon afterwards, as we may gather from V. 13 : a-vv Aiayopa Kori^av, and was sung at Rhodes. Diagoras was a Herakleid. In the third generation after Te- menos 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 01. 30, and in the time of Pindar prytaneis ruled in- stead ; and it is supposed that the father of Diagoras, Damagetos, was such a prytanis. Of an illustrious family, Diagoras won for himself unparalleled distinction as a boxer. Besides being vic- torious at many local games, he was successful at all the national games, and so became a TrepioSovUrjs. His sons emulated the head of the house. His youngest, Dorieus, had a career only less brilliant than that of his father. Damagetos won the pan- kration 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 Kallikles of Me- gara, 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 down- fall of his family. Rhodes belonged to the Delian league. Two years before the victory here celebrated the battles of Eurymedon OLYMPIA VII. 183 were fought (466), and Athens was at the height of her power. Enemies of aristocratic government, the Athenians favored the commons as against the Doric aristocracy of Rhodes. Diagoras's son, Dorieus, fled to Thurioi, but returned and fought against the Athenians in his own ships, was captured, but liberated. Again exiled, he went to the Peloponnesos, where he was arrested by the Spartans and executed. But these events befell many years after the date of the victory celebrated in this ode. The good fortune of Diagoras was proverbial. The Morere, Diagora of Cicero's version of his story, cited above, is in the school-books. But if we had no evidence outside of this ode, we should know by Pindar's recital that his career was brilliant, as his home was brilliant — Rhodes, child of Aphrodite, bride of the sun (v. 14). No wonder that the golden beaker and the foaming wine are used to symbolize the song in honor of such a victor and such a home (v. 1, foil.). But there must be shade as well as light. Nemesis does not allow too much happiness, and in the history of the line of Diagoras, Pindar finds enough trouble for contrast, each trouble ending in higher joy. So, should the happiness of Diagoras ever be interrupted, there is good hope of more than recompense. Tlepolemos, founder of the house, slew the brother of Alkmena — passion had overmastered him (v. 27) — but Apollo sent him to Rhodes, where he received "sweet ransom for grievous disaster" (v. 77). The sons of He- lios, lord of Rhodes, were bidden to raise an altar to Athena and sacrifice to the Great Sire and the Warrior-maid. Wise as they were, they forgot fire, and offered flameless sacrifices. Yet the gods forgave; Zeus sent them gold, Athena cunning craft (vv. 39- 53). Helios himself, pure god, was absent at the partition of the earth ; yet he received a boon that he himself preferred to all besides (vv. 54-76). In each of these three cases we have a good beginning followed by misfortune, and yet a good ending crowns all. Diagoras was fortunate. Both dperd and ^apjiara were his (cf V. 44), but he might one day forget; he trod a noble path, v^pios ix^pav oSov (v. 90), but passion might overtake him ; he was a prince among men as Helios was a prince among gods, but he might, in his absence, be forgotten ; but should Nemesis have aught against Diagoras, he may yet hope to find, like Tlepole- mos, like the sons of Helios, like Helios himself, Xirpov (rvij.v£ios oirft x«ip'5s: Combined with bapr^aerai. aw6 has the connotation of "freely." Comp. dTro yXmtrcraj, O. 6, 13. — eXwv: For " pleonastic " ( Dissen ) read " plastic." — 3. KaxXa£oio-av : "Bubbling," " foaming."— 8. Sapijo-eTai : P. has as tl only here, (US oTt once with the ind. (N. 8, 40). Homer has its ti with subj. OLYMPIA VII. 185 once (II. 9, 481), with ind. once (II. 13, 492). haprjaerai is the generic subj., and the shift from subj. to indie, BriKe, may be com- pared to the shift with tbs 8' ort in Homer (e. g., II. 11, 414), in which " the most important point of the comparison is usually expressed by the subjunctive, while details and subordinate in- cidents are given in the ind." ( Monro after Delbriick ). Still 6riK€ produces the effect of an apodosis (comp. N. 7, 11: d be Tvxv Tis epSav, iie\idv: O. 1, 13. — 5. oTJiiirocrioD re x°^P^>': ovri ToO t&v iv ra (rv/iTrocria) (Schol.). " For the sake of them that sat at drink with him." av4p d6p6a, P. 9, 58 : evda viv ap-}(4no\iv drj(Teis. — JoXutov 6|],d4ipovo; ewos : The present is a prelude and a pledge of an harmonious wedlock — a great boon now as then, fivas, so- called gen. of the source of emotion. 'Avt. a. — 7. KOI iya = ovt(o Kal iyw. Comp. 0. 10 (11), 94 : St€ . . . KOI. — v€KTop xvr6v : Persius, Prol. 14, Pegasemm necta/r. x-r ace. to the Schol., denotes t6 airofuiTov kol &KpaTov, " liquid." — Moio-av S6v doi8dv. — 8. ovSpiio-iv . . . viKuvTco-o-iv : Class for individual. Diagoras had been successful at both places. — y^"'™'' Kapirbv ^ptv6i -. Follows as an after-thought, like ndyxpya-ov Kopv^dv Kredvav above. — 9. iXd(5p(jiiYyi : The regimen is suspended until ev comes in with evrea-iv. (But see note, O. 9, 94). So the first negative of two or more may be omitted, P. 6, 48. — ■iro(j.<^wvoiv 7rdp.(j)aivov peKos, and 21 : a-vv eprca-i. For ev of instruments, see 0. 5, 19; N. 11, 17; 1.4, 37. 'Ett. a'. — 13. wr' o|i.<|)OT€p(i)v: 0.4,2: iiro 7roLKiKoiTov : A prytanis, as Bockh infers from what follows. — oSiJvTo : See O. 3, 1. P.'s yjfiXaa-is of this word is neg- lected in some editions and lexicons. With the phrase comp. I. 3 (4), 33 : xoXkco) t "Apei ;:dSov.— 18. TptiroXiv : So II. 2, 655 : ot 'PdSoK dp(j)fVfpovTO 8id rpixa Koa'prjOevres | AivSov, 'lrj\v(T6v re Koi dpyiv6evTa Kdpeipov. — vocrov : With an easy transition from the nymph to the island. — 19. l|ji,p^X(^ : The " ship's beak " headland is Kvvos a-rjpa in Karia. — 'Apyei<^: Rhodes was colonized from Argos. — a.lx\i-^=alxpaTalf. OLYMPIA VII. 187 Srp. |8'. — 30. iBeXljo-a) . . . Siop6ui . . . KpEjiavTai : Cf. I. 3, 43 : ipdovepai Ovarav (jipivas ap^iKpipavrai feXmdes. There seems to be an allusion to lures or nets. 'AvT. |3'. — 36. vvv Iv KOI tcXevt^ : For the trajection of Kai, which gives especial emphasis to the second member, comp. 0. 3, 31 ; P. 10, 58 ; N. 7, 31. — tiix"v : Epexegetic infinitive. — 38. Aikvjiviov . . . MiScas : L. was the son of Elektryon and his concubine Midea, and as Elektryon was the father of Alkmene, Tlepolemos killed his father's uncle. See table, and cf. II. 3, 663 : airiKa Trarpoy coio ^iXov fir/Tpaa KareKTa | fjSi] yTjpd(rKOVTa AcKVfiviov o^ov "Aprjos. — 31. U 6e6v : c'j of motion to a person is rare in Pindar, 0. 3, 38 and 54. The person is the place. 'En-. ^'. — 33. Xpvo-oKopios : O. 6, 41. — cvuSeos: Sweet odors rose every now and then from the opening covered by the tripod. . — irX<5ov : Involves jrXeiv. chrf irXoov = iKeXeva-e nXe'iv. Cf. P. 4, 6 : xprjo-ev Bdrrov oiKia-rfipa = x- B. olKicrai. — 33. a|ji(|>i6aXa(ro'ov vo^L6v^. Oracles delight in circumlocution for the saving of their credit. So P. 9, 59 : Sxdov is ap^'mfbov. — AepvaUs : Dwelling- place of the hydra, forty stades from Argos, Strabo, 8, p. 368 and 188 NOTES. 371.— 35. ovix' : Comp. P. 4, 48.— Te'xvaiinv : For the pi. comp. O. 9, 56 ; P. 3, 11 ; 4, 349 ; 8, 60.— 86. kot" oKpov : We should expect i^, but Athena makes her sire's head the stage of her first appearance. So N. 10, 17 : 'UpoKXcos ov kut "OXvfiTrov aXoxos "H/3a . . . eoTt. Srp. y. — 39. (tiav(rC|i.ppoTos : Od. 10, 191: 'He'Xtos (paea-lfi^poros. — 'YircpiovCSas : An overdone patronymic, like ToKaioviSas, O. 6, 15. — 40. xpe'os : " Duty." The service was the worship of Athena with burnt-oflferings. — 42. us a.vz=07ras av, due to (j>vXd^aa-6at, which involves the " how " of an action. So even in prose. Cf. Dem. 6, 3 (with Trapeo-KevdcrBai), to say nothing of Xen., who has it often with emiieXela-dat (e. g. Cyr. 1, 2, 5). In Homer with a verb of will, Od. 17, 362 : arpw' ods av iripva Kara pvrjix'njpas d-yei- poi. — 43. cYX^i'Ppi^l^'!' : Formed like iyxei-XoYas : Od. 5, 490 : a-Trepjia jrvpos. — ov^pov : To the acropolis of Lindos, where Athena was worshipped diripois Upois. — ov : The effect of the position is almost as if there were an interrogation point after (jjKoyos, and oH were the answer. On the position of the negative in P., see O. 4, 17. — 49. aWos =T4p.fvos. O. 3, 17; 10 (11), 49. — 6 \iiv^zZeis. — |ov9av: The cloud takes its color from the gold that it contains. — 50. xp'""''!*' : The poem is full of gold, vv. 4, 32, 84, 50, 64. — va-e : A metaphor turned into a myth. Comp. II. 2, 670 : Kai a-t^iv (sc. 'PoSioij) Sfcrirea-Lov irXovrov Karexfvc Kpovimv, and Chaucer's "It snewed in his hous of mete and di-ynke."— T^vov : Depends on &naa-(, and is felt over again with Kpartlv. " Every art to excel " (therein). Rhodes was a centw of art from the earliest times. OLYMPIA VII. 189 'Ett. y. — 51. KpoT£lv: Depends on oin-ao-f. KpaTcrj/ usu. absolute in P. : with the ace. " o'ermaster," " surpass," P. 4, 345 ; N. 5, 45 ; 10, 25 : with the gen. only here. — 53. tiaoXmv epTrovTeo-cri 6' 6|ioia: "That looked as if they lived and moved." The Greeks, like the Japanese, were fond of exaggeration about art and artists. So the Rhodians were fabled to have tied the feet of their statues to keep them from running away. Michael Angelo*3 "Cammina" is a stock story. — <|>cpov: The statues were set up in the streets. There is no reference to moving along the roads, as Dissen thinks. — 53. tjv 8J kX^os PoBii : It was to this fame that Rhodes owed her prosperity. Pindar skilfully suppresses the loss incurred by the neglect of the Heliadai. Athena transferred her presence to Athens, but did not leave the Rhodians comfort- less. — So^vTi . . . teXeOci: "To the wise man (to him that knows), e'en surpassing art is no magic trick." The mythical artisans of Rhodes, the Telchines, who came up out of the water with the island, were supposed to be wizards. All folk-lore is full of magicians of this kind, and the devil figures largely as a crafts- man in mediaeval legends. All these miracles of art, says P., were wrought by dpia-Toirovoi x^'pff) ^.nd there is no trick in any of them. The refutation of this charge naturally brings up the stoi7 of the birth of Rhodes. There are other renderings. " The subtlety that is without deceit is the greater altogether," that is, the Heliadai, who received their knowledge from Athena, were greater artists than the Telchines, who were magicians. Yet others refer daivn to the artisan and not to the judge. Bergk transl. in prudente homine etiam maior sapientia fraudis est ex- pers. — 54. <|>avTi . . . prjirics : jrpo IlivSapov 8c tovto ov^ laToprfTO (Schol.). — 56. ireXaYti. . .ttovt^cb: itovtos is practically ttie deep sea : even according to Curtius's etymology deep water is the only true iraTos or "path" for the mariner. TreXayoj, whatever its etymology, has often the effect of "expanse." "In the wide sea," " in the open main." 2t/3. 8'. — 58. EvSeilev : evSeiKvivat is the practical decKvvvai, "then and there." — 60. oyvov 6edv: Notice the after - thought position, which has the effect of a protest against the ill-treat- ment of Helios. — 61. (ivoo-B^vti : Sc. 'AfXioj. — o().'iroXov=di'd7raXoi'. " A new cast." — (le'XXev : As a verb of purpose, /ieXXm may take the aor. inf as well as the present, which is far more common. As a verb of thinking it has the future inf., which is the 190 NOTES. norm, tliough P. does not use it. See O. 8, 33. — 62. etire . . . opov: Instead of the usual finite construction. Of. O. 1, 75. — av|o|Uvav ircSii6cv : Allusion to the name 'PdSor, the Island of the Rose. Hence also ^Xdare (v. 69). — 63. iroXiJpocrKov, ktL : Gla/ra BJwdoa was famous for grain, and pasture also. 'Ai/r. 8'. — 64^. ■jifvira.ymvYia.: "With golden frontlet." Comp. P. 3, 89 ; I. 2, 1 : ^pviranirvKcov Moia-av. — Aax«a|i.ev : " Not to utter falsely," " to take in vain." So P. 9, 47 : Trap^a/iec tovtov Xoyov. — 67. ite\i^9euTa.v =l orav 7r€p(f>dri. — ^1^ K£(|>aXa: Comp. O. 6, 60. — 68. rfkevraSev : So for reXevraa-av, Bergk. — i^ywv Kopv<|>ai : Comp. P. 3, 80. The chief points of the compact were fulfilled, came true. — 69. tv aXaSECqi ircTourai : Coincident action with TcXeiraBev, a more vivid expression for oKadcis yev6p,€vai. Comp. O. 13, 10 : napa yvapav inea-ev ("fell out"). 'Ett. 8'. — 70. 4|£iav . . . uktCvcdv : O. 3, 24 : eSo^tv ■yu/ivor airw Kairos o^ciais xmaKovipev avyals aeXi'ou. — 72. ao^wrara : Mommsen transposes thus : €v6a cro(j)a>TaTa pix6f\s \ t4k€v eirra 'PoSca \ ttotc voTjfiaT, with an unfortunate juxtaposition of aocfxiiTara and fu- x6cis. — eiTTo . . . iraiBas : Favorite position. — rapaSclajjiEvovs : From sire to son. — 73. uv cU ; Kerkaphos. — Kojiipov : Schneidewin, with inscriptions, for Kdfieipov. — 74. 'loX^o-ov: P (FiaX.) is sus- pected, but not proved. — 75. 8io . . . 8ai thus used, see O. 9, 97. — aveco-i : The wreath was white poplar ace. to the Scbol. — 81. KXeiva: 'la-dpos is fem., O. 8, 49, and elsewhere. — 83. oXXov lir" oXX^ : The ellipsis of OLYMPIA VII. 191 pUav is not violent. " One upon another," in immediate succes- sion.— Kpovoots £V 'ABdvais : So O. 13, 38 ; N. 8, 11. 'AvT. €. — 83. xO'^K^s : The prize was a shield, for the fabrica- tion of which arm the Argives were famous. — eyvo) : O. 6, 89. — TO t' Iv 'ApKaSiqi I €p7a: The prizes in Arkadia were bronze tri- pods and vessels, epya being " works of art." — 84. ©ij^ais : The prize of the Herakleia or lolaia was a bronze tripod. — evvo|ioi : "Wonted." — 86. XleXXavo; In Achaia. The prize was a mantle, O. 9, 104; N. 10,44: ex 6e UeXXdj/as cVteo'O'djU.ei/ot v5>tov jxaXaRai(ri KpoKais- — Al7iva: There is no warrant for the form Alyiva, yet Alylva would be unbearably harsh, as we should have to supply a verb of showing out of oix erepov e'^ei- \6yov. — o«x ?Tepov . . . €\a \6yov: "Has no other tale to tell," the "tale" being the " count," " shows the same number." — XiSiva | \|/aos : " The reck- oning on stone," of the a-TrjKri on which the victories were re- corded. — 87. Ziv irdTcp : Zeus is more conspicuous here than is usual even in an Olympian ode. See v. 23. — 'AToPvpiov : Ataby- ron, or Atabyris, a mountain in Rhodes, with a temple of Zeus. Strabo, 10, 454 ; 14, 655.-88. t£(i.o \kev : Followed by StSoi re. See 0. 4, 13. — B|Jivov TeBjidv : Of. 0. 13, 29. — '0\u|jnrioviKov : Extension of the freedom involved in u/tvos 'OXujowrioi/iKas, for which see O. 3, 3. 'Ett. e'. — 89. opcTov =: dpf ras kXe'os. ,0.8,6. — ciipiSvTa: Where one might expect (vpup-fvov (P. 2, 64). — iror'=:irp6s. — 91. iroT^pwv 6p9oi <|>pE've« 15 d.Ya£«v : This is poetry for " hereditary good sense." Comp. v. 72 : iiTTo. (TotjjmTaTa vorjiiaT (TTi jrporepav av- dp&v 7rapa8f^ap,cvovs \ iralBas. The opdai 0peVes are waTponapd- 80T01. Diagoras is dyadbs i^ dyadav. See P. 8, 45. — 93. exP'°<' = nap^vovv, vir46evTo (Schol.). The oracle of Diagoras is the wis- dom of his ancestors, which is personated in him. — (it| KpiiirTe: Let it ever shine. — ko\.v6v: A common glory. — 93. RoWidvaKTos : Kallianax was a conspicuous ancestor of Diagoras.— 'EpoTiSov D. belonged to the Eratidai. 'E. depends on ^apireaa-iv. Each joy of the Eratidai is a festivity to the city. — 94. |ii^: " One and the same." — 95. Siaiflvo-o-oionv avpai: P. 3,104: oXXote 8' oKXolai TTVoaX I v-^nrerav avepav, I. 3 (4), 23 : aXXorf 8' dXXoios ovpos. See the Introduction to the ode- OLYMPIA Vin. The victory celebrated in this ode was gained 01. 80 (460 B.C.) by Alkimedon of Aigina. We know nothing about the victor except what Kndar 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 uncle, Kallimachos (v. 82). His grandfather was still living (v. 70). His brother, Timosthenes, had won a Nemean victory (v. 15). His teacher was the famous trainer Melesias, who is mentioned N. 4, 93 and 6, 74. There is much dispute whether Alkimedon was an tcjyeSpos or not. See v. 68. The song seems to have been sung immediately after the vic- tory 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 aXeinri^r, who is entitled to a fair share of the praise in all the boy-odes, seems to have a disproportionate space al- lotted to him. As an Athenian, Melesias had a certain amount of odium to encounter, and P. found it necessary to vindicate him by recounting the successes of Melesias as well as the suc- cesses of those whom he had trained. Mezger sees in the ode a jubilee-tribute to Melesias for the thirtieth victory of his pupils (v. 66) — a notion more German than Greek. After an invocation of Olympia as the mistress of truth, by reason of the liappy issue of the oracle delivered by the diviners at the great altar of Zeus (vv. 1-10), the poet says: There are other blessings, but Olympia's prize is the chief There are oth- er gods, but Zeus is the patron of the Blepsiadai, head of their race (v. 16). Themis, the glory of Aigina, sits by the side of Zeus (v. 33). Apollo, son of Zeus, Poseidon, brother of Zeus, take Zeus's son Aiakos to Troy (v. 31). Then the poet tells the story of Aiakos to show what honor Zeus puts on his sou. Aiakos is OLYMPIA Vni. 193 a-vvfpyos to the gods (v. 33), and Zrjvl yevedXia (v. 16) is echoed in Zeis yevei (v. 83). So far the poem runs smoothly enough, and if the poet had returned to the victor after despatching Aiakos to Aigina, the ode would be less difficult; but the introduction of the trainer jars us, and, in fact, Pindar himself apologizes for it (v. 56). Timosthenes, who ordered the ode — Alkimedon is no- where addressed, and his youth is emphasized — required this mention of Melesias, who must have been his trainer too ; and so Pindar dwells on the importance of having an old athlete as a trainer both for man (v. 63) and boy, both for Timosthenes and for Alkimedon. This brings Alkimedon forward again, but he is soon lost again in the mention of his race — in the mention of the dead sire, who hears in the other world the glory that has come to the house. The prose line of thought would be : The blessing of Zeus on Aiakos was on children's children ; and so the brotliers, Timos- thenes, trained by Melesias, and now Alkimedon, have gained the prize, at Nemea one, at Olympia the other, both in games of Zeus, and even in the lower world the gracious boon is not un- known. The poem is full of prayers, but Aigina was near the point when she would be past praying for. The rhythms are dactylo-epitrite. According to Bockh the mood is a mixture of Dorian and Lydian, in which we should have the blending of sadness with manly joy. Of the four triads, the first is introductory ; the second con- tains the brief myth ; the last two are divided between Timos- thenes, Melesias's patron, who ordered the ode, and Alkimedon, who won the victory. Sro. a. — 1. Marep : P. makes free use of family figures. So O. 7, 70 : 6 yevedXios aKTivav irarrjp, P. 4, 176 : doidav irarrjp 'Op- (fxvs, 0. 13, 10: "vPpiv Kopov parepa 6pacrvjj,v6ov^ N. 5, 6 : repeivav p,aT4p' olvavOas onmpav, N. 9, 52 : ^larav d/iircXou nalSa, P. 5, 38 : 'ETrifiadfos dvyarepa Upocpaa-iv. These are not to be effaced, as Dissen would have it. — xp^"''"''"'!"'''""'' = KciXKia-T€(j>dva>v. So 0. 11 (10), 13: xpvo-€as iXatas, and P. 10, 40.— 3. iv(o): Always "where" in P. — 3. l|j/iri!poi.s TEK|jiaipd)i.evoi. : Pyromancy, divina- tion by means of altar flames, was practised by the lamidai (see I 194 NOTES. 0.6). — TrapoireipSvToi: irapd here produces the effect of reverent shyness. — opYtrapovvou : The thunderbolt is figured on coins of Blis. — 4. ti Tiv' €X" Xi^vov: "If (whether) he hath any utter- ance to make," " any decision to give." el interrog. also in P. 4, 164. — 5. iioto|jieV'. Every man has his Saifiav yeviSXtos (0. 13, 105). He who has Zeus yfvedXtos has the highest. Comp. P. 4, 167 : SpKos afifuv fidp- rvs etTT(o Zeus' 6 yevfdXios dfi(f}OT€pots. — 'TFp6^tiTov ^7rp6(pavTov^ "illustrious." — 19. epw: Parallel with ea-opav, as if the dat. force of the inf. were felt (=:oT|/'ei)- The re complements: appearance and reality are exhaustive. — Karo PeiBos IXryxoiv : KOTd with e'. Tyrtai. 10, 9 : alaxvvfi re yevos, Karh S' dyXaov elSos iXeyxei- — 30. IJ^veire: Causative, as O. 5, 8: eKdpv^e. Comp. P. 1, 33: Kapv^ dveeiire viv. — SoXtx^psTnov : Od. 8, 191: ^alriKes SoKixrjperfioi. — 31. SuTcipa . . . 0^p.is : 0.9,16: StoTeipa . . . 'Evvop.ia, 0. 13, 3 : Sureipa Ti^xa. — AiisCtviou: Owing to the active commerce of Aigina, many suits were brought by strangers before the courts, hence tlie special propriety of ^evlov. The probity of the Aiginetans was conspicuous. So just below, navTohairoXa-iv . . . |c'j/otr | Kiova bmixoviav. — 83. irapeSpos: So. O. C. 1384: Ztjvoi Ai'kt; ndpeSpos dp- XaloLs vo/iois. — oo-KtiTai: "Is honored," " receiveth homage." N. 11, 8: KOI ^evlov Aios da-Kelrai Oi/iis. The personification is kept up. P. 3, 108 : Tov dfi(j}(7rovT ale\ <\>pa(T\v \ dal/Mv' dcKijcno. OLYMPIA VIII. 195 Srp. i3'.— 33. Ho\' ovflpviav : O. 6, 8. — 38. citovtAXwv : Coming time is a rising sun. 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. 'Avt. 0'. — 30. Aoipiei \o<3 Ta|j,icvo|j.evav : For the dat. see 0. 13, 3 : rip . . . Kv^epvavrai 6oai | vaes. The island obeys the rule of the Doric folk, as the ships obey the helm of Tych§. — U AIokoS : "From the time of Aiakos." Aiakos was an Achaian, but the Dorians appropriated the mythic heroes of the tribes they suc- ceeded, especially as the chiefs were often not Dorian. Note that we have to do with oracle and prophecy from the begin- ning of the ode. — 31. irots 6 Aarovs: The partnership is well known. II. 7, 453 (Poseidon speaks) : tov S' [sc. i-cip^eos] iirCKr]- (TovTai, TO iya Koi ^oljSos 'AjroXKav | ^pa> Aaop,48ovTi TToXiVo-a/xei/ ddXrjo-avTf. — €«pD|ie8«v : Poseidon is also eipv^ias (O. 6, 58) and fvpva-devrjs (O. 13, 80), and EipinvXas is his son (P. 4, 33). — 33. )i^X\ovT6s lirl . . . Tcvtai (=: emTev^at,) : The aor. after /ie'XXm, as O. 7, 61 ; P. 9, 57. The pres., O. 8, 64. P. does not use the normal future. — oT£<|iovov : " Battlement." Comp. P. 3, 58 : eio-Tf^avoiy dyviav. — 33. Tiv firi : Not a harsh hyperbaton. — viv = a-T4^avov. If a mortal had not joined in the work, the city could never have been taken (Schol.). — 36. Xa^pov . . . xairviSv: Cf. P. 3,40: creXas Xd^pov 'A(j)al(rTov. Xd^pos in Homer is used of wind and wave, river and rain ; in P. the sphere is different. 'Ett. j3'. — 37. SpaKovTes . . . oi 8iJo |Uv . . . ets 8(c) ; Distributive apposition, much more vivid than the genitive use. yXavicol i» 196 NOTES. glossed by ^o^cpo^BoKfioi. For the basilisk glare, see P. 4, 249 :, yKavKaira . . . ov. — 40. Podtrais : " With a cry " (of victory). Mythical serpents may make mythical outcry. The aor. part, is not prior to the leading yerb. Of O. 9, 15. — 41. avriov: "Adverse," with repas (Schol.). — opjiaCvmv =: StaXoyifd/ievos, biavoovp,evos (Schol.). Not satisfactory. The Scholia give also opSsv, Beaa-dftevos pointing to a corruption in 6pp,aiva>v. A possible translation is ''Apollo straight came rushing on and openly (dtiriov) declared the prod- igy." Comp. Od. 17, 529: epx^"' ^^^P" KaXecriTov, 'v dvTiov avrbs eVi'(T7rj;.^-42. afi.l reats . . . Ipvao-iais : " About (and by reason of) the works of thy hands." " Where thou hast wrought." The weak point is indicated II. 6, 433 : nap' ipweov, evda p.dKia-Ta | afi^aTos c(TTi TToXis Ka\ eiriSpop^v eTrXtro TeT)(OS. — oXi6€v . . . Aids : The construction is lightened by (j>dS)cor L , I , I Alar A;(tXXfus Uavoirevs NtoTirdXfjxot 'Eatiiii OLYMPIA VIII. 197 The Schol. remarks that Aiakos is excluded in irparois and in- cluded in rcTpoTois. Epeios was the builder of the famous wooden horse. Telamon aided Herakles and lolaos in the first capture of Troy. N. 3, 36: Aao/teSovra 8' eipvo-Bevfjs | TeXa^mv 'loXa TrapacrraTas eiav ejrEpirei/. — v, N. 4, 7 : criiv XapiTiav Tvx<}t N. 6, 37 : a-vv deov 8e TvXf- — """ "•H'''''^'""'''' ■ Neg. expression of tvxchv. d. often in tragic poets := d/iapTcov. — 68. TtTpoo-iv : The most simple way of fulfilling the conditions is to suppose sixteen contestants, eight pairs, four bouts, the victors in each bout wrestling oflF the ties. Alkimedon, as the final victor, would then have thrown his four boys. If an e(f>eSpos, or " odd man," is assumed at any point in the match, the calcula- tion is more complicated, and the number may be as low as nine. With nine contestants (four pairs and an etptSpos), the fourth bout would have been wrestled by the victor and the ?0fSpor of the third. In this way Alkimedon might have thrown four boys, provided he was not liimself an eKJieSpos, which is an unnecessary inference drawn by some commentators from v. 67 : ri^a pev Sat- OLYMPIA VIII. 199 fiovos. The c^eSpor was considered lucky because he came with fresh strength to contend with a wearied victor, but if Alkime- don was to be an sipedpos at all and defeat four boys personally and not by proxy, there must have been at least five bouts. In any case, the etpeSpos seems to have drawn lots with the others at the end of each bout, so that the same person was not necessarily e(jie8pos throughout. The " reasonable plans " vary according to the editors. See P. 8, 81. — dweflTiKaTo : "Put oflffrom himself" as something hateful. Comp. 0. 10 (11), 43: veiKos de Kpea-a-ovav | an 064 a- 6' anopov. — 7D101S : Emphasis on the important element, as in eVXa koI Aavdas . . . Se'/ias (Soph.) ; (rdivos rip.i6va>v (O. 6, 32), yvla being the main thing in wrestling. So N. 7, 73 : a'LBavi npiv &Kla> yvlov epirea-civ (of a pentathlete saved from wrestling). Comp. II. 33, 736 : /co\/r' omBev Ka)\r]na rvxv, vw4Xv(Te 8e yvl a. — 69. v^cTov, KTe. : V. is the return to the town, dnpoTepav ■yXfio-trav refers to the jibes and jeers of enemies in the gate, eirUpvcjiou olpov to the slinking to the mother's house by the back way. Comp. the parallel passage, P. 8, 81: rirpaa-L 8' epneres i'^odev I aa>p,aT€(T(Ti naKo. (j)pov£(ov \ toIs oilre voutos op&s j cirakwvos iv TlvBiabi KplBrj \ oiSe poKovrav nap fxarip' afifjil ■ytXms yXvKvs \ &p(Tev X^P"* ■ "a™ Xavpas 8' i\6pS>v cmaopoi \ TTTftxrcovTi, (TvpvXXoi|idp(ov : Cf. P. 9, 133 : ttoXXo fiev Kfivoi I 81KOV (pvW CTTL Kol crTe(f)dvovs. — 78. itdv^/caT-a. — ep8o|*eviv . . . KaXXijio- Xi . . . Y£v«i : ■yeyct is not epexegesis to o-^t. ai depends on the com- bination yh€i amacr€v, " made a family gift to them." See O. 3, 16. — 84. IcrXo 8" lir' cirXois : em is = " heaped on." See O. 3, 12 ; 11 (10), 13. — 86. cvxo)i.ai: Asyndeton, as often in prayers. Zeus is invoked. Cf O. 1, 115. — a^X KaXuv )u>Cp^: The dat. of the thing at stake, as irepl with dat. — 8ix<5PodXov: "Of divided mind." Zeus is not to make ifiificv) Nemesis double-minded. She is not to waver; she is to be a steady friend. P. 10, 20 : fii) 6ovepais ix Beav \ jieTaTpowlais iirLKvptrauv, N. 10, 89 : ov yvapa SwrXdai/ dero [Zeiis] /3ouX^i/. It must be remembered that matters were eVi ivpov dit/i^s in Aigina. Others, " Of different mind," " hostile." Six- vep^a-w 6., " to rouse factious discontent " is too colorless.— 87. ayav = iTvdywv. Comp. O. 2^ 41 : oura . . . Mo'ip(a) ■ ■ . em n Koi TT^p,' Syei. — 88. avTovf = tovs B\e-\jfid8as. OLYMPIA IX. The date of this ode is uncertain, and the Scholiasts are at variance. According to Boclch the victory was won 01. 81 (456 B.C.), shortly after a Pythian victory, 01. 80, 3 (458 B.C.), which is celebrated in this ode together with the Olympian one (v. 13). Leopold Schmidt finds that Bockh's computation agrees with his theory of P.'s poetical decline. Fennell puts the date Pyth. 30 (468 B.C.), ace. to one Scholiast, on the ground that at the later date (456) the Lokrian oligarchy was threatened, if not overthrown, by the Athenians. Cf. Thuk, 1, 108. Besides his many local successes, Epharmostos had been victorious in all the great national games, and was, consequently, a irepioSovUris- Pindar tells us all we. know of him — his noble personal appear- ance (v. 119), his ancient stock (v. 58), his intimacy with Lam- promachos, 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. 53. The Lokrians are better known to us through the Epizephyrian rep- resentatives 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- scriptions, which doubtless give a false impression of the people (Hicks, Hist. Inscr. No. 63). Writing may be rude, and song, for which the Lokrians were famous, refined. The position of woman among the Lokrians seems to have been exceptionally influential, and even one who knew nothing of Lokris and the Lokrians could hardly fail to be struck by the predominance of woman in this ode. Pindar is a manner of " Prauenlob," at any rate, but here "das Ewig-Weibliche" is paramount. Archilo- chos does not suffice ; we must have the Muses (v. 5). Lydian Pelops is mentioned for the sake of the dowry of his bride, Hippodameia (v. 10). Themis and Eunomia (v. 15) are the pa- tronesses of the renowned city, mother of the Lokrians (v. 33). 12 202 NOTES. The city is the city of Protogeneia (v. 44). Opus, son of Zeus and an Epeian heroine (v. 63), bore the name of his mother's father (v. 67). When Menoitios is mentioned, his mother is not forgotten (v. 75) ; Achilles is only Thetis's son (v. 83). The fundamental thought is to Se cl>va Kparurrov anau (v. 107). It matters not that in the previous song P. had sung : ayvafiov Se TO fiTj nfiofiadelv (O. 8, 60). Here no Melesias is to be praised. The (jivd comes from God ; hence P. sings, avev fie 6eov a-fo-iyaiie- vov ov a-KmoTepov XPW ^i^o-'ttov (v. 111). The poem is full of the strange dealings, the wonderful workings of the deities, of the Su- preme, culminating in the story of Protogeneia and her son. The fortune of Lydian Pelops (v. 10) reminds us of Poseidon. The dowry of Hippodameia was a gift of God, as Pindar's garden of song was allotted him by Fate (v. 38). The Cbarites are the be- stowers of all that is pleasant. Men are good and wise according to the will of Heaven (v. 30). If Herakles withstood the gods themselves (v. 33), it is clear that there was a greater god within him. That god was Zeus, and P., after deprecating impiety tow- ard the gods, tells of the marvels Zeus hath wrought. Behold the miracle of the stones raised up as seed to Deukalion and . Pyrrha. That is the decree of Zeus, aloKo^povra Aioy aio-a (v. 45). Behold the deluge abated. That is the device of Zeus, Zrjvos Tfxvats (v. 56). Protogeneia is caught up (v. 63). Zeus interferes again to give life to the dying house (v. 64). Epharmostos has been singularly favored by nature and fort- une. Nature and fortune mean God, and the narrative of his successes closes the poem with a recognition of the divine decree that made him quick of hand, ready of limb, and valorous of eye. The Lokrian or Aiolian (logaoedic) rhythms are light and fes- tive. They whirr like arrows (v. 13), they flame (v. 34), they speed faster than mettlesome horse or winged ship (v. 35). The first triad contains the introduction. The myth, the story of the heroine who made Opus wliat it was, is announced in the first epode, the theme of which is continued in the second triad. After unfolding his moral {dyadol St koX o-ooiviKO(rT€pi5irav : The words swell with the theme. We, too, speak of the " red levin," Hor. ruhente \ dextera sacras iaculatiis arees. — 7. lirCvtiiioi : Only here in P. It has an artil- lery sound, "sweep," "rake" (comp. fmv, v. 24), and is used chiefly of destructive agency. So of fire, Hdt. 5, 101 ; Pol. 14, 5, 7 ; Diod. Sic. 14, 51 ; of plague, Thuk. 3, 54 ; Diod. Sic. 13, 13 ; of foes, Pint. Caes. 19 ; Pomp. 35. P. delights in the oxy- moron. Comp. O. 6, 46: duf/i^el t6>, and yXvKvv okttov, v. 13. €., then, is not " aim at," but " send arrow after arrow at," " sweep with hurtling flight." — 8. aKpoi-n^piov : Kronion. — 11. 'IiriroSo- (icCas : Recalls 0. 1, 70. The Schol. notes that fSvov is not used in the regular Homeric sense, as P. 3, 94, but as (^e/Di/^, " dowry." 'AvT.a. — ^13. yXdkw . . . iioT^v: Homer's rriKp&s oio-rdr, II. 33, 867, or " biting arrow," was to P. as to us a " bitter arrow." Hence the antithesis yKvKvv. — 13. nvfl«vo8(e): Epharmostos had won a victory at Pytho also, Pyth. 33 = 01. 