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4 ψυχὰς ἀπέπνευσεν μελέων ἀφάτων.

5 ἐκ δ ̓ ἄρ ̓ ἄτλατον βέλος

70

6 πλᾶξε γυναῖκας, ὅσαι τύχον ̓Αλκμήνας ἀρήγοισαι λέχει·

50 7 καὶ γὰρ αὐτά, ποσσὶν ἄπεπλος ὀρούσαισ ̓ ἀπὸ στρωμνᾶς, ὅμως ἄμυνεν ὕβριν κνωδάλων.

a

75

Ἐπ. γ'.

ταχὺ δὲ Καδμείων ἀγοὶ χαλκέοις σὺν ὅπλοις ἔδραμον

ἀθρόοι,

and it seems that the house was roused by the lashing of the creatures in death throes and possibly in reflex action after death. Schmidt's χρόμος is most unhappy, and the idea that the poet would associate Chromios with a death-rattle is untenable. The heaviness of Herakles' labours endured but for a while, χρόνον, but his rest for τὸν ἅπαντα χρόνον ἐν σχερῷ, υ. 69a significant recurrence which has escaped Mezger and Bury.

48 βέλος ' Α pang. Cf. Il. 11. 269 ὡς δ ̓ ὅταν ὠδίνουσαν ἔχῃ βέλος ὀξὺ γυναῖκα, Aesch. Prom. 676. There is a slight balance of Ms. authority in favor of déos, which Par. A has as a correction, but βέλος could not have replaced the much easier δέος (which on the other hand would inevitably appear as an early marginal gloss). By amply defining βέλος, the verb έκπλᾶξε effectively defends it against alteration such as Mr Bury's Hêsychian πέλος, prodigy. Moreover ὀξείαις κ.τ.λ., v. 53, takes up βέλος.

49 Theokritos makes Hérakles nine months old. Plautus agrees with Pindar as to the age. On a coin of Thebes (see Plate facing Title) the child does not seem to represent a new-born babe. Paley cites a fresco-painting of this subject from Herculaneum, Racc. di Ercolano, Pl. 11.

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50 'Why, even she herself sprang from bed to her feet and unrobed as she was thought to repel the attack of the monsters.' Mommsen regards ποσσὶν as a da tivus termini. Cf. O. 13. 72 åvà d' ἔπαλτ ̓ ὀρθῷ ποδί; but they may be instrumental datives, though rendered to her (his) feet. ποσσίν Bergk παισὶν. ἄπεπλος With nothing on except an under garment, χιτωνίσκος, i.q. μονοχίτων, Philostratos, Eur. Hec. 933 λέχη δὲ φίλια μονόπεπλος λιπούσα Δωρὶς ὡς κόρα. ὅμως Μss. ὁμῶς. Text Stephanus. ἄμυνεν Imperfect of intended or attempted action. ὕβριν Either ='the attack,' cf. P. 1. 72; or else ü. K. = 'savage monsters.' Cf. ταῦροι ὑβρισταί, Eur. Bacch. 743.

51 So best мss. The Triclinian MSS. and the Aldine and Roman editions give σὺν ὅπλ. ἀθρ. ἔδρ. ; Editors άθρ. σὺν ὅπλ. ἔδρ. or έδρ. σὺν ὅπλ. ἀθρ. For the lengthening of -ov before a vowel cf. P. 3. 6. σὺν ‘Not without'; forcible contrast to the unarmed mother and infant. So too ἐν χερὶ δ' is almost 'and not empty-handed' contrasted with χερσὶν ἑαῖς, ν. 45. ὅπλοις Don. renders ' shields' from Hês. Scut. Herc. 13 φερεσσακέας Καδ μείους ; but weapons' is more

natural.

ὁ ἐν χερὶ δ' ̓Αμφιτρύων κολεοῦ γυμνὸν τινάσσων φάσγανον

80

© ἵκετ', ὀξείαις ἀνίαισι τυπείς. τὸ γὰρ οἰκεῖον πιέζει

πάνθ' ὁμῶς·

ὰ εὐθὺς δ ̓ ἀπήμων κραδία κάδος ἀμφ ̓ ἀλλότριον.