80, 3 (458 B.C.), ace. to one Schol. One arrow for Pytho, a shower of bolts for Olym- pia. ■j^af.al■lnTi(l»'■. Here with reference to arrows that fall to the ground without reaching their mark. — 14. o(ii|)l iraXai(r)i.a(riv : 204 NOTES. See P. 3, 63. — i|>6p|i.i'w' cXeXi^uv : The (fiopfny^ takes the place of the ^los. eKe\tC<^v is properly used of the (j)6pfuy^, P. 1, 4. — 15. kXclvus c$ 'OiriSevTos : On the gender, comp. O. 3, 3 : xXeivav 'AKpd- yavra. Pindar shows a special interest in the Lokrians (v. 33), and this has given rise to many historical fancies on the part of scholars. — alv^jo-ais : Aor., the result, as ikeki^av, pres., is the pro- cess. Dissen puts a full stop after 'Ortoevros, and makes alvrja-ais an opt. unnecessarily. — 16. 0e)i.i$: The family-tree of such ab- stractions often gets its branches twisted, but P. consistently makes Evvofila daughter to Oifus, 0. 13, 8. — flvyoTTip . . . ot : " She that is daughter to her " — not " her daughter." N. 7, 33 is not a parallel (Erdmann). — XeXoyx"': The sing., v. 89. — 31. v auToi : Cf. O. 5, 1 : aTe(f>dva>v aarov ykvKvv. The distributive plural is genuinely Greek. Comp. I. 3 (4), 48 : tS>v dneipaTiov yap ayva- tTToi a-iconai. Yet amroi occurs only here and N. 8, 9 : f/paxop ao)Tot.^K\iiTov : " To renown " (predicative). 'Ett. a. — 33. <|>C\av iriXiv : Comp. v. 89. — 34. piaXepais ciri(|>X^ii>v aoiSats: fuiKepos is painfully dazzling. So. O. R. 190: 'Aped re Tov p,aKep6v, oy vvv (jiKcyei p,€. fi. d. is almost an oxymoron. P. 5, 45 : (re . . . (jAeyovn XdpiTfS, N. 10, 3 : (pXeyerm 8' dperais pvp'iais, I. 6 (7), 33 : (j)\4yeTm &' loirKoKoia-i Molcrms, P. 11, 45 : raj/ evcj)po iraXdii^i : The condition is merely formal. This is 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 (dvdfa vpvav, v. 53), with which the keeper of the garden of the Charites pelts his favorites (P. 9, 133 : jroXXa pkv (ceTi/oi biKov (jivW ejTL Km (rTf(j}dvovs) as he showered arrows before. Comp. P. 6, 3 : Spovpav Xapirav, N. 10, 36 : Kal 'lK dp6i.n. : 0.1,17. — TJpeiSe: "Pressed." — 34. iroXc|j.££uv : TreXe^ifrnv (Thiersch andBergk) is specious, but we should expect to^ov. Homer does not use iroXefii^eiv of single combat, but that is not conclusive. — 35. pa^Sov : 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-KVToKov 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. Hera- kles is a Kara baijiov dvr)p, as P. is a Kara Sai'/ioj/' aoiSos. Comp. V. 38. Observe that P. only carries out the thesis aya6oi Kara haifiov iyivovTo with Herakles as proof The a-o(j)oi he leaves untouched, as savoring of presumption. — 38. airb . . . pti|rov ; P. is overcome by his own audacity. A little more and he had matched himself against all the gods and goddesses of song. Comp. the sudden start of O. 1, 53 : dtpia-Tanai. — 40. t6 ye XoiSo- f Tjo-ai ... TO KavxacrOai : Both objectionable ; a very common use of the articular infinitive. See O. 3, 107. XoiBoprja-ai involves taking sides. In tense, \oiSoprjcraL matches ph^ov. Kavx'i^poi$ : Imper. opt. " Lend." — IIpcoTOYCveCas : P. seems to have been very familiar with local myths of the Lokrians. The story as told by 206 NOTES. Mezger, after Bockh and Bossier, is as follows: Deukalion and Pyrrha, grandchildren of lapetos ( comp. Hor. lapeti genus ) escape the deluge by taking refiige on Pamasos. When the waters subsided, by the devices of ?eus (v. 56), they descended from the mountain (v. 46) to Opus, where, in consequence of an oracle of Zeus, they founded the first town (v. 47), and made the Stone people. To these belonged " the hundred mothers " from whom the Lokrian nobles were descended, as, indeed, the promi- nence of women among the Lokrians generally is a significant fact. The royal race to which Epharmostos is supposed to have belonged traced their descent from Deukalion and Pyrrha down to Lokros in the male line, and from his adopted son Opus in the female. Lokros was the last of his house, and the race was about to die out with him, but Zeus carried off Protogeneia, daughter of Opus of Elis, and granddaughter of Protogeneia, daughter of Deukalion and Pyrrha ; was united to her in the Mainalian mountains, and brought her to the childless Lokros, her cousin, as his wife. Lokros called the offspring of the younger Protogeneia after her father Opus, and gave him the throne. The fame of Opus spread, and many settlers came to him, none dearer than Menoitios. — 45. aloXoPpv : They are of the same commonwealth, not of the same blood. Comp. the Herakleidai and the Dorians. — 51. iv: Refers to Aaoi, "in their honor." — ot|j.ov Xiyuv: oi/xos- is more fre- quently a figurative path. So Engl, "way" yields more and more to "road." Comp. O. 1, 110: 6bos \6ya>v, and Hymn, in Merc. 451 : iykaos oi/ios doiB^s (Horn, oi/iri). — 53. oivei , . . vfori- pwv : This is said by the Schol. to be an allusion to a sentence of Simonides, who, in blaming P.'s new vereion of a myth, said, fr. 75 (Bergk) : i^ekiyxfi 6 vios ohos oSira {oi to, Schneidew.) ttc- pvpa)v- P. retorts by in- sisting on the difference between wine and song. Men want old wine and new song, the former a universal, the latter an Homeric sentiment, Od. 1, 352: r^v yap doiS^v /laXKov tViKXeiovtr' avBpairoi, I ij ns aKovoiiTecTin veaTcmj ap.iiTi\r)Tai. The story has so little warrant that it ought not to weigh, as it does with some, in fix- ing the date of the ode. Simonides died 456 B.C. 'Ejt. ^. — 53. XfyovTi |iav : fiav with a note of defiance. Cf. P. OLYMPIA IX. 207 3, 88: \iyovTai fiav, and especially P. 1, 63. The challenge does 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 Opus. — 57. SvtXov : " The flood," which rises as the water that rises in the hold of a ship, the regular meaning of avrkos. Cf P. 8, 13. The earth appears as a leaky vessel. — cXetv : " Drained." — KcCvuv : The reference is much disputed, k. =Aa5j/ (Dissen) ; k. =: AfUKaXiavor JIvppas t£ (Bockh), which is the more likely by reason of the emphasis on 'laireTiovibos v fidkirififv yvvaiKav Te ULabfieiav efioKov (of Dionysos). Bornemann's Kopas . . . (^eprarov is a purely arbitrary simplification. — l7xupioi PatriXTJes : iy^aipioi is used in opposition to iwaKToi. " A purely native line of kings until . . ." Srp. y. — 61. irpiv 'OXviiirios . . . ivtiKtv: The Schol. makes a full stop at ahi, and considers npiv an adverb, with ydp omitted =wpdT€poi/ ydp. But TTplv requires a standard of reference and ahi forces a close combination. Trplv with the ind. always means "until," which here marks the intrbduction of new blood. — 62. cKaXos : Ace. to Schol. =:Xddpa. Comp. II. 8, 513 : /iij /iov da-wovSl ye veSiv im^aiev eKrjXoi., with reference to an escape undercover of the night (Sia viKTa.).—6S. ^l.l\6J\ : Cf. O. 6, 39.— Moivo\£oid»|/ais: As a weight of sorrow. — 65. i\tvz=cj)4p€i>. Comp. P. 3, 15 : ^ipovtra a-irepjui 6fov Ka6ap6v. — 68. lKa\€o-diu^ev KaXelcrdai,. — 71. iriJXiv uirao-ev: Acc. to another tradi- tion (Eustath. on II. 3, 531), Lokros had been forced to yield to Opus. 'Avt. y'.— 73. o<|)£itovTo 8^ poi : For the dat. see P. 4, 134, where there is a gathering of heroes, as also N. 8, 9. — 73. 'Apvcos : Then at the head of Greece. — 0t|Pov : Pindar's home. Notice the t( 20S • NOTES. . . . re here, the Se . . . 84 further on ; significant change from parallelism to contrast. — ^"ApKoSts ; On account of the joyance ■Mmva\lai(nv iv Seipais. — IInroTai: By reason of the Olympian games. — 74. vi&v 8'"AKTopos: 11.11,785: M(voinos,'AKTopos vtos. — 75. McvoiTiov : Patroklos is tenderly treated in the Iliad, and often called by his patronymic. So MevoiTiddris, II. 1, 307 ; 9, 311 ; 11, 608; 16,430; 17, 370; 18,93; Mevoiriov vios, II. 11, 605; 16, 278. 307. 837; 18, 13.— 76. TevBpavTos ireSCov: Comp. I. 7 (8), 49 : 6 [sc. 'A;^iX\evs] Kal Mvai-ov a/«reXdev | aiiia^e Trj\eov /leXavi pai- va>v (pova TTfbiov. Teuthras was adoptive father of Telephos and king of Mysia. — |io\wv . Rarely, as here, with a simple ace. (N. 10, 36). — 80. Scilai I |i.a6€tv: Lit. "to show (so as) to (make one) perceive," " to show beyond a doubt." Comp. N. 6, 9 : re- Kfiaipei, . . . (Sell/, So. O. R. 793 : SijXaxroi^' opav, So. El. 1458 : xdi/a- SeiKvvvm . . . opav. — 83. y tvis : The MSS. have yovos, unmetri- cal ; Schneidewin eenoyvrjTos, Bergk y S^os, Mommsen FLvvos, Bothe y his, in which I have acquiesced, though y is a poor piece of patchery, as often. ''En. y. — 84. v^eripa.^ : Homer uses p.evos, which the older, which the younger, was much discussed. See Plato's Sympos. 180.— 86. eiriv: A sudden tr&r.sition. Remember that prayer is always in order, and many asyndeta fall under this head, 0. 1, 115. A similar shift is found N. 7, 50. P. suddenly remem- bers the heavy load he had to carry, the contract list of the vic- tories of Epharmostos, and prays for more power. " May I find words." Compare Homer's petition to the Muses, goddesses of Memory, before he begins the catalogue of the ships, II. 3, 484.— dvoYcto-eai : " For my progress " through all the victories of Ephar- mostos. dvd gives the force of "all through." In N. 10, 19: ^paxi p-oi. o-T-d/i' aj/ayijo-ao-flai, the figure is efiaced ; not nec- essarily so in I. 5 (6), 56: ip.o\ Se p.apa, for which see O. 6, 23, keeps the figure alive. — 87. ■irpdo-.J.opos ; The traditional "fit," whether "fit" (for the Muses), "fit" (for the theme), "fit for (eV) the OLYMPIA IX. 209 Muses' car," "fit to rehearse" (,dvayei(T' apyvpiSea-a-iv: The prize consisted of silver goblets. On dp,cjii with dat., see 0. 7, 80. — 98. o^-upeirct SdXm : " With a quick sleight of shifting balance." By this light read So. O. R. 961 : (rp,iKpa TToKma a-mfiaT cvvd^ei'ponrj. — 09. oirTuTi.: Many a trick ends in a fall for the trickster. — 100. kvkXov: The ring of specta- tors.— So-o-q, Poo: Of applause. P. 4, 341; 0. 10 (11), 80. — 101. upatos : P. dwells on the personal beauty of the victors whenever he has an excuse. So O. 8, 19; 10 (11), 114; N. 3, 19. 210 NOTES. 'hvT. 8'.— 103. Ti 8^ : "Then again." 0. 13, 55 ; P. 8, 38 ; I. 3 (4), 11. — nappaciiji o-rparw: At the Lykaia, in Arkadia, O. 13, 108; N. 10, 48. — 104. «|ruxpov . . . cvSiavov (|>dp|i,aKov aiipav : The prize was a woollen garment (p^Xalva). Comp. Hipponax, fr. 19 : -j^Kaivav I Sao-fiav iv ;(ei/xmvi (^apjiaKov piyevs. The games were the Her- maia, and were held, according to the Schol., in winter. — 67r6T(t) -. Never generic in P. except with subj. — 105. IlcXXdv^: In Achaia. Comp. O. 7, 86; 13, 109. — otJvSikos: Schol. fiaprvpfi. Comp. O. 13, 108: p,apTvprjcr€i AvKaiov ^a/ios. — 'Io\dow : The lolaia were celebrated near Thebes. Comp. I. 1, 16 foil. On the tomb of lolaos, see P. 9, 90. Amphitryon was buried there also. — 106. 'EXevtrif : The Eleusinia, in honor of Demeter and Kor6 (ra Bca), are mentioned also 0. 13, 110 ; 1. 1, 57. — oYXotoiinv : The dat. aira still lingers in the mind. " Witness to him . . . and to his splen- did achievements." — 107. to Se <|>vq) Kparnrrov airov: The key- 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 bj' mere training — the yjre > • acBXov: The eirivLKCov. See V. 87. — 117. upvo-oi : A howl of defiance, as if P. were a watch-dog. To us the word has a note of exaggeration. Hence Ahrens: apva-ai = yapvcrm, but &. is not worse in its way than the dies diei eructat rerhim of the Vulgate. — 118. SaipiovC^: Adv., Satfiovla fioipa (Schol.). — 119. opfivr' aXxdv: "With valor in his eyes." So TTvp SfSopicmf, (pA^ov ^XfTrmi/, Engl., "look daggers." — 130. AUvTcuSv t' iv BoiTi .^iXidSa: With Mommsen. "At the banquet OLYMPIA IX. 211 of Olliades he crowned victorious the Aias-altar." This seems better here than " At the banquet he crowned the altar of Aias Oiliades," the gen. being in apposition with the adj. in -tos, as m TopyfLT] Kipov (II. 5, 741), Nforopcj; jrapa vr\\ nvXoiyfw'oi /Sao-iXijoi (II. 2, 54). PiKiaia tor 'oCKiaba. Aias, son of O'lleus, was a Lokrian, II. 3, 537 : A o k p 5 v 8' jjyefiovevev '0 i X ^ o s raxiis Aias. His eflBgy is seen on the coins of Opus. The post- script -Te comes in very well. — iifsart^vmn : " Crowned in com- memoration (eVi)." So Fennell. Bather "heaped wreaths upon." BOXERS WITH OIL-FLASKS. Coin of unknown city. OLYMPIA X. (XI.). Thb victory celebrated in this ode was gained by Agesidamos, a boy boxer, son of Arcliestratos of Bpizephyrian Lokris, Ol. 74 (484 B.C.). The following ode (11), composed on the same theme, and produced at Olympia immediately after the victory, was put after the longer ode in the MSS., because it was fancied to be the TOKOS mentioned v. 11. This longer poem was sent to Lokris some time afterwards. There is nothing to measure the interval that elapsed, and the poet's expressions of contrition at the long delay must be construed poetically. Hermann and Mommsen assign it to the next Olympiad, De Jongh and Fennell, who see in V. 15 an allusion to Anaxilas of Rhegion (see Introd. 0. 1), would put it 01. 76. Liibbert has written an elaborate essay (Kiel, 1881) to prove that Pindar gave tliis detailed account of the institution of the Olympian games by the Theban Herakles in distinct opposition to the traditions of the Eleian priests, who referred the establish- ment of the games to the Idaian Herakles, and the Dactyls, his brothers. See Paus. 8, 7, 6. Lobeck and others consider the Eleian legend a late invention, but Liibbert has proved the great antiquity of Idaian sites in the Peloponnesos, and this theory gives a more plausible explanation of the detail here presented than the gratuitous assumption that the poet went into all these particulars for the benefit of the Epizephyrian Lokrians, as if the Epizephyrians did not have traditions of their own. As a cham- pion of the glory of the Theban Herakles against all comers, Pin- dar appears in a very natural light. The words which form the key to the poem lock the third antistrophe and the third epode together, 3 t eieXeyxmv /iovor | dXdOfiav irriTvjxov \ Xpovos (v. 59). The poet begins by acknowl- edging a debt: Time shamed him. The truth of the first Olym- pian games was hidden: Time revealed it. The melody was OLYMPIA X. (XL). 213 long suppressed : Time brought it at last, as welcome as the son with whom the wife rewards the long-expectant love of the aging sire. Time brings roses, Time crowns renewed effort. So Herakles suffers repulse. So Agesidamos has a hard struggle, but both succeed at last. Xpovos yap ei/xapijs fleds (Soph.). The poem was written in fulfilment of a promise, in payment of a debt which the poet poetically feigns that he has forgotten (v. 4). He calls on the bystanders to read the ledger of his heart and see where his creditor stands written ; he calls on the Muse (Memory) and Truth, the daughter of Zeus, to keep from him the reproach of falsehood (v. 6). Time has brought the blush of shame to him for this heavy arrear of debt (v. 7), but usury can make good the failure of prompt payment (v. 11). The tide of song will wash away the pebble-counters into the depths of poesy, and the debt due to Agesidamos and to Lokris shall be settled, and favor gained besides with Faithfulness, who inhabits the city of the Zephyrian Lokrians, with Kalliope, who is dear to them, as also mail-clad Ares (v. 15). But the poet is not the only one in debt. Agesidamos would have failed, as Herakles failed in the fight with Kyknos, had not Has helped him (v. 19). So let him pay his debt of gratitude to Has as Patroklos his to Achilles. Native valor, training sharp, and God's favor can raise a mortal to great fame. Only some few reach joy without toil, light without darkness (v. 25). This tribute paid to Has for the training sharp, the decrees of Zeus urge the poet to pay another debt — the debt due to Herakles for the establishment of the games hard by the ancient tomb of Pelops — and the heart of the poem is occupied with a detailed account of the origin of the Olympian games and the first celebration (vv. 37-85). Herakles is not the Herakles of Peisandros (O. 9, 32) ; he is not a lonely knight-errant, he is the leader of a host. The version here given bears on its face the impress of a strong local stamp. It is not the common story, that ia evident ; and the poet draws a sly parallel between his forgotten debts written on the tables of his heart, which Time reveals to his shame (;(/)dyo?, v. 8) and the truth which Time has brought to light (Xpdi/or, v. 61). The victors, so far as they can be traced, are all in the belt of the Peloponnesos with which the Lokris of the mother-country had afiinity. Arkadia is promi- nent, Tegea is there (v. 73), and Mantineia (v. 77), and the con- clusion bears the broad mark of the device of the Lokrians — the thunderbolt (vv. 86-91). 214 NOTES. At the close, P. sings how welcome the song must be in com- ing, as a late child of one's old age; and well it may, for song alone gives immortality. And now he has fulfilled his promise. He has praised the Lokrians, he has praised the son of Arche- stratos, a vigorous prizer and a Ganymede for beauty (v. 115). The debt is paid, as debts should be paid, with cheeriness, if not with promptness. The Aiolian (logaoedic) rhythms are gay, lilting. The poem ends fitly with Kvirpoyevel. Mezger calls at- tention to the recurrence of ;(apu/, vv. 14, 19, 86, 104. Of the five triads, tlie first is occupied with the introduction, the fifth with the conclusion. The story of the Olympian games^ takes up the central three. There is a little overlapping, but not so much as usual. Srp. a. — 1. Toy 'OXvfinrioviKov : Prolepsis. Emphatic accusa- tives naturally seek the head of the sentence. — avdYviore : Famil- iar reference to reading and writing, esp. common in Aischylos, e. g., P. V. 789 : ^v eyypdipov trii jxvr]ji,o(Tiv SiXrois v : So Schneidewin for the un- raetrical dvarStv of the better, the dvSpav of the inferior M8S. OLYMPIA X. (XL). 215 Hermann writes ovdrap, " beneficial ;" in the mercantile sense, " a good round interest." Mommsen, ye tokos avSplov. So also Mezger. Pennell, who desiderates proof for S>v with imper. iu P., has opaTio. One might be satisfied with Homer's oSv and im- per. — \|iXav . . . U x'ip'''': "As a loving favor," and thus get thanks for blame. — rCo-onev : Pindar not unaided by Molo-a and 'AKddcia. 'Ett. a. — 15. 'Atp^kcio: Not the same with 'XKddeta above. dXr)6ei.a is truth, as "candor;" drpiKfia, "truth," as "straightfor- wardness," " unswerving accuracy," a business virtue. Fides iustitiaque (Dissen). In 'Arpexeta there may be an allusion to the uprightness of Zaleukos, the Lokrian lawgiver. The Lokri- ans love honesty. I am honest. They love song. I sing. They are warlike. I will tell of war. — 16. KaWirfira: Afterwards es- pecially the heroic Muse. Stesichoros, " who bore the weight of the epos on the lyre" (Quintilian), was of Lokrian origin. — 17. Xn^Keos 'ApT|S : See O. 11 (10), 19: crrpaTov alxp^rdv. — KiJKveia: The short a, as in 'obva-a-ua (Aeolic). Kyknos was slain by He- rakles in the grove of the Pagasaian Apollo because he had seized the victims destined for the Delphian shrine. So Stesi- choros. The poem was doubtless familiar to the Lokrians. The nexus is not over-clear. It is tolerably evident, however, that the victory of Agesidamos was gained after a hard struggle. In the first encounter Kyknos was aided by his father, Ares, and Herakles fled ace. to the proverb, ouSc 'HpaxX^s irphs bio. But our Lokrian Herakles, Agesidamos, found his one adversary too much for him, and he would have failed, had it not been for the help of his trainer. Has, whether that help was the training itself or encouragement during the struggle. The parallel of Patroklos 216 NOTES. and Achilles with Agesidamos and Has gives reason to suspect that the adversary was an ingens Telephua of a boy (O. 9, 76). De Jongh sees in this an allusion to the struggle between the Lokri- ans and Anaxilas of Rhegion.— 19. 'IX.^: The mention of the trainer {SKeiirnts) is a part, often a large part, of the contract. See 0.8,54.-31. 'AxiXci ndrpoKKos : The Lokrians took an es- pecial pride in Patroklos. See O. 9, 75. Patroklos was almost universally considered the older of the two, after Homer, II. 11, 787. — 33. 6i]|ai« : A trainer is called a Na|ia aKova, I. 5 (6), 73. The same figure is used by Xenoph. Cyr. 1, 3,10. 6, 41.— i!vT' apcT^: " Born to achievement." Cf. N. 7, 7 : apera Kpideis. P.'s contempt of the 8i8aKTa\ aperal (O. 9, 108) is reconcilable with the value of training {doctrina sed mm promovet insita/m). Srp. ^'.— 34. oirovov . . . iravpoC Tiv€s: Litotes for "no joy with- out toil." An awovov XW" would not be singable. Connect (poos with x«P/"> above, " a joy that is a supreme light to life." — 35. irptS: "Above." — PicStw it>das : Comp. O. 3,63: avSpl d8i: The snow of the old time is an offset against the sun of the time of Herakles. O. 3, 34. — 58. iropeffTov : The Moirai were present to help, as at the birth of lamos (O. 6, 43).— (iJv . . . T(e): O. 4, 13.— opa: "As was meet." — 60. dXdfltiav eTiJTt)|iov : akrjdeia, orig. " candor," needs the reinforcement of "reality." t6 irnTviiov is to ovras ov. Truth K 218 NOTES. to impression is proved to be truth to reality. The broidered tales (0. 1, 39) perish, but the true record prevails {afiipai 8' fVi- XoHTOi fidprvpes a-offxiyraToi). Things will right themselves — nay, have righted themselves — and Time, the Recorder, is Time the Herald. Nothing can be more evident than P.'s championship of the Lokrians against false traditions. 'En.-y'. — 61. Xp(Svo« : See v. 34. — KOT^<^pov Spo- fiov. — evBiiv T^vov: "A straight stretch" — not the SlavXos. So the Schol.— 71. AikiShviov: See O. 7, 39.-73. Olwvds: Nephew of Alkmene, first cousin of Herakles. According to Pausan. 3, 15, 4, he was killed in Sparta, fjXiKtav fitipdKiov, not very consistent with Pindar's a-rparov Ikavvoav. — MiSca6ev : Midea was in Argolis. The name of Oionos's grandmother was Midea. See O. 7, 39. — 73. 'Ex«|">s = Who afterwards killed Hyllos, the son of Herakles. Paus. 8, 5, 1. — 74. A^pvicXos: Unknown. — E€pc: Imperfect of vis- ion, what Shilleto calls the panoramic imperf. Comp. O. 8,49: rai/ufy.— T^Xos: "Prize." P. 9, 138; 1. 1, 37. 'A»T. 8'.— 77. So|i,os : Mentioned in the Choliambi of Diphilos : irrpi^as 8e ttcbXoi/s as 6 MavTivciic Sfip,os | 6s trprnTos app.aT fjXacref nap' 'AXeia.—a\ipo9iav = 6 'AXippodlov. Halirrhothios, son of OLYMPIA X. (XL). 219 Poseidon, and so an hereditary charioteer. — 78. *pop : Un- known, as well as Nikeus below. P. is following local records. — 79. (laKos . . . eSiKC i= fiOKpav cppi^e piyfnv (Scliol.). — Si Niitetis ; So Ambros. for 6' 'Evikevs. — irirpif: In I. 1, 34, cited as a parallel for the dat., Christ reads alxfi^ais =; alxjias. — x^P'^ Kt/KXwcrais : Od. 8, 189 : t6v pa (so. hia-nov) mpurrpi-^as. — 80. vnr^p oirdvTWv : " Above " = " beyond." So N. 9, 54 ; I. 3, 36.— Xc|cv : eVe'(^Xe|f j/, " lighted up." Comp. O. 3, 30. The full moon, hence evwiriBos o-cXdvos, was a necessary part of the institution. The light of the moon meets the shout of the army. 'Ett. S". — 84. deCSero : " Rang with song." This use of the pas- sive is not very common in Greek. Cf. Eur. I. T. 367 : aiXflrai TTOv pe\a6pov, Heraclid. 401 : 6vr]Tro\eiTai 8' Sxrrv. — 85. rhv lYKm|j,iov d|ji.<|>i Tpdirov : " Like banquet music." A curious use of a.p.^i, which makes the tune the centre of the song. — 86. apxats . . . irpoT^pais : " The beginnings of yore," the establishment of the games by Herakles. — eir(5|ji€voi : Seems to hint at deviation on the part of others. — liruvv|iiav x^piv : "As a namesake grace of the proud victory, we will sing forth the thunder ... of Zeus." The victory is Olympian, let us sing, to grace it, Olympian thun- der. Perikles the Olympian was Perikles the Thunderer. x^P'" is the result of Kekahrja-op-eBa ^povTov. — 87. vCkos : So P. 1, 30 : tov €wa>vvfiiap. — dyepcoxov '• See P. 1, 50. — KcXaStjcroiJieOa z= e'viTajXfv (Schol.). — 89. irDpirdXajiov pc'Xos : "Bolt of the firehand." Hor. Od. 1, 3, 3: rubente \ dextera sacras iaculatua arces. The thun- derbolt is figured on the coins of the Epizephyrian Lokrians. — 90. Iv oirovTi Kparei . . . dpapdra: "In every victory fit emblem." Mezger, after Friese, makes it "in which dwells omnipotence." — 93. x'^iSfio-o: "Swelling." 0.9,3: Kexkabms. 'S.Tp. e'. — 93. TO . . . (|>dvcv : Neut. pi. with verb pi. gives more individuality and more life. We distinguish the strains. Cf. P. 1, 13. For ^avev of music, comp. So. 0. E. 186 : wamv Se X d/i- 220 NOTES. nci. — 94. &T€: So Bockh for fio-Te. — 95. vedraTos to iroXiv : "The reverse of youth." So 0. 13, 11 : e/i7raXij/ Tepyjfios, P. 13, 33 : cji- TToKiv yvafMS. — 97. iroi\iiva: "Master." — 98. liroKTov aXXdrpiov: One thinks of " this Eliezer of Damascus." — 99. Ov^o-kovti arvye- puraros : Out of the almost epic fuhiess of this passage it has falsely, if not foolishly, been gathered that Agesidamos had be- come old while waiting for Pindar's song. In one sense, yes ! 01 8e Tro6evvT€s ev ^'/lan yrjpacrKova-iv. The late song is as welcome as a child of one's old age. Nothing more hateful than to die and leave no heir of one's body. Nothing more hateful than to die and leave no memorial of one's hard-earned glory. As the child keeps up the name, so the lyre keeps up the fame. We have no right to assume that Agesidamos was on the brink of the grave. The poet simply declares that he is secure from any such disaster as oblivion. 'AvT. ('. — 102. Ktvfo. 'TTVEvo-ais : " Having spent his strength and breath in vain.'' Of N. 8, 41 : oXXor SX\o Trviav, and P. 2, 61 : TraXai/iovel Kfved. — C'^X*'? '• Semi - personification. " Procures for Toil naught but a little pleasure," the fleeting glory of the un- sung victory, — 105. eippu : Predicative. The fame is spread "abroad " by the fostering Muses. 'Ett. € . — 107. I701 81: In contradistinction to the Muses. — avvE(|>a'irTd|iiEvos : '■ Lending a helping hand." — 108. o|u|>^''''«<''ov : " Embraced," " took to my heart." What was promise is per- formance. — 109. KaraPpExuv: Cf I. 5, 21 : pawipifv eiXo-yiair, P. 8, 57 : 'AXKfiava im(pdvoi9(5vr|Tos : The gloss Tro\vp,ia tS)v fv 'OXvp.Trtg. VfviKrfKorav. As often, p,iv and hi attack different members of the antithesis with chiastic effect, P. 1, 31. — afiercpa: Plural of the chorus. 9. iroi(jio£v«i,v : " Tend," " cherish," " make our care." Comp. also OLYMPIA XI. (X.). 223 the use of ^ovKoXely. The figure is not to be pressed. — 10. Ik BtoS 8(^): p. modestly acknowledges his dependence on God. Comp. P. 1, 41 : eV BeStu yap jia)(avcu nacrai fiporems dpeTots. — avi/jp : O. 1, 66. — 6)101(0;: So von Leutsch, who has expiscated it out of the lo"(Bs Koi aiira t£ Tponw (rm airm rp.) and ofioias Sycrwep Koi (TV vevUrjKas of the old Scholiasts. " We are fain to sing thy ' praise, but our success depends on God, as well as thine." The old MSS. have ofias &v, the interpolated eVaei after Sianavros of the Schol. Mommsen reads : Trpanlbiaaiv • 6p,cos &v Xa-di, ktc. 'Ett. — 18. Iiri a-re^ava ; " Over and above," " topping." So 0. 3, 6 : x'^'"'<^''<^'- ■ • ■ C^vxdevTes e tt i a-Tedva>v AiffKav, N. 1, 17 : (jivXKois iXmav )(pv(TioiS, P. 10, 40 : 8a.iyop€v Kal nov rai/Sc jivrjO-eirBm oLa (sc. rjiias). viv, in anticipation of a-rpaTov, would be forced (in spite of O. 7, 60) ; with reference to the return of Agesidaraos to his home, unnatural. — 18. v'^i(i) : For the one neg., comp. P. 10, 41 : voa-ot 8' oiVe yrjpas. So. Phil. 771 : eKovra firiT Akovto, Eur. Hec. 373 : Xeyovtra fn)8e Bpaxra. The neg. p,ri, as after a verb of swearing (O. 2, 102_). — aircCparov koXuv, KTf.: The Epizephyrian Lokrians well deserved this praise. For their poets — Xenokritos, Erasippos, Theano — see the classical diction- aries. The AoKptKa aa-fiara reflected tlie passionate and erotic character of the people. The poems of Nossis, preserved in the Anthologia Palatina, are well worth study. — 19. alxiiarav: Es- pecially noted is their victory over the Krotoniates on the banks of the Sagra. Of O. 10 (11), 17.— t6 yip | l|«t>vh . . . Aijeos : The equable dactylo-epitrite rhythm allows this separation of article and substantive (Stein). Cf. O. 7, 13(?); 12, 5; P. 13, 20.— 20. aXuii-T]!: This need not refer to aKpotroc^oi/. Perhaps only the lion- part liolds. Still comp. I. 3 (4), 65.-21. SiaXXa^avro: " Change " (gnomic aor.). So witli Lehrs, v. Wilamowitz-Moelleurlorff, Schro- der (Am. Journ. of Pliil. XII. p. 386). The MSS. StaWd^acvro, "May change," the so-called potential optative without an. How- ever, the examples commonly cited for this opt. in Pindar, N. 3, 30 ; P. 11, GO, cannot be considered stringent. 0. 3, 45, the opt. is imperative. In prose av is necessary, and Hartung writes here: diaXKd^atvT &v rjBos, which is forbidden by the digamma. OLYMPIA XII. Ergotbles of Himera, an exile from Knosos in Crete, won the &6\iXos, 01. 77 (473 B.C.). The SoXixos is variously estimated at seven, twelve, twenty, twenty-four stades, most accepting the last. Crete was famous for its runners (Xen. An. 4, 8, 37 : 8d X t- Xov 8e Kprjres TrXeiouf ^ e^r]KOVTa edeov), though the Cretans seldom took part in the Greek national games. After the vic- tories mentioned in this ode (v. 17), Ergoteles won another Olympian (01. 78), and two Nemean contests (Pans. 6, 4, 11). The poem itself tells us that he had been driven from Crete by political faction, and as Sicily was the land of promise to the eastern Greeks, and especially those of Dorian stock, we may dispense with a closer investigation. From the Scholiast we learn that he arrived at Himera when a quarrel between Gelon and Hieron was at its height. Himera was hardly more quiet than his old home, but he succeeded in acquiring citizenship and the jealously guarded right of holding real estate. The twelfth Olympian is a short occasional poem. It has no room for a myth, unless we consider the simile of the home- fighting cock an equivalent (v. 14). The simple thought is the domination of Tych@. At the beck of Tychg ships are piloted on the deep, stormy wars and councils guided on land. Men's hopes are ships that roll through seas of idle plans, now high, now low. The future no god hath pledged, no man hath seen. The hoped-for pleasure is reversed, and from the battle with a sea of trouble men pass in a moment's space to joy profound (vv. 1-13). So Philanor's son, like some home-fighting cock, would have had only homely fame, and the garland for the swiftness of his feet had shed its lea\es unheralded, had no hostile faction bereft him of his Knosian fatherland. Now he hath gained a wreath at Olympia, two at Pytho, two on the Isthmus. Now he magnifies OLYMPIA XII. 225 the city of the Nymphs' hot baths. Now he dwells amid broad acres of his own (vv. 13-19). The sea plays an important part in this ode, as might be ex- pected 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. Tlie 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 Er- goteles. The rhythms are dactylo-epitrite. Bockh calls the mood a mixture of Dorian and Lydian. The parts of the triad are clear- cut. The first deals with the domination of Tychfi, the second reinforces the theme of the uncertainty of human plans, the third makes a practical and comforting application of these reflections to the case of Ergoteles. 2rp. — 1. Zt|v6s 'EXcvScpiov : Zeis 'BXevSepios was honored in other Greek states, but esp. in Himera, on account of the great victory gained over the Carthaginians, and the new deliverance ii'om the rule of Thrasydaios. See Introd. to O. 2. — 2. eipvirBt- vc(a) : Proleptic. Not used elsewhere in P. of a city. — d|ji(j>iiro\ei : " Keep thy sentry-round about." — Surcipa Tiixo : Tychg, ace. to the Homeric Hymn in Cerer. 420 is a Nereid ; ace. to Hesiod (Theog. 360), a daughter of Okeanos. Notice the sea atmosphere. Only ace. to Pindar himself (Paus. 7, 26, 8), T. is one of the Moi- pai. — 3. Ttv : " At thy beck." The dat. of interest is by implica- tion the- dat. of agency. Comp. P. 1, 78 : apxK.iia vavs, celeria navis, an expedi- tious conveyance." Jebb, on Soph. Ai. 710. Ships refer to war and peace, then follows war (TrdXe/ioi), then peace (dyopai). So the balance is prettily held. — 4. ir(S\E|ji.oi : Seas of blood, through which Himera had passed. — 5. KOYopoi . . . ^ovXacfxipoi : In pub- lic councils it was a formula to commence dyadfj rixn (Paley). — at ye n«v avSpuv . . . eXirtSes : Article and substantive are rhyth- mically near, though syntactically far removed. Cf O. 11 (10), 19. — (itv . . . 8(^ : O. 11 (10), 8. — 6. ir^XV ov« . . . to S(e) ; Ad- verbial, as N. 9, 43. The lying world is ploughed by hopes as waves by ships. — fUTafuivia := /if reatpa Koi alpofiiva (Schol.). The K2 226 NOTES. waves of falsehood dash high and then fall back.— KDXiv8ovT(a,i) : Not KvKlviovTi = KvXipSovari. 'Avt. — 7. onJiiPoXof : " Token," " pledge." The figure is. not wholly dropped. We are now voyaging on a merchantman. — 9. <|)pa8ai=:yj/(»o-fis. The plural in sympathy with tS>v fieXXovrav (=:nfpi tS)v fj,.). SeeO. 9, 31. — 10. eirev din/p Bvaros otfTrm rir irporepov (v. 31). The myth concluded, the poet again tries to sum up the achievements of the Oligaithidai in a few words, but the line stretches beyond his sight, fiMj-a-ov ^ rar ISefiev (v. 113). Swim out of this sea of glory with nimble feet. In highest fortune, as in trembling suspense (0. 8), there is but one resource, and that is prayer. Zeus, Perfecter, give reverence with enjoyment (v. 1 15). So the spirit of control regulates both the end and the begin- ning of the ode. The dominant thought is eneTai S' eV eKda-ra | lifTpov (v. 47). The measures are logaoedic. The distribution of the five triads is not the common one. The first triad is devoted to Corinth, the second to Xenophon, the third and fourth to Bellerophon and his ancestors, the fifth to the Oligaithidai. Mezger calls attention to the fact that the subjects fall strictly within each triad. P. was evidently deep- laden with his commission, which must have come from the whole house, whose praises he distributes as best he may. The later successes, Xenophon's and his father's, are put first ; the earlier, those of the Oligaithidai generally, are put last. 2Tp. a. — 1. Tpiiro\v|jiiriovCKov ! Notice the pomp of the begin- ning. So also 0. 10 (11), 1: t6v 'OXujUTrioviKai' avdyvatri p,oi. Comp. O. 2, 1 : ava^i^opiuyyfs vfivoi, another grand open- ing. The opulent word suits the opulent (oX/3i'a) Corinth. Xenophon was victorious twice (v. 30), his father once (v. 35). — 3. aoTois : Of. P. 3, 70 : ^acriXci/s \ irpavs ckttoXs, ov f^Bo- v4b>v ayaOols, ^iivois dc dav/iaa-Tos wm-qp. a. is more common than TToXtrrjs in P., because d. is less technical and has to do OLYMPIA XIII. 229 with the natural rather than the political position. The dif- ference is briefly expressed in [Dem.] 59, 107 : fjv oilre ol wpoyovoi da-Trjii naTcKarov oVS" 6 Sfjfios ttoXItiv enoirjCTaTo. It would not be safe to make da-rols " the humbler citizens " here, although it would include them. — 3. 9«pdirovTa : A word involving kindly service. See P. 4, 387. — 7V(ios : With V. 1. 6|i(5Tpoi^os, "of like character." This seems to require the MS. daXr]s above. Much tamer than the reading given here. — rafiiai avSpdo-i : Slur -m hj/- into one. Mommsen writes Tdfiuu for the fem. (O. 14, 9). — 8. xpvinai: See O. 11 (10), 13. 'AvT.a. — 9. efl^XovTi: Of a fixed purpose, P. 1,63; O. 11 (10), 9, and so of a wont.— 10. "YPpiv, K<5pov narepo : Full personifi- cation to match the other. Theognis reverses the genealogy, v. 153: TixTft Toi Kopos v^piv orav KOKa A/3os eTrrjTai, but that makes little difference, as, according to Greek custom, grand- mother and granddaughter often bore the same name. It is a 230 NOTES. mere matter of "Y/Sois— Kdpos— "Y^pij.— 12. €ri9tta; "Straightfor- ward." fv. with ToKfia, not ace. pi., as Mommsen says, with \c- yuv. ToXiia is semi-personification, and the figure is not unlike that of O. 9, 88, where roX/ia is ^ue of the two attendants P. de- sires to have on his progress. I have hosts o£ fair things to tell, and I must go straight tt; my errand. Such is my nature. The poet apologizes for plunging into the thick of his praises. — (101 : Ethic dative.— 13. o(jiaxov . . . Tjeos: Cf 0. 11 (10), 31.— 14. vfLfuv Si : I am tlio singer, yi n and yours the recipients of the favors of the Horai. — 'AVoto: Aletes \\;,s a Herakleid king of Corinth. — ttoXXo. (lev, . . . iroXXo l(t) : Both are adverbial ^ tioX- Xdicty. Symmetry keeps the second n-oXXd from going with a-ola-fuiTa (v. 17). — 15. wirepeXBiSvTmv : The gen. absol. without a subject is denied for Homer. In P. the construction is to be watched. Undoubted, however, seem to be P. 8, 43 : &h' elne fiapvajievaiv, and P. 4, 332 (= N. 10, 89) : &s ap aiSdo-avros. Here the shift from the dat. to the gen. is easy, easier than making vTtepeXdovTav depend on ayXatav. — tcpois Iv aeSXois : O. 8, 64 : f| UpS>t/ diffKmv. 'Ett. a. — 17. apxaia: "Prom the beginning." — oirav 8' cvpiSvTos epyov : This has a proverbial ring. " All the work belongs to the inventor" (i. e. the credit for it all). Often quoted. Best com- mented by an epigram on Thespis: pvpios alav ttoXXo irpoa-evpfjo-ei Xarepa'- rdpa 8' efid (Schneidewin). — 18. Tai Aitovvirov . . . XapiTCS : Explained by the Schol. as al ioprai ai to itrayaryov txova-m. — 19. poT|XdTa: Refers to the prize of the victor in the dithyramb. Some think of the symbolical identification of Dionysos with the bull. See Hdt. 1, 33, for the history of the dithyramb, first performed in Corinth by Arion of Methymna during the reign of Periander. The Bacchic joyance is the main thing, and we must not hold P. to a strict account when he attributes the origin of the dithyramb, as he does elsewhere, ace. to the Schol., now to Naxos and now to Thebes. — 20. tis 7ap : P. 4, 70: ns yap dpxa, ktc. — iirireiois cv €VTt9dvT|T0S yivoio=: pri v€ji£(Tr)a-rjS (Schol.). Hdt. 1, 83: rA Bsiov irav ion (pdovepov. — 38. tvSvve: Natural metaphor for a nautical Corinthian, O. 7, 95. — 8o£|iovos: The Saipav here is the haipav yeviSkios (v. 105). See P. 5,133: Aids toi voos piyas Kv^epva I balpov dvSpav (j)iXa>v. — 39. S^Jai ri /oi: The dat. is used with 84$ao-6ai because the giver is interested as well as the re- ceiver. When |;he giver is a god, he is waiting to be gracious. When he is a man, the acceptance of the present is an honor. See the Pindaric passages P. 4, 23 ; P. 8, 5 ; 13, 5 ; I. 5 (6), 4 Cf. II. 3, 186: Se^aro ol o-Ki)n-Tpo>/.— £7kc5|jliov Tee|j.i5v. Cf. O. 7, 88: redpov 'OXvpmovUav. — oyei : The processional notion of the Kapos comes out. This reSpos iS also a noKvcjuXos iniras (P. 5, 4). — 30. ir€VTae9\u : The memorial verses of Simonides run : "loSpia Ka'i Tlvdoi Alo(J>S>v 6 ^IXavos iv'iv : The Isthmian wreaths were at first made of pine, then of parsley ( I. 3, 16 ; N. 4, 88 ), then pine was r& 232 NOTES. stored.. The parsley of the Isthmian games was dry, of the Ne- mean green. Parsley had a funereal as well as a hymeneal sig- nificance. — 34. ovK avTiloEi : Lit. " does not go against the grain," ovK evavTiovrm (Schol.). — 35. 0£o-iaX.oiuv api6|JLdv : Comp. O. 2, 108 : ^afifios api6 fiov Tvepntievyev. 'S.Tp. y. — 47. eircToi : Used absolutely =: (wopevov ea-riv, " is meet." There is a limit to everything. The poet puts a bit in his own mouth. Comp. v. 20. Enough of the house, now of tlie state. — 48. vofjo-ai: Sc. t6 perpov. So the Schol.: tovto Be avro vojjtraL TO TTJs (rvppeTptas cvKatpov re eVrt Kai apiiTTOv. Tlie Cen- tral thought of the poem. Cf Hes. O. et. D. 694 : pArpa (pv\d(rcre- OLYMPIA XIII. 233 ir6af Kaipos 8' eVi Tratrw apurros. — 49. /iSios tv koivu oraXcCs : The metaphor is nautical ; P. 2, 63 ; 4, 3 ; N. 6, 37 : 'Lhia vava-ToKiovres ewiKafiia. In the fleet of the common joy, P. is an IdioarroXos vavs — one that is independent of the rest ; he sails his own course of poetry (Kayser). His mission is to celebrate the victor's fam- ily, but he is to learn to know Corinth, he is to praise Corinth, he is to forget for a while the 'ISiov in the koivov. — 50. (j.ijt£v «... v6\e^6v t' : Afterwards distributed into 2i(Tv(f)ov /iew . . . to. 8e troT iv oXko. Comp. Pindar's praise of Sparta, fr. JQ. 63, 1 : evda jSouXai yepovrav Kai vtSiv dvbpav dpuTTcvoKTiv al\p.al.- — 53. a|Ji(|>l KopivOu: In prose Trepi KoptV^ou. — Si(n;ov: Both Sisyphos (the Archwise) and Medeia (the Deviser) were held in higher esteem in Corinth than in most parts of Greece. 2. depends not so much on yapvav as on the echo of it. See v. 40. — us 6i6v : The popular and false etymology of ^ia-vcjjos derived the name from o-idj = 5fds and trvcjios =^ a-o(j)6s, hence = 5cdo-o<^os. — 53. avr^: ipsi, not avra, sibi. There is no compound reflexive in Pindar, as tliere is none in Homer. The middle and the emphatic pronoun show the un- naturalness of the action from the Greek point of view. The story of Medeia is told P. 4, 318 foil. 'Ayr. y. — 55. to S^ koC : Adverbial, comp. O. 9, 103. Two ex- amples of wisdom are followed by a double line of martial deeds. — iv oX.Ka : " In the fight," closely connected with Trpd AapSdi/ou Tei,x^a>v. — 57. eir' o|Ji<()dT€po : There was Corinthian blood on both sides. The Trojan side, represented by Glaukos, grandson of Bellerophon (see note on v. 67), happened to be the more satis- factory, and hence P. turns that outward, according to his rule, P. 3, 83. — jioxS''' Ta|iveiv teXos : "Decide the issue of battles." — 58. Thv yhi . . . 'Atp&s : The Corinthians were vassals of Agamemnon, 11.3,570. Their leaders were not especially distinguished. Eu- 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, 663. — 59. Ko|«.tSovT€s . . . eip7ovT€s : Conative. — 60. r\o€Kov : Glau- kos appears often enough in the ranks of the Trojans — a brave, but flighty fellow, II. 6,119 foil, (where he makes himself immor- tal by exchanging armor witli Diomed, v. 336 : xp^<^f°- xa'^Kf 'aJv. iKOTop^oi evv£al3oiav) ; 7,13; 13,103 (summoned by Sarpedon to help him), 309; 14,436; 16,493; 17,140.-61. Heipdvas: Pei- rene, a famous fountain in Akrokorintiios. — cr(|>cT^pov : See P. 4, 83. — iroTpos: "Ancestor." — 63. Paflw: "Rich." Comp. /3a5v7rXouroj, 234 NOTES. 'Ejr. y . — 64. IldYoo-ov: Homer says nothing of the Pegasos myth. P. follows local legends, which he seems everywhere to have studied carefully. Comp. N. 7, 105, Aior KopivBos, with the commentators. — 65. irpiv ye: "Until," which the conjunction npiv always means with the indie. O.' 9, 61. — xP""'*!"'''"""' = Of the whole headstall. — 66. I| Avtipov 8" avrCKa fjv Birop : " Out of a dream there was forthwith reality," the sober certainty of waking fact. — 67. AloXiSa : The genealogy is Aiolos-Sisyphos-Glaukos- Bellerophon-Hippolochos-Glaukos. P. drops, or seems to drop, Hippolochos. See II. 6, 144. — 68. <|)iXTpov : So v. 85 : (jjapfiaKov. Transl. " charm." — 69. Aa|xai . . . iraTpi : " Tamer-father," Po- seidon, of whom Glaukos is the double. — viv: Anticipates rav- pov (rare in Pindar). See N. 5, 38. — apyaevra: Black bulls are generally sacrificed to Poseidon, and the Scholiast is puzzled into explaining dpydevra as eidaXy Koi piyav, but in P. 4, 305 red bulls are sacrificed to the same god, and P. was doubtless following local usage. 2rp. 8'. — 71. Kvmo-o-ovTi : Of sleep at once sweet and deep. The word is used of Penelope's slumber (Od. 4, 809), when she sees the vision of Athena, disguised as her sister, who addresses her: Eijfiets, ni/i/fXcTTeta . . ; just as Athena addresses Bellerophon. — 72. ovo 8' eiro\T(o)=:dj/e'iraXT-o: Sudden change of subject. — 6p9if Ttoii : Dat. of manner, though we tr. " to his feet, erect." — 75. KoipaviSq,: Polyidos the seer; see note on v. 58. — 76. airh kcivov xpifjcios : " At his bidding," viz. that of Polyidos. 'AvT. 8'. — 80. K«\ij : Comp. O. 1, 25 : p.fyaov : Predicative, "as a light (little) thing":=a)f Kov(p6p n. — kt£o-iv: Here=fpyov, just as ktIo-oi is often =7rot^o-at. — 84. Kal 6 icapTcpiSs : Even the strong Bellerophon had failed, and now was glad to use the mild remedy. — 85. ^ip- jxaKov irpoi) : A variation of (j)iKTpov, v. 68. — ■ye'vui : Dissyllabic. 'Ett. 8". — 86. evrfirXia . . . ciraifcv : " He played the weapon- play." So N. 8,44: aOvp^ /iey.iXa tpya. — 87. "AiioEovCScav : Comp. 0. 8, 47 : 'A/iafdyay eviirwovs, where they are represented as favor- OLYMPIA XIII. 235 ites of Apollo. — 88. alOepos ijnixpas : On the gender comp. 0. 1, 7 : fprj/ias 8i' al64pos. " Chill," on account of the height. — kiSXttuv : •'Bosom of the ether," with as much right as the "deep bosom of the ocean." Shakespeare's " bosom of the air," R. and J. ii. 3 (Cookesley). — Ipijixuv : So with Hermann for ipi]ji.ov. — 90. XCjiai- pav ; In Homer (II. 6, 179 foil.) the order is different. The king of Lykia bids him slay the Chimaira first (^8' ap' erjv 6elov yevos oiiS' avSpmirav • \ irpocrde Xdmv, oiriBev 8e hpcucav, ixea-a-ij 8e x'V<"P")> then he attacked the Solymoi, and finally slew (_KaT€7rea (Si/Sfii/Ta, V. 17) to the temple of the Charites for the dedi- cation of the wreath. The metres are logaoedic. The mood is said by the poet himself to be Lydian (v. 17). The soft Lydian measure was es- pecially suited to boys' voices (TrpcVei ttj tS>v iraiSav rjXiKia, Aris- tot. Pol., end, p. 1342 b 32), and was in favorite use for prayers and plaints, and consequently well adapted to the close of the poem, in which the dead father of the victor is mentioned. Poets have admired the ode greatly — while editors have com- plained of its difficulties. 2rp. a. — 1. Ko4>io-£«v: On this Kephisos, see Strabo 405. 407. It was a common river-name, and is found in Attika, Salamis, Sikyon, Skyros, Argolis. — Xaxotcrai aire : Bergk writes Taire foi aire of the MSS., which Mommseu defends, -ai in Xaxoia-ai being shortened, as often in dactylic poetry. The Pindaric pas- sages cited by Mommsen (P. 5, 73, and 8, 96) have been emended, the latter with good warrant. Bockh reads Xaxoiaav. On the lot (Xavos), comp. O. 7, 58. — KaXXCiruXov: On account of the pas- turage. Comp. the praise of the Attic Kephisos in Sophokles, 238 NOTES. 0. C. 608 : eviTTTTov, ^eve, ktc., and 677 : evmrtov, fHircoKov. — 3. \iirapas : X. is used of Thebes, P. 3, 3. Elsewhere of Athens, N. 4, 17 ; I. 2, 20 ; and in the famous fragment IV. 4 : & TaWmapal Koi lo(TTe(j)aiioi Kal aoi'dtjuoi, | 'EXXdSor tpei(T)ia, KKeivm 'Adavai, 8ai- fiovwv rrroXUdpov. — 4. 'Opxo|Jievo5 : Mommsen has 'Epxofnevov, the local form, after Cavedoni. The change is advocated by van Herwerden also. — Mivvov : Minyas was the son of Poseidon and Kallirrhoe. His descendants, the Minyans, were the Vikings of Greek legend. — 5. to. re Ttpirva xai | to yXuK^Ca) : re . . . Kai is usually employed to couple opposites or complements, as Momm- sen notes. If 7-0 Tepirvov is the transient diversion (Schmidt, Synonym.), and to yXvKv the immanent sweetness, there would be enough difference to justify the combination. — 6. avErai : So Kay- ser for yiVeTai.— Pporots: "For," only incidentally "by." The Schol. correctly yivtrai Koi a-vp^alvei.—T. o-o^ds : " Skilled in song." See 0. 1, 9. 116. — ayXaos: Of victory, which is often represented as sheen (comp. 0. 13, 5 : ayXaoKovpov, 14 : dyXaJav), and Aglala is one of the Q-races.:— 8. otvov: So Kayser, to save the metre; the MSS. v opPpav Koi rav aixpSiv 6 Zeis rafiias cariv. — 10. 6^|X£Voi . . . 6pr,\ir)(rC)ioXirc . . . 4pa.oXirE : As one might shift from (fiiXeiv to (pav, the weaker to the stronger. Toying with synonyms wag not impossible for P. — itdv KpaTCirrov : Zeus was the father, Eury- OLYMPIA XIV. 289 nome, an Okeanid, the mother, ace. to Hesiod (Theog. 907). — 15. JiroKooiTe viiv: So Bergk and Mommsen (for eVancoot vvv of the MSS.) from a supposed iirqKoiw, not an attractive formation. Other conjectures are: cVaxooi ravvv, Harm., Dissen, but we must have imperative or optative ; eiroKoos yevfv, Herm., Bockh, Schneidewin. — 17. icoii<|)o PiPuvra: So Hom. II. 13, 158: Kov(t>a TTocri 7rpo/3i|3df . — 'Ao-tiirixov : Diminutive from 'Aa-amos. — AvSif . . , iv Tp(Siru : Mommsen recognizes a kind of ev Sia Svoiv, to which figure P., indeed, comes nearer than does any other Greek poet, but TpoTTO) is " the tune," and ^eXeVaw is the verse. " With Lydian tune and meditated lays." ev, of the flute, O. 5, 19 ; 7, 13 ; N. 3, 79 ; of the cithern, P. 3, 69 ; 1.4 (5), 37.— 18. ?|j.oXov : See O. 7, 13: Korefiav. — 19. Mivvcia: Aeolic accentuation, as in KvKvcia, 0. 10 (11), 17. Orchomenos is so called to distinguish it from the Arkadiancity ofthe same name. — 20. a-A ^e'Kari : Thaleia, not because she is Kopv(j)aia generally, but because this is the kS- jws, of which she has special charge. — 31. 4X6^, faxoX: Ahrens writes fKvff, metri causa. With the passage comp. O. 8, 81, where 'AyyeXla, a daughter of Hermes, is supposed to discharge the same oflBce. Echo belongs to the Orchomenian sphere, by reason of her passion for Narkissos, son of Kephisos. — 23. KXeiS8a|<,ov : Father of Asopichos. — o<|)p' l8otavuiSp|jiiY| : Of Hes. Scut. Herd. 302 s ificpofv KiOdpi^f Aiof Km ArjTovs m'of | ■)(pvopfi.i^aiv avefidWero koXov deiSeiv. — IXcXiEon^vo: "Quiv- ering." O. 9, 14 : (j>6piuyy iXeXi^wv. — 5. olx|*OTttv KcpavviSv : al. better as a subst. than as an adjective, it. is personified, " spear- •wielder Thunderbolt." — 6. itvooD irvpiSs : So avdep^ xp^"'°^ (O- ^i 79). — ovo (TKaiTTiji AuJs : The eagle on the sceptre of Zeus is a familiar figure. Comp. So. fr. 766: 6 (rxTjirro^dpav ahros Kvav Ai6s.—i>Keta.v: Of the inherent quality. See note on O. 13, 3. Contrasting epithet to heighten xaXd^aij. 'AvT. a. — 7. apxds olwvdiv : Cf. O. 13, 31 : olavav ffoiriKfa. — 8. aYKvX£: With the pecul- iar poetic use, rather adverbial than prepositional. " With the environment of art," " by virtue of" So P. 8, 34 : epa dpcfn paxava. — Po9vK<5Xirv : Like ^adi^avos, of stately and modest beauty. The deep girdlo and the deep folds might be due to amplitude or to dignity, or both. fia6vKo\nos of Mother Earth, P. 9, 101. 'Ett. a. — 13. ici^l\i\Kt : Emotional perfect = pres., though on the theory that <|)iXos means " own," tt. = "hath made his own." — AtvEovtoi: On the concord, see O. 3, 93; O. 10 (11), 93. The neuter oo-o-a conjures up strange shapes. — Podv : Of music. O. 8, 8 ; P. 10, 89 ; N. 5, 38. — 14. yov : dpaipaKerov with ttovtov throws up as a complementary color o-repedv, "solid," with ySy. For 244 NOTES. diiaifiaKCTov, " furious," " restless," see II. 6, 179, where it is used of tlic Chimaira. The sea is the favorite haunt of monsters. — KOT(d) : On K. with the second member, see O. 9, 94. — 15. alva TopTdpcp : So 'la-diios is fem. in P. O. 8, 48 ; N. 5, 37 ^ 1. 1, 32.— 16. Tii<|>iiis ; See II. 2, 783, where his bed is said to be eiv 'Apifiois, which is in Kilikia. Of. Aisch. P. V. 351 : tov yriyevrj re KiXt- Kicov oiKYjTopa . . . € KaToys Kiki^. — iroXii(5v«|J.ov = jroXv- dpvkriTov. — 18. vvlf Kv|j.as: Behind and above — not immediately over. The whole region is volcanic. Ischia, the ancient Pithe- kussa, where Hieron established a colony, was rudely shaken by an earthquake in 1880, almost destroyed in 1883. — 19. kimv . . . ovpavta: Aisch. P. V. 849 : klov ov pavov tc koI x^ovos | cifioiv ipcibav. — 20. irdveTes . . . Tiflir)va : t. is adjective enough to take an adverb. — Tiflif)va: Kithairon is x">voTp6(l}os, Eur. Phoen. 803. 2r/3. 13'. — -21. IpevYovToi [iev . . . ttotohoI 8(^) : Aisch. P. V. 367 : iKpayrjtTovTai nore \ norap,ol nvpos. — oyviSTOTai: The commenta- tors see in this epithet Pythagorean reverence of fire. The rever- ence of fire is Indo-European. For p.kv . . . 8e, see 0. 11 (10), 8. — 22. iroYaC • iroToiioi . . . Kpovvovs : All carefully used, irayai, " well up,'' TTOT-a/ioi, "roll," KpovvoL are "shot up" in jets. — a|i.Epauriv . . . kv op<|>vaicriv : Cf. 0. 1, 3 : vvktI . . . iv Afupa. — 24. Pa6ctav : Measured from the top of the mountain. "Far below." — avv iro- TaYu : Effective position. — 25. "Axov. — 32. IlvOidSas 8' ev Sp(S|Uji : Dissen compares 0. 1, 94 : rdv 'OXviimd- dcov iv Spofiois, but there rav 'O. depends on xXeos. — aviairt : " Pro- claimed." — wirep: " By reason of." — koXXivCkod | apjj.ao-i.: P. 11,46: iv apfuuri koKKIvikoi. "Eir. 0. — 33. vovv is almost substantive. For the elision of AaXoi', see 0. 13, 35. — 40. teeXijtrais : " Deign." P. uses /3ovXo/iai but once ( fr. VIII. 1 ). Attic distinctions do not always apply to the earlier period, but be it noted that i6i\a> or ^e'Xo) is the higher word ; hence regularly fleoC Bikovros. — ravTo: The implied wishes and hopes. — v6w: Gnomic aorist. P. identifies (j)vs ore. — oyfivos . . . cSu : " Outside of the lists," so as not to count. — iraXajii} : See P. 3, 57.-45. a|ji,ei5froo-e(ai) : " Surpass." Cf P. 6, end.— avrCous : Supposed to refer to Simonides and Bakchylides. It is con- jectured that there was to be a contest of poets. — 46. «l yop . . . ciiBwoi : A wish that runs over into a condition. See 0. 1, 108. — 6 iros xp<5''os : All time to come, O. 6, 56 ; N. 1, 69. — oBtm : " As heretofore." — €«9i!voi: Cf N. 3, 7 : ciBvnofmos alav. The nautical image was still in the poet's eye. Cf. v. 34 and 0. 18, 38: Sevo- ing honor due." — 71. XCo-o-oiJiai veSo-ov : Asyndeton in prayer. — apicpov : Proleptic. " In peace and quiet." — 73. oij)po . . . rxfl, instead of exeiv, the temporal final sense of o^pa being hardly felt, e^r) is intr. — kot' otKov : Hdt. 6, 39 : dxe «it oixour. — 6 4>otviJ = Po«?iM«, Carthaginian. — 6 Tvpcravuv t' aXaXaT' apET^: v. 13. — Kaf.6vTit>v : Rather strange, so soon after kohov, in view of P.'s TroiKiXm, though the Greeks have not our dread of repetition. See P. 9, 123. Srp. f'. — 81. KaipiSv: Adverbial. "If thy utterance prove in season." — 9e'7?oio: The poet to himself with a wish (0. 1, 108). — iretpaTo truvToviio-ois : "Twisting the strands of many things into a brief compass." The contrast is iKreivfiv \6yov, Teivfiv, dirorelvew, cktcivciv, fiaKpdv. See Intr. Ess. p. xlili (note). — 83. lircToi: "Is sure to follow." Indie, apodosis, as I. 3, 33; 4 (5), 14. — |iu|j,os : O. 6, 74. In moralizing passages the meta- phors follow in rapid succession — not so much mixing as over- lapping. 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. — airo . . . 4XirC8as : " Sa- tiety with its gruesomeness dulls quick hopes." alavrjs, of doubt- ful etymology, is used of Kopos again I. 3 (4), 3. 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 misunder- stood to convey a real sermon. — 84. oorfiv 8' aKpd: "What citi- PYTHIA I. 251 zens hear.'' Citizens are naturally envious (0. 6, 7), and the good fortune of others is an ill-hearing, and oppresses their soul in secret. "What is heard from citizens" lias in its favor P. 11, 38: KaKoXoyoi 8e TroKlrai. — 85. KpeVo-uv . . . olKTipfiov (|>6ovos : Pro- verbial. Hdt. 3, 53 : ^BoviecrSai Kpicrcrov io-rl fj olKTipea-dai. — 86. HT| irapiEi KoXo : " Hold to thy noble course." irapUi possibly sug- gested the follovping metaphor. Notice the large number of present imperatives, as in the Ts-apaivea-is of Isokrates ad Demoni- cum (1). — vafji . . . OTpar^v: P. 8, 98: iX^vd^pa aroXft) | ttoXlv ravSe Kofju^f. . On (rrp. see O. 11 (10), 17. — ai|/evSEt hi irpis o,k\U)VI xikKcvt yXuircrav : This is counted as one of P.'s harsher metaphors, in spite of Oic. de Orat. 3, 30, 131 : non enim sohim aeuenda nobis neque procudenda lingua est. P. might have continued the figure just given, for the tongue may be considered a rudder (comp. P. 11, 43 with James 3, 4), but the vibrating tongue is to Pindar a javelin (comp. x^Xa, v. 13), and in N. 7, 71 he has aKov6' S)T€ ^oKKoirdpaov Spcrai | doav yXSxra- av. ;(aXKeue grows out of vcufia. The " true anvil " refers in all likelihood to 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. 'Ayr. e. — 87. ft Ti Kal ^. : Km, " never so." — irapaiOwo-ei : P. is thinking of the sparks that fly from the anvil, sheer dross it may be ((jjXavpov), 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, (ftiperai, " is reported," the common rendering, is too faint after ■KapaiBva-a-ei. — 88. To|ji£as : A higher word than " steward," in Engl. Comp. 0. 14, 9. — a|j,(|>oTcpois : Is " good and bad," as ddrepov is " worse." — 89. £tiav8Et . . . irapp.EV(i)v : " Abide in the full flower of thy spirit." Contrast to Phalaris. — 90. aittp Ti (t>iXcts, KT€. : Arguing on a basis of conceded facts. — axoav aSctav . . . kXveiv : A good explanation of the idiom eu aKovew. — c-^ "'»('•''' X£ov Sairavais : The Christian exhortation, " Be not weary in well- doing," is addressed to well-doers, and Hieron's expenditure was doubtless liberal enough. It does not follow that he hoarded because he was (piKdpyvpos. Of the virtue of generosity Kroisos was the model soon to be adduced. — 93. iotCov avefidcv : The sail (so as to be) breezeful, (so as) to belly with the breeze. Cf I. 2, 39 : ovSe TTore ^viav \ ovpos ifiirvev(Tais vTreVreiX' iarr lov djj,<^\ TpdiTf(av. — v-h SoXuflijs . . . K^p8e(Xos : The commentators note P.'s familiarity. What other word was possible for a Greek gentleman ? — 6irie6(iPpoTov : Sen- sitive as Hieron is to the voice of the world about him, he is far from deaf to the acclaim of posterity. 'Ett. e'. — 93. airoixo(Ji^va)v . . . aoiSois : Cf. N. 6, 33 : airoixo jie- Vbnv yap avipatv \ dotdal Kal \6yoi ra KoXd fy' fi [sc. 7rpo(^d(ret] tr iya> Kai iraidfs ai XeXei/i/ieVai | 8f^6- p-eBa bi^iv i}v (re Se^acrdm xpfd>v. — 98. 6dpoii/ Xciyoi/ f'o-Xov aKoia-r). — 100. 47Ki5pOTi Kal tXfl {dp(j)6Tfpa). The two verbs show a combination of luck and will. PYTHIA II. This victory, gained not at the Pythian games, but at the Theban lolaia or Herakleia, is probably to be assigned to 01. 75, 4 (477 B.C.), in which year Hieron had, by his interposition, saved the Epizephyrian Lokrians from a bloody war with Anax- ilas, tyrant of Rhegion. The poem, with its dissonances, echoes the discord of the times. Hieron was just then at enmity with his brother, Polyzelos, who had taken refuge with his connec- tion, Theron, the friend of Pindar, and a war was impending. The strain makes itself felt amid all the congratulation. It is a strange poem, one in which divination and sympathy can accomplish little. Only we must hold fast to the common- sense view that Pindar did not undertake to lecture Hieron. " Great Syracuse," the poet says, " rearer of men and horses, I bring this lay from Thebes in honor of Hieron's victory with the four-horse chariot, gained not without the favor of Artemis, god- dess of Ortygia, thus' wreathed with glory. For Artemis and Her- mes, 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, be- loved 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. 1-24). In P. 1 we had one form of vPpis, sheer rebellion, typified by Typhon. Here we have another typified by Ixion, base ingrati- tude. Typhon belonged from the beginning to those Sa-a fifj 7re(f>iXrjKe Zeis (P. 1, 13). Ixion was one of those who fifieviaa-t Trap Kpovldais y\vKvv etXov jSi'orov (v. 35). Ixion was another, 254 NOTES. but a worse, Tantalos. Tantalos sinned by making the celestial meat and drink common (0. 1, 61). Ixion sinned by trying to pollute the celestial bed (v. 34). Each was punished in the way in which he had sinned. Tantalos was reft of food and drink (note on O. 1, 60). Ixion was whiried on his own wheel, became his own iynx (comp. v. 40 with P. 4, 314). Ixion's sin was of a deeper dye, and so, while the son of Tantalos came to great honor (0. 1, 90), the son of Ixion became the parent of a mon- strous brood. This is the myth (vv. 35-i8). It is, indeed, not a little remarkable that in every Hieronic ode there is a dark background — a Tantalos (O. 1), a Typhon (P. 1), an Ixion (P. 3), a Koronis (P. 3) — and the commentators are not wrong in the Fight- with-the-Dragon attitude in which they have put Hieron. Who is aimed at under the figure of Ixion no one can tell. The guesses and the combinations of the commenta- tors are all idle. Hieron is a manner of Zeus. He was the Olym- pian of Sicily as Perikles was afterwards the Olympian of Athens, and the doom of Tantalos, the wheel of Ixion, the crushing load of Typhon, the swift destruction of Koronis, the lightning death of Asklepios were in store for his enemies. The Hieronic odes _,are Eembrandts, and we shall never know more. Passing over to the praise of Hieron, the poet emphasizes with unmistakable reduplication the power of God. " God decides the fate of hopes, God overtakes winged eagle and swift dolphin, humbles the proud, to others gives glory that waxes not old (v. 53). This be my lay instead of the evil tales that Archilo- chos told of the Ixions of his time. Wealth paired with wisdom, under the blessing of Fortune — this is the highest theme of song " (v. 56). The key of the poem lies in this double 6f6s. God is all-powerful to punish and to bless, and Hieron is his vicegerent. The praise of Hieron follows, his wealth, his honor. His cham- pion, 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 be- comes 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 straight- forwardness. The Archilochian vein, against which Pindar pro- PYTHIA II. 255 tested semi-humorously before (v. 55), stands out. The iipe (v. 73), the fox (v. 78), the wolf (v. 84), are contrasts dramatically introduced, dramatically dismissed. " Let there be no preten- tiousness, no slyness, no roundabout liate. Straight-tonguedness is best in the rule of the one man, of the many, of the wise. Follow God's leading, bear his yoke. Kick not against the pricks. There lies the only safety. May such men admit me to their friendship " (v. 96). The difficulty of the last part lies in the dramatic shiftings — the same difficulty that we encounter in comedy, and especially in satire. If there are not two persons, there are two voices. The poet pits the AUmos Adyos and the 'aSikos Ad-yos against each other in the forum of his own conscience. The AiKaios Ad- ■yoy speaks last and wins. A. Show thyself as thou art (v. 73). B. But the monkey, which is ever playing diflferent parts, is a fair creature, ever a fair creature, in the eyes of chil- dren (v. 73). A. Yes, in the eyes of children, but not in the judgment of a Rhadamanthys, whose soul hath no delight in tricks (vv. 73-75). B. If the monkey finds no acceptance, what of foxy slander- ers ? They are an evil, but an evil that cannot be mas- tered (w. 76, 77). A. But what good comes of it to Mistress Vixen ? (v. 78). B. " Why," says Mistress Vixen, " I swim like a cork, I al- ways fall on my feet " (vv. 79, 80). A. But the citizen that hath the craft of a fox can have no weight in the state. He is as light as his cork. He cannot utter a word of power among the noble (vv. 81, 83). B. Ay, but he wheedles and worms his way through. Flat- tery works on all (v. 83). A. I don't share the confidence of your crafty models (v. 83). B. My own creed is: Love your friends. An enemy circum- vent on crooked paths, like a wolf (vv. 83, 84). A. Nay, nay. Ko monkey, no fox, no wolf. Straight speech is best in monarchy, democracy, or aristocracy. A straight course is best because it is in harmony with (Jod, and there is no contending against God. Sue- 256 NOTES. cess does not come from cunning or overreaching, from envious cabals. Bear God's yoke. Kick not against the pricks. Men who are good, men with views like these, such are they whom I desire to live withal as friend with friend (vv. 86-96). The rhythms are Aiolian (logaoedic). The introduction occu- pies one triad, the myth one, the praise of Hieron one, the after- play one. Srp. a. — 1. M€7oXoiri5Xies & SvpaKoo-ai; A similar position, O. 8, 1 : fiarep & xpv(TO(TTiava>v de6\a>v 'OXvfima, P. 8, 2 : AiKas & lieyioToiroXi dvyarep. Athens is called ai fieyaXonoXifS 'Adavai (P. 7, 1). The epithet is especially appropriate in the case of Syracuse, which, even in Hieron's time, had a vast extent. — PaeviroXeVov : "That haunteth the thick of war." The martial character of Syracuse is emphasized on account of the military movements then on foot. — 3. ovBpSv iiriroiv re: See 0.1,63. — (riSapoxap|j.av : "Fighting in iron-mail." Here we seem to have xapM in the Homeric sense. So I. 5 (6), 37 : x'^^'^X'VH-'"' « noXefiov, where the notion of rejoicing would not be so tolerable as in P. 5, 83 : xa^tox^W" ff*"'- hnroxapjms (0. 1, 33) is doubt- ful. SeeO. 9, 93. — 3. Xwropov: Orig. " gleaming," then vaguely "bright," "brilliant," "famous." P. uses it of Thebes (fr. XT. 58), Athens (N. 4, 18 ; I. 3, 30 ; fr. IV. 4), Orchomenos (0. 14, 4), Egypt (fr. IV. 9), Marathon (O. 18, 110). The wideness of its application takes away its force. — (jtcpuv : Figuratively, as else- where p,6\ov, P. 3, 68; ?i3av, N. 4, 74; 6, 65. Comp. v. 68.-4. eXeXiX^ovos: Used P. 6, 50 of Poseidon; in Sophokles ofBakchos (Antig. 153). — 5. iv S. KparcW: Comp. P. 11,46 : iv apfiaa-i koKXI- viKoi. — 6. TT)XoDY^o-iv : The wreaths send their light afar, like the npocraiTrov TrjXavyis of O. 6, 4. Only the light is figurative, as the gold is figurative, O. 8, 1. Comp. O. 1, 33 and 94. — 'OpTvYiav: See O. 6, 93. — 7. iroTO|i.£as . • . 