55 ι ἔστα δὲ θάμβει δυσφόρῳ

2

τερπνῷ τε μιχθείς. εἶδε γὰρ ἐκνόμιον

3 λῆμά τε καὶ δύναμιν

4 υἱοῦ· παλίγγλωσσον δέ τοι ἀθάνατοι 5 ἀγγέλων ῥῆσιν θέσαν.

Στρ. δ'.

85

60 6 γείτονα δ ̓ ἐκκάλεσεν Διὸς ὑψίστου προφάταν ἔξοχον, 90 7 ὀρθόμαντιν Τειρεσίαν· ὁ δέ τοι φράζε καὶ παντὶ στρατῷ, ποίαις ὁμιλήσει τύχαις,

ι ὅσσους μὲν ἐν χέρσῳ κτανών,

52 φάσγανον Omitted in the best мss. The Triclinian мss. read ξίφος ἐκτινάσσων against the metre.

.

53 ὀξείαις ἀνίαισι τυπείς • Smitten with keen throes of anguish.' The phrase refers to βέλος above. ΙΙ. 19. 125 τὸν δ ̓ ἄχος ὀξὺ κατὰ φρένα τύψε βαθεῖαν, Od. 10. 247 κῆρ ἄχεϊ μεγάλῳ βεβολημένος. τὸ γάρ, κ.τ.λ. Pausanias, 10. 22. 5, cites this sentiment with approval. Cf. The heart knoweth its own bitterness, and a stranger doth not intermeddle with its joy.'

54 dup' Cf. O. and P. p. xxvi.

55 θάμβει, κ.τ.λ. • With mingled feelings of painful and glad wonderment.' Thus Paley rightly explains μιχθείς. Others affected by,' cf. Soph. Ant. 1311 deiλaíg dè συγκέκραμαι δύᾳ, Αiax 895 οἴκτῳ τῷ δε συγκεκραμένην.

56 ἐκνόμιον ‘Extraordinary. Not used, it seems, in the same sense as ἔκνομος, ‘unlawful, inordinate, as correlative of ἔννομος

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̓Αντ. δ'.

95

(cf. the adv. Aristoph. Plut. 981, 992).

58 παλίγγλωσσον Apparently a word coined by Pindar=‘gainsaid,' i.e. by the fact. For Dativus commodi, not after ῥῆσιν, and not the article, as the digamma of the personal pronoun is needed for the scansion. ἀθάνατοι I.e. Zeus, by transmitting superhuman qualities to his son. Cf. Theokr. 24. 83, 84 γαμβρὸς δ' ἀθανάτων (Ηρας) κεκλήσεται, οἳ τάδ' ἐπῶρσαν | κνώδαλα φω λεύοντα βρέφος διαδηλήσασθαι.

6Ο γείτονα According to Pausanias 9. 11, Amphitryon lived by the Gate of Elektra, in the neighbourhood of which was the οίωνοσκοπεῖον of Teiresias (Paus. 9. 16). Διὸς ὑψίστου A special title of Zeus at Thebes (Paus. 9. 8. 3) amongst other places.

61 ὀρθόμ. Cf. Soph. Αnt. 1178 ὦ μάντι, τοῦπος ὡς ἄρ ̓ ὀρθὸν ἤνυσας, Oed. R. 506.

62 κτανών The participle of the

2 ὅσσους δὲ πόντῳ θῆρας ἀϊδροδίκας·

3 καί τινα σὺν πλαγίῳ

65 4 ἀνδρῶν κόρῳ στείχοντα τὸν ἐχθρότατον

φᾶσέ νιν δώσειν μόρῳ,

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Ἡ ἀντιάζωσιν, βελέων ὑπὸ ῥιπαῖσι κείνου φαιδίμαν γαίᾳ πεφύρσεσθαι κόμαν

gnomic aorist referring to sundry points of the time covered by the principal verb. Thus ὅσσους κτ. = καὶ πολλοὺς κτενεῖ. Cf. N. 7. 3.