'ApTE|jiiSos : Artemis, among her numerous functions, is a river-goddess, and in the Peloponnesos her worship is connected especially with the Kladeos and the Alpheios {'Aprfnis 'AXtpfiaa). She has charge of rivers not only as a huntress, but as the representative of the Oriental Artemis. Pursued by Alpheios, she fled under the waters of the Ionian sea, and found rest by the fountain of Arethusa in Ortygia, where a temple was raised in her honor. Of course, Arethusa and Arte- PYTHIA 11. 257 mis are one (comp. Telesilla, fr. 1 : ab' "Aprefiis, i> Kopat, \ ^evyoi- v KcipvKa Xirals Bvcrims | jroXXa Sr) jroXXmcrij' 'Ep/uSv eu(r€j3e<»s, 6s dyavas c'x" f'Oipdv t deBXwv. — alYXdcvra . . . Ki5V Kivvpav: Kinyras was a fabulous king of Kypros, priest and favorite of Aphrodite. He was a great inventor, a kind of Jubal and Tubal Cain in one — a Semitic figure, it would seem — the man of the harp, liS3, with whom we may compare Auchises, another favorite of Aph- rodite, of whom it is said. Hymn, in Ven. 80 : ■n-aXiiT evda koI evda SiaTrpva-iov Ki6api^av. The introduction of Kinyras, lord of the eastern island of Kypros, as a balance to Hieron, lord of the western island of Sicily, leads the poet to mention Apollo in this non-Pythian ode (see Introd.) as a balance to Artemis. A genealogical connection is the merest fancy. — 16. xp''<™XO''^'''a: Voc. used as nom. Elsewhere p^/juo-oKd/ias, O. 6, 41 ; 7, 33. — k^i\i\ir(f) : If 0iXos is "own," "made his own," " marked him for his own." See P. 1, 13. — 'AircJXXwv : Aphrodite and Apollo are often associated. So esp. in P. 9, 10, where Aphrodite re- ceives the spouse of Apollo. 'Ett. a'.— 17. KTaov: Lit. " Tame pet." "Minion," "favorite," "cherished." — aya: Without an object. "Is in the van," " leads," or neg. " cannot be kept back." So N. 7, 33 : ao^la Se KKiirrei. napayoKTa fivdois. Comp. also O. 1, 108. — iroCvi|ios: diietTTTiKT) (Schol.). Echo of anoiv aperas. For wowr), in a good sense, see P. 1, 59. — 4iri£o(jievo : "In reverential regard." Cf O. 2, 6: oViv.— 18. Aeivo(i.^v€i€ iroi: Cf O. 3, 13: S Kpdvie ira'i, P. 8, 19 : SevdpKciov vUv. Hieron was the son of Deinomenes, and h^~ son, after the Greek fashion, was also called Deinomenes. See P. 1, 58. — Zc(t>iipCa . . . irapB^vos: The Lokrian women held an ex- cejitional position in Greece. Lokrian nobility followed the distaff side (comp. O. 9, 60) and Lokrian poetesses were famous. But here we have simply an expression of popular joy, such as virgins especially would feel, and Lokrian virgins would freely express — irpi Sdiiuv: Why wpu Sofiaiu'? Why "haven under the PYTHIA IL 259 hill ?" Why anything that gives a picture ? P. 3, 78 : Marpi, Tav Kovpai Trap' c fibv TTpoBv pop aiiv Ilavl ncKnovrai da/xa. — 20. SpaKcur' a(r<|iaX^«: We might expect the pres., but the aor. of at- tainment is here the aor. of recovery, " having gained the right to fearless glance." For fear as expressed by the eye, comp. So. Ai. 139: 7rc<^oj3i;/ia( | Tmjvfjs a>s S/ifia neXfias, O. R. 1221: di>47rv€Vs fXa/SfV (others e^aXev) 6 TrayKpaTrjs Kpovov TTois. The only important points that Pindar's narrative sup- presses are the purification of Ixion from bloodguiltiness by Zf us KaSdpa-ios himself, and the intimacy of Zeus with the wife of Ixion. The former would not have been altogether consistent with V. 31, and the latter would have given a sinister meaning to dyavais dfioi^ais (v. 24). — toOto : Namely, tov eiepydrav . . . ri- vccrdai. — 33. \^7«iv: "Teaches." — 23. irovra: Here "round and round." — KuXivS^nevov : Instead of the more prosaic inf. See O. 3, 6. — 24. a|ioiPai; liroixo|i.Evovs tCvco-Boi : Notice the fulness of the injunction. eVotxo/ieVour, "visiting," "frequenting." "To requite the benefactor with ever-recurring tokens of warm grati- tude." St/j. j3'. — 35. iropa KpovCSais : Zeus and Hera. — 36. \uiKp6v : " Great," as P. 11, 52 : fuiKporepa (?) . . SX/So).— 27. Ipdo-o-oro : P., like Homer, has no fipda-dij. — tov . . . Xaxov : Comp. 0. 1, 53. — eivoi : The pi. of the joys of love. Cf P. 9, 13: cV( yXt/xepais civals, fr. IX. 1,7: cparcLvais fv evvals,P.ll,Z5: evvvxoL ndpayov Koirai. — 38. dp&rav = m-av. See P. 3, 24. — 29. ov*)p : He had presumed as if he were a god. — 30. l|oCpeTov : Elsewhere in a good sense. There is a bitterness in the position, and in eXe also, as it recalls V. 26 : yXvKvv iKmv ^iorov. — 31. TtXe'eovTi : Not historical pres. He is still in hell. — t6 |i^v . . . on . . , on n : A double shift. On jiiv. . . . re, see O. 4, 13. — 33. e|ji,<|)vXiov oljio-. He slew his father-in- law, De'ioneus. — irpwn7roif. — 'ycpa(r<|>oivpois : With a like figure we say "spurs." See P. 1, 30. — orpaT^s: Is in apposition to the subject of iyhovro. "Out they came — a host marvellous to behold." — 48. to jiarpdOcv fhr tcara, to 8' SircpSc iroTpis: "The dam's side down, the upper side the sire's." Chi- asm is as natural to the Greek as mother's milk ; not so to us. fiOTpodcv is often used parallel with p.rjTp6s. Srp. y. — 49. Oebs . . . ovvetoi: "God accomplishes for himself every aim according to his desires." PiKnls, " pleasure," " wish," shows here its kinship to mlup. iiri as in tV fix?' P- 9) 96- The wish is crowned by fulfilment. The middle avverw. is rare. — 50. fl«<5s: The emphatic repetition gives the key to the poem. See introd. — 8 =: oy. — kCx^ • • • iropo|i.eiPeToi . . . ^KO|u|fc . . . irop^- 8iva: Also proverbial. N. 6, 73: 8e\ias and noTfwv with apia-Tov. " Wealth, with the attainment of wisdom, is Fortune's best." The position is bold, but not incredible. Others, with a disagreeable cumulation, criv rvxi- nor/iov cro(j)ias, " with the at- tainment of the lot of wisdom." But the two genitives cited from P. 9, 43 : croipas YlfiBovs Upav (piKoTarav, are not at all par- allel, the relation there being that of a simple possessive. If Archilochos were alone involved, (ro(^tas apia-rov might well mean is " the best part of the poetic art," as " discretion is the better part of valor," but (7o(j>las here must be applicable to Hie- ron as well. 'AvT. y. — 57. viv ^ei« : Sc. to TrXovretv fiera a-ocfiias, viv may be neut. sing. Aisch. Choeph. 543, or pi. P. V. 55 ; So. El. 436. 634. — ir£irap£tv = cvSe'i^ai, a-rjiiTJvai (Hesych.), "for showing them with free soul," " so that thou canst freely show them." Others read Trenope'iv = Sovvai, which would make viv refer to t6 wKovrf'iv alone. — 58. irpiirovi, : " Prince." Used of Zeus P. 6, 34 : xepawav . npiraviv. — eiri7T€ovci>v : " Battlemented." This is an early use of (rT(avos. Comp. O. 8, 33. — irrpoToii : Sc. ttoWov orpaTov. — 59. irepi ti|j.^: it. with the dat. of the stake, as, to some ex- tent, even in prose, "when wealth and honor are at stake." So with 8ripiop,ai, 0. 13, 45 ; pApvarai, N. 5, 47 ; d/iiXXSrat, N. 10, 31 ; fioxOiCfi; fi". IX. 3, 6. On the preposition with the second mem- ber, see 0. 9, 94. — 61. x*'^'''''^ irpoirCSi iraXai^iovet kevco,: "(With) flabby soul, his wrestlings are all in vain." — 63. eiiovee'a: The ship of the victor is wreathed with flowers. — or^Xov: Cogn. ace. to ava^aa-ofuu (Dissen). oT, as " prow " is more poetical. — k^' apcr^ : O. 9, 14 : ajiffn naXaiiTjxacriv 6pfuyy ckeKi^av. — 68. k«Xo8^v. — 64. cvpciv: See O. 7, 89, and comp. P.' 1, 49. PYTlliA 11. 263 'Ett. y . — 65. iirwoo-iSoicriv av8por\ A^iros : "Thy counsels, riper than thy age, furnish me with an utterance that runs no risk of chal- lenge to praise thee in full view of the whole account," through the whole count. The two exhaustive excellences are dpdaos and fi/3ovXia. If he is wise as well as brave, he has all the vir- tues. Comp. I. 4 (5), 13 : Svo 84 toi fmSs aarov povva iroipaivovn TOP aXirvnTToy evavdel fTvv oX/So), [ et Tis €v TrdfT^atv \6yov eVXoi/ aKoiirrj . . . iravT e'x^'*' I ^'' ""^ TouTojy poip i(j)lKoiTo KoKav. — 67. Xaipc: So N. 8, 76: x«'Pf> ^iXos, where we have, as here, praise of the victor, farewell, and commendation of the poet's song. — T^Se (teV : This would seem to indicate that the pAos here sent was different from the Kaa-ropeiov, but P.'s handling of p4v and Se is so peculiar, not to say tricky, that Bockh has a right to set up the antithesis iTipireTai piv roSe peXos, adprja-ov 8c to Kacrrd- pewv. — Kara 4>oivt(rai \ Kelvov Imrela vopa \ AioXrjiSi poX' ttS, and yet 1, 17: Aaplav airo (f)6ppiyya naa-irakov XdpPav(e). — 70. x"?^'' = Before its genitive only here in P. — Iittoktuitou : The old Terpaudrian heptachord. N. 5, 34 : (l)6ppiyy 'AiroXKav ctttii- y\a>a-v as part of the wish or com- mand. yivoLo . . . fia6o>v=:fiddoLs has no satisfactory analogy in Pin- daric grammar, nor does it give any satisfactory transition. P.'s contempt of mere mechanical learning, as shown 0.3,95 : jiadovres 8t XajSpot . . . oLKpavTa yapvcTov has suggested a combination with ni&av ( Bergk ), in which the learned ape is contrasted with Rhadamanthys, who is doubtless noXKa eiSas va (O. 3, 94), but the position of toi in fiaBav koKos toi is hardly credible, to say nothing of the quotation by Galen below. — iriBoiv ; A young ape. — irapo. irauriv: "In the judgment of children." The ape was a favorite in the nursery then as he is now. Galen, de TJsu Part. 1, 33 : KoKos toi iri6riKos napa waurlv alei, cf)r](Tl ns tS>v TraXaiSj/, avap.{.jiV7](TK0>v vjias as tirnv aBvpfia ye\oiov irai^ovrcov nalbav tovto TO Caov. Instead of Trapa 8t 'PaSapAvBvi, P. changes the form of the antithesis. 2rp. 8'. — 73. Ko\<5s : Child-like and lover-like repetition. The ape is said to have been introduced into 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. Thy judge is Rhadamanthys." — eS ir^irpayev : Rhadamanthys owes his good fortune to his judicial temper. Comp. 0. 3, 83 : (SouXais €v 6p6ai(ri 'Pa8ap,dv6vos\ ou iraTrjp e;^€t [Kpdvos] iroipov avTa irdpeSpov. Of the three judges in Hades, Aiakos — usually the first met by the new-comer — is in P. only the great Aeginetan hero, except in I. 7 (8), 34, where he is represented as a judge over the Saifioves. Minos does not appear. — <|iptvSv . . . xapircSv : So N. 10, 13. Famous in Aischylos' description of Amphiaraos is the line S. c. Th. 593 : padftav oXoko 8ia <^pevos Kapnoifievo s. — 74. IvSoScv: The wiles of the deceivers do not penetrate the deep soil. — 75. ota: See O. 1, 16. Half exclamatory. If with the PYTHIA II. 265 MSS., ppoTuv, " Such things {dTrarm) always sort with the acts of whisperers !" So eTrerai, O. 3, 34. If with Heindorf, PporcS, " Such things always haunt a man by the devices of whispefers !" — PpoTuv : Used like dv8pS>v, so that yjfidvpot /Sporoi := yjndvpia-Tal, but ^. is hardly so colorless in P. — 76. a|ii<|>oT^pois : " To both parties," the prince and his slandered friends, t^ dm^aXKoiieva Koi TO wpos bv Sia^dKKerai (Schol.). — iKiro<|)dTKS : Bockh has vtto- (fiavnes, Bothe v7ro(j>a.Top€s. " Secret speakings of calumnies " for " secret calumniators " does not satisfy. We want a masc. subst. Some MSS. have uTro^avnes from (paivo). — 77. Apvots ; See P. 1, 89. — Lnvi^ = iravTeXms. P. has proudly compared him- self to the Albs opvis detos, O. 3, 97, and it may be well to remem- ber that the eagle and the fox were not friends, ace. to the fabu- list Archilochos, and that the eagle was the " totem " of the Aia- kidai and of Aias, Pindar's favorite, a straightforward hero (N. 8, 33 foil.). — 78, foil. The usual interpretation gives the whole pas- sage to one voice. " But what good does this do to the fox (the whisperer). I, Pindar, am a cork not to be sunk by his arts. I know it is impossible for a crafty citizen to utter a word of power among the good, and, though by his fawning he makes his way, I do not share his confidence. My plan is : love thy friend and cheat thine enemy — the enemy alone is fair game. The man of straightforward speech hath the vantage-ground everywhere, under every form of government." In the introduction I have suggested two voices. — KcpSot: To me convincing emendation of Huschke for (tf'pSei. KepSw is a popular name for fox, Ar. Eq. 1068. First Voice : " But what doth Master Reynard gain by his game ?" The pun in KepSoi . . . Kipbeaai is obvious. The prov- erb aKmrrq^ SmpodoKfirai is taken, from Kratinos' parody (3, 87 Mein.) of Solon's celebrated characteristic of the Athenians, fr. 11,5 (Bergk) : vp.4av fls /lev eKaerros dXaveKos "ixytai ^alvei. — 79. ore vap . . . a\[i,as : Second Voice : " His gain is to be an a/ia- Xov KOKov (v. 76). He can say : I am a cork that is always atop, though all the rest be under water. I am a cat, and always fall on my feet." Fennell, who, like the others, understands the poet to speak of himself, allegorizes thus : " The net is the band of contemporary poets ; the heavy parts are those of poor and precarious repute, who try to drag down the cork, Pindar." — elvaXiov irdvov : Toil of the sea. So Theokr. 21, 39 ; deiXivov is KoredapBov iv elvaXioctr i ttovokt i. — 80. crK€va$ Irepas: The dp,^pci: "Comes to the front." — 87. irapo -nipavvCSi: As if irapd Tvpdvvois.-—o Xa^pos orpoTos: Milton's "fierce democratic." — 88, ot q-o^oi: The aristocracy. — xp^ ^^ "'P^* ^^^v °^" epilJeiv: PYTHIA II. 267 The neg. oiik, as if lie were about to say dWa (fiepfiv iKa((>pCi>s inavxiviov fvyov. As it stands, it looks like a licentious ovk with the inf., of which there are very few. The connection is shown in the introduction. Though tlie straightforward man has the lead in every form of state, yet his enemies have some- times 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. 'Ett. S'. — 89. av^x"= -A-S in So. O. C. 080: Kia-a-ov ai/e'xovo-a, "upholding," "holding high." — to, k€ivmv: The fortunes of the whisperers. — ^cSmkcv : As there is no metrical reason for not using SlScoa-iv, we may accept a contrast between continued and concen- trated action. See v. 50.— 90. ioCvei: O. 3, 15; 7,43; P. 1, 11.— aTdOfias : a-rddfir] is ypafifit], N. 0, 8. The Schol. thinks of a measur- ing-line. The measuring-line has two sharp pegs. The measurer fastens one in the ground and pulls the cord tight, in order to stretch it over more space than it ought to cover (n-fpio-o-as). In so doing he runs the peg into his own heart. Hermann finds an allusion to the play SieXxvcrniiSa, still played ■ every where. This would make iXKofievoi reciprocal, " one another," and ard- 6fms a whence-case, but for nepura-as we should have to read TTcpuraas. On the other interpretation, crrdOp-as is the gen. of the hold, as in P. 9, 133 : napdevov KeSvav ^fp' x ^ ' P ° ^ eXojj/. Schnei- dewin has noticed the play on i\K6p.evoi and eKKos. — 91. e$ . . . KapSif, : As if " one's heart " for " their heart." — 93. 8o-o . . . tu- xetv: rvyxdvcD often takes a pronominal neut. ace. — <|)povTi8i (jlt)- t£ovtoi : " Are planning with anxious thought." — 93. ^4ptiv . . . t,vy6v : Yet another animal. This whole fabulistic passage seems to point to court pasquinades. A reference to Hieron's secret police of d)TaKov(TTal, " eavesdroppers," and noTayayiSes (Sat), "tale-bearers," Aristot. Pol. 5, 11, is to me incredible. — 94. ttoti Kt'vTpov . . . \oKTi.£^(i.ev : A homely proverb familiar to us from Acts [9,5] 36, 14. Doubtless of immemorial antiquity in Greece, Aisch'.P.V.338; Ag. 1634; Eur.Bacch.795.— 96. aSdvTo = dSwra. Of O. 3, 1 ; 7, 17. PTTHIA in. This poem, which is not so much an emvUiov as a Oonsolatio ad Hieronem, is classed with the tmvUta because it celebrates the vic- tories that Hieron gained with his race-horse ^epeviKos (v. 74) at Delphi, Pyth. 36 and 37 (01. 73, 3, and 74, 3, 486 and 483 B.C.). According to Bockh, the composition of the poem belongs to a much later period, 01. 76, 3 (474 b.c). Earlier than 01. 76, 1 (476 B.C.) it cannot be, for Hieron is called Alrvaios (v. 69), and Aitna was founded in that year. Later than 01. 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 coinposed shortly before P. 1, probably to celebrate the recurrent date of the previous victories. Hieron was suffering (comp. P. 1, 50), and hence the blending of copgratulation and consolation. The " historical" allusions to scandals in Hieron's family and to the quarrels of the court physicians are all due to the fancy of the commentators. The drift of P. 3 seems to be plain enough. Hieron is victo- rious, but suffering, and he must learn that the gods give two pains for one pleasure, and be content to have only one against one. To expect more is to reach out to what is not and cannot be. To this lesson the poet leads up step by step. So in the very beginning of this ode he himself sets an example of the im- patient yearning he condemns. " Would that the old Centaur, the master of Asklepios, the great healer, were alive !" A poet, Pindar longs for the control of leechcraft, and does not recognize his own ambition until other examples of disappointment pass before his eyes. Such an example is Eoronis, mother of Askle- pios. This was her sin : she had one love, she wanted yet an- other (v. 35). Asklepios himself comes next. He was a leech of wide renown — a benefactor to his kind — but he was a slave to gain (v. 54). This was his sin, and, like his mother, he per- PYTHIA III. 269 ished (v. 57). And now the poet draws the moral. "Mortals must seek what is meet for mortals, and recognize where they stand, what is their fate." The wish is renewed, but this time with a sigh. The poet is not satisfied with paying Hieron his homage in music, he yearns to bring him the master of healing and gain a double share of favor. It must not be ; he cannot cross the water with this double joy (v. 72). He must be content to stay at home and make vows to the goddess at his door (v. 77). This lesson Hieron and Hieron's poet must divide : Ik nap ea-Xov Trrjfiara (Tvvbvo SaiovTai ^poTois \ dBdvaroi (v. 81). That is the rule. Make the best of it. Look at Peleus. Look at Kadmos (vv. 87, 88). They heard the Muses, as Hieron heard Pindar's songs. One married Harmonia, one Thetis (vv. 91, 93). 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 tlie 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. 103- 115). And so the poem ends with the tacit pledge that Hieron shall live on in P.'s song as they in Homer's. The rhythms are dactylo-epitrite (Dorian). The distribution of the elements is different from that of an ordinary e'lrivUiov. The myth, with a slight introduction, takes up nearly half the poem. Indeed, the whole ode is a picture- gallery of mythic troubles. We have at full length Koronis and Asklepios, who were guilty ; with less detail Kadmos and Peleus, who were innocent; and, in mere outline, Nestor and Sarpedon^ Nestor, who was lord among the third generation but to see Anti- lochos die ; Sarpedon, who was mourned by Zeus himself But all this sorrow is lost in the light of poetry. Srp. a. — 1. XeCpwvo: Cheiron was the great mythical healer and teacher; he gave Machaon healing drugs (II. 4, 319), and taught Achilles medicine (II. 11, 833). The Xeipmves of Kratinos 270 NOTES. was a plea for a return to the old training, of which Achilles was the mythical example. See N. 3, 43, foil. — 4>iXvpi8ov : So the Centaur is called, P. 9, 33. Comp. N. 8, 43 : HKipas ev do/iOLs. — 2. o|«T^pas oirb YXuo-iraf : Contrast to kolvov fenos. Something more was expected of the poet than such an every-day utterance. P. apologizes, as it were, on the ground of the naturalness of the wish. It was on everybody's tongue then. P. 5, 107 : avS pa Keivov f'naiveovn avvcTol- \ty6 ficvov ipia>. — 4. y6vov • • • Kpovov: Cf. N. 3, 47: KpoviSav Kevravpov. — IlaXCov: His cave was on Pelion (P. 9, 30), a mountain full of medicinal herbs. — *iip(o) = 6rjp{a) : " Centaur." So called II. 1, 368 ; 3, 743 ; as well as P. 4, 119.— avp^Tcpov : " Upland," as in Chapman's Homer, with the same note of ruggedness — 5. ovSpuv ^i\ov^(j)iKdv6pa>jrov : A contrast to his name, ^rjp. Cheiron was SiKawraTos Kevravpav (II. 11, 832). — 6p^<|rcv . . . TEKTova : dp. like c8i'8a|f j/, " bred." — 6. yviapxioi: The o must be lengthened to save the metre. Comp. O. 6, 103 : ttov- To/ifSov, P. 4, 184: TTodov, 11,38; TpioSdv. — 7. 'qpua: So rjpaas, P. 1,53. 'AvT. a. — 8. *X€7i!a: The myth was taken from the 'Hoiai of Hesiod, a KaroiKoyos yvvaiKav, 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 narrative. Epic narrative is developed step by step. " The lyric poet gives the main result briefly in advance, and follows it up by a series of pictures, each of which throws light on the preceding" (Mezger). — 9. irpW TcX^o-o-ai: "Before having brought to term," " before she had borne him the full time." Eur. Bacch. 100: ereK^v 8' dpiKa Motpat j reXc (r av TavpoKepap 6f6v. — xpva-ioii : P. 1, 1. — 10. "ApT^|ii8os : A. kills women, Apollo men. — 11. iv 6aXd|i.u: With Sapelcra, an additional touch of color. The MSS. have els 'Ai'Sa(o) S6p,ov ev 6aXdp,Xav- p(|aurd viv: Sc. tAx ;^oXov. — 13. a|iirXaKiaiv. Theokr. 10, 8: oiSa/io rot (Tuj/e/Sa TToBe (T ai Tivd rStv dfreoj/ro) y. — ota Kal iroWoi ira- 9ov, KT6. : Pindar unfolds a moral as Homer unfolds a compari- son. A reference to Hieron and foreign physicians (aireovTcov), which Hermann suggests, is altogether unlikely, not to say ab- surd. — 31. 4>v\ov . . . SoTis : A common shift, as in " kind who ;" only we follow with the plural.— 33. oloxwcov: "Putting shame on." — iraiTTOivsi TO ir6pv ^Lav, and note on 8,68. It may be of some significance that she was the sister of the wilful hero Ixion, who came to his bad end by eivoL ■n-apdrpoiroL (P. 3, 35). — S^vod : Ischys, as we are told below (v. 31). — 37. o-kottiSv : Used of the gods (0. 1, 64), but esp. 272 NOTES. of Apollo. O. 6, 59 : To^o(f>6pov AdXov deoS/j-aTas a- ko no v. — (iilXo. S(5k<[> : See Bur. Ion, 238 : eVi 8' da-tpaKTOia-i | fi.rj\otiri, y.r] napir es fivxov. — T(5(rvi = firjwTrj. Hesiod says (fr. 90) that a raven told it to Apollo. Pindar delights to depart from the popular version in little points that affect the honor of the gods; hence the emphasis laid on the ttovto Pio-avn vow. — ■Trop(a) . . . v6a : As it were " in the courts of" He did not go out of himself The Schol. dulls the expression by napd tov voov nvBojiivov. — yva^v ■ax.iav : For the MS. yvcB/ia Trejrt^toi'. nLBaiv = TTcia-as. The ace. yvapav gives the finer sense. Apollo forced conviction on his will, his heart. So also Mezger, who cites for this use of yv. O. 3, 41 ; 4, 18; P. 4, 84. Fennell prefers "judg- ment" to "heart." — 39. PUravn z= dbon. Cf P. 4, 248: oTfiov 'I IT a III ^paxiv. — «|/€v8eci)v 8' ov\ oirTerai: Neither deceiving nor deceived. Cf. P. 9, 46 : o-t , tov ov 6ep,iT6v yjfdSfi Siyei v. — 30. cpYois ovTc ^ovXats: On the omission of the former negative, comp. P. 10, 39. 41. 'AvT. ^'. — 31. Ei\&Ti8o : Ischys, son of Elatos, seems to have been a brother of Aipytos (CtJ, 36), who was an Arkadian lord. — 33. JeivCav KoCrav =: Koirav $4vov. " Couching with a stranger." — 33. o(jioinoKCToi : Homer's apmnaKeTos suits all the Pindaric passages. See P. 1, 14. — 34. AaKEpciov: In Thessaly. Van Her- werden has called attention to the resemblance between Koronis of Lakereia and Hesiod's XaKepvCa Kopavrj (O. et D. 745). — KpTjiivoi- /), to 8e TeTparov iKero TcKpap (Schol.). Bergk suggests Teprw (Aeol.) = TpiV(B. See note on O. 8, 46. — vcKpov : There is no good fem. — 44. 8i,e(j)oiv« : Imperfect of vision, in an intercalated clause. So the best MS. Si4i;t. — 50. 6epiv^ irvpt : Sunstroke. Perh. " Summer fever." — 51. elaycv: "Brought out," still used by the profession. — tous fiiv. Resumes the division indicated, v. 47. — (laXaKats Eiraoi.8ais : In- cantations were a regular part of physic among tlie Greek med- icine-men. The order is the order of severity; So. Aias, 581 : ov irphs larpov (ro(f>ov \ dpoelv eira^as Trpos ropavTi Trrjpari. — d|jiit>^ir(i)v . . . irtvovTos . . . irepdirTuv : P. breaks what seems to him the hateful uniformity by putting mvovras instead of a causative, such as mmo-Kav, or an abstract, such as wotoIs. — 52. irpoo-avca: "Soothing potions." — Trepatrrav . . . <|iolp|iaKa: "Swathing with simples." Plasters and poultices are conspicuous in early leech- craft. TTepanTiav (Aeolic) = TreptaTrra)!/. So N. 11, 40: wepobois. — 53. Tojxats torao-ev ApOovs : ropi) is the regular surgical word for our " knife," and the pi. gives the temporal efiect of ripvav. P. makes in ea-raa-fv a sudden and effective change to the finite verb, so as to be done with it. Comp. 0.1,14; P. 1,55. iVrds would be feeble. To punctuate at e^ayfv ■ and make tovs pkr M2 274 NOTES. . . . Tois Se irpocravia depend on io-raa-tv is to efface the growth of the sentence and the rhythm. The methods are in the durative tenses, the results in the complexive (aorist). 'Ayr. y. — 54. B^Berai : " Is a thrall," " is in bondage.'' Selrai would mean "lets itself be enthralled by." The instr. dative is the regular construction. — 55. erpairev . . . KO)j.i(raL : P. 9, 47 : hpmre . . . irap(j>dfiev. The prose irpoTpiwew has lost its color. — aYavopi : Cf. P. 10, 18 : dydvopa ttKovtov, and O. 1, 3 : fucydvopos . . . TvXovTov. One cannot help thinking of p^p^/tara xphi""'' ""VP (^- ^j 11). See Plato's criticism of this passage, Resp. 3, 408, B. C. — 56. avSp(a) : Hippolytos, son of Theseus, ace. to the Schol. Comp. Verg. Aen. 7, 765-774. — KofXirat.: N. 8, 44: reav ■^vxav ko filial \ ov p.01 SvvaTOv. — 57. oXukcJto: Bc. davdrm. — X'P"''' 0.9,33: tTKvra- \ov riva^e x^ pci-v- The addition of " hand " does not give the same vigor in English. — a|j.(|>otv: The Hesiodic fragment tells only of the death of Asklepios (Athenag. Leg. p. 134). — 58. lvc'(rKi)i.i|/Ev : " Brought crashing down." — 59. Ovorois i>piurlv : De- pends on iouioTa, and is not dat. of manner (Dissen) to p.aiTrfv4p.€v, modesta mente. Cf. I. 4 (5), 16 : Bvard Bvaroiin np4wei.. — 60. to irop iroSds: P. 10, 63: (ppovriSa rav Trap ttoSos (I. 7, 13: to . . . itpb TToSdj), " that which stretches from the place of the foot," " our nearest business." — otos Afiv dio-as: As Archilochos says: yl- yvco(TKe S' 010? pv(Tp,os dvOpinrovs ^x^'" "'""os ■ Grsu. of the owner. 'Ett. y'. — 61. <|>£Xo \|™xtt: P. is addressing himself and swinging back to his theme. " Asklepios sought to rescue a man fordone. We must seek only what is meet, see what is before us, what are the limits of our fate. Seek not the life of the immortals, my soul ; do the work of the day, play thy humble part to the end. And yet, would that I could bring the double delight of health and poesy ; would that my song had power to charm Cheiron ! Then the unreal would be achieved by the real, health which I cannot bring by poesy which I do." t^Cka -^vxd of Hieron would be too sweet. It is more likely that P. is taking a lesson to himself. — ptov aBdvoTov^ro i^opx)iova-6ai rots 6eois (Schol.). — ; 63. rb.v 8' enirpaicTov avrXei fiaxavdv: "Exhaust all practicable means," " drain each resource." — 63. el 8J . . . tvoi(6) : Wish felt in the condition. — 64. (leXiYapvEs i!|i.voi: So O. 11 (10), 4; N. 3, 4. — 66. 4v8pd. — 68. koi K€V . . . |i^Xov : This shows that the poem was composed in Greece, and not in Sicily. — 'loviov . . . ddXao-o-av : Elsewhere (N. 4, 53) called 'loviov TTopov. — 69. 'Ap^Oovo-ov : The famous fountain of Ortygia (P. 3, 6), called N. 1, 1 : aimvevfui (Tfjivov 'AXi^eoC. — AItvoiov |€vov : See P. 1. Srp.S'.— 70.v^(jiei; "Rules "without an object. — 71.oauov. — oiyXov avois : Cf. O. 1, 14 : dyXaiferai 8e Koi ixovaiKCLs iv ataro), and O. 11 (10), 13 : Kotrfiov cttI (TTef^ayao . . . ASv/ieXfj KfXaSiJo-o). The song lends additional lustre to the lustrous crowns. The plur. on account of the victories of Phere- nikos. — 74. ^cp^viKos: O. 1, 18. — iv Kippc^ trori: Kirrha was the Delphian hippodrome. The victory was won at least eight years before. — 75. i|)o|i.£: Out of construction. Elsewhere in P. with ace. and inf. — ifrdos : Ace. to J. H. H. Schmidt, (j)dos is the light of-joy (0. 10 [11], 35 ; I. 2, 17), (ftiyyos, for which we here have aly\av, is the light of glory (0. 2, 63 ; P. 9, 98; N. 3, 64 ; 9, 43). 'AvT. 8'. — 77. dXX(d) : " Well," since that may not be.— iireulo- (rfoi : " Offer a vow to," not simply " pray."— IB^Xoi: See P. 1, 63. — 78. MoTpi : Magna Mater or Bhea (Kybele is not mentioned in Pindar). The worship of this Phrygian goddess was hereditary in the flute-playing family of P. (see P. 13), and he had a chapel in front of his house dedicated to the joint service of Rhea and Pan. Among the Kovpat, who sang wapBivia by night to the two deities, are said to have been P.'s daughters, Eumetis and Proto- mache. The Scholiasts tell us that Magna Mater was rav voiriav av^rjTiK^ Koi p,eia>Ti.Kr). Welcker takes Kovpai with liavi, and con- siders them to be nymphs. But there is an evident connection between the pokirfj and the ewevxri. — s. — 83. TO, KaXa Tpeij/avTcs e|ci> : Another proverbial locu- tion ; "turning the fair part outward " (of clothes), as we might say, " putting the best foot foremost " (of shoes). 'Ett. h'. — 84. Tiv Se . . . eirerai, : Thy iv ea-\6v is great. — 85. S^pKETai : As the Biblical " look upon " (with favor). Comp. O. 7, 11 : oXXoTe S' akXov iivoirrevfi Xdpis. " The eyes of the Lord are upon the righteous." — 86. tt tiv' av6p. ; Comp. O. 1, 54. — 6 (i^Ya; irdriios : N. 4, 42 : iroTfios ava$. — oo\ij?=:a7n-aiOTOS. — 87. €ycvt(o) =: iyiv€To : Aor. vcith neg. — nii\€t . . . KaSpLu : Pro- verbial examples of high fortune and noble character, O. 3, 86. — 89. oX =: ovTOi. — crx«iv ; O. 3, 10. — Xfvpa)v 8e Koi Kelvos aei8' cvlla\ia | Mocirdv 6 koWuttos x°' pos. The marriage of Peleus and Thetis was a favorite theme ■with the poets. See N. 4, 65, quoted below. Catullus makes the Fates sing at the wedding (64, 333).— 91. oircSe': The indie, of a single occasion. With the indie, ottote has very much the sense of fivUa. Comp. O. 1, 37; 9, 104; P. 8, 41; 11, 19; L 6 (7), 6; fr. V. 1,6. — 93. Nrjp^os: The sea-gods were oracular. So Posei- don (0. 6, 58). So Proteus and Glaukos. For Nereus as a proph- et, the commentators cite Hesiod, Theog. 333, Eur. Hel. 15, Hor. Od. 1, 15, 5. See also P. 9, 103. Srp. e. — 94. Kp(5vo« iraiSas . . . iSov, Kri. : N. 4, 66 : elSev S' ci^KyKKoi/ edpavt ras ovpavov I3av eu naBciv, ktL — aXXore 8" aWoiai, (cre. : 0.7,95: a\- \oT aXXoiat huu6v(T^irovT' aUl . . . 8aC|i.ov(a) : "My shifting fortune." Though prosperity is a ttoXu^iXos iTriras, excessive prosperity is danger- ous, and the wise man must be prepared to do homage to the fortunes that attend him from time to time. — ^paaTLs : ^arli = ^anas, hominwm fdbulas, comp. " the talk of the town " >^ — "whose names are in every mouth." — 113. reKToves: So Kra- tinos (Schol., Ar. Eq. 537) : T4iX<{i : See on P. 1, 92. — , 2. tUiTirov: Comp. v. 17. — Kvpdvas: See on P. 1,60. — 'ApKetriXi}: The position gives zest to the postponed proper name. Comp. P. 8, 42. — 3. AaToiSoio-iv : Comp. N. 6, 42 : aSmv tpvetri Aarovs (of a victory at the Pythian games) ; 9, 4 : fmripi Koi StSvpois Trai'Sco-- tru/ . . . Uvdavos aljreivas opoKXdpois iiroTTTais. Apollo and Arte- mis, together with their mother, presided pver the Pythia 282 NOTES. games. Hence iif>EiXd)icvov. — av|i|s : " Freslien the gale of songs '■ (Fennell). — oSpov B|iir«v: N. 6, 31 : oSpov . . . iiriav. P. makes 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 oipov. — 4. xfviriav . . . alir)Tuv : There were two golden eagles on the o/KpaKos at Delphi, the white stone navel, at which two eagles, sent from east and west, had met, and so determined the centre of the earth. alrjTwv in one MS. — 5. ouk airoSdiMv . . . tvxovtos : When the god was present in person the oracle was so much more potent. Of P. 3, 27 : eV 8' apa iirjKoSoKa llvdavi Tocra-aK. Apollo was a migratory god, now in Lykia, now in Delos (P. 1, 39). For Apollo's sojourn among the Hyperboreans, see P. 10, 30 foil. — ipto, an Aeolic form = Upeia, which Christ gives. Bockh and others, tpia. — 6. xP'i<''*>' oUurrijpa Bottov : " Appointed by an oracle Battos (as) colonizer." Comp. O. 7, 83 : irXoov ewre, where the verbal element is felt, as here. — Kapiro<|)iSpov AiPvas : P. 9, 63 : oiVe TrayKapirav cj>vtS)V vrjirotvov. — Upov | vacrov: Thera (Santorini = Saint Eirene). — 7. us . . . ktCo-o-cwv ;= Kria-ai. As j(prja-ev is here a verb of will, as is hardly so purely final as in 0. 10 (11), 31; N. 8, 36. It is used rather as o<^pa, P. 1, 73. Comp. II. 1, 558 : t^ o"* 6l(o Koravcvaat irryrvjiov as *A;^tX^a | Tt^^(rT]s, 6\4a'i}s te noXeas em vr)V(rlv 'Axaiav, and L. and S. ed..7, s. v. Swas, end. — 8. op7i- vdcvTi pairru : " A shimmering hill," an Albion Mamelon. P. 9, 59: ox^ov . . . afKpmeSov. Kyrene was built on a chalk cliff. For description and recent researches, see F. B. Goddard in Am. Journ. of Philology, V. 31 foil. 'AvT. a. — 9. oYKo|iipav$ T£ : Iv Sta Svoiv, in the extreme form assumed here, can hardly be proved for Greek, and dvta S/^pous re is not avia 8i(j)pa)v. The correspondence between "oar" and "rein" is not to be pressed, the "rein" being rather "the rudder" (wrj- fidXiov). The two spheres of ship and chariot have much in conim(Jii,and borrow much from each other. — vufido-ounv : va/iav of ships, P. 1, 86 : vSfia SiKaia Trrfhdkim oTparov, of reins, as here, I. 1, 15: avia . . . va)p,a.v fie Poi, dvTdv(Te /Spoj/ras aitriov (jideyp.a. Bergk reads ^povrais, Aeollc participle, fr. /S/jovrai/ii^^Spoi/rS. Srp. 0. — 34. oYKtipov : In Homer's time there were no ayKvpai, only evvai — ttotC : With Kprip.vdvTa>v. — x'''^'«°7«'^'' = The flukes bite ; hence "jaws" of an anchor, which is itself a bit. Comp. Lat. dem ancorae. — 35. Kpir)|»vovTs rpUr^s p.kv TK-qQ( . . . ahX are Tirpwrov rjkBev •hos. Of II. 1, 53. 54; 9, 470. 474; Od. 3, 118. 119. 304. 306, al. — 36. viStcov . . . sp^JHOD .■ Cf V. 338 : vStrov yas, and Homer's tvpea vara 6a\acr(rr]s. Here we have a desert sea of sand. — 37. elvoXiov 8(5pv: Consecrated oracular language. — |j.ii8evos : A half-broth- er of Eurypylos on the Triton theory. This Poseidonian origin accounts for the Battiadai's love of horses. — 46. tikt« : See O. 6, 41. — Koiv. These murderous brides are often mentioned in classic poetry. See 0.4, 17.— tipiio-ei: See P. 3,64. Subject is Eitjiafios. — 51. TovSe . . . vairov : P.'s range of the terminal ace. is not wide. For eXSew with Sd/iov, see 0. 14, 30 ; with jUyapov, P. 4, 134; with mhlov, P. 5, 52; with At/Suav, I. 3 (4), 71; with a person, I. 2, 48. For fioXew, see O. 9, 76 ; N. 10, 36. ixeo (P. 9, 55; N. 3, 8), Ikovti (O. 10 [11], 95), Sto : Battos (Aristoteles), who is glorified in the next ode. — iceXoiveiji^aiv : Ky- rene had rain, the rest of Libya none. Hence «.. by contrast rather than absolutely. — 53. iroXvxpwu : So. O. R. 151 : ras tto- Xvxpvcov I Uvdwvos. The presence of Phoibos is emphasized, - as V. 5. — 54. afivia-n =: avafivaxrei. — 6c|j.i(ro-iv : " Oracles." PI. as dyyeXims, O. 3, 38. 'AvT. y. — 55. KOTaPavTo : The threshold is much higher than the floor (Od. 33, 3 : SXto 8' tVi fic'yav ouSov) ; hence, kot ot/Sou ^avra, Od. 4, 680. — XP'^'"'? I varipif : With Kara^avTa. — 56. 0707ev : Doric =:aya'yeiv (see O. 1, 3). — NeCXoio irpis . . . te|icvos KpovCSa: " To the Nile precinct of Kronides" (Zeus Amnion). With Nei- . Xoio rijifvos, comp. O. 3, 10 : oiK^/ia norafiov = oik. irorafuov. The Schol. combines N. Kpoyi'Sa, and considers it equivalent to Aios NfiXou, but there is no Zeiis NelXos in the sense meant. — 57. ■![ pa: The Homeric asseveration (II. 16, 750; Od. 13, 380) is well suited to the solemn, oracular passage. — lirewv orixes : " Rows of words," " oracular verses." On the absence of fieri, see O. 1, 1. — tirrolov: Only here in P. Not the usual tone of the word, which is ordi- PYTHIA IV. 287 narily "to cower," as in So. Ai. 171: a-iyfj Trrrj^e tav aspmvoi. The attitude here assumed is that of brooding thought. — 59. vU noXiipdiTTov: Aristoteles - Battos (v. 52). — KcXdSi^ : " Unprompted cry." He had only asked a remedy for his stuttering tongue. — 61. IsTpis: The consecrated number. — avSdcrai(ra: The original sense of aidap is not lost, as is shown by KfXaSo), " loudly bade thee Hail !" The oracle is given by Herodotos, 4, 155 : Barr' eVi (^cbi/tji/ ^XBes ■ ava^ 84 a-e ^oi^os AttoXXcoi/ I es Ac^vriv miinci ia)Korrp6<^ov olKKTTrjpa. 'Ett. y. — 63. SvtT9p6ov i(>ciivas : " Slowness of speech." Bdrros means " stutterer." Cf. ^arrapi^a. His real name was 'Apia-ro- tcXt/j. Herodotos (1. c.) says that B. was the Libyan word for "king." — iroiva: dp-oi^fi jj Xva-is (Schol.). — 64. J) (laXo 8ifi : No- where else in P. Od. 9, 507 : y pciKa St; pe TraKais. — iKTi6vTa Ka\ (f>dipfvov vpvois Sedv SiSdjuei/. — ovt<5v : Ipaum. Euphamos in contrast to ra piv, his descendant, Arkesilas, the hi shifting, as often in P. See 0. 11 (10), 8. — 69. v^unv. The house of Euphamos. — ^lireviev: I. 5, 12: halpav (jivrevti 86^av t'wrjpaTov. OdWci, V. 65, shimmers through. 288 NOTES. Srp. 8'. — 70. 8^|aTo: Without an object, as Syti, P. 2, 17. Bergk reads dpxri 'KSe'^aro. — 71. kCvSwos: The dangerous quest, the uavnXia. — Kporepots . . . aXois : The Argonauts were riveted to their enterprise as the planks were riveted to the Argo, which may have suggested the figure, but we must not forget that Hera inspired them (v. 184), and so may be said to have driven the nails. The passages cited certatim by the editors do not really help, such as Aisch. P. V. 64, and Hor. Od. 1, 35, 17. These are not the nails of necessity, but the nails of passion — the nails that fastened the Ivyi to her wheel, just as the proverb ^Xov rpi.(o, davum clavo pellere can be used " of the expulsive power of a new affection." — aSajiavTos : On the gen. see O. 2, 79. a. iron of special hardness. — 73. I| o7a-uuv Al. : e^ of the source, not of the agent. So Thuc. 1, 20. — AloXiSov : Here is the genealogy of lason that seems to be followed : A'ioKos 4- 'Evapca (v. 108). (Schol.v.l42). KprjBevs ^oKfuavevs 'ASduas (v. 143). (v. 143). I ,~1, I A'lcrav ^epi]S AfivQamv Tupco + no(rei8£j' *pi|os (v. 118). (v. 136). CA/xvedv) (v. 136). (v. 138). (v. 160). I I (v. 125). I IA2QN "Abp.r]Tos Me'Xa/iTTOS IleXiar NijXeur (v. 136). (v. 126). (v. 71). I NcVrmp XiepiKkifievos (v. 175). — aKdpiTTois: Pelias perished by the latter means, a., "iufle.\i- ble," "invincible." — 73. ^\9f 8e foi . . . 6«(i,w: On the double dative, see 0. 2, 16. fot depends on 6vjjm Kpvoev. The relation is not that of apposition. Cf P. 1, 7 : Foi . . . Kpan, and above, V. 37. — Kpv6ev: "Blood-curdling." — itvkivc^ . . . ev|ji^ : 0.13 53: ^.icrv^ov p.Ev irvKvoTarov ndKdiiais ais 6f6v. Pelias is not only "wary," but "crafty." Comp. v. 138: jSaXXero Kprim&a (rofj^av enfcov. — 74. fiAa-ov 6ft^a\6v : See note on v. 4. — cvS^vSpoio . . . piarE- pos : Qaia was the first tenant of the oracle. Aisch. Eum. 1, 3 : npSiTov /lev cu^B W^^ npeaPfim 6(&v \ rrjv npcoTofiavnv Taiav, and the ofi.(j>a\6s was a reminder of her. N. 7, 38 : Trapd aiyav ofKJiaXov fvpvKoKwov I p.oKav x^ovos. Cf P. 6, 3 ; 8,59; 11,10. PYTHIA IV. 289 — 76. otweivuv diro (rTa9|j.wv: On Pelion, where he was brought up by Cheiron. ar. is used in its special Homeric sense. — evBcieXov ; The Homeric signiiication "far-seen" suits Kronion after a fash- ion ^O. 1, 111), but not lolkos, whereas "sunny," an old inter- pretation, suits Kronion perfectly (0. 3, 24), and is not inapt for lolkos, as opposed to the forest shade of Pelion and tlie cave of the Centaur. P. was not always clear himself 'as to the tradi- tional vocabulary. 'Ai/t. 8'. — 78. Setvos aXr u>v doTds : Only passage where ah-e is used=fiTf. Even in prose the iirst eire is sometimes omitted, lason was both. — 79. olx|*oto-iv 8i8ij|j.ai«rtv : As Homer's heroes. Od. 1, 356 : e-j(a>v ■ ■ • Sv" SoOpe. — 80. o te . . . a.y4f<- 8^: re . . . Se, again P. 11, 29, the reverse of the common shift, fih . . . re (O. 4, 13). — MoYvvJTwv cirixupios: A close-fitting dress was necessary for hunters in a dense forest. — 81. iropSaXc'^: So Paris, II. 3, 17: TrapSaXirjv ^fwiirtv e^mv kcu Ka/iirvXa ro^a | Ka\ ^i(j)os • avrap 6 Sovpe 8i3pC : The Aloeidai were buried in Naxos and had a cult there. — 89. 'flrov . . . 'E4>idXTa : Homer calls them ttoXv (coXXiVtous /icra ye kXvtov 'Qpiava (Od. 11, 310). According to him the brothers were slain by Apollo for threatening the immortals with war. According to another account, they slew each other by the device of Artemis. The comparisons are taken from the Artemis cycle, as lason is clearly a hunter. — 'E+idXro: For the voc. comp. v. 175 ; P. 11, 63. The voc. naturally gives special prominence and interest, but it must not be pressed too much, as has been done with HarpoKXeis iTnrev and Et;^at€ trv^ara. Metre and variety have much to do with such shifts. — 90. koi (idv : It is hard to believe Tityos dead with this gigantic youth before our eyes; hence the oath by way of confirmation, as v. 87. — Tirudv : T. was slain by Artemis. Od. 11, 580 : A?;™ yap ijXktjo-e Aior KvSprjv wapd- KoiTiv I Tlv6a>h' ipxofievrip Sm KaXXi;(opoi) IlavoTr^os. Those who wish to moralize P.'s song see in these figures warning examples. It would be as fair to say that Tityos was introduced as a com- pliment to Arkesilas, whose ancestor he was (v. 46). — 93. o(|>pa . . . Eparai : eparai is subj. A bit of dbbligato reflection without any personal application. The Greek moralizes as Shakespeare quib- bles. — Tav ev 8«voTU (|>iXoTdTa>v : See P. 3, 34. Srp. f'. — 94. 7dp«ov : The lower range of this word, as O. 3, 96. — avo 8' ^|u6vois: Comp. O. 8, 51: av ittttois. — ■nji.nJvois |«(rT^ t' ain]Vf : Greek seldom comes nearer than this to ev Sia bvoiv (v. 18). Mules were a favorite team among the Thessalians as well PYTHIA IV. 291 as among the Sicilians. — 96. 8e|iT£pi3 : lason had lost his left shoe in crossing the Anauros. See v. 75. — kX^ittwv = KoKiwrav. Cf. O. 6, 36. The Greek associated the dissociate radicals of these words. — 97. Iloiav Yaiov : There is something disrespectful about TTolav, and yaiav is not especially courteous. The Homeric formula (Od. 1, 170) is : m iroBev ((rtr' avbpav ; iroBi roi iroXis rjbe TOKrjfS ; Pe- lias had come'-irpoTpoiraSav, looking neither to the right nor to the left of him, his eye riveted on the unsandalled foot, and see- ingnothing of the Sjris on the face of the multitude. — 98. ovBpuirwv . . . x<>'|JL<<'>'7v has been suggested, but is unnecessary. The conative present will serve. See 0. 13, 59. If apxaiav is read, notice how far the adjective carries in the equable dactylo-epitrites. Cf. 0. 11 (10), 19. — irarpds : Pelias had asked for his mother, lason proudly speaks of his father. 292 NOTES. 'Ett. e'. — 109. viv : Sc. Ti/idj/. — XtvKats iri6T)cravTa c^pao'Cv: Xevieais is variously interpreted. " White," i. e. " envious." Others comp. \fvya\eos (II. 9, 119: (fipeal XevyaXerjcri mdrja-as), Xvypos, Fennell Xva-a-a (XuK^a), " yielding to his mad desires." — 110. opxeSiKov: "Lords by primal right," "lawful lords." — 113. naSos . . . Btiko- )uvoi: " Having made lamentation." — 113. (iiyokwkut^: So p'-ySa with dat., II. 8, 437. — 114. ire'nwov: With the imperf. the thoughts follow the motion. See note on O. 3, 33. — inropYovois iv iropv-' pe'ois: The (TTrdpyava are also KpoKard, N. 1, 38. — 115. vvkti koivo- iravTcs 68dv: " Having made night privy to the journey." Time is often considered a companion (O. 3, 11). — rpa^v=:Tp4(l>civ: The inf. as O. 6, 33 : ^pai noptr aivf iv So/ieu EiXaWSa ^pecfios. St/d. s'. — 117. XeuKjirwcDv : White horses were princely. See P. 1, 66 : \evK07rd>\(i>v TvvSapcSav. — 118. oip $eivav tKo(|i.av . . . aXXuv: The MSS. have ixofiav, which is unmetrical. oi ^eivav iKoifi av {=zatyp4vos av eirjv), " I Can't have come to a strange land " woiild 1)0 easy, and an aorist Ikolp-i is supported by iKwpi, II. 9,414, and by P. 3, 36, where the codices have tuovr. The pure opt. might stand here as a half-wish, a thought begotten of a wish, "I hope it will turn out that I have come to no strange land," oi being adhaerescent. Bergk has written oi pav ^elvos u(a> yalav SKKav, which does not explain the corruption, oi pav does not occur in P., though ovK pav does. — oXXwv = aKKorpiav. Cumulative, —119. *ijp = %. Only of the Centaurs. P. 3, 4.— 130. eyvov = fyvaxrav. — 131. iropulMSXDlav : For the plur. see P. 1, 13. The dual- istic neut. plur. often retains the plur. verb, and there are two streams of tears here. — 133. av irepl \|nixav: " All round (through) his soul" — Kara ttjv iavTov ^vxijv (Schol.). 'AvT. s. — 134. koo-Cyvtitoi : Aison's brothers. See v. 73. — tr^t- a-iv : O. 3, 39 : 'EppeviSais Brjpavi t iXdeXv kvSos. The brothers were an accession. — 135. Karo kX^os: "At the report," "close on the report." Comp. Kara n68as, " at the heel of," " following." — 4>^pTis: Bee v. 73. Most memorable to us for his part in the Alkestis of Euripides, where he declines to die for his son Ad- tnetos : x^lpeis 6pS>v tov e^i- KfTo — but it would be easier to have Ikov (suggested by Bergk), and aveilnoi (Hartung). Ikov would then be in the schema Aloma- nieum. See v. 179. It is wholly inconceivable that ave-^i-ov should depend on eviieveovTcs^^^fjiiKiovTes. — ev SaiTos . . . lioip^i: At a shared, i. e. common, banquet. — 129. op|ji<5£ovTa : Comp. N. 1, 31: dp^dSfoy Sftin/ov. The Thessalians lived well, as we know from Euripides' Alkestis, Plato's Kriton, and other familiar passages. — irao-av . . . Tavuev : " Stretched joy to its full extent," " kept it up to its full height." — 130. Spoiriiv : N. 3, 8 : Speweadai KaWiarov aarov. The aor., on account of the definite number ( v. 36 ). Otherwise we should have expected the present part., as the action is coincident with rdwev. 'Ett. s'. — 133. irdvTo : Ace. pi. with irapeKoivaro. In contra- distinction to V. 116: K€(j)a\aia Xdyaj/. — 6en«vos =: 7roi?)o-a/if vos. " Speaking in sober earnest." — oTrouSatov : Before v. 129 it was all evtcrTavT(ai), ktL. "The Fates withdraw ... to hide their Ijlush" (Dissen). This has a modern sound, but is better than Rauchenstein's, " The Fates avert their faces, if enmity among the members of a family obscures reverence (die heilige Scheu)." Hermann reads aldoi, and makes the Fates revolt against concealment. 'AvT. f . — 148. aKo»T€(rdpov : Of Aphrodite, fr. IX. 3,5: 'AcppoSiTas eXcKo^\€(f>dpov. Cf Hesiod. Theog. 16; Hymn. Hom.V. 19. — 178. "Evvoo-iSo: Of the sons of Poseidon (v. 33), Buphamos, ancestor of Arkesilas, is from Tainaros (v. 44) ; Periklymenos, grandson of Poseidon, brother of Nestor (Od. 11, 386), is from Pylos. Notice the chiasm. They are all Minyans. — aiSes and ala-xivrj are often used in the sense of military honor. II. 15, 561 : & (plXot, avipfs earc, Kal al8£> dea-6' ev\ 6vpa. See also V. 185. — tn|;ixaiTai: Hardly a reference to the top-knot. Poseidon's sons were all tall (the unit of measurement being the fathom), and if they were tall, so was their hair. Cf ol6(avos (So. O. R. 846), iKaroimohav (0. C. 717). — 175. Il£piKXu(i.ev(€) : Comp. v. 89. P. has no special interest in Periklymenos. — cvpvpCa: A title in the Poseidon family, O. 6, 58; P. 3, 13. — 176. ei "AiriiXXuvos : Orpheus is the son of Oiagros (fr. X. 8, 10 ; hence i^ 'A. may be taken as ' sent by.' Cf. Hes. Theog. '296 UOTES. 94.— aoiSav iraTYjp : Even in prose the speech-master at a sympo- sium is a warrjp \6yov (Plat. Sympos. 177 D).— 177. 'Op^tvi : First mentioued by Ibykos of Rhegion, assigned to the Argonautic ex- pedition by Simonides of Keos. 'Ett. rf. — 178. ir^iiire ; See v. 114. — xP^o'^P*''''''''^ ' xP^"'^?!"'^''^ ^ *° Homeric epithet of Hermes. — 179. 'Exiovo . . .'Epwrov: Hold-fast and Pull-hard, sons of Hermes and Antianeira. — Ktx^d8<»"''"s = -A- peculiar Doric perfect participle with present signification (comp. iTfv re peova-iv \ KaKvros ff, 6y 8^ Sruyor vharos ia-nv dnoppm^. The figure becomes much easier if we remember how distinctly the plural ending of the verb carries its " they," and here Kex^dSovras recalls vlovs. — tox&s : So the better MSS. for Taxecos. Cf. P. 11, 48 : 0odv dicnva. — 180. IlaYyaiov : On the borders of Thrace and Macedon. — vowTdovres : "Dwelling, as they did," far to the north, while Euphamos dwelt in the far south. Cf. P. 1, 64.— 181. 8«ii(p yeKavet: Comp. O. 5, 2 : KapSia yeXaveX. Notice the cumulation. — evTucv : 0. 3, 28 : hrv avdyKa. — 183. ir€<|>pCKOVTas : See V. 179. — 184. iriOov cvSaiEV "Epa : Hera favored the expedition, as appears from other sources. Od. 12, 72 : "Hp?; irape'jre/ii^ev, cVci dp)jiaKov . . . cas apETu; : (pdp/iaKov twos is either " a remedy for " or " a means to." Here it is the latter. It is not '' a solace for their valorous toil," but an "elixir of valor," as we say the "elixir of youth." — 189. X^laTo: "Reviewed." — lirnivrjcrais : Coincident action. — 191. Mo- <|/os : A famous soothsayer. — £|j.P(5Xoi): The ffi^oXov was more modern, but P. had in mind the famous talking-plank in the ship Argo. — 193. a7Kupas: The same mild anachronism as above, v. 24. The anchors were suspended at the prow, v. 22 and P. 10, 52. On the two anchors, see O. 6, 101. PYTHIA IV. ay? 'AvT. & . — 193. <|>iaXov : Comp. the famous scene in Thuk. 6, 33. — 194. cYx»KEpavvov : So O. 13,77: Ziji/os eyxecK^paivov. — uKvird- po\is: Proleptic. So evpoiia and ^iXmi/, v. 196. — 195. k«|iot(ov piiras av£|i.(i)v t(€) : avijuav pmai is common enough everywhere. So in our author, P. 9, 53; N. 3, 59; fr. V. 1, 6; So. Antig. 137. p. not so common of the waves. Fr. XL 83 : ttovtov pmai — cKdXci: He called on Zeus, and then on the other things that he feared or desired. Nothing is more characteristic of the heathen mind than this meticulous prevision. Zeus answered for all. — 198. ^6^Y|i,a . . . cLKTtvcs : No uorepov Trpdrepov. The lightning was secondai'3'. — I'.li). a;j,'irvoav . . . coTacrav : ia-rdvai is usud in poetry to form periplirnses with abstract nouns (Bockh), very mucli as TToieia-dai is used in prose, d. f(rT.=^dv€miev(rav, for which see So. O. R. 1331: dv eTTV € V (rd t Ik (liBev \ kcli KareKOLfirja-a rovp.6v &p,fia. " They drew a free breath again." 'Ew. ff. — 301. Ivhrrav: Not the Homeric ivimto, but a new present formation from cvvfjre (Curtius).^ — 302. uKopos: Gives life to the dipping oar, that cannot get its fill. — 303. 'Aleivou ; The 'A^ewos, afterwards ^H^eivos. — 304. iv ^avBas dyeXar. For the sacrifice, see O. 13, 69. 81. — ©pijiKCwv : Hieron, the seat of the altar, was on the Asiatic shore and in Bithynia. The Bithyni- ans 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 : rhv diTo^evov opp,ov Q pji kiov KXuSojva, Antig. 588 : hvo'irvoois orav \ pjj(T (Taio-iv fpe^os i5<^aXoi' cmBpaiirj wvoals. — 306. vciSktiotov: Built by the sons of Phrixos. — XCewv : The best MSS. have \idi- vov, which is a gloss. This shows that the old readers connected it with Bivap. — 6^vop: I. 3 (4), 74 : ^a6vKpr]fi.vov iroKids dXof i^evpav Bivap, where it means the hollow (depth) of the sea, as it else- where means the hollow of the hand. Ace. to the Schol. to koi- \ci}p,a Tov ^a)p.ov to VTroSe^ofievov ra BvjxaTa. — 307. Se = yfviav : v is semi -vocalic (con- sonantal). See G. Meyer, Gr. Gr. § 147. — -irve'ov: Monosyllabic. Sometimes written mevv. See G. Meyer, Gr. Gr. § 117. — 337. ireXoo'O'ev : Apoll. Rhod. 3, 1307: flXKfv eTrLKpareois TvavTi trOevei S(j>pa ireXda-a-r] | fewyXj; )(aXKfiri. — 6p6as S' avXaxas, Kre. : " Straight stretched he the furrows as he was driving." The process and the result side by side. — 338. oko : With trxiff ■ ""' opoyviav would mean "a fathom at a time," not "fathom high." — 239. PatriXevs, | ooris apxei vods : He disdains to turn to lason. — 230. a( a-ifi^ poTOV 'iieXlo I o. — S^pjio . . . cvvEircv, evflo : Prolepsis. — 343. ^KTavuerav : Poetical condensation. Phrixos had slain the ram with his sacrificial knife in honor of Zeis ha^vcmos, flayed him, and stretched the skin. — 343. TJXireTo . . . irpd$£(r8ai: As tkirojiai contains an element of wish it may take the aor. irpd^a- a-Oai (with the M8S.) instead of the future, but P. uses the first aor. only here, and the neg. ov favors npa^eaSai (P. 1, 43), unless we write Kfii/oi/ xe. Comp. P. 3, 43. The subject of npd^. is 'Ida-ova. Easier irpd^. as fut. pass, (note on v. 15) with oi=Id.— 6vov: We expect ipovov like rpoipov, but comp. Eur. 1. A. 794 : Tciv kvkvov SoXtxavxevos yovov. " Her . . . the death of Pelias " seems violent. In the story of the return, the pas- sage through Africa is presupposed on account of the overture (v. 36). — 351. iv . . . fiytv: "They (the Argonauts) entered the stretclies of Ocean." — 353. Aanviov . . . ov8po<|i(5v«v : 0. 4, 20: Aa- fiviaboiv yvvaiKav. — 353. aeOXois : Funeral games in honor of Thoas, father of Hypsipyle. See O. 4, 23. — Flv : So Kayser for (cpio-ij/, on the strength of the Schol.'s avSpEiai/. I. 7(8), 53: Ivas eKTafiav Sopi. — co-flaTos a|ji<|>Cs : " About ( for ) raiment." Such a prize is mentioned 0. 9, 104. This does not exclude the wreath mentioned O. 4, 34. Note afi^i'y = dfitpl. only here. Srp. i/3'. — 354. ev aXXoSairais . . . apovpais : Familiar symbolism. So in the marriage formula cVi waiSav yvrfcriav dpora. Eur. Phoen. 18: pfj (nrelpe t4kvcov oXokq Saifiovaiv fiia. The fulfilment echoes the prophecy. Cf v. 50: dWoSatrav . . . yvvmieav | ev XiX^"'''"- — ^^^- TODTaKis =TaTe. P. 9, 15. — ^4|«Tepas oktivos oX^ov: Run together (so-called hypallage). " Your radiant prosperity." aKTivos is due to Hermann. The MSS. have aKTtvas. — |ioipi8iov : The rhythm connects it with a-Tr4pp,{a), and p.. a-nipp-a is as easily understood as popipos vlos (O. 3, 43). But the standing phrase popa-ifiov fjpap forces the other combination with apap. — 356. ij v«KT€s : " Or, shall I say ? night." The plur., as often of " night- watches."— 357. H-i.x9^vT6s: See V. 351.— 258. T\9e4a)v nfSiaiv. — 260. v ti|Jiois: Cf. v. 51: avv npa 6fS>v. — icooTu xpi"''o9p^vo« . . . Kvpdvas : kSotv for aarv with Har- tung. More about Kyrene in P. 9. 'Ai/r. t/3'. — 363. Ap8<5po«Xov . . . l(^evpo|j.evois : An after-thought participle (P. 0, 46) which recalls vppi, balances a-vv de&v npais, and, like avv 6eS>v npais, gives at once the cause and condition PYTHIA IV. 301 of success in administration, " by the devising of right counsel." These words link the conclusion to the myth, and 6p66^ov\ov /i^nv prepares the way for the wisdom of Oidipus and the saying of Homer. The Battiadai are a wise race ; they can read riddles and apply proverbs that bear on the management of the state. Neither text nor interpretation is settled. A full discussion is impossible in the limits assigned to this edition. I give first a close rendering of Christ's text, which I have followed: "Learn to know now the wisdom of Oidipus. For if a man with a keen- edged axe hew off the branches of a great oak and put shame on its comely seeming, e'en though its fruit fail, it puts a vote concerning itself, if at any time into the wintry fire it comes at last, or together with upright columns of lordliness being stayed it performs a wretched toil in alien walls, having left desolate its own place."— 363. vvfiOi . . . iro<|>Cav : Twisted by the interpreters to mean "show thyself as wise as Oidipus." rav OldiTToSa (Totjiiau is as definite as rSv S' 'Of^ripov koI t-oSe (Tvv6ip,€- vos. p., to whom all Theban lore was native, is repeating a parable of Oidipus, and, if I mistake not, a parable of Oidipus in exile. — 364. E|cpeCi|n) |j.cV : So Christ after Bergk, who has also changed ala-xivoi into altrxivj]. ei yap with the opt. would not be consistent with P.'s handling of this form. On the other hand, el with the subj. is found in comparison O. 7, 1. — 365. StSoI i|ia(tiov ■irep' avToLs : The oak is on trial. BiSovm ■<\nia\a>s 6eol | TroXXffl (rcika creiVavres mpBaxrav iraKiv. (nl Xapas ecra-ai = opdSxrai. — 275. tCv ^ coi. — l|v<|)oivovToi : " For thee the web of these fair fortunes is weaving to the end." The achievement of this restoration is at hand, is in thy reach. — 276. TXafli : The imper. instead of the conditional iav rXjr, as v. 165. 27-p. ly. — 277. Twv 8' '0|ii]pov : There is nothing exactly like it in our Homer, but we must remember that Homer was a wide term, and P. may have had a bad memory. The nearest, and that not near, approach is II. 15, 207 : ia-ffK6v koI to H-ruKTai St ayye- \os auripa flhrj. — oTivB^jjievos ; Od. 17, 153: e/xeto 8e x<^oH-^voi.o, Od. 31, 36 : yvatTTjv oiKKrjKav, 33, 109 : yvatrojieff aKKr]\iav. So also Xen. Kyr. 7, 3, 18 : eyj/ffl KOI jioKa arowa i/iov ttoiovvtos. — 381. ^v iroiiriv veos : Cf. N. 3, 80 : wKvs cv Troravots, So. Phil. 685 : 'Itros ev y 'iaoLs dvrjp. It does not necessarily follow from this statement of Damophilos' versatility that he was really young. — 383. i7Kvpv 8«' Foi, ktc. : The Greeks conceive Time and man as companions (d xpovos a-vvav, Soph.). See O. 3, 11. If, as He- siod says. Day is sometimes a stepmother, sometimes a mother to a man (O. et D. 825 ), so a man may be a son or a stepson to Time — an attendant {6fpcma>v), as Patroklos was on Achilles, or a mere drudge. A Sfpdniov is one wlio has rights, who can avail himself of an opportunity without servility. — 388. toBt oviapdro- Tov : " A sorrow's crown of sorrow." — 389. Iktos exew ir6ia : " To stand without," cktos KoKav, as Aisch. P. V. 263: wqjjATav e|v Te Koi T&v\ Kaipov. — 3. KCKpa|iEvov: Blended witli=:'wedded to. See O. 1, 33. — xaSap^: As dpfrd is " honor," so xadapd is used of it as Kadapov is used of (jieyyos. p. 9, 97 : XapiTcov KeXadevvdv \ p,r) fif \iiTOi RaBapbv ^eyyos, fr. XI. 3 : Kadapov Afiepas criXas. The poet strikes the keynote of the ode: "Wealth with Honor" as a gift of God, who appears here as worp.os. — 3. TrapaSdvTos . . . avayji : There is a festal, bridal notion in both words. For di/d- •yeij/, see L. 3, 48 ; Od. 3,372; 4,534.-5. ec(5|ji,op(e) : This string is harped on. So v. 13 : df6v aito : Life is represented as a flight of steps. oTT dpxijs Tov /3iou, says the Schol. The kKvtci aliiv is the lofty position to which Arkesilas is born. Kastor plays the part of iroTp-os, and the king goes after the wealth that he is to bring home as a iroXv(j}iKov imrav. For atav fem. see P. 4, 186. — 9. Xpuo-opiioTov Kairropos: The Dioskuroi, whose worship was brought from Thera to Kyrene, had a temple on the famous m- TTOKpoTos a-Kvpcord 6B6s (v. 93). Castor gaudet equis, but the Dios- 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. eiSiov: The special function of the Dioskuroi was to calm storms. Comp. " the ship of Alexandria whose sign was Castor and Pollux" (Acts 38, 11), and Hor. Od. 1, 13, 35-33 : Dicam et Aldden piterosque Ledae, \ hunc equis, ilium superare pugnis \ nobilem: quorum simul alba nautis \ Stella refulsit, \ defluit saxis agitatus umor, | concidunt i)enti,fugiuntque nubes, | et minax, quod sic voluere, ponto \ unda recumbit. — x^'C'^'p''"'' oc^Ppov : Of. v. 130 : (j)divoTroi: "The noble." From P.'s point of view 308 NOTES. wisdom is hereditary, the privilege of a noble caste. P. 2, 88 : X&rav TToKiv oi ao^oX Trjpeaivn. Comp. O. 7, 91, foil., where Diagoras' straight course, despite his prosperity, is attributed to the hereditary balance of his soul. — 14. ipxi^ktvav : " Walk- ing." The first figure echoes still.— Iv SUt/.: O. 3, 83.— 17. t\ti truyytvilp : I follow the MSB., though it is hard to frame a clear translation. o^BaKfios is used as O. 2, 11 ; 6, 16, metaphorically. avyyevrjs o(^6aKji,6s is really = crvyyevrjs troTfios (I. 1, 39). It is the blessing that comes from exalted birth. " Born fortune hath this (to ^aa-iKea elvai) as its meed most fit for reverence when wedded to a soul like thine." Comp. O. 8, 11: a-ov yipas, "a privilege like thine." One cannot be born to higher fortune than to have thy rank and thy nature. Hermann's cVci a-vyyevis is easier. " Since this born meed of reverence wedded to a soul like thine is a light of life." To be born a king, and to be of kingly mould, is a real 6(j>daXfi,6s, a true oX^os. J. H. H. Schmidt (Synon. 1, 376) maintains that 6poSiTas : As P. calls Libya (P. 9, 57) Aios kottos, and Syracuse (P. 3, 3) Tep.evos "hpeos. Kyrene, a luxurious place, was famed for its roses, flowers sacred to Aphrodite. — oeiSdjjicvov : With o-c. This gives the necessaiy contrast, whereas with Kanov it would only be a picturesque detail. " While thy praises are sung, do not forget what thou owest to God, what thou owest to Kar- rhotos." According to Bergk, the inf gives the contents of the song, and duhofnevov is = oTi dAbfrai,. "Forget not that there is a song that resounds about Kyrene : Ascribe everything to God." Cf. P. 2, 23. This message is supposed to have been delivered to Kyrene by an oracle. — 35. wiT€pTi8^|ji.ev : The sense is "to give the glory of everything to God." The figure is that of setting up God, as the author, over the achievement, which is the pedestal. — 26. KdppuTov: Arkesilas' wife's brother, who was the charioteer. —27. 'Eiri(*o0c'os : "After -thought," the opposite oi Ilpop.rj8^ui PYTHIA V. 309 (Fore-thought). Comp. O. 7, 44 : npofiadeos AlSas. — oywv: The figure of a procession, as v. 3 : avdyji. No lingering bride de- layed his steps. — 38. Odyut^po: See O. 8, 1. — 29. 6e|iiv rjviaKriv €fi~ jrXaKelff | Secftoi/ 8vfT€^r}vv(TT0v sXKCTai deOets. — 33. iroSapKEWv 8u8eKa Spo)i.uv T^iiEvos : " Through the sacred space of the twelve swift- footed courses." rifievos is ace. of extent to the verbal idea in atajpaxois. Bergk Considers iroSapKiav to be a participle =Tpe';f(»i/. Bockh writes iroTapKeav^irpoa-apKeav, "holding out,"7ro7-t=7r/3ds being elided as 0. 7, 90 : ttot da-T&v. On the number twelve, see O. 3, 55 ; 3, 33 ; 6, 75. The hippodrome was sacred soil, hence the propriety of T4p,evo!. — 84. ivriav a-Sivo^ : Comp. O. 6, 33 : a-devos rjfuovaiv. " No part of the strong equipage." evrea em- braces the whole outfit. — Kp^naroi : The change of subject is noth- ing to P. Cf O. 3, 33.-35. 6ird[Kav noXiv | /ioXepaw eiri(f>Xeya>v doiSais. — Xopires: See O. 7, 11. — 46. |Ji.aKdpios, of tX'i'Si KT€. : He might have had the Kajiaros without the Xdyot. This furnishes the transition.— 47. ■Kth6.=fieTd (Aiol.-Dor.). Cf. 0. 12, 13. — 49. nvaji'gov (Aeolic) for jivrfn^lov (Bergk). The MSS. iivapLTjiov, Christ ^ya/i^i'. -— Tccro-apoKovTa: The number seems high. II. 23, 387 there are but five competitors, So. El. 708 but ten. — 50. ircrdv- Tco-o-iv (Aeolic) = KaT-aTrewoCo-i (Schol.). — 51. orapPtt <|>pEvi: Cf. P. 9, 88 : arap^el . . . K€(j>aKa. Karrhotos owed the victory to his coolness. So did Antilochos in the Iliad (33, 515) : KfpSea-iv oi Ti Ta)(eL ye 7rapa(j)ddixevos M(v{Kaov. — 53. ^X6es . . . oreStov : See P. 4,51. — avXoSv: So Moschopulos for dyadav. Mommsen reads dyadeav := rjyadeaiv, " divine." 'Ett. /3'. — 54. irdvwv . . . Eo-ETai : In another mood Pindar says, 0. 10 (11), 24: anovov 8' U\afiov x^PF" Taupoi tivcs. — 55. eiwrov TO Kal TO v£'(j.v dyadois, ^ei'vots 8e 6avp.acrT6s Trarfjp. Significant emission here of the dyadoi The conspiracy was among the upper classes. — op,p,a: See note on v. 17. — <|>oevv(5TOTov : See P. 3, 75. — 58. Xcovtes . . . vYov : P., according to his wont (cf P. 3, 83 : to KciKa Tp€-\jrav- Tey f^to), turns the old tale about. Kyrene was infested by lions, like the rest of Africa (leonum arida nutria;), until the arrival of Battos. According to Pausanias, 10, 15, 7, Battos, the stammerer, was frightened by the sight of a lion into loud and clear utter- ance ; P. makes this utterance frighten the lion and his kind into flight. — irepi ScCfjiaTi: wepi here takes the peculiar construction which is more frequently noticed with dp(j)i, " compassed by fear," hence "from fear." So Aisch. Pers. 696: irepl rdp^ei, Oho6ph. 35: irtpi 0o/3o), Hymn. Cer. 439: TtepX x«PM""- — "O. ?S«k(£) . . . <(>(Spu: So N. 1, 66: haireiv p.6pca, O. 3, 90: davar^ PYTHIA V. 311 iropev, O. 10 (11), 102; errope 116x6(0. — 63. rafi.!^ Kvpavas: Ta/iias is a high word. See P. 1, 88. — areXris . . . |JiavTeTi|j.a(riv ^ i^t uSd- funms. " One that eifects naught by liis prophecies.'' 2rp. y. — 63. Popeiav v&aav, ktc.: Apollo's various functions are enumerated, beginning with the physical and proceeding to the musical and the political, which had a natural nexus to the Greek. The development is perfectly normal. — 64. aKco'|iaT(a) : The Kyrenaians, next to the Krotoniates, were the best physicians of Greece, Hdt. 3, 131. The medical side is turned out v. 91 : a\e^4/i/3p6rotf irofiirals. Comp. P. 4, 370. Silphium also had rare virtues. — 65. it6pev tc Ki6apiv: Comp. V. 107 and P. 4, 395. The moral effect of the nidapis (comp. the (jiopfiiy^ in P. 1) prepares the way for arroXefiov . . . fvvo- /liav. — 68. (ivx^v t* a|j.(|>eirci | |iovT^ov : This is the crowning blessing. Kyrene owes her very existence to the oracle of Apollo, P. 4, 53. — 69. p.ovTfiov = ^avTEiov. — ' = See P. 3, 3. — 83. TpSes 'AvTavopCSai : Lysimachos is cited by the Schol. as authority. A hill between Kyrene and the sea was called Xocftos 'AvTrjvopiSav. — 84. KairvaOeto-ov . . . ^iSov : In prose the aor. part, is seldom used of actual perception, not unfrequently in poetry of vision. I. 7 (8), 37. Aor. part, with I8eh, P. 9, 105 ; 10, 36. 