63 ἀϊδροδίκας For justice and the reverse in beasts cf. Archilochos, Frag. 88 [6] "Ω Ζεύ, πάτερ Ζεύ, σὸν μὲν οὐρανοῦ κράτος, | σὺ δ ̓ ἔργ ̓ ἐπ' ἀνθρώπων ὁρᾷς | λεωργὰ καὶ θεμιστά, σοὶ δὲ θηρίων | ὕβρις τε καὶ δίκη μέλει. For this phrase cf. Od. 9. 215 ἄγριον, οὔτε δίκας εὖ εἰδότα οὔτε θέμιστας.

64 τινα ‘Many ' (cf. P. 2. 51 [θεὸς] ὑψιφρόνων τιν' ἔκαμψε βροτῶν), such as Busiris and Antaeos. For the junction of the definite article with the indefinite pronoun cf. Soph. Oed. Col. 288 ὅταν δ' ὁ κύριος | παρῇ τις, Oed. Rex 107 τοὺς αὐτοέντας χειρὶ τιμωρεῖν τινάς. So Böckh, Don. Bergk reading v. 66 μόρῳ for Ms. μόρον. Similarly Dissen, only changing τὸν to ποτ', and Kayser, only changing τὸν ἐχθ. to πανεχθροτάτῳ. Hermann reads v. 66 φασέν iv (acc.)...μόρῳ and above τῷ ἐχθροτάτῳ, making τινα the subject meaning Nessos. Keeping μόρον, Mommsen would change δώσειν to γεύσειν, Ahrens to παύσειν, Bury to πώσειν. Rauchenstein, Hermann and Bergk propose τινι ... στείχοντι τὸν ἐχθ. Bergk also suggests καί τινα σὺν πλαγίῳ (adverbially) ¦ ἀνδρῶν πόρον στ....μόρῳ after Hartung's καί τινα

σὺν πλαγίῳ | ἀνδρῶν νόῳ στείχονθ' ὁδὸν ἐχθροτάταν φασέ νιν δώσειν μόρῳ, δώσειν μόρῳ, Cf. Ρ. 5. 56 ὁ δ ̓ ἀρχαγέτας ἔδωκ ̓ ̓Απόλλων | θῆλ ρας αἰνῷ φόβῳ, Il. 5. 397 ἐν Πύλῳ ἐν νεκύεσσι βαλὼν ὀδύνῃσιν ἔδωκεν. σὺν πλαγ. κόρ. στείχ. Cf. v. 25 supra, Phôkyl. Frag. 9 ävdpes, oùv κόσμῳ στείχοντες.

67 Φλέγρας Hieron and no doubt Chromios had defeated the Carthaginians off Phlegra near Cumae in the year before this victory at Nemea. The Phlegra where the gods fought the Giants was in Thrace. Cf. N. 4. 27 note.

68 ἀντιάζ. For the pres. cf. Goodwin, § 689, p. 274. Intr. 'to encounter' N. 10. 20. The phrase ἀντιάς. μάχαν (cognate acc. naturally takes a dative like μάχομαι. Jebb notes that “The Gigantomachia adorned the pediment of the Megarian 'Treasury' at Olympia; next to Zeus, Poseidon and Ares, the chief figure was Heracles." For μάχαν Dissen cites Soph. Τrach. 159 πολλοὺς ἀγῶνας ἐξιών. ῥιπαῖσι 'Whizzing flights,' cf. Il. 16. 361 διστῶν ῥοῖζον. γαίᾳ Cf. Aesch. S. c. Τh. 48 γῆν θανόντες τήνδε φυράσειν φόνῳ. πεφύρσεσθαι Note the paulo-post. fut., 'they (the giants) will soon find their hair befouled.' κόμαν Cf. Il. 21. 407 of Ares ἐκόνισε δὲ χαίτας.

Ἐπ. δ'.

« ἔνεπεν· αὐτὸν μὲν ἐν εἰράνῃ τὸν ἅπαντα χρόνον ἐν

σχερῷ

105

70 ο ἡσυχίαν καμάτων μεγάλων ποινὰν λαχόντ ̓ ἐξαίρετον, ὀλβίοις ἐν δώμασι δεξάμενον θαλερὰν Ηβαν ἄκοιτιν,

C

καὶ γάμον

ΙΙΟ

« δαίσαντα πὰρ Διὶ Κρονίδα, σεμνὸν αἰνήσειν *λέχος*.