'Ett. y. — 85. eXooriirirov : As Trojans the Antenoridai were k€v- Topes mnav (II. 5, 103) and iWdSa/aoi (II. 3, 330, etc.). — 86. Sckov- Tai: Not historical present. The Antenoridai are still worshipped by the descendants of the colony under Battos. — olxveovres: Cf. O. 3, 40 ; P. 6, 4.-87. "Apio-TOTAiis : Battos I. See P. 4, 63.— 90. cvSvTopiov . . . 68ov : Bergk reads (iSirovov, which is not so good. The road was hewn out of solid rock, the occasional breaks being filled in with small stones carefully fitted together; hence a-Kvpa- rav oSdv. This road was evidently one of the sights of Kyrene, and the remains still stir the wonder of travellers. — 91. aXclifi,- PpoTois : See note on v. 64. — ircSiaSa : " Level." All care was taken to prevent ill-omened accidents in the processions. — 98. hixa. KctTai: Special honor is paid him as ktiottjs. So Pelops' tomb is by itself (Schol., 01. 1, 93). CatuU. 7, 6 : Batti veterit sacrum sepulerwm. 2rp. S'. — 95. Xaoo-ePiis : The honors thus received are de- scribed O. 7, 79, foil. — 96. itfh 8ii)|uiTP'v£ : xBovia = \mo x^oi/ds. Fennell : " With such faculty as the dead possess." — 103. tr^iv = a-<\>iTipov. Only here in P. — o\pov : The Scholiast refers this to the kS>iios. Grammatically it is in appo- sition to the -whole preceding clause. t6 pavdrjvm is the oX/3or, the a.Kori involved in aKoiovn. The honor is common to them and their son (comp. P. 6, 15), but it is peculiarly due to Arkesilas ; hence the neat division of via and 'ApKca-iKa, which should not be run together. — 103. ^v aoiS$ : O. 5, 19 : AuSi'ois cmvav iv aiXois. — 104. xp^iraopa : Hung with (the) gold(en ^6pp,iyi). Comp. P. 1, 1. The same epithet is applied to Orpheus, fr. X. 8, 10. 'AvT. 8'. — 105. exovTa : With tov. — 106. koXXCvikov Xvn^piov : Both adj. — Boirovov: The inevitable other side, never forgotten by the thrifty Greek. Of. O. 5, 15 : mvos Sairdva re. — 108. ^y6- |j.evov tpia : I can only say what all the world says. See P. 3, 3 : Koivov PeTTos. — 109. Kpccro-ovo nJv aXiKCas: Comp. the laudation of Damophilos, P.4, 380.— 110. (frepPcToi: Used like Tpf'^ei.— 114. Iv . . . Moio-aio-i: Not "in musical arts," which were colorless. He flits among the Muses (P. 6, 49), a winged soul from his mother's lap — not " taught by his mother dear," but as an inher- itance from her nature. — 115. ir^<^ovToi : Now. Not to be supplied with the other predicates. — ds : See note on v. 51. 'Ejr. S*. — 116. So-oi t' (itrXv . . . TCT^X|Ji.aKC : re sums up. The im- Xmpia KaXd embrace all the forms of generous rivalry in Kyrene. — OToSoi : Cf P. 6, 50.— 117. T£Xet Svvotriv : " Maketh his potency performance." — 118. diiota: So Hartung for MS. &, Moschopulos' & irkfla-Ta. May the blessed Kronidai give him like fortune in deeds and counsels. — 130. (lij . . . xp^vov -. Punctuate after 'ix^iv. Asyndeton presents no difficulty in wishes. — v the oarsman. — 124. toBto . . . yepas : It is not necessary to change to rtavro, O. 8, 57. The desired victory was gained 01. 80. — eiri: "As a crowning mercy." See O. 2, 13; 9,120. PYTHIA VI. The victory here commemorated was gained P. 34 (01. 71, 3), 494 B.C., and was celebrated by Simonides also, ace. to the Schol. on I. 3. The victor, Xenokrates, was an Agrigentine, brother of Theron. Comp. O. 3, 54 : HvdSivi 8' ofioKKapov is d8eX<^eoj/ | 'lo-- • Sfioi re Kotval Xaptreff avdea TedpLTriroiV dvcodeKadpofiav | ayayov. The charioteer was Thrasybulos, son of Xenokrates. Bockh thinks that the ode was sung at a banquet held at Delphi in honor of Thrasybulos. The theme is the glory of filial devotion. As the man that hath dared and died for his father's life, so the man that hath wrought and spent for his father's honor hath a treasure of hymns that nothing shall destroy, laid up where neither rain nor wind doth corrupt. The simplicity of the thought is not matched by the language, which is a trifle overwrought. The poet's ploughshare is turning up a field of Aphrodite or the Charites as he draws nigh to the temple centre of the earth where lies a treasure for the Emmenidai, for Akragas, for Xenok- rates (vv. 1-9). A treasure which neither the fierce armament of wintry rain nor storm with its rout of rubble shall bear to the recesses of the sea — a treasure whose face, shining in clear light, shall announce a victory common to thy father, Thrasybulos, and to thy race, and glorious in the repute of mortals (vv. 10-18). At thy right hand, upheld by thee, rideth the Law, once given in the mountains by the son of Philyra to Peleides when sun- dered from father and mother, first of all to reverence the Thun- derer, then of such reverence never to deprive his parents in their allotted life (vv. 19-37). There was another, Antilochos, man of might, that aforetime showed this spirit by dying for his father in his stand against Memnon. Nestor's chariot was tangled by his horse, stricken 316 NOTES. of Paris' arrows, and Memnon plied his mighty spear. Ms soul awhirl the old man of Messene called : My son i (vv. 38-36). Not to the ground fell his word. Stedfast the god-like man awaited the foe, bought with his life the rescue of his father, for his high deed loftiest example of the olden time to younger men, pattern of filial worth. These things are of the past. Of the time that now is Thrasybulos hath come nearest to the mark in duty to a father (vv. 37-45). His father's brother he approaches in all manner of splendor. With wisdom he guides his wealth. The fruit of his youth is not injustice nor violence, but the pursuit of poesy in the haunts of the Pierides, and to thee, Poseidon, with thy passionate love of steeds, he clings, for with thee hath he found favor. Sweet also is the temper of his soul, and as a boon companion he out- vies the cellfed labor of the bees (vv. 46-54). The poem is the second in time of Pindar's odes. Eight years separate it from P. 10, and Leop. Schmidt notices a de- cided advance, although he sees in it many traces of youthful- ness. The parallel between Antilochos, son of Nestor, who died for his father, and Thrasybulos, son of Xenokrates, who drove for his, has evoked much criticism, and, while the danger of the chariot-race must not be overlooked, the step from Antilo- chos to Thrasybulos is too great for sober art. The poem consists of six strophes, with slight overlapping once, where, however, the sense of the preceding strophe (v. 45) is complete, and the participle comes in as an after-thought (comp. P. 4, 363). Of these six strophes two describe the treas- ure, two tell the story of Antilochos, son of Nestor, prototype of filial self-sacrifice, the last two do honor to the victor's son. The rhythm is logaoedic. Srp. a'. — 1. 'AKowaT(e) : A herald cry. So aKovfre Xeoi, the "oyez" of the Greek courts. — IXikuttiBos : This adj. is used of Chryseifs, II. 1, 98 ; variously interpreted. " Of the flashing eye " is a fair compromise. — 'AaX(5v: See P. 4, 74; 8, 59; 11, 10. — lpiPpiS|i.av : Refers most naturally to the noise of the waterfall, PYTHIA VI. 317 though the gorge was full of echoes, the roar of the wind, the rumble of thunder (v. 11), the rattling of chariots, the tumult of the people. — 4. vdtov : The MSS. have vaov, for which Hermann writes vdwv = vaov, " of the temple " ( of v. 6 ), Bergk and many editors Xmvov. — 5. 'Eni«v£8ois : 0.3,38. — (i. iroraiiCqi . . . 'AxpclYavTi: Cf. O. 3, 10: oiKrfim norajMv. Akragas, the city, is blended with the nymph of the river Akragas. See P. 9, ' 4 ; 12, 2. — Kal |j.dv : P. 4, 90. — 7. Sjivwv | 6T|(ravp(Ss : A store of vic- tories is a treasure-house of hymns. — 8. iroXuxpuo-u : P. 4, 53 : TToXvxpva-^ iroT iv Sw/ion.— 9. TeTtCxioToi : The figure shifts from the field to the gorge, or rather the temple in the gorge, where the treasure is safely " guarded by walls." Srp. /3'. — 10. x'tp'^pios ouPpos : The original of Hor. Od. 3, 30, 3. 4 : quod non irriber edax, rum Aquilo impotens | possit diruere. — liraKTiSs : The rain comes from an alien quarter. Comp. the hatefulness of the jrotfi^v inaierbs aXX<)Tpios, O. 10 (11), 97. — 11. cpippd)i,ov : P., with all his troiKiKia, is not afraid to repeat, as a modem poet would be. See P. 1, 80. — 12. oTpards : The figure is perfect. Kain comes across a plain, or across the water, ex- actly as the advance of an army. One sees the crrixfs dvSpSiv. The wall protects the treasure against the hostile {inaKTos) ad- vance. — a|i.eC\ixas: " Relentless," " grim." — 13. £$010-1: With the plur. comp. Eur. Ale. 360 : Kai jx ov6' nXoiravos Kvav oijff oim Kamrj yjrvxonoimos &v Hdpav 'd (r^ov. Similar plurals are not un- common with disjunctives in English. In Lat. comp. Hor. Od. 1, 13, 5 : Turn nee mens mihi nee color | certa sede manent. — ^ttoi*. (t>dp

v aor. or crxf6(ov pres. ? Most frequently aor., the form seems to be used as a pres- ent here. — toi . . . viv ; vm anticipates ir)ixo^po)v : With t/oi/jua is almost an adjective, toloOtos tov vovv. — 30. evopiuPpoTov : Occurs again, I. 7 (8), 53 : fidxas ivapip.- /SpoTov. — 31. Ai9ii5Trci)v | Mcp.vova: This version of the story ia taken from the AWionis of Arktinos. — 33. Neordpciov: O. 3, 13. — iirc'Sa : II. 8, 80 : Ne'cTcop otos cfiifive Tfprjvws ovpos 'Axaimv | oC n fKav, dXX' iTnros ereipeTo, toi/ (StiXfi/ la | Sios 'AXe^avSpos, 'EXe'vijs wotris rivKoiioto. In Homer it is Diomed that comes to the rescue PYTHIA VI. 319 Still the death of Antilochos by the hand of Memnon was known to the poet of the Odyssey, 4, 188.— 33. BaixBeCs : O. 3, 6.— e+cirev: ■' Plied," " attacked him with." — 35. M«v iraKm. — 45. irorpi^av . . . irpbs oTd6|iav : " To the father-standard," " to the standard of what is due to a father." Not "to the standard set by our fathers." Antilochos was and continued to be an unapproachable model. Xen. Kyneg. 1, 14 : 'AvriXop^or tov Trarpos vTicpajrodavav too-outtjs cTV)(fV fVKXelas &(7T€ fiAvos iKcmaTa>p irapa Tois "EXX)j(r4v dvayopcv- Brjvai. Srp. s'.— 46. iroTpu : Theron. — 47. v6if 8e irXovTov oYct : Comp, P. 5, 3. 3 : orav tls . . . [irKovrov] dvayr]. v6a>, " with judgment." — 48. 081KOV 0B6' vir^poirXav: On the omission of the fii'st oiVe, see P. 10, 39 ; vava-l 8' oiire jrefds lav. A similar omission of " neither " is common enough in English. So Shakespeare, "The shot of accident nor dart of chance," " Thine nor none of thine," "Word nor oath;" Byron, "Sigh nor word," "Words nor deeds." ahiKov and virepoifKov are proleptic. The youth that he enjoys is not a youth of injustice or presumption. — ■nPov Spe'irwv: Cf. O. 1, 13. — 49. piiv: Supply iari, which P. seldom uses. O. 1, 1. — 53. mpLirdTaKriv 6|»Xctv := iv raXs trvfrnoTiKois ofuXlais. Kai throws it into construction with afietfieTai. To say that " a spirit that is sweet to associate even with one's boon companions surpasses the honey and the honeycomb " is a bit of sour philosophizing that does not suit the close of this excessively sugary poem. — 54. TpnTov irdvov: Has a &ncal, precietiir,, sound to us. PYTHIA VII. The seventh Pythian is the only epinikion in honor of a citizen of Athens except N. 3. Megakles, whose victoi^ is here cele- brated, was a member of the aristocratic house of the Alkmaio- nidai, a grandson of that Megakles who married the daughter of Kleisthenes, tyrant of Sikyon (Hdt. 6, 137 foil.). Whether our Megakles was the son of Kleisthenes, the lawgiver, or of Hip- pokrates, brother of the lawgiver, does not appear. The latter is called simply ^vpaKoaai. As this is poetry, there is no need of scrutinizing the epithet closely with reference to the period. Solon calls Athens fieydXriv noXiv. Herodotos, writing of the end of the sixth cen- tury, says (5, 66) : 'Adrjvm koL jrplv licyaKm Tore caraXKaxde^a-ai tS>v Tvpavvav cyivovTo fii^oves. — 3. irpooCfuov: Athens is the no- blest opening for a song in honor of the Alkmaionidai. irp. is the prelude sung before the foundation is laid. — ycve^ . . . iirirouri : The double dat. is not harsh if we connect, after Pindar's manner, aoiSav with iiriroio-i, " chariot-songs." Cf. P. 6, 17, and 1. 1, 14: 'HpoSoTO) Tev)(a>v to /tev Spfian Tf6pi7r7ra> yipas. — 3. KpTjiriS' aoiSav . . . PaX^irSai : Cf. P. 4, 138: ^aWero xprjiriSa aocjbSv eWmv. The architectural image recalls the service that the Alkmaionidai had rendered the Delphian temple. )3aX€tr5ai: "For the laying." P. is instructive for the old dat. conception of the inf. — 4. irdTpov : Cannot be " clan " here. It must refer to Athens, as oIkov to the Alkmaionidai. — vatovr': With rlva. "Whom shall I name as in- habiting a fatherland, whom a house more illustrious of report in Greece ?" (ris vaiei ini(j>avfcrT€paii p-iv Trdrpav, e7ri(f)av4a-Tepov Se uIkov;) P.'s usual way of changing the form of a proposition. PYTHIA VII. 323 miatv is the reading of all the MSS. The Scholia read vaiovr, as they show by oiKoCi/ra. No conjecture yet made commends itself irresistibly. — 6. iru9^o-eoi: Epexegetic infinitive. 'AvT. — 7. XiSyo? 6|JiiXei: Semi-personification. 6. =: dvaiTTpi(j>fTat (Schol. ). Cf. O. 13, 19: 6 fit Xe mi/ jrap' olKeiais dpovpais. The story is at home, is familiar as household words. — 8. 'EpexSe'os ?9dvov a,jieip6)i£vov = Sn (f)66vos d/ifi- Serai. Instructive for the peculiar Attic construction with verbs of emotion, e. g. So. Ai. 136: ere /lev ev npaa'crovT fVtx'"'p'*- "• "requiting," — 16. vendv: "Howbeit." /idj/ meets an objection, made or to be made, ye limits the utterance to (l)ai/TL. Comp. O. 13, 104 ; P. 1, 17 ; N. 8, 50 ; I. 3 (4), 18. " Yet they say that thus Orosperity that abideth in bloom for a man brings with it this sad that " ( good and bad ), or, analyzed, ovtcos &v. ■wapap.oviii.os 6ciKKoi f) eidaifiovia iav to. kcli to. (jieprjTai.. Ups and downs are necessary to abiding fortune. Pernetual success crovokes more than envy of men, the Nemesis of God. We hear the old Poly- Vrates note. — 17. toi xat to : Here " good and bad." as 1. 3 (4^. 51. PYTHIA Vin. Aeistomenes 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 boy- wrestlers (v. 78). No mention is made of the trainer, a character who occupies so much space in O. 8. P. was, in all likelihood, present at the games (v. 59). The poem seems to have been composed for the celebration in Aigina — comp. Todi (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 (01. 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 tlie concluding verses, which imply the freedom of the island, led O. Muller and many others to give an earlier date to the victory, 458 B.C. Allusions to the battle of Kekryphaleia (Thuk. 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 rep- resented the Athenians as the monstrous brood of giants (v. 12 foil.). Mezger, who adheres to the traditional date, sees in TToXcjiimv (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 (ol Traxf'is). Kriiger gives the earlier date of 01. 77, 3 (470 B.C.), or 01. 78, 3 (466 B.C.). Hermann goes back as far as 01. 75, 3 (478 B.C.), and sees in the ode allusions to the Persian war, Porphyrion PYTHIA VIII. 325 and TyphSeus being preflgurements of Xerxes — altogether un- likely. Fennell, who advocates 463 B.C., suggests the great vic- tory of Eurymedon four years before " as having revived the memory of Salamis, while apprehensions of Athenian aggression were roused by the recent reduction of Thasos." If we accept the late date, the poem becomes of special im- portance as Pindar's last, just as P. 10 is of special importance as Pindar's earliest ode. Leopold Schmidt has made the most of the tokens of declining power. Mezger, on the other hand, emphasizes the steadiness of the technical execution, and the similarity of the tone. " In P. 10, 30 we have ixtj (fiBovepais c'k 6eS>v iifTarpoTrims iTrtKvpcraiev, in P. 8, 71 : dfwv 8' oirtv atjiBirov airc'ft), ScvapKcs, vfieripais Tvxais, and in P. 10, 63 we have as sharp a presentation of the transitoriness of human fortunes as in the famous passage P. 8, 93." But this comparison of common- places proves nothing. There is undoubtedly an accent of ex- perience added in P. 8 ; and, according to Mezger's own inter- pretation, P. 8, 71 is deeper than P. 10, 30. Jean Paul says some- where, " The youngest heart has the waves of the oldest ; it only lacks the plummet that measures their depth.'' In P. 8 Pindar has the plummet. Hesychia is to Aigina what the lyre is to Syracuse; and the eighth Pythian, which begins with the invocation ^iX6(j)pov 'Ho-vxia, is not unrelated to the first Pythian, which begins with the invocation Xpva-ea cj)6pp,iy^. In the one, the lyre is the sym- bol of the harmony produced by the splendid sway of a central power, Hieron ; in the other, the goddess Hesychia difiuses her influence through all the members of the commonwealth. In the one case, the balance is maintained by a strong hand ; in the other, it depends on the nice adjustment of forces within the state. Typhoeus figures here (v. 16) as he figures in the first Pythian ; but there the monster stretches from Cumae to Sicily, and represents the shock of foreign warfare as well as the volcan- ic powers of revolt (note on P. 1, 73) ; here there is barely a hint, if a hint, of trouble from without. Here, too, TyphOeus is quelled by Zeus, and Porphyrion, king of the giants, by Apollo (vv. IB- IS) ; but we have no Aitna keeping down the monster, and a certain significance attaches to eV XP°''V °^ ^- ^^■ The opening, then, is a tribute to Hesychia, the goddess of domestic tranquillity, who holds the keys of wars and councils, 326 NOTES. who knows the secret of true gentleness (vv. 1-7), who haa strength to sink the rebellions crew of malcontents, such as Porphyrion and Typhoeus — the one quelled by the thunderbolt of Zeus, the other by the bow of Apollo — Apollo, who welcomed the son of Xenarkes home from Kirrha, crowned with Parnassian verdure and Dorian revel-song (vv. 8-20). Then begins the praise of Aigina for her exploits in the games, and the praise of Aristomenes for keeping up the glory of liis house and for exalting the clan of the Midylidai and earning the word that Amphiaraos spoke (vv. 31-40). The short myth follows, the scene in which the soul of Am- phiaraos, beholding the valor of his son and his son's comrades among the Epigonoi, uttered the words : ^va to y^vvaiov imirpiirei I eV TTaTipav nauAv Xfjua (v. 44). The young heroes have the spirit of their sires. " Blood will tell." Adrastos, leader of the first adventure, is compassed by better omens now ; true, he alone will lose his son, but he will bring back his people safe by the blessing of the gods (vv. 41-55). O. 8, another Aiginetan ode, is prayerful. Prayer and oracle are signs of suspense ; and the utterance of Amphiaraos carries with it the lesson that Aigina's only hope lay in the preservation of the spirit of her nobility. What the figure of Adrastos means is not so evident. It may signify : Whatever else perishes, may the state abide unharmed. Such, then, were the words of Amphiaraos, whose praise of his son Alkmaion is echoed by Pindar — for Alkmaion is not only the prototype of Aristomenes, but he is also the neighbor of the poet, guardian of his treasures, and spoke to him in oracles (vv. 56-60). Similar sudden shifts are common in the quicker rhythms (Aiolian), and the Aiginetan odes of P. pi'esume an intimacy that we cannot follow in detail. P. now turns with thanksgiving and prayer to Apollo — entreats his guidance, craves for the fortunes of the house of Xenarkes the boon of a right reverence of the gods. Success is not the test of merit. It is due to the will of Fortune, who makes men her playthings. " Therefore keep thee within bounds." Then follows the recital of the victories, with a vivid picture of the defeated contestants as they slink homeward (vv. 61-87). " The bliss of glory lends wings and lifts the soul above riches. But delight waxeth in a little space. It falls to the ground, when shaken by adversity. We are creatures of a day. What are we ? PYTHIA VIII. 327 what are we not? A dream of shadow-is man. Yet all is not shadow. When God-given splendor comes there is a clear shin- ing and a life of sweetness." "Aigina, mother dear, bring this city safely onward in her course of freedom, with the blessing of Zeus, Lord Aiakos,Peleus, and good Telamon and Achilles " (vv. 88-100). Compare again the close of O. 8. This invocation of all the saints in the calendar is ominous. To sum up : The first triad is occupied with the praise of He- syohia, ending in praise of the victor. The second triad begins with the praise of Aigina, and ends with the Midylidai, to whom the victor belongs. The third triad gives the story of Alkmaion, as an illustration of the persistency of noble blood. The fourth acknowledges the goodness of Apollo, and entreats his further guidance ; for God is the sole source of these victories, which are now recounted. The fifth presents a striking contrast between vanquished and victor, and closes with" an equally striking con- trast between the nothingness of man and the power of God, which can make even the shadow of a dream to be full of light and glory. At the end is heard a fervent prayer, for Aigina's welfare. So we have two for introduction, one for myth, two for conclu- sion. It is evident that the circumstances are too absorbing for the free development of the mythic portion. We have here a tremulous poem with a melancholy note in the midst of joyous- ness. The lesson, if there must be a lesson, is : In quietness and con- fidence shall be your strength. The only hope of Aigina, as was said above, is the persistence of the type of her nobility, but it is clear that it is hoping against hope. The rhythms are Aiolian (logaoedic). The restlessness, in spite of Hesychia, forms a marked contrast to the majestic bal- ance of P. 1. Srp. a. — 1. #iX<5<|>pov: "Kindly." Ar. Av. 1321: to rqs aya- v6povo s 'H(rii;(iar firfjiiepov npoiraivov. fviifvrjs seems to be more personal. Comp. v. 10. — ^"HotixCo : A goddess. Comp. AtSar, ^fjuri, "EXeof, 'Oppri, at Athens (Paus. 1, 17, 1). The Ro- mans carried this still further. — A^kos . . . 6vy(mp -. Elprjprj (peace between state and state) is the sister of AUr) (O. 13, 7), but 328 NOTES. 'Ho-D^ia, domestic tranquillity, is eminently the daughter of right between man and man. Cf. P. 1, 70 : wvov r^a-vxj-av, and if "righteousness exalteth a nation" the daughter of righteousness may well be called fieyto-TOTroXn.— 3. u : For the position, comp. O. 8, 1. — 3. iroX^|i. (P. 9, 43), 'aBtivS. (Aisch. Bum. 827, Ar. Thesm. 1142), MnoXirlSat (So. O. C. 1053). — 5. IIdSuSvikov ti\mv = K&fiov. — 'Apis (Schol.). 'AvT. a. — 8. ajwiXixov . . . IvcXacrQ : The figure is that of a nail. Whose heart ? The Schol. : ivdj Tjj eavrov KapSla, and that is the only natural construction of the Greek. Dissen and others think of the bitter hatred of the Athenians towards the Aigine- tans. " Plants deep in his heart ruthless resentment." If 'Ha-v- xia were meant, we should expect rea. — 10. rpaxeto . . . viravria^ Saura : " Meeting the might of embittered foes with roughness." Tranquillity (conservatism) is harsh whenever it is endangered. No class more cruel than the repressive. — 11. neets . . . ev avrXiji: avrXos is " bilgewater " (O. 9, 57). SvtXov Sex^a-dai is " to spring a leak," vavs virfpavrKos is " a leaky, foundering ship." iv avrkto nBevai is opposed to iXfvdepa oroXo) KOfii^eiv (v. 98), hence=:"to scuttle," or, if that is unlyrical, "to sink." The Schol., ai)s KaiS : See P. 1, 16 : Tvocem cum cithara dedit. — 33. (itj . . . KvioTi : fjuri sentences of fear are really paratactic, and are often added loosely. Comp. note on P. 4, 155. " I have no time " = " I say that I have no time." Kvla-ri : Lit., " nettle," " irk." — t6 . . . Iv irotri |ioi rpaxov : A more forcible TO Trap ttoSos (P. 3, 60 ; 10, 63), TO npo n-oSds (I. 7 [8], 13). ev noa-i, "on my path," as e/wro- 8i}v, " in my way." rp&xov shows that the matter is urgent, " my immediate errand." Dissen combines rpaxov "rm. But rpaxov is heightened by the poet to iroravov. — 38. rtov xp^os^ Thy vic- tory. — 34. TTOTovdv: Cf. P. 5, 114: ev re MoiVawri iroravof. He 330 NOTES. calls his art rrorava fiaxavd (N. 7, 22). — aiujil |uixav$: Cf. P. 1, 13. dix(j>t T( AarolSa (TOia ^aOvKokiiav t€ MoktSj'. 'Ett. ^'. — 35. Ixvtvwv: "Following hard upon the track." Echo of T-pdxov. Notice eu.— 36. 'OXvpiirCqi: Pindaric brachylogy for 'O^vfimoviKav. — &eiyviYrov : Honored by an epigram of Simon- ides (149 Bgk., 206 Schndw.): Tv&di Ge6yvt]Tov jrpotriSav t6i> 'OXviiTrwvUav \ iratba, TrdKaicrfiofrvvris 8e|i6j» dvioxov, \ KaXXioroi' fi€v ISelv, adXe'tv 8' ov x^^P"'"^ )iop<^as, \ os iraTepcov ayaBav i(Te TrdXiv. See Paus. 6, 9, 1. — KaT«Xc7x«is : Cf. O. 8, 19 and I. 3 (4), 14: dpirav \ a-vp.(l>vTov ov KoreXt'yx^'' ''' (8), 65 : tov fih ov KaT€\iyx^i- Kpirov yevfo. 7raTpa8e\EpEi$ : As a prize. " Thou earnest." — 89. 'OikX&s irats : Am- phiaraos, the seer, the just man and wise among the seven against Thebes. See 0.6, 13. His spirit speaks. — 40. oIvi|oto: "Uttered as a dark saying, in a riddle," as became an oracular hero. 2T-p. y.— 41. 6ir6T(e): See P. 3, 91.— 43. (iapvo(iCTwv : Cf O. 13, 15. — 44. *va . . . Xi)|jia: " By nature stands forth the noble spirit that is transmitted from sires to sons." This is nothing more than an oracular way of saying to fie avyyevcs e/i^i^aKcv 'Ixvea-iv narpos (P. 10, 12). Amphiaraos recognizes the spirit of the war- riors of his time in his son and his sons' comrades, hence the plural. Tafel gives ^va the Homeric sense, " growth," " stat- ure." The Epigonoi had shot up in the interval, and become stalwart men. So also Mezger. But how would this suit Aris- tomenes? — 46. SpoKovro: The device occurs on the shields of other warriors, but it is especially appropriate for Alkmaion — our 'AXK|i.ava — the son of the seer Amphiaraos. The serpent is mantic. See O. 6, 46. 'Ai/t. y. — 48. 6 8e Kafiuv : Adrastos, who had failed in the first expedition, was the successful leader of the second. — irpoTcpo irdOi}: A breviloquence, such as we sometimes find with SKKos and erepor : erepos veavlas, " another young man," " a young man beside." The nporepa oSos- was a ndda. Tr. " before." — 49. ive- Xtrai : Usu. in a bad sense. Here " is compassed." — 50. opvixos : Omen. See P. 4, 19.— 51. ri> Be AoCKoeev : " As to his household." TO is ace, —52, «vt(» irpojei; "He shall fare contrariwise" (Feu- PYTHIA VIII. 331 nell). Cf. O. 8, 73 : apiJ,€va Trpd^ais dvrjp, — 58. Bavivros . . . i;ioiJ : Aigialeus. 'Ejr. y. — 55. 'APovros: Abas, son of Hyperiunestra and Lyn- keus, king of Argos, not Abas, grandftithei- of Adiastos.— o-yutds: On the ace. see P. 4, 51. — 56. koI air6s ■■ As well as Amphiaraos. — 57. (rrc(|idvoio'i pdWu: P. 9, 133: TroXXa /xej/ icdvoi. bidvov s. — poivw Sc KOI v|ii,v(i) : Cf. P. 5, 93; I. 5 (6), 31: paivefifv cvKoylais, O. 10 (11), 109: ttoKiv Kara^pExcov. — 58. 7cCt(i)v Bti |ji.oi : Alkmaion must have had a shrine (ripaov) in Pin- dar's neighborhood that served the poet as a safety-deposit for his valuables. — 59. tpiravTao-ev : Figuratively, " oifered himself as a guardian." — 1<5vti : As it would seem on this occasion. — 60. ci|>d«|/aTo: "Employed." The dat., as with ^tyoio-a, v. 24. The prophecy doubtless pertained to this victory of Aristomenes, which P. describes with all the detail of a spectator. His rela- tions to the Aiginetans were very intimate. The prophecy leads to the mention of the fulfilment. — v iroi-qp.aTav op^vuv=e'i/ Sippocri (Schol.). For this use of licTci., P. 5, 94 ; ii.aK.ap dvSp&v p-era | evatev. " Wise amongst fools." Success is the vulgar test of merit, of wisdom. See O. 5, 16 : Tjv d fj(ovT€s crocjioi xal TroKirais 'ibo^av eiip,fv. On TreSd see P. 5, 47. 'Ett. 8'. — 75. Kopvo'o'^ii.cv : "To helmet," where we should say "to panoply." The head-piece was the crowning protection, TToXXfflv p.cd^ oiiKav (Tvv ff t7r7TOK6p,ois KopvBeo'a'i.v (Soph.). — 76. to S(£) : Such success with its repute of wisdom. Comp. P. 3, 57 : viv. — tir' avSpdpoviav. — 83. ovrt . . . ovii : So I. 2, 44 : fi.r]Te . . . lirjBe. — 6(iws : Like as to thee. — 84. eiroXirvos = tjSvs, irpo yvuiti},: "Adverse doom." 'Ett. e'. — 95. cird|jiEpoi : Sc. fo-fiiv. A rare and impressive ellip- sis. — t£ 8c Tis; t£ 8" inJ Tis; "What is man? what is he not?" Man continueth so short a time in one stay that it is not possible to tell what he is, what he is not. One Scholiast understands it as " What is a somebody ? what a nobody ?" which is a clearer way of putting it. .— o-Kias ovop : Life had often been called a shadow and a dream before P., but this famous combination 334 NOTES. startles the Scholiast : d rfj iji^curei ^^pa/ievos, as civ eiTroi ns Tov a.(r6evovs to da-Bepea-repov. — 96. atyXa: Cf. O. 13, 36: a'lyKa noSSiv. The dream may be lighted np by victory. — 97. fircoriv avSpuv: The Schol. ETreari Kara rav dv6pcm-iov. If the text is right, we must understand enea-Tiv as ea-rlv enl, "rests on." Cf. im^aivd). P.'s iiTL, with gen., is used of fixed position, O. 1, 77 ; P. 4, 373; 8,46; N. 5, 1.— 98. ^i\a. (lorcp: P.'s love for Aigina and his interest in her fate are abundantly evident in his Aigi- netan odes, nearly one fourth of the whole number. Here, of course, the heroine is meant. — IXevO^pi^ trr6\a -. Nautical figure. "In the course of freedom." — 99. K6fi.iX,e: As always with the note of care. — Al . . . 'Axi^Xei : i. e. a-vv Al /cm (riiv AlaKm — a-vv Ilj/Xei . . . dv. The poet, following his own canon — /Sato 8' cv fianpoiai TTOLKiXKdv, I aKoa uoc^ois, V. 83 — has selected four ex- amples to show that the laggard wins no prize. Witness how Apollo, no laggard in love, seized Kyrene {aK^la S' iirfiyofiivav ^h-q 6ea>p \ irpa^is obol re ^pax^iai, V. 73) ; how lolaos, no dastard in war, shore off the head of Eurystheus (v. 87). Witness Au- taios (v. 114), who caught from Danaos the lesson of speedy marriage for his daughter {aKvTarov ydfiov). Witness Alexida- mos (v. 131), who won the prize by his impetuous rush in the race (,vye Xaiifrripov Spoptov). Mezger, who emphasizes the recur- rence of avTiKa (vv. 31, 63, 124), shows, in perhaps unnecessary detail, that the poem breathes unwonted determination and energy, and thinks that it is intended to urge the victor to make quick use of his victory for pressing his suit to some eligible maiden. The poet is to be to Telesikrates what Cheiron was to Apollo. This view seems to me rather German than Greek, but it is not so unbearable as Dissen's rape and Bockh's caution against the anticipation of the lawful joys of marriage. The poem has certain marked points of resemblance and con- trast with P. 3. As in P. 3, the myth begins eariy ; 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 Ischys. Here he finds the high-hearted Kyrene struggling, un- armed, with a lion. There Cheiron was charged with the rear- ing of the seed of the god. Here Cheiron is summoned to leave his cave and witness the courage of the heroine. The fruit of 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 ambro- sia 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 fifth, Alexidamos the last. The rhythms are Dorian (dactylo-epitrite). They are lighter than the norm (O. 3), and hence are supposed to be a mixture of Dorian and Lydian. PYTHIA IX. 339 2Tp. a. — 1. iStXti): "I am fain." — xO'^^ainrCSa : The oirKvrohpo- fios originally wore shield, helmet, and greaves (Paus. 6, 10, 4), and is so figured on a celebrated vase (Gerhard, A. V., IV.). Afterwards the shield only was worn, which, being the heaviest, is here made prominent. Comp. Paus. 3, 11, 8: naX yviivbs koI fiera ttJs dtmlSos. — 3. PoSvJwvoio-iv : Cf. O. 3, 35 : ^adv^wvov . . . A^Sar. — dyy^Wuv : See O. 7, 31 — 3. XopCreo-o-i : Mistresses of the song -of victory, as often : O. 4, 8 ; 7, 11 ; P. 6, 3. — ve'ywvelv: Of the herald cry, as O. 3, 5 : Q-qpava . . . yeycovriTiov. — 4. Swojiirirou : Cf. P. 4, 17. A further illustration of the subject is given by the description so often referred to. So. El. 680 foil., where two of the contestants are Libyans (v. 703) and their chariots Barkaian (v. 737). — irTe<|)avan:Top,iva. On the construction, see 0. 1, 86. Simply a natural bit of color. To make o^. depend on xmiheiero as a whence -case is not happy. — x«P^ kov<|>oi: Often taken &s = -)(fp\ Kot;(/>ifoj;oTo : O. 6, 46. — iroXiiJi- pdp«vs . . . oSovs: The to and fro necessary with the upright loom. — 31. SeiviDv TEpi|>ias o«6' crapav oiKovpCav: The best MSS. have ovTe Selnvav oiKovpiav /ifd' eraipav Tepyjfias, for which the metre demands olxopiav, a form for which there seems to be no warrant. The Scholia show an old trouble. I have accepted Bergk's recasting of the passage — Seivav =: Slvav, " dances." The monotonous to and fro of the loom would be well con- trasted with the " whirl " of the dance. Maidens and banquets are disparate in Pindar, irapav olo : " Falchion." — 34. •!) : With a note of asseveration, as in r) p.r]v. — 35. tov 8J triyKovrov yXuKuv : " Him that as bed-fere (bedfellow) is so sweet." — 36. irovpov . . . Birvov : Transposed with Mommsen. w. "scant," litotes for "not at all." — liri 7\c(|>dpois: Od. 8, 398: vttvos eirX ■yXei^dpoKriv emirrev. Of. v. 13. — 37. dvaXCo-Koura : "Wasting sleep," brachylogy for wasting time in sleep. — ^^irovTo irp4s &u: Sleep is sweetest and deepest before dawn {sundentqtie cralentia sidera aomnum). Yet this is the time PYTHIA IX. 341 when the huntress has no right to sleep. " This is the time," as a naturalist says, " when savages always make their attacks." trp. /3'. — 28. \.&vTi : Whether there were lions in Greece at that time or at any time matters not. There were lions in Kyrene, P. 5, 58.-29. iPpCiu? : Used of the monster Typhoeus, 0. 4, 7.— 30. aT£p iTxewv : Schol. avfv Soparos. — 31. ovTiKa: See the introduc- tion. — Ik |i.c7dpuv : " From out his halls," sc. Cheiron's. Called him out and said to him. — 32. avrpov : Cf. P. 3, 63 : ei Se aaxppav avTpou evai fTi Xeipav. — *i\vpi8a: Cf. P. 3, 1. — 33. aTap^cI . . . Kc<|ia\f : A steady head is a compliment as well as arap^ei Kpahia, which Schneidewin reads. Note the serenity of the heads of combatants in Greek plastic art. KpaSia is unlikely with rjrop to follow. — 35. Kex«'|*»vTat (|>p^va« : The MSS. have ^pives. Some recognize in this the v i^Urai Kai e^eTov evvas : " To enter the bridal bed." Not as if this applied only to the first time. 'Eff. /3'.— 46. i|;ev8ei iiytlv: On the dat., see P. 4, 296. For the thought, P. 3, 29 : yjfcvSeav oix airreTai.. — 47. (wiXixos opva : " Bland humor," " pleasant mood." Apollo is merely teasing the Centaur by pretending to ask his advice. Others, " soft desire," ''gulling passion." — irap(|>d|icv : "To dissemble," "utter in jest." TTopd, "aside" (from what is meant). — 6ir<58ev: Sc. iari. — 48. k«- piov . . . Tt'Xos, KT€. : " The decisive end." The final destiny, and the ways that lead thereto. — 50. 8vXX(a): Fits the woodland environment. — dvoir^iMrei: The spring leaves are an army in rank and file, the sands are an army in rout (KXoj'eocTaO.--52. x&ri (u'XXci : The riXos again (v. 48). — x'"''"*** I Eo-crcTai =: otroOfv to p,iXKov eoxat : The KeXevBoi again. — 53. Kafl- op^s: From thy lofty height. Apollo is a o-kottoj, and Kara is not eS&ced. — 54. Kal trap ov dvTi^cpC|ai. : Km (Tocj>a trot oi/ri e^Lariodr)vm (Schol.). " To match myself against the Wise One." Srp. y'.^55. ^p^oi : Efiective position. The word is not neces- sary. — iriScris ; Comp. P. 4, 87 : Trdo-er | 'Ac^poSiVay, and contrast dat and gen. Kyrene becomes Apollo's wife. As A. was unmarried, it was easy to put the myth in this honorable form. — ik€o Pairo-av. PYTHIA IX. 343 O. 6, 64: iKovTo ncTpav. See P. 4,51. — 56. n^Weis . . . IvctKai: On the aor., O. 7, 61 ; 8, 33.-57. Ai6s . . . ttotI koitov: See O. 3, 34, for Kanos. For Aids, P. 4, 16 : A169 eV "hjxfiavos 6fii4ffKots.—58. Eirl . . . OLYcCpais = eirayelpms. — Xoov . . . vairiuTav : See P. 4, 17 foil. The island was Thera. — 59. 8x9ov Is a[j.<|)tir€8ov ; Cf. P. 4, 8 : noXiv iv apyivoivTi. fixurra. Cheiron has the oracular tone in per- fection. He parodies Apollo. — Ai^va: The nymph, daughter of Epaphos (P. 4, 14). — 60. Siifiao-iv iv xpvcr^ois: Where she will abide, not is, as K. 11, 3 : 'Apitrrayopav bi^ai rebv is daXapov — 61. iva: Always "where" in P. — oto-ov: Share. — 63. airiKa: Cf. V. 31. — oTjvTeXefltiv cvvo)i.ov : " To abide with her as hers in law," "to be her lawful possession." Paley tr. "To become an occu- pier of it together with herself." Cf. Aisch. Suppl. 565: /Spoi-o! 8' 0% yas TOT rja-av evi/o^ot. But see O. 7, 84. The Schol., mis- led by vrjiroivov, glosses crvvTeXidciv by {rvvreXeiv, " to contribute." — 63. vijiroivov : With the good sense of jroivrj, P. 1, 59 ; noivi/ios, P. 3, 17, glossed as ap.oipov. " Not tributeless." 'AvT. y. — 64. 'Epfios : Hermes was not only the patron of flocks and herds, but also the great gerulus of Olympos. The Hermes jf Praxiteles, with the infant Dionysos, is one of many. — 65. ev6ptfvois : A note of majestic beauty. So Kleio (N. 8, 83) and the daughters of Kadmos (O. 3, 34). Even Aphrodite as fSdpovos (I. 3, 5) is more matronly than she is as jrotKiXodpovos (Sappho). On the images of the seated Horai at Delphi, see 0. 18, 8.— "Opaio-i: The Horai, as authors of dpxala tro(l)i(TpMTa (O. 13, 17), are well introduced here, but who would question the appropri- ateness of the Seasons and Mother Earth as the foster-mothers of a rural deity like Aristaios ? — rot9t : Great-grandmother of Ky- rene (v. 19), if the relation is to be insisted on. — 66. wird : Vividly local, "from under." "from his mother's womb." See 0.6,43. — 67. eiri70DvC8i.ov =: eirl yovaratv. P. makes the very widest use of these adjj. in -los. Combine iinyovvidiov with avTols. avTois is unknown to Pindar. See O. 13, 53. — BoTjo-otievai : So Bergk for driKd/ievat., Brjo-dpevai of the codices, for which Moschopulos KordrfKapevai. 5a77(r. = ^at)/id 8' . . . Iv iro- Xvxpvo-oi : Cf. V. 60 : bafiaa-Lv iv xp^a-eois. — 76. af^^va : City and heroine are blended, as P. 13, 3. — 77. viv : Kyrene, the city. — KapvcidSa: A name of good omen, recalling 'AiroWiov Kapveios. See P. 5, 80. — 78. oiiv^iiigc: See 0.1,33.-79. dv^(|)ove: By the voice of the heralds. Cf. N. 9, 13: a/Kpaive KvSaivav ttoXiv. — Se'lcTai : Shows that the ode wa» not composed at Kyrene. — 80. KaXXiTvvaiKi iraTpi} : k. not a likely adjective on Dissen's theory. See introduction. Srp. 8'. — 83. apcTaV . . . iroXv)i.v9oi, ktc. : "Great achievements aye bring with them many legends, but to adorn a few things is a hearing for the wise," what the wise, the poets, those who un- derstand the art, love to hear. P.'s art in his selections among the mass of themes will be appreciated by his fellows. In this transition we have the key to the poem, for in all P.'s chosen myths Kaipos is atop — the Katpos of Kyrene and Apollo, the Kaipos of lolaos, the Kaipos of Antaios, of Alexidamos. — 84. uKoa o-oifjois : Cf. O. 3, 93: (jxovdevTa crvveTo'i(Ti.v. — 85. iravrbs ex" Kopvdv: Cf. O. 7, 4 : Kopv(j)a.v KTedvav. — eyvov = lyvaxrav. — 'IiSXoov : The son of Iphikles and nephew of Herakles, trusty companion of the latter hero. See O. 9, 105. This example of the headship of Kaipos may have been suggested by the training of Telesikrates ill the gymnasium of lolaos at Thebes, by the neighborhood of the celebration, by P.'s vow to Herakles and Iphikles (v. 96). Comp. a similar introduction of Alkmaion, P. 8, 57. — 86. vivz=t6v Kaipov. — Evpvo-BTjos : The taskmaster of Herakles. See O. 3, 38. — 88. 'A|i<|>iTpiJuvos I p(i>v: On the meaning and etymology of this word, see F. D. Allen in Am. Journ. Phil. I. pp. 133-135, who rejects- both Sa^vai and Sat, "battle,'' and looks to 8ats, " torch " (Vdu, BaP). From the " flery-hearted " of the Iliad, it becomes, ace. to A., the " high-spirited " of the Odyssey. Mez- ger's " doppelsinnig," as of one divided between her mortal and her immortal love, has no warrant. — 9'3. 8i8i!(jibs avTJp: P.'s char- acteristic way of whirling off from the subject in order to come back to it with more effect. — TrapaPaWei : " Lends." Cf Trapor fiaWfW KejiaiTop,ai = TiXeiov Kosjxov aaofim. The K&pos is to fulfil the obligation that rests upon the vow. A much-disputed passage, n with re'Xeiov is unsatisfactory, n with ia-Xov may be made tolerable by litotes, " a great blessing." See P. 7, 14 : xo^'^P'" '"'• Hermann makes the vow refer to ^iij p.e Xiwoi, whereas in that case we should have expected XiTrelv. The great blessing may very well be the victory of Telesikrates. — KO)|i,d^ = To illumine the path of the victories of Telesikrates. On (piyyos and (jxios, see note on P. 3, 75. — AIyCv^ T€ . . . N£o-oi) t' Iv \6^)f : On the one eV, comp. O. 9, 94. Nisos was a mythic king of Megara. The poet, as usual, transports himself to the scene where the victories were won. See P. 1, 79. — Alv^v^ T€ 7op, KT-e. : P. has thrice already glorified the city in Aigina and Megara, and vindicated there his poetic art, of course, in the praise of the victories of Telesikrates in these places. Now he hopes that the light of the Charites will continue to illumine his poesy (comp. 0, 1, 108 : el 8e /ifj raxii XiVoi), for he looks for- P2 346 NOTES. ward to other themes. — 99. Tdv8(e) : Dissen has rovSe. The poet says that he has glorified this city (Thebes) by celebrating the victories of Telesikrates at the places mentioned. T. evidently had close ties with Thebes, a ^apr&v ^4vos, like Amphitryon. Others refer ravbc to Kyrene. 'Ett. 8'. — 100. o-iyoXiv a)iaxav(av: "Dumb helplessness," " silence from want of words." Pindar is fighting his own battles as well as those of Telesikrates. Comp. the passage O. 6, 89 : dpxaiov ovtiSos oKaBitnv | X6yois el (j)cvyofiev. — £p7

'<"' ■ 0.6,57: rcpirvas 8' tWl )(pvdvoLo Xd^fv | xapTTO v "H/Say. — 119. av6Tiv may possibly he-=^a.va6opaiv, but in all likelihood av belongs to the opt. and gives the view of the prin- cipal subject, Antaios. Corap. Hes.Theog. 393: ofav/iaxoiro, imply- ing jxa^oiT av ns. Sohere or av ■\JAavv TTTf polo- 1 x"'™"- Oil the prothalamion theory we have a parallel with Telesikrates. PYTHIA X. A PECULIAB interest attaches to this poem as the earliest work of Pindar that we have, for, according to the common count, the poet was only twenty years old when he composed the tenth Pythian in honor of the victory of Hippokleas, irals diav\o8p6fu>s, Pyth. 33 (01. 69, 3 = 503 B.C.). The Scholiast says that Hippo- kleas gained another victoiy the same day in the single-dash foot-race (a-TaSia), but no direct mention of it is made in this poem. The father of Hippokleas had overcome twice at Olym- pia as oTrXiToSpofws, once at Pytho in an ordinary race. Pindar was employed for this performance not by the family of Hippo- kleas, but by the Aleuadai of Larisa. Dissen thinks that the ode was sung at Larisa, Bockh at Pelinna, the home of Hippokleas. Always an aristocrat, at the time of P. 10 Pindar had not reached the years of balance in which even he could see some good in the Xd^pos OTparos. Here he simply repeats the cant of his class. He is what we may suppose the Kymos of Theognis to have been when he started life, and this poem is redolent of the young aristocracy to which P. belonged. The Persian war had not yet come with its revelation. " The Gods and the Good Men," that is his motto, but the good men must be of his own choosing. He believed in God, he believed also in Blood. The praise of Hippokleas, as aristocratic as his name, was a congenial theme. "Rich is Lakedaimon, blessed is Thessaly; o'er both the seed of Herakles bears sway." This is the high keynote of the poem — the name of Herakles, the pride of race. " Is this an untimely braggart song ?" he asks. " Nay, I am summoned by Pytho and the Aleuadai, descendants of Herakles, to bring to Hippokleas a festal voice of minstrels " — Pytho and the Aleuadai, God and Blood (vv. 1-6). "For Hippokleas maketh trial of contests, and the Parnassian gorge hath proclaimed him fore- most of boys in the double course. Apollo, achievement and 350 NOTES. 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 foot- race. May fortune attend them in after-days also with flowers of wealth." May Blood have the blessing of God (vv. 13-18). Now follows the moral, not other for the youthful poet than for the gray-haired singer, and Pindar prays for Pelinna as he is afterwards to pray for Aigina (P. 8, end). "Having gained no small share of the pleasant things of Hellas, may they suffer no envious reverses from the gods. Granted that God's heart suf- fers no anguish, 'tis not so with men. A happy man is he in the eyes of the wise, and a theme for song, who by prowess of hand or foot gains the greatest prizes by daring and by strength (vv. 19-34), and in his lifetime sees his son obtain the Pythian wreath. Higher fortune there is none for him. The brazen heaven he can- not mount, he has sailed to the furthest bound. By ships nor by land canst thou find the marvellous road to the Hyperboreans" (vv. 35-30). Then follows the brief story of Perseus' visit to the Hyperbo- reans, a land of feasts and sacrifices. The Muse dwells there, and everywhere there is the swirl of dancing virgins, with the music of lyre and flute. Their heads are wreathed with golden laurels, and they banquet sumptuously. Disease nor old age infests this consecrated race. The land of the Hyperboreans is a glorified Thessaly, and P. was to come back to it years after in O. 8. What Perseus saw, what Perseus wrought, was marvellous; but was he not the son of Danae, was he not under the guidance of Athena ? (v. 45). And so we have au echo of the duality with which the poem began; and as Pindar, in the second triad (v. 31), bows before the power of God, so in the third (v. 48) he says : i/iol fit dav/id- (Tai \ oeav TcXetrcrdvTCOv ovbev irore irapa Kaipov ; " What ? Am I giving utterance to swelling words un- timely ?" This is Mommsen's reading, and more natural and lively than tI Ko/inia) irapa xatpov ; " Why this swelling (prelude) untimely? with the implied answer, 'It is not untimely.'-" — dXXa: "Nay — but." — XleXiwavov: Also called niXippa (JlfXij/a), in Hestiaiotis, east of Trikka, above the left bank of the Peneios, 352 NOTES. identified with the ruins near Gardhiki. — oiriJci: For the sing, (as it were, " with one voice "), comp. O. 9, 16 ; P. 4, 66 ; 11, 45. — 5. 'AXeiJo . . . iroiSes : The Aleuadai were one of the great aris- tocratic families of Tbessaly. It does not appear in what rela- tion Hippokleas stood to them. Perhaps he was the favorite, or airas (Theokr. 13, 14), of Thorax, who ordered the song. Fennell, however, thinks that Thorax was the father. See v. 16. — "Iiriro- K\tv eyev(TavTO, 1. 4 (5), 19: to 8' efiov Keap vfivav yfifrai. — 8. oTpttT^ : O. 5, 13. Pure dative dependent on dvefiniv. — 6 Ilapva- trios • • • (ivx<5s : Cf. P. 5, 38 : KoiKoTreBov vdnos. — 9. Siav\oSpo|i.av : For the 8lav\os, see O. 13, 37.— Av^eiirev : O. 9, 100; P. 1, 33.— 10. "AiroXXov, 7XVKV 8(^ : On &€, see 0. 1, 86. yXvKv is predicative, " waxes a thing of sweetness," " a delight." — rtXos apxa re : The whole, from beginning to end, hence the sing. ail^eTai, as oTnJei, v. 4. There were two 7-A1/ and two apxai in the Si'at/Xos. The first reXos is the second apxr), and balp.ovos opvvvros is needed for both. Hence perhaps the position, though irpa^is 6801 re (P. 9, 74) would suffice as a parallel, "the end as the beginning." — 13. TO 8e avyyevh : Accus. dependent on ip^i^aKfv. Pindaric varia- tion for ra v{a) is tr. by Fennell "rising from rich mead- ows." — vnh . . . ircTpav: "Stretching along under," hence the accusative. For irirpav, comp. P. 5, 37 : Kp«rmov \6^ov. — 16. KpaTtio-iiroSa : Dependent on 6r)Kfv. "Made prevalent of foot," "victorious in the race." — ^piKiav; The position is em- phatic, but the examples cited by Rauchenstein are all nomina- tives, O. 10 (11), 34. 38. 56; P. 13, 17; I. 5 (6), 30. 35. The emphatic ace. naturally takes the head of the sentence. *. is the victor's father ; according to Hermann and others a horse. PYTHIA X. 353 If Phrixos is an aristocratic Thessalian name, Phrikias might also be suffered to pass muster. — 18. ovBetv: As if ewoiTo jioipa were equivalent to eirj fioipa. — o-66vo s, Hdt. 1, 3S : to 6elov irav ^6ov€- p V. — 31. fleos £11) =: 6fos eora. Oomp. O. 3, 45. Schneidewin's aUi is unnecessary, nor need we take t u; as = el'i; Sv. " Let him that is fi-ee from heartache be a god." " Set him down as a god." — 33. yCverai ots : " Is accounted in the eyes of the wise." More natural than ijivrjTos a-ov. Of. P. 3, 27 : roa-irais, 4, 25 : intTOcra-f, — 6e(S : Apollo. — 34. ^c^ovras : The ace., as if iniToa-crais were = evpav. — 36. SPpiv 6p9Cov : " Rampant lewdness" (Paley). "Tow- ering wantonness." v^pis is " braying," and its accoaipaniments (corap. Hdt. 4, 129: v^ pi^ovres &v ol ovoi irapatrcrov Ttjv imrov tSuv 'SKvdfav), and gpOios in P. is regularly used of sound (O. 9, 117; N. 10, 76), as Mezger notes, but 6pa>v cannot be explained away. On the sacrifice of the ass to Apollo, tlie musical beast to the musical god, see A. B. Cook, Joum. Hell. Stud. XIV., pt. 1, where this passage is illustrated by a fresco found at Mycenae representing two rampant asses with lolling tongues and leering eyes. — KvuSdXuv : Properly used of "gnawing" (ravening) mon- sters; hence, as here, of untamed beasts of draught, Aisch. P. V. 407 : efeif^a 7rpa>Tos iv ^vydifTt Kv Ci)h a\a. Srp. y. — 88. Tpiirois ttfi a'(|>cWpoiET£poLo-i : See note on O. 9, 84.-39. Pooi: 0. 3, 8: ^oav avk&v, N. 5, 38: KoKajwio (3oa, which seem to us more natural. — SoveovToi: The music swirls with the dance and as well as the dance. N. 7, 81 : TToKvtjiaTov 9p6ov v^vwv d6v€i fja'V)^a. — 40. 8opovT£8o z= p.e\rjp,a. — "irap iroSiSs : Cf. P. 3, 60 : yvovra to Trap irodos, and I. 7 (8), 18 : to be irpb nobos apeior alel a-Kowe'iv.—QS. tls iviavT6v: "A year hence." — 64. Jtvti^: The* 356 NOTES. salian magnates were famous for a rather rude hospitality. See note on P. 4, 139. Xen. Hell. 6, 1, 3 : ^p Se Koi SWas (piKo^fvos Te Koi fji€ya\o7rpfwrjs tqv QeTToKiKov rpoTTov. — ©ciipaKos : Thorax was the magnate wlio ordered the poem. His relation to Hippo- kleas is obscure. — ^(lov ironrvvwv \a.f\,v: Ace. to the Schol. c'^ni/ xdpiv^=Trjv i^ ifiov x^P'", " my song of victory." noiirvvrnv would then be transitive, " panting to gain." But the other interpreta- tion, " in panting eagerness for my sake," would be more appro- priate to the circumstances of the young and unknown poet. Thorax was a personal friend of victor and singer. — 65. t68(€) : " This " of mine.— opjia nwpCSwv : Comp. O. 6, 33 and 1. 7 (8), 62 : Moio-aioi/ &pjia. This is for P. a grand occasion. — Terpoopov : Bockli sees an allusion to the four triads, and sees too much. — 66. c|)i\^ii)v ^ikiovT, o7aXdv : 360 NOTES. See P. 6, 3.— Ke\oSf]x$: O. 3, 13. — 31. OKxiv ircip' cvitkiov : napd not strictly as in prose, not " along the shore," but " to the stretch of the shore." 'AvT. ^'. — 33. vTiXtis •yuvd: On the position, see 0. 1, 81 ; 10 (11), 48; P. 13, 17. — 'I<|ii7^v€i(o) . . . (nfjaxScto-a : Bather than to a-^)".- x6jjvai, OTi iiTdxdr), (ripayij. See O. 3, 6 ; P. 3, 38. — lir' EvpCirip : At Aulis. — 34. €T^p<{> \i\ii 8a|jia£o)Uvav : The paraph rast : hipa avhpX fwryofihriv. Fennell tr. " humiliated by another connection on Agamemnon's part." This would bring in Kaasandra, but the sense cannot be extracted fi'om the words. Pindar enlarges on the more shameful alternative, " guilty passion and sensual de- light." — 35. ewDX" iropoYov Kotrai : P. 3, 35 : fvvai irapdrpoTTOi. — TO Sk v^ais, (CTc. : Inevitable Greek moralizing, as inevitable to Pindar as to Euripides. 'Ett. ^'. — 37. oXXoTpiaiiov: See note on P. 4, 51. — ve'a KC(|iaXd: So with Bergk for v4a Kc^aXa. The paraphrast has vios av en, though that is not conclusive. The appositional nominative gives a tender touch. — 36. xpoviif . See my note on Justin Martyr, Apol. II. 11, 8. " The place where three roads meet " is misleading without further explanation. — rpioSov : Notice the prolongation of the last syllable, P. 3, 6. — 39. Apflov K^XevOov : vv. 1-16. The words opdav KeXevBov suggest the paths of the sea, and the image changes. — 40. &s ot(€) : Comp. O. 6, 3 : i>s ore 6ar]Tov fteyapov. — oKarov ElvaXCav: For the figure, see P. 10, 51.— 41. Moto-o, rh hk «<5v : For 8e, see O. 1, 36. With to Se reov, comp. O. 5, 73 : to S' iij,6v. — |Ji.i' apETats: ^vval aperai are achieve- ments that are within the reach of all, that are open to all (Dis- sen). Mezger prefers "Excellences that inure to the good of all," such as victories. This is to y iv ^vva Trewovapivov eZ of P. 9, 101. Jebb ; " Those virtues move my zeal which serve the folk." But the stress is laid directly on the avoidance of envy. — t^tojioi ; "I am at full stretch " as it were, with his arms about the prize. Comp. P. 9, 139 : or S' &v Trparos 6opa>v | dpcjii Poi ■^aicreie wiTrKois. — 55. oToi: The MSS. have ara, ara. The dat. makes no satis- PYTHIA XI. 363 factory sense, afivvea-dai occurs only once more in P., and then in the common sense "to ward off" (1.6 [7], 37). "The evil workings of envy are warded off" (pass.) makes a tolerable sense. This, of course, makes ik\££8ov : As P. is praising transmitted glory he does not forget the genealogy of lolaos and of the Dioskuroi. — 60. Siaifi^pEi: "Spreads [the fame] abroad." — 'IiSXaov: lolaos and Kastor are coupled, I. 1, 16. 30, as the 8iv, I rjiuav 8' ovpavov iv xpvceois Ba)p,aiXdY\oe: Not without allusion to the function of 'AyXaw. 0. 14, 13.— KoUioTO PpoTcov iroXCav : Of. P. 9, 75 (of Kyrene) : KoKKia-rav iroKiv. — 3. 4>cp(r«|>*^''T« : Lit. " brought nigh," " that assailed her ears." — avv evreo-i: "With the help of instruments" in- stead of the simple instrumental evr. Cf. P. 4, 89. — 22. avSpdiri Ovarois ex«iv : This would seem to imply that she does not mean to use the flute herself Still the story that Athena threw away the flute after she invented it, because it disfigured her face, is doubtless an Athenian invention aimed at the Boeotians. — ex«iv : Epexegetic infinitive. — 23. Ke<|)oXov iroXXav v6]u}v: Fanciful ex- planation of the " winding bout," or " many-headed " tune. — 24. Xaoo-iriSuv : The av\6s called to games as well as battles. Srp. 8'.— 25. ed^o = Sfia (Bergk). See O. 7, 12.— Bovokoiv: For which Boeotia was famous. — 26. n-opa xaXXixdpc^ . . . irdXei : The dat. is more poetical than the ace. See 0. 1, 20. — XapCxuv : The PYTHIA Xn. 367 city of the Charites is Orchomenos. See O. 14, 3 : S Xiirapas do/Sifioi /SacrtXeiai | Xapires 'Opp^o^ei/oO. — 37. Ko<|>io-C8os : The nymph Kopals. — iriorol xoptoTov |juipTvpE« : The aiiXos is the time- keeper, and so the witness of the dances. — 28. avev Kaiidrov ; Al- lusion to the mishap of Midas, though the story may have been imported. — 29. viv^zKdfiaTov. — 31. 8= or, — tiv(o): So. ere. Some read riv =: a-oi, dependent on Sacrei. — oeXirTiq. ^aXuv : " Smiting with unexpectedness." "With unexpected stroke.'' deXTiriais a /3Aof. Less likely is aeXwria as semi-personification as II. 7, 187 : Kwen jSaXe, where the helmet catches the lot. — 33. tjiiroXtv VViSfias : Comp. O. 10 (11), 95: veoraros tA ttoKiv. — to ]iiv Swo-ci, ktL : While it will give part, will part postpone. A note of tui' satisfied longing on the part of Midas. TETHRIPPON. Coin of Syracuse. GREEK INDEX. d^poTaToi «\uo-£,P, 11,34. — d^pora- Tos ETTt jusyaXas, P. 8, 89. dyadoU " optimates," P. 2, 81 ; 3, 71 ; 4,285; 10,71. ' Ay afjLtfjivovia ^ux?> P* ^h 20. dydvopL juttrGaT, P. 3, 55. dyavoav AioXtSdv, P. 4, 72. dyyeXiats, 0. 3, 28. — ' Ay yaXia^, 0.8, 82 dyyiWuiUy 0. 7, 21 ; P. 1, 32 ; 9, 2, dy£i/Eiaiu o-uXaOeis, 0. 9, 95. dyipwvov fii/cav, P. 1, 50. — dyEpoayov v'lKa^, 0. 10 (11), 87. &yr}fiat=-hyEfiiJov et/ii, P. 4, 248. dyKtiTat (dvaKEiTai)^ O. 11 (10), 8. dyKvXoTO^oL MijSeioij P. 1, 78. dyKvXtp KpaTL^ P, 1, 8. ayKvpa — dyKvpav Kprj/JLvdvTiov, P. 4, 24. — dyKvpav 'ipi-icrov, P. 10, 51. — 5(5' dyKvpaij 0. 6, 101. — Kpifxaaav iy/ciijoas, P. 4, 192. dyKuav — utt' (iy/fWi/os, 0. 2, 91. 'AyXata, 0. 14, 13. — vtKafjjopov dy\atav,0.1B,U. dyXaodpoi/ot^ Motcate, 0. 13, 96. dyXaoKovpov Koyotj/Ooi/, O. 13, 5. dyXao^j 0. 14, 7. 'AyXaoTpiaivav, formation, 0. 1, 40. a-yi/av KjOiffti/, 0. 3, 21. — dyi/oi/ 'AttoX- Xwva, P. 9, 69. — dyvov Qtov^ O. 7, 60, — dyvav 'S.apVrtav, 0. 14, 8. — Kovpai dyj/ai, P..4, 103. — dyvoTa- TaL irayaij P. 1, 21. Hyvwa-Tou ^£vSeu)V, 0. 6, 67. dypDTS/JOS — ^rjp' dypoTspoVj P. 3^4:, — Trap&ivov dypoTEpav^ P. 9, 6. — fxiptfivav dypoTEpav, 0. 2, 60. dyutaxts SejueXq, P. 11, 1. dy')(}(TTov oirdoua, P. 9, 70. ayw — dyBLi kip7)/j.ocrvi/au, P. 6, 20. — xXouToi/ ayet, P. 6, 47. — Sytt with- Q2 out an object, P. 2, 17. — rdv *E7rtjua- 6eo's &ytov, P. 5, 27, — dytov dyovTa, P. 10, 66. dytSvUf " place," not " contest," 0. 10 (11), 26. — &y(jova^=dyopdv, P. 10, 30. — dytSva ddfiacrara^, P, 8, 79, — dy Ml/OS, "gathering -place," P. 9, 124. — Aywi/os «^w, P, 1, 44, — dytvvi Kippa9, P. 11, 12. d8&Lv=^dSsLv, O. 3, 1. — dd6vTa=dS6v- Ttt, 0. 7, 17 ; P. 2, 96,— dfioi/Tt i/oo), P. 6. 51. dfitviJi/ ddK09, P. 2, 53, (i^uyXwo-o-oe /3od, 0. 13. 100. d^iJi/aTa, P, 2, 81. d*;, p. 9, 95. daQXojv dyXatSvj P. 5, 53. dtiSETo, 6. 10 (11), 84. dtXTTTta ^aXiiiv, P. 12, 31. d£T-o5, dETiafia, note on 0. 13, 21, dj^dxav, P. 2, 28 ; 3, 24. deptjaov, P. 2, 70. ddvpfia 'AiroXXtvvLov, P, 5, 23. aiavfjs Kopoi, P. 1, 83. — alavk^ kIv- n-pov, P, 4, 236. Alyiva, accent, 0. 7, 86. atyXa 'TtoSmv, O. 13, 36. — ^EOXwi/ at- yXav, P. 3, 73. fltZyXdEi/xa KOffpLOP^ P. 2, 10, dioav XaxowTEs, P. 5, 96, aldEad£VT£9 dXK&Vf P. 4, 173. Atfiws, 0. 7, 44. — ai^w Si'aot, 0. 13, 115. — aid(ja KaXuii^at, P. 4, 146. a/eTOv TTTspoEvTa , P. 2, 50. — -)(pvEtj 0. 1, 112, dXXd with imper., 0. 1, 17 ; 2, 13 ; 4, 6 ; 6,22; 7,87; 8,9; 9,5; 10 (11), 4. dXXd yap, 0. 1, 55 ; P. 4, 32. AXXoSairav yvvaiKtlov, P. 4, 50. — aX- XoSatrali dpovpai^^ P. 4, 254. dtXXos— ^XXa, adv., P. 2, 85.— aXXots =d\XoTplois, P. 4, 268. &XoK KpaTspois, P. 4, 71. &Xiro9 dyvovy 0. 5, 10. — &. AlaKi^aVj 0. 13, 109.— a. edSEvSpov, 0. 8, 9.— &. uxf/iyvtov^ O. 5, 13. — &XEl Iw, 0. 6, 46. dflEva■aa■^aL^=d|lzi^ffaa■^aLJ P. 1, 45. dp-Evaiiropov TpioSov^ P. 11, 38. dfjLvdarEi:=dvafivd(rEt., P. 4, 54. dfjLoipat9, P. 2, 24. dfj.6v=VfJiiT£pov, p. 3, 41. — daoi^j P. 4,27. a/xiraXoi/y O. 7, 61. i/iTrXaKcoi', O. 8, 67. dp/TTvodv, 0, 8, 7. — dfiirvodv EVTaaav^ P. 4, 199, dp,4>L with ace, 0. 1, 17, 97 ; 9, 33 ; 10 (11), 85 ; with dat., O. 7, 80 ; 8, 42 ; by virtue of, P. 1, 12 ; 6, 42 ; 8, 34 ; by reason of, P, 1, 80; 11, 54 ; ='irEpi with gen., 0. 13, 53 ; P. 2, 62 ; of the stake, 0. 5, 15 ; 8, 86 ; 9, 97 ; within, 0. 13, 37 ; with gen., 0. 1, 35. dfi(l>t^dXXETaL, 0. 1, 8, &fitpiQdXawtdfias, 0. 3, 14, dfxtpoTEpo^ — dpuboTEpov, 0. 6, 17 ; P. 4,79.^ — d/KpoTEpoi^, "good and bad," P. 1, 88. &v with ind. aor,, O. 9, 32 ; opt. pr., O. 2, 18, 110 ; pf.=pr., 0. 13, 46 ; aor., 0. 2, 20 ; 7, 42 ; 8, 62 ; 13, 103 ; P. 9, 130 ; subj. pr., P. 3, 106 ; 5, 65 ; aor.. 0.6,67; P. 1,100; 4,76. GEEEK INDEX. 371 «i/a, "up," 0.13,114. i.va—hv 'Linrnvi, O. 1, 41 ; 8, 51 ; 10 (11), 76.— iwi S fi/iiouoii, P. 4, 94. — iva a-Kairrut, P. 1, 6. — Av 'EXXd- Sa, P. 2, 60.— iSjii TTo'Xu/, P. 11, 52. AvayuaBai, O. 9, 86. Ai/ayKa 7raTpo0£i/, 0. 3, 28. 6a\fJ.dv dvTEaXS, P. 9, 34. &' TE, 0. 2, 39. aTEKpLapTUf p. 10, 63. (iteX^s fiavTeufxaa-tv, P. 5, 62. dxEj/f's, p. 2, 77. aT£/9, P. 2, 32. 'An-pEKBia, 0. 10 (li;), 15. ^ ctxpEKTis, 0, 3, 12, — dn-pEKst Kaipw, p. 8,7. _ _ ■ dTvXfiVTai, p. 1, 13. — ceTu^oyUEvo), 0. 8, 39. ^ ^ avyd — o^Eiats auyats aEXioi/, 0.3, 24. ahha.(Topi.ai^ 0. 2, 101. aZdij 0. 8, 39.^ aiiA.09 — ai&Xwi/ ^odv, 0. 3, 8. — auX. Kavaxai, P. 10, 39. aff^wi/, P. 8, 38. avTO/iaTto keXolSw, P. 4, 60, ouTos — auTov, not auTov^ P. 2, 34. — aiiTa, not avTa, 0. 13, 53. — aurats, not aoxats, P. 9, 67. avT0aiffTOLo Kpovvov^j p. 1,25, — iKvio(iat — dcfjiKovTo, with dat., 0. 9, 72,~di(TTapaty 0. 1, 52. — d(pi(TTavTaif P. 4, 145. AcppoSiTa^ apovpavy P. 6, 1. — A. *ca- irov, P. 6, 24.— KTaoi/, P. 2, 17.— TTOO-IS, P. 4, 87, awTov, P. 10, 53.— fliajTov, O. 3, 4 ; P. : 4, 131 ; 0. 5, 1.— d. X"P'«»'» 0. 8, 75. (TTitf>dv(tiV aUiTOl, O. 9, 21. ^aeujwvou Aji^as, 0. 3, 35.— i^oeu^oi- voicriv XapiTEtro-i, P. 9, 2. (SaevKoXirov Pas, P.9, 109.— ^a0u«:o\- TTwi; Moio-av, P, 1, 12. ^advXtifx£>Et, 0. 1, 112. /3mv Oli/ofidov, 0. 1, 88. /Staris "AjOtjs, P. 1, 10. jQlOV KOpVWEfJLEV^ P. 8, 75. ^/SioV -TTE- Trpcofxivov, P. 6, 27. ^ioTov, 0. 2, 32. /SXaTTT-tov Xoyoi/, P. 9, 102. j3oat Xupav, P. 10, 39. — ^odv HiEpiSajv^ P. 1, 13. ^octffais, O. 8, 40. ^orjXdTo. SidvpdfijSwj 0, 13, 19. Boiwrmi/ iJi;, 0. 6, 90. jSouflutrtats, 0. 5, 6. /3ouXai -TTjOEo-jSuTEpat, P. 2, 65. ^ovXaairroVj P. 11, 30. (Spixf^ — fiE^peyUvo^j O. 6, 55. (SojXaKa daifxovLaVj P. 4, 37. Toms duydTijp, P. 9, 19. yafjL^poi, " suitors," P. 9, 126. ydfjLov pLi^aij P. 4, 222. yapvEVj 0. 1, 3. — ydpvov, P. 4, 94. yaoT?}/) — TToXtas yacrxjods, P. 4, 99. yaa-TpifJLapyov^ 0. 1, 52. yfiyaKEtj/, 0. 6,49. yEywi/Eii', O. 3, 9 ; P. 9, 3, — yEytoyrj- TEOVy 0. 2, 6. ycXaj/Ei dvfiujf P. 4, 181. — y, Kapdia, 0. 5, 2. GREEK INDEX. 373 yt fidv, 0. 13, 104; P. 1, 17 ; 7, 16. yevidXto^ datfxivi/j 0. 13, 106. — Zeis o y,, P. 4, 167.—7jr}vl ytvE^Xiai, 0. 8, 16. ysvos ajo^ioi/, O. 2,46b y£/3atpaii/,0.3,2; P. 1,70. — kyipaipEi;, 0. 5, 5. ytjoas, 0.8, 11. y£/)aii/, P, 4, 249. — yXau/ctoTTts 5/oaKOi/T£s, 0. 6, 46. yXuKits KpuTvpt 0. 6, 91, — trvyKoiTov yXuKuv, P. 9, 25, — yXu/ceta pvv, P. 6, 36. 5of a— EI/ So^a 0£>ei/ob, O. 10 (11), 69, —So^av, "belief," P. 1, 36. SopTTOV XvffLV, 0. 10 (11), 52, dpi'TTEt., p. 6, 48. — Speirftiv, 0. 1, 13. — Bpairmv, P. 4, 130. Spoa-o^ — SpotTio fiaXBaKa, P. 5, 99. — Sp6(Tw afiiTEXov, 0. 7, 2. 5u6Vf P. 4, 217. EK^oVBat TTpos 77/3av, P. 4, 295, E/ci/Eutrat, 0. 13, 114, EKTrjOETTT/S 'OXu/ATTiaS, P. 7, 10. kKTavvaai/j P. 4, 242. EKxos EYEtv 7ro5a, p. 4, 289. kKTpdirBkov (v. I.), P. 4, 105. "\aias "xpvcria^j 0. 11 (10), 13. Xao-tTTTTDi; e6yos, P. 5, 85. XaTvp) 0.4, 1. Xarfyov OvXttav, 0. 3, 29. Xfiyxo^? 0. 4, 18. XaXil^ofiiva 6pfjLL'Y^, P. 1, 4. XeXlx^ovo^ Tt.Tpaopias, P. 2, 4. XEudtpLov Zrjvoif 0. 12, 1. Xevdspw (TToXtOf P. 8, 98. XiKw-mho^ 'A0|Oo5iTas, P. 6, 1. X-to-Q-oyUEyat^QjOai, 0. 4, 2. EX\ayo5/Kaff, 0. 3, 12. kXfriSa^ Taj^tias, P. 1, 83. — kXirh, " pleasure," P. 2, 49. fiXTTo/iai, with aor. for fut., P. 1, 43. ^o-ats, 0. 10 (11), 47. kfl^k^aKBV, P. 10, 12, kfx^oXoj, 0. 7, 19. ^yLt'TraXii', 0. 12, 11 ; P. 12, 32. 'ifi'Tra^^ P. 4, 86. Ey7r£T£S=:£I/£7r£(rrS, P. 8, 81. ifXTToXAv ^oivLo-a-av, P. 2, 67. E/JLTTUpOK, 0. 8, 3. tfX(pvXiov alfjLa, P. 2, 32. Ei/ with ace, P. 2, 11. 86; 6, 38.— ev avrXo} TtOEis, P. 8, 12. — kv <^oi;aTs diJKSy P. 11, 37. — iv doiSa aTTUEti/, P. 5, 103, — £1/ a (j-ETpaopia) /cjoaTEtoj/, P. 2, 5.— £1/ aiiXo ts, 0. 5, 19.-^1/ fii'/ca, P. 5, 14.— EI/ ^aeapa?, 0. 10 (11), 66. — kv yEprri, P. 2, 8. eV, adv., O. 7, 5. Ei/ctyon/ios *E/)/i,as, P. 2, 10. tyoXiai/ jSafXEVj P. 4, 39. kvaplfx^poTOV orTpoiTapxov, P. 6, 30. ey^Et^Ev, 0. 7, 58. EvdLKOV, P. 5, 103. £i/5oe£i/, p. 2, 74. ki/dofidxci-^ dXBKTOyp^ 0. 12, 14. kpkXBTaij P. 8, 49. kviiTTUiV, P. 4, 201. ei/WE-TTE, 0. 1, 47. Evvofioif 0. 7, 84. — EvvofioVf P, 9, 62. *Ei/i/o£r(5a, P. 4, 33. Ei/oTrXta e-Trat^Ei/, 0. 13, 86. kvaKiflTTTlO EVE(rKt.fl\}/El/, P. 3, 58. "^ kvTetvv ff0Ei/o5,P.5,34. — iirrEtnv dvdy- Kas, P. 4, 235. — iir'TraioK iv Ii/teo^ txLv, 0. 13, 20. kvTi, 0. 2, 92. kvn-pdir&Xoif, P. 4, 105, gi/TUE, O. 3, 28 ; P. 4, 181. ig, "above," 0.6, 26, E^ayEi/, P. 3, 51. B^aipETov pLoydov, P, 2, 30. k^avilKBv, P. 4, 99. k^avlo'Tain-aij P. 4, 49. BfairaTwvTi.. " are misleading," 0. L 29. E^dp'idfiov, 0. 10 (11), 28. il^apfCECtiv, 0- 5, 24. k^iXKiov, P. 1, 75. f f tKETo, with ace, P, 11, 35, E^OjDKOS, 0. 13, 99. E^o^a 'jrXoyTou,0.1,2. — t^ojf' ai/Opeu- TTwi;, 0. 8, 23. k^v(paivovTai, P. 4, 275, EotKOTa, P. 1, 34. £oX£t,P.4,233.^ i69—Eq=.tTBTEpa, P, 2, 91. kirayElpai^^ P. 9, 58. E-jraKootTE, 0. 14, 15. ETraXTTi/os, P. 8, 84. ETraX-ro, 0. 13, 72. ETrai/Tt'XXaji/ xpovo^f O. 8, 28. ETTEt/itt — E-ff-EffTti/, with gBU,, P. 8, 97. B-rrETav TroXvKptXotty P. 5, 4. kirEu^atrQaLy P. 3, 77. lirttDv ffT^x^s, P. 4, 57. ETTi-, in composition, P. 5, 124. ETTt, with dat., P. 1, 36 ; " crowning," 0. 2, 12 ; " heaped on," 8, 84 ; " over and above," 0. 11 (10), 13. — k-jrl QavuTWy P. 4, 186. I'TTifSalvBij O. 7, 45. BTTi^Savy p. 4, 140. E-TTijSjo/ffais, p. 3. 106. GREEK INDEX. 375 liriyovviSioif^ P. 9, 67. iiridt^ia T^etjoos, P. 6, 19. BTTiKaipoTaTo^, P. 4, 270. ktriKovpov ohov^ 0. 1, 110. £'iriKpvEi», O. 2, 90. 0aU)uaTd, 0. 1, 28. — davfiaTav bSov^ P. 10, 30. diXtov T& XaXayy)(Tai, 0. 2, 107. QEpLitTKpeovTwi/j P. 5j 29. dEfiLauap.ivov's opyas, P. 4, 141. diiiia-a-iv, " oracles," P. 4, 54. &Efil(TTtioV, 0. 1, 12. eeVap, P. 4, 206. 0£o5yUaTOS dEoSjJiaTOV T(jOEOS, 0. 3, 7. — deoduaTw iXtvQEpla, P. 1, 61. — 6£o5/xaTas Ad\ou, O. 6, 59. — 0eo- S/JLCtTWlf o^iuiv, P. 9, 11. flEo'esi/, P. 11, 50. eEo>op(E), p. 5, 5. (Jeootw ffii/ 6X^(aj 0. 