69 ἔνεπεν The prominent position gives emphasis both to what immediately precedes and to what follows. χρόνον For the lengthening cf. v. 51, supra. For the sentiment of this epode cf. N. 9. 44, 45. ἐν σχερῷ Νο Ms. gives er, but σχερῷ (-ω). The phrase however occurs N. 11. 39, I. 5. 22. Perhaps the Hesychian ισχερῷ = ἑξῆς, should be read and ἐπισχερώ divided ἐπ-ισχερώ, as Hêsychios betrays no knowledge of this adverbial use of σχερός.

70 ποινάν Recompense. Cf. Ρ. 1. 59 κελαδῆσαι π. τεθρίππων, Ρ. 2. 17 χάρις φίλων ποίνιμος ἀντὶ Γέργων ὀπιζομένα. θαλερὰν‘Blooming.' As the opening verses are obviously recalled, the reminiscence of θάλος may have suggested the memory of θαλερὴν παράκοιτιν Ιl. 3. 53, or the closer "Ηρην θ. ποιήσατ' ἄκοιτιν. | ἥδ' Ηβην... ἔτικτε Hes. Th. 921, cf. 946, 999.

71 γάμον | δαίσαντα Cf. Il. 19. 299 δαίσειν δὲ γάμον μετὰ Μυρμι

δόνεσσιν, Οd. 4. 3 τὸν δ ̓ εὗρον δαίνυντα γάμον πολλοῖσιν ἔτῃσιν υἱέος ἠδὲ θυγατρὸς ἀμύμονος ᾧ ἐνὶ οἴκῳ. For theme cf. I. 3. 76-78.

72 Att So Mss. always, though the word is a long monosyllable. Cf. I. 7. 35. αἰνήσειν An echo of αἶνον υ. 6. My reading λέχος is supported by αἴνησεν γάμον Ρ. 3. 13. λέχος Mss. give γάμον and δόμον. The former is imported from the line above, the latter is an attempt at correction, as is also the νόμον, νομὸν of the Schol. It is hard to believe that Pindar would terminate the last two lines of an ode with -μον. I therefore regard the last word as entirely lost, and suggest λέχος as giving better sense than Bergk's βίον, θρόνον, οι τεθμόν, Heyne's ἕδος, Mommsen's νόμον, Bury's σταθμόν. Observe that the example of rest after labour at the end of the ode is foreshadowed by the opening phrases ἄμπνευμα... δέμνιον.

F. II.

2

NEMEA II.

ON THE VICTORY OF TIMODEMOS OF ATHENS IN THE

PANKRATION.

INTRODUCTION.

TIMODEMOS, son of Timonoös, of the deme of Acharnae, but of the Timodêmidae, a clan of Salamis, where he was born or brought up (vv. 13-15), won this victory probably about Ol. 75, B.C. 480-477. The ode was apparently sung at Athens (v. 24). It is a processional (monostrophic) ode. The word égápɣere in the last line is thought to indicate that it was introductory to a longer eykaμov.

It is impossible to draw any sound inference about the place of composition. Böckh fancies that it was composed at Nemea after the battle of Plataea with Fragment 53 [45]. Perhaps the opening allusion to the Homêridae was due to Salamis being one of the aspirants to the honor of being Homer's birthplace.

The first strophe forms the proëme and the rest of the ode falls into two equal divisions.

This ode throws a light on such recurrences or echoes as have to do with the main theme of an ode. The two Glyconics which constitute the middle and end of the fourth verse contain either vikaor some important proper name (Νεμεαίου, Πυθίοισι, Αἴαντος...Τιμό δημε, Τιμοδήμῳ σὺν εὐκλέϊ νόστῳ) or both. It may therefore be inferred that the music and dance were especially impressive at this part of the strophe, and conversely we may conjecture that in any ode the recurrence of prominent ideas in metrically parallel positions is generally owing to those positions being musically and orchestrically impressive.

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