2, 40. Beds, monosyllabic, P. 1, 56. — Oeos anrrifjitov iciap^ P. 10, 23. — 0emj/ o/j- Kov, O. 7, 65. QEofppova^ 0. 6, 41. eEpaTEuiui/, P. 3, 109. dEpchrtov, P. 4, 287. — dspd-TToin-ay O. 13,3. QEpivfS TTvpif p. 3, 50. Qtpp.d. XovTpd, 0. 12, 19. — QEpfiav v6~ (TwVj P. 3, 66. dnXEiav eXafpoVj O. 3, 29. e.i£ais,O.10 (11), 22. OiyEii; \j/EvdEif P. 9, 46. — Oi-yottra or eiyoitra, P. 8, 24. Oi/axais (ppairlvy P. 3, 59. 0oal i/a£s, 0. 12, 3. — Bodv d/CTii/a, P. 11, 48. dpdtro^ iroXefitov, P. 2, 63. — 0/>d(r£os, P. 2, 83. BpatTvyvtoVj P. 8, 37. dpatrupdxavo^^ 0. 6, 67. Bpaav/iriSEi SaXfimi/El, P. 4, 143. eujuw,0.2,9; 8,6. iaivEi KapSiav, P. 1, 11 ; i. vooi/, P. 2, 90. — IdvaiEv 6u/xoy, O. 7, 43. — lav- etU, 0. 2, 15. ISio^ £1/ fcoti/w, 0. 13, 49. iSoZo-a, f lost, 0. 14, 22. Upav (jyiXordTtav, P. 9, 43. — Upoii dirvpoL^y 0. 7, 48. VSoio-ai/ TToXii/, 0. 10 (U), 42. 'Ikeo ^atrtratff P. 9, 55. IXdtTKOfxaLj O. 7, 9. *lfiEpa OKTOV, P. 1, 79. 'IfiEpoi yXvKu^f O. 3, 33 j ifiEpWy 0. 1, 41. GREEK INDEX. 377 'ivttj always " where," P. 9, 61. tov — toiv aKTtfft, 0. 6, 65, loirKoKdfitov^ P. 1,1. io'TrXoKoVf 0, 6, 30. £os — Iw (uaXio-ffai/, 0. 6, 47. io^iaipa, P. 2, 9. lirov, 0. 4, 7. '/ttttcios— '/TTTretoi; a7r£Xots, P. 1, 92. KEpdol, p. 2, 78. KE(f>a\a. via, P. 11, 35. — ka KS(f>a\aj O. 6, 60; 7, 67. — dn-apfiEX KE^aXa, P. 9, 33. — KE(paXdu TroXXdv vofxoVf P. 12, 23.^ KLUiv ovpavia^ P. 1,19. — dffTpa^tj kIo- va, 0. 2, 90.— K. daifioviav, O. 8,„27. kXcMss IlEtOous, P. 9, 42.— /cXaifias iu7re/)xaTa«, P. 8, 4. /cXe7rrwi/=K:aXu'7rT(ui', P. 4, 96. KXiBsk with dat., 0. 1, 92. nXovEovTaij P. 9, 52. kXvtAv X^(°"t ^* ^» ^^' Ki/t^m — Kvi.'^ofiEvaj 0. 6, 44. — ftf} Kopo^ KVLffri, p. 8, 32. KV{vddX(MiVj P. 10, 36. KvtJOfffraiVj P. 1, 8. — Ki/too'O'oi/Ti, O. 13, 71. Koii/ov XoyoVf 0. 10 (11), 13. Ko^pavEotryut xopot^^ 0. 14, 9. 378 GREEK INDEX. Koiuioviav SixovTaii P. 1, 97. KOLTav ^uviav^ P. 3, 32, — Koirai 'iv- vvxoL, p. 11, 25. KoXKa, O. 5, 13. koXttwv aWipoi, 0. 13,88. — Kpu\j/e k-oXttois, O. 6, 31. /co>i^£, P. 8, 99. KOfJ-TTtS, P. 10, 4. Kopos, P. 1, 82. — Kopou fiaTipUf 0. 13, 10. Kopv(TTsvfxa, p. 4, 73. KpvTTTm — -uii KpuTTTS (rjripp.a, 0. 7, 92. — p.r] \oyov KpvTTTETCOj p. 9, 102. ktlXov, p. 2, 17. KTi(Tiv=-'tpyov^ 0. 13, 83. Kvavia'S Xo^fia^^ 0. 6, 40. Ku/cXov di^px^'To^ 0. 9, 100. Ku7r/)oy£yet, 0. 10 (11), 115. Kvpiov te\os, p. 9, 48. — KVptw ku u.r}vi, 0.6,32.^ Konrav (T£09, O. 7, 86. Xiirapdi Mapadcai/f 0. 13, 110. — XtTra- joas 'OpvofJiEvov, O. 14, 3. — Na^w Xiirapdy P. 4, 88. — Xiirapdv Oi}^avj P. 2, 3! \txat = XLTavevTLKai. — Xfrds £Traot- 5as, P. 4, 217. — XiTats duffiaiSf O. 6,78. Xoytois, P. 1, 94. Xoyo^, " saying," P. 1, 35. — Xoyos ofiiXEi, P. 7, 7.~Xoyoi/, P. 1, 68 ; 8, 38; 9, 102.— Xo^oi/ ex", O. 7, 87. XvarLiroi/ots dtpa'TrovTEora-iUy P. 4, 41. XyTpoi/=o'7roti/a, O. 7, 77. fxaivdS^ opvLv, P. 4, 216. fioKaipa OsffaaXia, P. 10, 2. — fxaKai- pav kaTiaVt O. 1, 11 ; P. 5, 11. fiaKpd^ fiaKpov, P. 4, 247. — fxaKpov oX^ov, P. 2, 26. p.aKuviov teXos, p. 4, 286. p.du,0. 2,58; 7,45; 9,53; 10 (11), 38; P. 1,63; 2,82; 4,87.90; 7,16. p.aviaL(JLV ifJTOKpEKELf O. 9, 42. fiduTLu KOpav, P, 11, 33. jUayuE, O. 6, 52. — uai/WEt = a7rayyEX- Xei, P. 1, 93. /idpycoVj 0. 2, 106. lxdP^^h ^- ^t 1^* — jUEjutKTai kvyO. Ij90. — yut-yfi/, P. 4, 251.— ^utgai/ ^iav, P. 4, 213.— jut^at yap.ov^ P. 4, 223. — yuixtJttffa rather than piytiaa, 0. 6, 29. — /xtvOti/Tss, P. 4, 257. Mii/uEta (accent), 0. 14, 19. p.iTpat9, O. 9, 90. p.vap.^ou, P. 5, 49. p.oipa dEVTtpaj P. 1, 99. — h SaiTo^ /xoijoa, P. 4, 127. MoLadu Soatv, O. 7, 7. poXtlav with ace, O. 9, 76. juoi/a Kal fjLovoi/f P. 2, 43, p^ovapmrvKiftj 0. 5, 7. p.ovodpo'Trov ipvTou^ P. 5, 42. pLox^ov dviTTavovj P. 4, 268. — pioydov Kadi'TrtpQsj P. 9, 34. — pLOX^^ tiropt, O. 10 (11), 102. /luXos naj0i/atjovo9j 0. 4, 7. — 6^pip.(t> Xtoi/Tt, P. 9, 39. o^ov Atos, 0. 3, 77. — oSoj/ iiriKovpov, 0. 1, 110. — ooov irpayp.dTtoUj O. 7, 46. — 666v (TKvpuiTdi/j P. 5, 93. ola, exclamatory, P. 1, 73. OLKodEVf 0. 3,44. oXkoQev OlKadSj 0. 6, 99 ; 7, 4. o1ko5 — kct' oIkov, p. 1, 72. oiKovpiav, P. 9, 31. oljuov Eiriayv, O. 9, 51. oto-TToXos SaipLwv^ P. 4, 38. ota£ty,fut.(?),P.4,103. oX^ia AaKEdaiptov^ P. 10, 1. — dX^iav Koptvdoi/y 0. 13, 4. 'OXu/i'TTioi/tKai/ TE.dp.6vj O. 7, 88. — 'O. iipLvoVf O. 3, 3. op.(3po? XELpLepioij P. 6, 10; cf. P. 6, 11. — pi(T(rovTa9 opL^povi, P. 4, 81. opiXeI Xoyos, P. 7, 7. — o/^tXEwi/ Tra^o' ApoupaLij O. 13, 19. ^pLpLa^ P. 6, 66. 380 GBEEK INDEX. 6fi66afjiOV^ O. 9, 48. ofioKKapovt O. 2, 54. 6fi6Tpoa\dv tvdivtpoio fia'Tipo9fF.4^^7^. — 6fjnf>a\6v xO^'^os, P. 6, 3. — yds 6fjia\6v, P. 11, 10. &vap (TKtas, P. 8, 95, o^upeTTfit fioXqj, O. 9, 98. o^us — d^EL 'EjoiyiJs, O. 2, 45. — o^Eta jtiEXeTa, 0. 6, 37. — d^et'ats aiiyaXs, O. 3, 2^.— ^^£iai/ aKTivcov, 0. 7, 70. otrdova [lijXtav^ P. 9, 70. oTTi^o/tEi/a, P. 3, 17. o-TTti; ^ivtav, 0. 2, 6. — o. Oewi/, P. 8, 71. o7rXoTepDt(rii/, P. 6, 41. oTTOTt-vvlKa, O. 1,37; 9,104; P. 3, 91; 8^41; 11,19; 12,11. opduj — opwvr dXfcdv, O. 9, 119. Spy A. fiEtXixo^i P. 9, 47. — opyd^, P, 4, 141. — opyals aKwiriKuiv, P. 2, 77. 6pydw — Spyas with gen., P. 6, 50. opbtav v^ptVf P. 10, 36. — opQtop &pv- o-aL, O. 9, 117. OpdoTToXlVj O. 2, 8. (5/)0o's— ojoea=3t/ca^flt, 0. 10 (11), 5.— opQal (ppivE^, 0. 7, 91. — 6pQ£ Trofit, 0. 13, 72. opdoco — wpdwcFEv. P. 4, 60. — Ojodwcats, O. 3, 3. 'OpBanrla, O. 3, 30. opKov Oewi/, 0. 7, 65. opfjLalvwv, O. 8,41. opvix^- Buoi/j O. 2, 97. SpoTju with gen., P. 10, 61. 'OptroTpiaiva^ O. 8, 48. — optroTpiai- ^ vav, P. 2, 12. OjO0ai/t^£t, P. 4, 283. — 6pavi^ofiivo)f oo-ta^ntrioTij?, P. 9, 39. hcTTE—HuTt, P. 2, 39. oTpvvto — uiTpvvov with dat., p. 4,40. ob withinf.,P. 2, 88. ou5e yuav, p. 4, 87. oi/KtTtf p. 3, 40. oCte . . . oudij P. 8, 83. — oCte omitted, P. 10,29.41. OU Tl TTOU, P. 4, 87. ouxto in a wish, 0. 3, 4. 66a\p.6's SiJCEXtas, 0. 2, 11. — ei'7rEdov, P. 9, 69. TT- aUlteration, 0. 1, 76 ; P. 4, 138. 150. irayai irvpos, P. 1, 22. — Troydi' a^- ^potritov hrimv, P. 4, 299. — oKiapdv iraydvj O. 3, 14. irdyKoivov yuypav, 0. 6, 63. irdvq. fiaTpos=^'jradovari firiTpi, P. 3, 42,— TTjOOTE/oa TraOa, P. 8, 48. TraXai/iovEt KEvtd, P. 2, 61. 7raXa/ia Soviiov, P. 1, 44. — Oeov avv iraXdpLa, 0. 10 (11), 23.— Zj^yos Tra- Xa/*at, *P. 2, 40. TraXiy/coTOV, 0. 2, 22. 7ra\tfi^dp.ovs 6Sov9j P. 9, 20. iraKtm-pd'TrEXov "Trij/ia, 0. 2, 41. 'jrafX'7roptovoip6vtjov^ P. 8, 74. irBda/JLeiyl/av, 0. 12, 12. TTE^taSa, P. 5, 91. iriSiKov, O. 3, 5, — Tre^tXw, 0. 6, 8. TTEipaTa (lit. "ropes"), "strands," P. 1, 81 ; " achievements," P. 4, 220. irsLpdw — ETTEipaTOj "tempted," P. 2, 34, irEiaLxaXiva, P, 2, 11, •jreXayEt, 0. 7, 56, iripnTE, P. 4, 178. — irifiirov, P. 4, 114. -^ifj.\l/ri, 0. 2, 23. TTE/nTTafJitpOL^^ 0. 5, 6, •Kf/TrpUifxivOU, P, 6, 27, irEpa.'W'Tiav^^TrEpLa.'KTUiVj P. 3, 52, TTE/Oi with dat, of the stake, P, 2, 69. — -TT. 6ELfjLaTL, " compassed by fear," P. 5, 58.— tt. i/^uvay, P. 4, 122. — TT. elided (Trep), 0. 6, 38; P. 4, 266. irspiyXwa-aoLy P. 1, 42, iria-a-ovTa, P. 4, 186. TTETioaeo-ffas Tlv6wvo9, 0. 6, 48, Trfifia Ka\6i/j P. 2, 40. TTiaLVO/JLEVOUj P, 2, 56. -TTt'ewi/, p. 2, 72. 7rt0toi/='7rEt{ras, P. 3, 28, TTLopLai as pres., 0. 6, 86. TTtTTTOJi/ — ■eVeo'e, of a lot, 0.12, 10'; P. 8, 21, — iTETOvTEarcnv, P. 5, 50, TTtffTo: ^05, P, 8, 34, noTE(5ai/o5=IIo(r£i5wi/os, 0.13,5.40. irOTLITTd^ta TTOTLCTa'^OVf p. 4, l37. — iroTioTd^rj fxop^dvj O. 6, 76, TTOT^os, O. 8, 15, — TTOT^ou irapuSov- TOS, P, 6, 3. -TTOTi/t' 'AyXaia, 0, 14, 13. — iroTvia (SeXIcou, p. 4, 213. TTous — irdp -TTo^oe, P. 3, 60 ; 10, 62. — 6p6w TTofit, 0. 13, 72, EKTOS Ey^EtV iroSa^ P,4, 289, — raxuTds 7ro3a)u= Ta)(EtS TTo'ScS, 0. 1, 95. TLfld TTO- dujU, O. 12, 15, KOU(j>OL(TLU iTocriv^ O. 13, 114, — iv TToo-t TpdxoVf P. 8, 32. irpda-tTEL =^ irpdarcTETaLj P, 9, 112. — 'jrpdopo^j 0. 9, 87. -TTjooo-wTToj/, "front," O. 6, 3 ; P. 6, 14. wpoTtpo^ — TTpoTE/oas, "of yoFC," 0. 3, 11. — nrpoTipq. iraQa, P. 8, 48. irpoTv^oPj P. 4, 35. 'TTpOtpaVTOV, 0. 1, 116. irpoi^atTi^^ P. 4, 32. — Iljoof^oo-ti/, P. 6, 28. 'TrpotpaTov, 0. 8, 16. irpoifiiptij P. 2, 86. irpvTavL, P. 2, 58. 7r/3WTKJTOS, P. 2, 33. WTao-o-w — 'iiTTa^av, P. 4, 57. 7rTEjOOEyTa=TaVt57I-TE/)OI/, P. 2, 50. TTTtpov — iTTepci 'SiKa^, p. 9, 135. — Ai6Xuiv TTTEpoitn, 0. 14, 24. irrvyaX'i vp-vbov^ 0. 1, 105. IIu6tado9 £1/ SpofiM^ p. 1, 82. UuGidi/tKoi/ Tifxavj P. 8, 5. "TTUKij/w 6i/jua), p. 4, 73. m-vp x^iyUEjOtov, p. 4, 266- — StEvdov irv- pOS, p. 1, 6. OTTtpEiS TTVpL, 0. 10 (11), 40.~e£jOH/W TTVpl, P. 3, 50. "TTi/pTrdXajUOi/, 0. 10 (11), 88. paivto vfiviOj P. 8, 57. — pav6EXia aSoXoSj 0. 7, 53. — tr. E)(6/)a, 0. 9, ^l.—OldtTToSa trotpiav, P. 4, 263. — (Tot^mff, " poetic art," P. 4, 248; cf. 6, 49, — aotf>ia irpotpavTov, 0. 1, 116. — (ro(pia Mota-aVf P. 1, 12. ao(p69j 0.2,94. — EKdiSatrKria-Ev (rotjiSv, P. 4, 217.-0-0^01, " poets," P. 1, 42. — a-odvtt}fia Ku/oavas, P. 9, 4. (TToXov Avafidtrofiaty P. 2, 62. — eXeu- dipta trrdXto, P. 8, 98. (TTpaTEVOfJLai — eo-t^oteuOt;, P. 1, 51. oTooTos, p. 2, 46. — a-TpaTov, "folk," O. 5, 12; P. 1, 86.— o-T|DaTco, P. 10, 8. — tTTpaTdv EirivofjLov^ P. 11, 8. ffTjOw/Ai/a, P. 1, 28. — vTptofivdv, P. 4, 230. o-yy/Eyf/s 66if=a-(jiE'T£pov, P. 5, 102. aripvpoLS, of mountains, P. 2, 46. (TX^UffOV, P. 10, 51. cts, P. 4, 15; 9, 15. — tovtclki, P. 4,28. TpaTTE^av vvfiipiav, P. 3, 16. Tp&tpEv ~=^Tpi(pEiv, p. 4, 115. — T^d- Ei, 0. 1, 112.— SpEiJfaTo, P. 9, 20. — Edpi^airro, 0. 6, 46. — QpixJ/ain-o, P. 9, 95. TpriTOv irovov, P. 6, 54. tplttoXlv vdtrou, 0. 7, 18. Tpto-oXupfTLOviKav oIkou, 0. 13, 1. Tpoiro^, " training," 0. 8, 63. TVyYavovra^tvTvxo^vra, P. 3, 104. — Off a TvXEiu, P. 2, 92. TVITTOflEUOV, P. 6, 14. "X^piv, 0. 13, 10. — vSpLv vavaiffTovov, P. 1, 72. — u. opStav, P. 10, 36.— ii/3/oios ix^p&v oSov, 0. 7, 90. vyiEiav xp^^Eav, P. 3, 73. i/yUvTa {=uyia) oK^ov, 0. 5, 23. vypou vwTov, P. 1, 9. u5w/j apttTTou, 0. 1, 1. — li^ttTl ^El/UI- 6eis, p. 5, 31. — uSaTwi/ li.aa)vdvf P. 11, 42. iiiraTs with gen., 0. 13, 24. vTTEp with gen., "above and beyond," 0. 10 (11), 80; " by reason of," P. 1, S2.~v'irkp Ktijuas, P. 1, 18. VITEp^tOV, 0. 10 (11), 32. ^YiTEpLovidaiy O. 7, 39. viTEponrKov ^^au, P. 6, 48. vTrtpTidipitvif P. 5, 25, vTTE^oiv fiipifivav, 0. 2, 60. uTTo — utt' (ioidas, " to the sound of," 0. 4, 2. UTt' &IJL(j}0TEptOVf 0. 7, 13. — v. — vTTEK,^ 0. 5, 14 ; 6, 43 ; P. 9, 66 ; 11, 18. — vird KuWdi/as opovs, 0. 6, 77. — vTr6 \6)(jxaLai (jtopfxiyyEs, P. 1, 97. v(plaTrifj.i — UTrooTdcravTeij O. 6, 1. u\j/iyviov ^Xcos, 0. 5, 13, u\}nxaiTaLj P. 4, 172, if^ov fpipovTi, P. 10, 70, Ow— i;(rE,O.7,50. . and (/jtyyos, P, 3, 75. — rJ)diL h KaQapwj 1 . 6, 14. (/>ao^a/coi/(ijO£Ta«,P. 4,187. — (p.aijpdvj O. 9,^ 104.-0, TrpaiJ, 0. 13, 85. (jiaa-ydi/ov, P, 9, 87. — (baarydvw, P. 9, 23. (paTi^ ^poTmVj 0. 1, 28. — (ii/ttow7raii/ <^^Tl9, P. 3, 112. <}>av(rlfxppoTo^^ O. 7, 39. ^tyyoff, O, 2, 62. — (ft. Kadapovy P, 9, 98. dtv6Kap'7ro9, P. 4, 265, tf)6i,vo'7rcopl9f P, 5, 120. (f>dovEpol QTat, P. 11, 54. ^£a\aj/, 0, 7, 1, q!>tXayA.a£, P. 12, 1. i^iKitov (^tXeoi/Ta, P. 10, 66. — irtiKrjiXoi;ciKo9 (0iXoi/4icos), 0. 6, 19, q!)4Xo'7roXty 'HoT/X'ai', O. 4, 16. ^t'Xos, P. 1, 92,— (/)/Xa V^uX", P* 3, 61„ — (ftlKov E(ravEv, P, 1, 51, — i\Tpov, 0. 13, 68. $iWis=*aTis, O. 6, 22, 6vouj fern., P. 4, 250. ^opfiLy^, P. 1,1. — Avapiau 6ppiyyan 0, 1, 17. — (p6pfj.tyyE9 virmpo^iai, P. 1. 97. tppa^ai, 0. 12, 9. pd(raL9, 0. 2, 66. — ^pdcrai, 0.2,110. (f)patrlv=ua, 0. 2, 94 ; 9, 107 ; P. 8, 44. KJivyo^ELuov aTpaTov, O. 11 (10), 17. vX\o(p6pioPf O. 8, 76. diUTEvuiv ydfxouj P. 9, 120, — d>uT£u- aEtr^ai, P. 4, 15. GREEK INDEX. 385 4>vt6v ftovoSpoTTov, p. 5, 42. ^iia—ipiirr AperS, 0. 10 (II), 22. ibotvS. P. 9, 31, — 6pt0f P. 6, 13. X^ovia pEvi, P. 5, 101. Xtovos o^Etas, P. 1, 20. xXa/oow ycXatro-ats, P. 9, 41. Xotpafios TTETpa^, P. 10, 52. XO/OTois Xeovto's, 0. 13, 44. Xpau — BXp^oi/, O. 7, 92. — XP'Tf^^^ o'- Kiariipa, P. 4, 6. X/)£os, 0. 1, 45 ; 7, 40.— te^i; Xi^^'o^) ^• R 8, 33.— eto'VoToi/ X-, 0. 3, l.—^cSh X.,O.10(U),9. XpovKJOTaTov cfjaos, 0.4, 10. X/oovos 6 TTcts, p. 1,46. — X. 6 iravTuv iraTYip, 0. 2, 19. — 6 6' ETrai/TcA-Xoiv Y., 0.8,28. — XP°^°^i Opp. to KULpOS, P. 1, 57. — Toy b\ov dpLCJil xpovov, O, 2, 33.— xpoyw, "at last," P. 4, 78; 11, 32. — SevTipop Yjodyo), 0. 1, 43. — Xpovio arvpriravTi, O. 6, 56. XjovffaXa/caTOio 'A/i^iT^iras, 0. 6, 104. Xpua-d/JLirvKa AdxEcriv, 0. 7, 64. — X- XaXtyoj/, O. 13, 65. — xpvtrafX'7r6Kti>v Moto-ay, P. 3, 89. Xpvadopa ^oi^ov, P. 5, 104. XpvffdpfxaTo^ Miji/a, 0. 3, 19. — XP^~ trapfxdTov KacTOjOos, P. 5, 9. X)OoiT£os, quantity of, P. 4, 144. — XP^~ aria ^opfity^^ P. 1, 1. — XP^o^^"® eXaias, 0. 1 1 (10), 13. — Sd(pva XP^~ o-ECc, P. 10, 40. — XP^*^^"-^ vyiEiav, P. 3, 73. — xP^^^^^ TpLTTodivv, p. 11, 4. — 'hnroK XjouCTtats, 0. 8, 51. — XP"~ (Ttas Kiova^, O. 6, 1. — xP^t^^^ts i/i- (^aSstro't, 0. 7, 34, XpvcoKEptov E\a(f>oVf 0. 3, 29. YootrooaTrts, P. 4, 178. X/JUCTos — XP^^^^ VduoLo "K^aSj 0,6, 57; P. 9, 118. X/JuffoxotTa, P. 2, 16. XUTOV VEKTap, 0. 7, 7. XWjOts, 0. 9, 44. yj/d^os XiQiua, 0. 7, 87. — '\ffdwi> irov- tlSv, 0. 13, 46. xlfidOpuiv -TraXawats, P. 2, 75. i//^oy£/ooi/ 'A/oxtXoxoj/, P. 2, 55. w, position of, 0. 8, 1 ; P. 2, 1 ; 8, 2. "Qai/ii/, with digamma, 0. 5, 11, (i)5is-— iSXyo*.* CjOaTas, 0.6, 43. — dj^Iya TrapdEviai/f 0. 6, 31. fiijoa (Tuj/aTTTEi, P. 4, 247. — ^Qjoat, 0. 4, wpwaij 0. 9, 117. tos— ^ ws i(5t'/iei/, 0. 13, 113. (OS ai/=o7ra)s ay, 0. 7, 42. (is eI, O. 7, 1. (haELTEj elliptical, P. 1, 44. (OS OTE without a verb, 0. 6, 2 ; P- H, 40. WT€=(is, 0.10(11), 94; P. 4, 64; 10, 54. INDEX OF SUBJECTS. [The proper names refer mainly to the text, all else mainly to the notes.] Abas, P. 8, 56. Ablative genitive, O. 1, 58 ; 2, 67 ; 4, 10(?) ; P. 9, 12(?). Accusative, adverbial, P. 1, 81. in apposition, P. 9, 4 ; 11, 12 i of. 0. 7, 16. cognate, P. 2, 62. double, 0. 1, 68 ; P. 3, 98. of extent, P. 4, 83 ; 5, 33 ; 10, 12. before and after inf., 0. 1, 40. inner object, P. 8, 79. pi. as adverb, 0. 10 (11), 103; 14, 17; P. 2, 61; 11, 30. in -OS, 0. 1, 53 ; 2, 78. terminal, 0. 1, 111 ; 9, 76 ; 10 (11), 95 ; 14, 20 ; P. 4,52.134; 5,29.52; 8, 55; 9,55; 11,35. whole and part, 0. 1, 68. Achilles, O. 2, 86 ; and Patroklos, 0. 9,76; 10 (11), 21. Active and middle, 0. 3. 7; 14, 24 ; P. 1, 48 ; 2, 40 ; 10, 40. Adjectives for adverb, P. 4, 179 ; 11, 48. in -los, 0. 1, 10 ; 2,10.13; 10fll),31; P. 2, 12. 18; 3, 79;4,39; 6, 4. 32; 8, 19; 9,67; 11,20; 12,9. Admetos, P. 4, 126. Adrastos, O. 6, 13 ; P. 8, 51. Aeolic accentuation, 0. 10 (11), 17; 14, 19. Agesias, 0. 6, 12. 77. 98. Agesidamos, 0. 10 (11), 20. 101 ; 11 (10), 12. Aglaia, 0. 14, 13. Aiakidai, 0. 13, 109. Aiakos, 0. 8, 30. 50. Alas Oiliades, 0. 9, 120. Aietes, P. 4, 10. 160. 213. 224. 238. Aigeidai, P. 5, 75. Aigimios, P. 1, 64 ; 5, 72. Aigina, 0. 7, 86 ; 8, 20 ; P. 8, 98 ; 9, 97. Aigisthos, P. 11, 37. Aineas, 0. 6, 88. Aipytos, 0. 6, 36. Aietes, 0. 13, 14. Aleuadai, P. 10, 6. Alexibiades (Karrhotos), P. 5, 45. Alkimedon, 0. 8, 17. 65. Alkmaion, P. 8, 46. 57. Alkmaionidai, P. 7, 2. Alkmena, O. 7. 27 ; P. 9, 92. Alliteration, 0. 1, 76 ; P. 4, 138. 150. Altar at Olympia, 0. 6, 70. Amazons, 0. 8, 47 ; 13, 87. Amenas, P. 1, 67. Ammon, P. 4, 16. Amphiaraos, 0. 6, 13 ; P. 8, 56. Amphitrite, 0. 6, 105. Amphitryon, P. 9, 88. Amplification in repetition, P. 4, 28. Amyklai, P. 1, 65 ; 11,32. Arayntoridai, 0. 7, 23. Amythaon, P. 4, 126. Anachronism, P. 4, 192. Anchors, post-Homeric, P. 4, 24. 192. two, 0. 6, 101. Anteuoridai, P. 5, 83. Antilochos, P. 6, 28. Aorist of definite numbers, P.4, 25.130. gnomic, 0. 2, 38. 105 ; 7,43; 9, 31; P. 1,42; 2,13.36.50: 8, 15. and imperf., P. 4, 247. inf. after lUoTa, P. 1, 35. in a future sense, 0. 2, 102 : P. 1,44; 4,223. 388 INDEX OF SUBJECTS. Aorist ingressive, 0. 2, 10 ; P. 1, 65. partic. after verbs of actual per- ception, P. 6, 84. and present, P. 2, 50. 89. shorthand of perf., 0. 10 (11), 9 ; P. 1, 73. Ape, P. 2, 72. Aphrodite, spouse of Ares, P. 4, 88. Apyvpoirtl^ay P. 9, 10. Apollo and Aphrodite associated, P. 2, 16. Apxayii-a^, P. 5, 60. iKOEpyoff, P. 9, 30. AuKios, P. 1, 38. Apposition, 0. 1, 57. distributive, 0. 8, 37. Arohestratos, 0. 10 (11), 2. 109 ; 11 (10), 11. Archilochos, 0. 9, 1 ; P. 2, 55. Ares, husband of Aphrodite, P. 4, 88. /Siaras, P. 1, 10. XaXicEos, O. 10 (11), 17. Arethusa, P. 3, 69. Artemis, P. 2, 7. Argos, 0. 9, 73. 94 ; 13, 107 ; P. 5, 70 ; 8, 41 ; 9, 121. Aristaios, P. 9, 71. Arkesilas, P. 4, 2. 65. 250. 298 ;, 5, 5. 103. Armor, race in, 0. 4, 22 ; P. 9, 1. ArsinoS, P. 11,17. Art myths, 0. 7, 52. Artemis, 'Opdaiaia, 0. 3, 30. •noTapia, P. 2, 7. Article, contemptuous, P. 4, 186. with proper name, P. 10, 57. widely separated from subst., 0.11(10), 19; 12,6; P. 12, 20. Articular inf. aor., 0. 2, 66. 107 ; 8, 59. 60. of the objectionable, 0. 2, 107 ; 9, 41. pr., O. 9, 41 ; P. 2, 56. Asopichos, 0. 14, 17. Ass, a mystic animal, P. 10, 33. Asyndeton in prayers, 0. 1, 116; 8, 86 ; 9, 86 ; P. 1, 29. 71 ; 6,120; 9,97. announcing end, 0. 2, 91. denoting repugnance, 0. 1, 52. Atabyris, O. 7, 87. Athena, inventress of the vouos troKu- Kia\os, P. 12, 22. patroness of Bellerophon, 0. 13, 66. Athena, patroness of Perseus, P. 10,45. iTTiriia, O. 13, 82. Athens, greatness of, P. 7, 1. Atlas, P. 4, 289. Atrekeia, 0. 10 (11), 16. Angelas, 0. 10 (11), 31. 39. Bakchylides, allusion to, 0. 2, 96 ; P. 2,56. Battos, P. 4, 6. 280 ; 6, 55. 124. Bellerophon, 0. 13, 84. Bit, Corinthian, 0. 13, 20. Boibias— lake, P. 3, 84. Boreas, P. 4, 182. Brachylogy, P. 4, 242 ; 8, 48 ; 9, 27. Causative use of verb, 0. 5, 8 ; 8, 20 ; P. 1, 32 ; 11, 13. Centaurs, P. 2, 44. Change from participle to finite verb, 0.1,14; P. 3, 53. of subject, 0. 3, 22 ; 9, 50 ; P. 4,25.243.251; 5,34. Chariklo, P. 4, 103. Chariot, poetic, O. 6, 22 ; 9, 87 ; P. 10, 66. Chariot-race, danger of, 0. 5, 15 ; P. 5, 34 ; 6 (introd.). Charis, 0.1,30; 6,76; 7,11. Charites, goddesses of song, O. 2, 65 ; 4,9; 9,29; P.5,45; 6,2; 8, 21 ; 9, 3. 97. city of the (Orchomenos), 0. 14, 4. 8 ; P. 12, 26. Cheiron,P.3, 1. 63; 4,102.115; 9,31. Chiasm, 0. 2, 80 ; 6, 5 ; 10 (11), 31 ; 11 (10), 8 ; P. 1, 21. 54 ; 2, 48. 63 ; 9,6. Chimaira, 0. 13, 90. City and heroine blended, P. 9, 75 ; 12, 3. Class for individual, 0. 7, 8 ; P. 3, 66. Coincident action, 0. 7, 5. 69 ; 8, 40 ; 10 (U), 53 ; P. 3, 35 ; 4, 40. 61. 189. Companionship, sphere of, 0. 2, 11 ; P. 3,48; 4,115. Complementary adjective felt, P. 1, 14. substantive, P. 9, 107. Conative present, 0. 13, 69 ; P. 4, 106. Condition, formal, 0. 3, 42 ; 9, 28 ; P. 1,90. ideal, O. 1, 108 ; 6, 4 ; 13, 105; P. 1,81; 3,110; 8, 14. subjunctive, O. 6, 11 ; 7, 1 ; P. 4, 264. 266. 274, INDEX OF SUBJECTS. 389 Condition, unreal, 0. 12, 16 ; P. 3, 68. 73 ; 4, 48. Copula, omission of, to-Tt (eIo-i), 0. 1, 1 (and regularly). ia/jiiv, P. 8, 95. Dative of agent, 0. 8, 30 ; 12, 3 j 14, 6 ; P. 1, 73. of approach, 0. 6, 58. with iiKeadai, 0. 13, 29 ; P. 4, 21 ; 8, 5 i 12, 5. =Sta with ace, P. 11,27. double, 0. 2, 16 ; 8, 83; P. 4, 78. with iXdsii/, 0. 1, 45 (cf. 0. 9, 72) ; P. 4, 124. and genitive, 0. 1, 57. 65; 6, 5 ; 8, 75 ; 9, 16 ; P. 8, 46 ; 9, 89. instrumental, P. 10, 51. local-temporal, 0. 1, 2. locative, P. 1, 40. 78. of participle, 0.8,60; P. 10, 67. personal, O. 2, 90 ; 3, 11. and irpos with ace, 0. 1, 47 ; 9,64. of reference, 0. 2, 98. with verbs of touching, P. 4, 296 ; 9, 46. 130 ; 10, 28. Dead, state of the, 0. 2, 62. Deinomenes, P. 1, 58. 79 ; 2, 18. Delphic word, 0. 13, 81. Demeter, 0. 6, 95. Diagoras, 0. 7, 13. 80. Diaulos, 0. 13, 37 ; P. 10, 10. Dirke, P. 9, 95. Dioskuroi, 0. 3, 1 ; P. 11, 61. Dolphin, P. 4, 17. Doric ace. in -os, 0. 1, 58 ; 2, 78. inf . m -EI/, 0. 1, 2 ; P. 5, 72. perfect, 0. 6, 49 ; P. 4, 179. 183. Dual, O. 6, 45 ; 13, 6. 95. Eagle, architectural, 0. 13, 21 Echemos, 0. 10 (11), 73. Echion, P. 4, 179. Eleithyia, O. 6, 42. Empiric aorist, 0. 12, 10. Epeians, 0. 9, 63 ; 10 (11), 39. Epharmostos, O. 9, 4. 93. Ephialtes, P. 4, 89. Ephyraians, P. 10, 55. Epimetheus, P. 5, 27. Epithets, double, 0. 1, 6. 10. 59 ; cf. 2, 60. 90 ; 3, 18 ; 4, 7 ; 6, 61 ; 7, 15 ; 9, 98 ; 10 (11), 91 ; 11 (10), 2 ; 13, 89. 99; P. 4, 184; 5,121; 9,114. Erechtheidai, P. 7, 8, Erginos, 0. 4, 19 (note). Eritimos, 0. 13, 42. Euphemos, P. 4, 22. 44. 175. 256. Euphrosyne, 0. 14, 14. Euripos, P. 11, 22. EuTopa, P. 4, 46. Eurotas, 0. 6, 28. Euryale, P. 12, 20. Eurypylos, P. 4, 33. Eurystheus, 0. 3, 28 ; P. 9, 86. Eurytos, 0. 10 (11), 31. Family figures, O. 8, 1. Feet give way before hjinds, 0. 4, 24. Finite verb following participle, 0. 1, 14; P. 1,55; 8,53. Flute, origin of, P. 12, 6. Fusion of two or more words, P. 6, 17: 7, 2. See Hypdllage. Future, modal, 0. 8, 57 ; P. 9, 96. passive, no special form, P. 4. 15. Ganymede, 0. 1,44; 10 (11), 115. Generic condition, ind., 0. 11 (10), 4. subj. See Condition. relative without Sv, 0. 8, 11. Genitive ablative, 0. 1, 58 ; 2, 57 ; 4, 10(?) i P. 3, 50 ; 9, 12(?) ; 11, 34. absolute, 0. 6, 3(?). without subject, 0. 13,16; P.l,26(?); 4,282;8,43.85(?). and adj. in -tos, 0. 2, 10. 13. appositive, O. 2, 14. and dative (shift), 0. 6, 5. of material, 0. 2, 79; P. 4, 206. in -oio elided, 0. 13, 35; P. 1, 39. of origin, P. 4, 144. 256. partitive, P. 4, 34. in predicate, P. 3, 67. Glaukos, 0. 13, 60. Gnomic aorist, 0. 2, 88. 105 ; 7, 44 ; 9, 31 ; P. 1, 42 ; 2, 13. 36.50; 8,15. and present, P. 2, 60. 89. perfect, 0. 1, 53. Graces. See Cha/rites. Hades' wand, 0. 9, 35. Hair, when shorn, P. 4, 82. Halirrhotbios, 0. 10 (11), 77. 390 INDEX OF SUBJECTS. Harmonia, P. 3, 91; 11,7. Hektor, O. 2, 89. Hellenotlikes, O. 3, 12. Hellotia, 0. 13, 40. Hendiadys, 0. 10 (11), 64; 1-1, 17; P. 4, 18. 94. Hephaistos=fire, P. 1, 25 ; 3, 39. Hera, P. 2,:37; 4,184; 8,79. Trapdevia, 0. 6, 88. Herakleidai and Dorians, P. 1, 63. Herakles, his club, 0. 9, 32. founder of the Olympian games, 0. 10 (11), 49. his quest of the olive, 0. 3, 17. pillars of, 0. 3, 44. Hermes, Ivaymvio^, 0. 6, 79 ; P. 2, 10. gervlus of Olympos, P. 9, 64. ~)(pviT6pa'jrii^ P. 4, 178. Heroine and city blended, P. 4, 14 ; 9, 75 ' 12 3. Hieron, 6. 1, 11. 107 ; 6, 93 ; P. 1, 32. 56. 62 ; 2, 5 ; 3, 80. Himera, 0. 12, 2. Himeras, P. 1, 79. Hippokleas, P. 10, 5. Hlstorioalpresent,0.7,78(?) 13,92(?); . P. 2, 31(9); 5,82(?).86(?). Homer, divergencies from, 0. 13, 67. 90; P. 11,31. quoted, P. 4, 277. Horai, 0. 13, 17 ; P. 9, 65. Horned does, 0. 3, 29. Hyllid standard, P. 1, 62. Hypallage, 0. 3, 3 ; 10 (11), 7. 28 ; P. 4, 149. 205. 225. 255 ; 9, 90. Hyperbaton, 0. 1, 12 ; 2, 9. 25 ; 7, 26 ; 8, 33 ; 13, 31 : P. 5, 78 ; 10, 58. Hyperboreans, 0. 3, 16 ; P. 10, 30. Hypereis, fountain, P. 4, 125. Hypseus, P. 9, 14. Hypsipyle, 0. 4, 23. lalysos, 0. 7, 74. lamidai, 0. 6, 5. lamos, 0. 6, 43. lapetos, 0. 9, 59. lason, P. 4, 12. 128. 136. 169. 189. 232. Idaian cave, 0. 5, 18. Ideal condition. See CondUion, Has, 0. 10 (11), 19. Ilios, O. 8, 32. Imperative present, 0. 1, 85 ; P. 1, 86. for conditional, P. 4, 165. 276. Imperfect, 0. 2, 23 ; P. 4, 114. 178. Imperfect and aor., P. 4, 247 ; 5, 76. conative, 0. 5, 5. of the inventor, P. 12, 18. parenthetic, P. 10, 45. of reluctonce,0.3,17; 6,45. of vision (panoramic), 0. 10 (11), 74; P. 3, 44. Infinitive articular. See Articular, in -£i/, 0. 1, 2. epexegetic, O. 3, 34 ; 6, 34 ; P. 5, 26; 7,6; 9,71; 12, 22. final, P. 3, 45 ; 7, 3 ; 9, 62. for imperative, 0. 13, 114. redundant, 0. 6, 56 ; 9, 69. Ino, O. 2, 33 ; P. 11, 2. Instrumental muaic, position of, 0. 2, 1. lolaos, 0. 9, 105 ; P. 9, 85 ; 11, 60. lolkos, P. 4, 77. 188. Ionian Sea, P. 3, 68. Iphigeneia, P. 11, 32. IphiHes, P. 9, 95. son of, P. 11, 59. Iphlmedeia, P. 4, 89. Iphion, 0. 8, 81. Irasa, P. 9, 114. Ischys, P. 3, 31. Ixion, P. 2, 21. lynx, the, P. 2, 40 ; 4, 214. Kadmos, 0. 2, 86. daughters of, 0. 2, 26 ; P. 1 1, Kallianax, O. 7, 93. Kallimachos, O. 8, 82. Kalliope, 0. 10 (11), 16. Kamarina, O. 4, 12 ; 5, 4. Kamiros, 0. 7, 73. Kameia, P. 5, 80. Karneiades, P. 9, 77. Kassandra, P. 11,20. Kastalia, O. 7, 17 ; P. 1, 39 ; 4, 163 ; 6, Kastor, P. 5, 9 ; 11, 61. Kastoreion, 0. 1, 101 ; P. 2, 67. Kephisos, 0. 14. 1 ; P. 4, 46. Kinyras, P. 2, 16. Kleodamos, 0. 14, 22. Kleonai, 0. 10 (11), 33. Klotho, 0. 1, 26. Klvmenos, 0. 4, 19. Knosos, 0. 12, 16. Koronis, P. 3, 25. Kreusa, P. 9, 18. Kroisos, P. 1, 94. Kronion, 0. 1, 111 ; 6, 64. INDEX OP SUBJECTS. 391 Kronos, hill of, 0. 8, 17. tower of, 0. 2, 77. Kteatos, 0. 10 (11), 30. Kyknos, 0. 2, 90 ; 10 (11), 17. Kyrene, city, P. 4, 2. 261. 276. 279 ; 5, 24. 62. 81. heroine, P. 9, 18. 73. Lachesis, O. 7, 64. Laics, O. 2, 42. Lakedaimon, P. 4, 49 ; 5, 69 ; 10, 1. Lakereia, P. 3, 84. Lampromachos, 0. 9, 90, lapithai, Po 9, 15. Leda,0.3,36; P. 4, 172. Lemnian women, 0. 4, 20 ; P. 4, 252. Lema, 0. 1, 33. Leto, 0.3,26; 8,31. Leukothea, P. 11, 2. Libya, the heroine, P. 9, 59. the land, P. 4, 6. 42. 259 ; 5, 52 ; 9,75. Likymnios, O. 7, 29 ; 10 (U), 71. Lindos, 0. 7, 74. Litotes, 0. 10 (11), 24; P. 7, 14; 9, 26. Lokrian women, O. 9,60 ; P. 2, 18. Loxias, P. 3, 28 ; 11,5. Lydian flutes, 0. 5, 19. harmony, 0. 14, 17. Lykaion (mountain), 0. 13, 108. Magna Mater, P. 3, 78. Magnesian dress, P. 4, 80. Mainallan chain, 0. 9, 63. Mantineia, 0. 10 (11), 77. Marathon, 0. 9, 95 ; 13, 110 ; P. 8, 79. Mares preferred, 0. 6, 14 ; P. 2, 8 ; 4, 17. Medeia, 0. 13, 53; P. 4, 9. 57. 218. 250. Medea, P. 1, 78. ■ Medusa, P. 12, 16. Megakles, P. 7, 13. Megara, 0. 7, 86 ; 13, 109 ; P. 8, 78. Melampos, P. 4, 126. Meleaias, O. 8, 54. Melia, P. 11, 4. Memnon, 0. 2, 91 ; P. 6, 32. Menoitios, 0. 9, 75. Metaphors and similes : army, P. 4, 210 ; 6, 12. awakening, P. 9, 112. bee, P. 4, 60 ; 10, 54. bit, P. 4, 25. bloom (blossom), 0. 1, 67 ; P. 4, 158. breezes, 0.7,96; P. 4, 292. cahn, P 5, 10. Metaphors and similes : chariot, 0. 6, 22 ; 9, 87 ; P. 10, 65. cloud, 0. 7, 45. cock (simile), 0. 12, 14. column, O. 2, 90. cork (simile), P. 2, 80. cow, P. 4, 142. culling fruit, 0. 1, 13 ; P. 9, 119. currents, shifting, 0. 2, 37. debt, 0. 3, 7 ; P. 9, 112. decoration, 0. 1, 29. 105 ; 2, 58 ; 5, 21, dice, 0. 12, 10. dress, P. 3, 83. drug, elixir, P. 4, 187, remedy, O. 9,104. spell, 0. 13, 85. eagle, O. 2, 97 ; P. 5, 112. embarking, 0. 13, 49 ; P. 2, 62. exile (wandering), 0. 1, 58. eye, 0.2, 11; 6,16; P. 5, 66. fa9ade (simile), 0. 6, 1. family, 0. 8, 1 (note), fleet, 0. 13, 49. flight of steps, P. 5, 7. flood, 0. 10 (11), 12, forging, P. 1, 86. foundations, P. 7, 3. fox and lion, 0. 11 (10), 20. fruit (simile), P. 9, 119. garden, 0. 9, 29. gates, 0. 6, 27. home-bringing, P. 5, 3. keys, P. 8, 4; 9,42. late-born hen- (simile), 0. 10 (11), 94. ledger, 0. 10 (11), 2. light, 0. 1, 23. 94; 9, 24; 13, 36 ; P. 2, 6 ; 5, 45. lopping tree, P. 4, 263. missiles, 0. 1, 112 ; 2, 91. 98 ; 9, 6. 12; 13,93; P. 1,12. 44; 6,37. mixed, P. 1, 82 ; 4, 272 ; 10, 63. mixing-bowl, 0. 6, 91, moat, 0. 10 (11), 37. nails, P. 4, 71. nectar, 0. 7, 7. pathway, 0. 1, 115 ; 7, 31. 90 ; P. 2, 35; 10,12. of song, 0. 1, 110 ; 9, 61 ; P. 4, 247. pebble, 0. 10 (11), 9. pelting, P. 8, 57. Phoenician ware, P. 2, 67, piiysician, P. 4, 270. pUot, 0. 12, 3 ; P. 1, 86 ; 4, 274 ; 6, 122 i 10, 72. ploughing, P. 6, 1. 392 INDEX OP SUBJECTS. Mecaphors and similes ; ravens, 0. 2, 96. root, 0. 2, 50 ; P. 4, 15 ; 9, 9. sandal, 0. 3, 5 ; 6, 8. scion, O. 6, 68 ; 2, 49. scuttling ship, P. 8, 11. sky tale, 0. 6, 91. spreading sail, P. 1, 9. springtime (simile), P. 4, 64. sprinkling, 0. 10 (11), 104. 108. star (simile), O. 2, 61. stone, 0. 8, 65. storm, P. 9, 35. swimming out. 0. 13, 114. tending flocks,' 0. 11 (10), 9. thirst, P. 9, 112. token, 0. 12, 7. treasure-house, P. 6, 8. tree, P. 8,94; cf. P.4,263. twining, 0. 6, 86 ; P. 4, 275. voyage, O. 6, 103. wagging tail, 0. 4, 4. watering, 0. 5, 23. waves, 0. 12, 6. 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 blightm^, P. 5, 121. wine-cup (simile), 0. 7, 1. wings, P. 5, 114 ; 8, 34. wrestling, 0. 8, 25 ; P. 2, 61. 82 ; 4, 273. Metonymy, P. 4, 18. Metope, 0. 6, 84. Midas, P. 12, 5. Middle, 0. 6, 46 ; 8, 59 ; P. 1, 74 ; 2, 49. of reciprocal action, 0. 1, 95. Midea, heroine, 0. 7, 29. place, 0.10(11), 72. Midylidai, P. 8, 38. Minyans, 0.14,4; P. 4, 69. Moliones, 0.10(11), 38. Mopsos, P. 4, 191. Muse, 0. 1, 112 ; 3,4; 10 (U), 4; 13, 22 ; P. 1, 58 ; 4, 3. 279 ; 5, 65 ; 10, 37 ; 11, 41. Muses, 0. 6, 21. 91 ; 7, 7 ; 9, 5. 87 ; 11 (10), 17 ; 13, 96 ; P. 1, 2. 12 ; 3, 90 ; 4,67; 5,114. Mykenai, P. 4, 49. Naxos, P. 4, 88. Negative |Uij alter verbs of believing, 0. 1, 104. Negative fxii after verbs of hoping, P. 1,44. of swearing, O. 2, 102. oi with inf., P. 2, 88. with opt., P. 4, 118. first omitted, 0.11 (10), 18; 14,9; P.3,30; 6,48; 10, 29.41. position of, O. 1, 81 ; 2, 34. 69. 106 ; 3, 23 ; 4, 17 ; 7, 48 ; 8, 79. Nemea, 0. 7, 82 ; 8, 16. 56 ; 9, 93 ; 13, 34. 98. Nemesis, 0. 8, 86 ; P. 10, 44. Nereids, 0.2,32; P. 11, 2. Kerens, P. 3, 92 ; 9, 102. Nestor, P. 3, 112 ; 6, 32. Neuter pi. with pi. verb, 0. 8, 12 ; 10 (11), 93 ; P. 1, 13 ; 4, 121. Nikeus, 10 (11), 79. Nile, P. 4, 56. Nisos, P. 9, 98. Nomads, P. 9, 133. Oanis, 0. 5, 11. Odysseus, P. 1, 52 (note). Oidipus, O. 2, 40 ; P. 4, 263. Oitkles, O. 6, 13 ; P. 8, 39. Oinomaos, 0. 1, 76. 88 ; 5, 9 ; 10 (11), 56. Oionos, 0. 10 (11), 72. Okeanos, 0. 5, 2 ; P. 9, 16. Oligaithidai, 0. 13, 97. Olympia, 0. 1, 7 ; 2, 53 ; 6, 26 ; 8, 83 ; 9, 2; 12, 17; 13, 101; P. 5, 124; 11,47. local games, P. 9, 109. Optative in conditions. See Condition, as imperative, 0. 3, 45 ; 9, 44 ; P. 10, 21. for indicative, 0. 6, 49 ; P. 9, 126. peculiar use, P. 4, 118. potential with av, O. 2, 20. See &. irregular, P.9,129. without av, O. 11 (10), 21. present in prayer, P. ], 29. Oracular language, 0. 7, 33 ; 13, 81; P. 4, 27 ; 9, 69. Orators, P. 1, 94. Orchomenos, 0. 14, 4. Orestes, P. 11, 16. INDEX OF SUBJECTS. 393 Orpheus, P. 4, 177. Orthosia, 0. 3, 30. Ortygia, 0. 6, 92 ; P. 2, 6. Otos, P. 4, 89. Oxymoron, O. 6, 43. 46 ; 9, 7. 24. PaUas, 0. 2, 29 ; 5, 10 ; 13, 66 ; P. 9, 106 ; 12, 7. Pan, P. 3, 78. Pangaion, P. 4, 180. Parallelism, 0.2,108; 10 (11), 13. Paris, P. 6, 38. Parnasos, O. 9, 46 ; P. 1, 89 ; 11, 36. Parrhasians, 0. 9, 103. Parsley, 0. 13, 33. Participle after-thought, P. 4, 262 ; 6, 46. for infinitive or abstract noun, 0. 3, 6 ; 8, 65 ; 9, 111; P. 2, 23 -,3, 102; 11, 22. Passive impersonal, 0. 8, 8. in predication, P. 4, 282 ; 6, 29. of intransitive, 0. 10 (11), 84. Patroklos, O. 9, 81 ; 10 (11), 21. Patronymic, eflFect of, P. 5, 45. Pegasos, 0. 13, 64. Peirene, 0. 13, 61. Peleus, 0. 2, 86 ; P. 3, 87 ; 8, 100, Pelias, P. 4, 71. 94. 109. 134. 156. 250. Pelinna, P. 10, 4. Pellana, 0. 7, 86 ; 9, 105 ; 18, 109. Pelops, 0. 1, 24. 95 ; 3, 28 ; 5, 9 ; 10 (11), 27. Peneios, P.9, 18; 10,56. Pentathlon, 0. 18, 30 ; P. 8, 66. Perfect, Doric. See Doric. emotional=pres., P. 1, 13. gnomic, 0. 1, 53. perceptual, 0. 1, 94. =pre8ent, 0. 9, 2. Pergamos, O. 8, 42. Periklymeuos, P. 4, 175. Persephone, 0. 14, 21. mistress of Sicily, P. 12, 2. Xeukittttos, O. 6, 95. Perseus, P. 10, 31 ; 12, 11. Personification, O. 2, 85 ; 4, 16 ; 7, 44 ; 10 (11), 15. 103; 11 (10), 3; 13,10. 12; P. 1,6. 25. 30; 4, 202; 5, 81. 61; 6, 19 ; 8, 1. Phaisana, 0. 6, 34. Phalaris, P. 1, 96. Phasis, P. 4, 211. Pheres, P. 4, 125. Philanor, 0. 12, 13. Philoktetes, P. 1, 50. PhUyra, P. 4, 103 ; 6, 22. Philyrides (Cheiron), P. 8, 1 ; 9, 32. Phintis=Philtis, 0. 6, 22. PMegyas, P. 3, 8. Phoenician=Carthaginian, P. 1, 72. ware, P. 2, 67. Phorkos, P. 12, 13. Phrastor, 0. 10 (11), 78. Phrikias, P. 10, 16. Phrixos, P. 4, 160. 242. Phthia, P. 3, 101. Pierides, 0. 10 (11), 106 ; P. 1, 14 ; 6, 49 ; 10, 65. Pindos, P. 9,17. Pitana, 0. 6, 28. Plataia, battle of, P. 1, 78. Play on words, 0. 6, 30. 47 ; 8, 25 ; P. 2,78; 3,28; 4,27. Plural of abstracts, O. 5,~20. adjective for sing., 0. 1, 52 ; P. 1,34; 2,81; 4,247. distributive, O. 9, 21 ; 12, 9 1 P. 1, 4 ; 10, 72. for singular, 0. 3, 28 ; 7, 35 ; 9, 56 ; P. 2, 27 ; 3, 11 ; 4, 249. 256 ; 9, 113. of stateliness, 0. 7, 29 ; P. 2, 33 ; 4, 54. 160. verb with disjunctives, P. 6, 18. neut.pl., 0.8, 12; 10 (11), 98; P. 1,13; 4, 121. Polydektes, P. 12, 14. Polydeukes, P. 11, 62. Polyidos, 0. 13, 75. Polymuestos, P. 4, &% Polyneikes, 0. 2, 47. Porphyrion, P. 8, 12. Poseidon, yaiaoxos, 0. 1, 25 ; 18, 81. £ii/0MAXOs and ipmo*opos. The king, who is asked in "visible speech," OPYEfi, to authorize the storing of the bale under ground, joins his over- seer, io*OPT02, and the baler in keeping tally of the same. A slave in the back- 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, *yaaK02, wrapped in a tribon. A Cyrcnaic fauna enlivens the principal scene with local color; satirical intention reveals itself in the fantastic, barbarian attire of King Arkesilas, and in the amusingly nn-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 monopo- lies that the artist has erected the fabric of his fun. Alfked Emerson.