Note the tautometric recurrences ¿¿- v. 18, èk v. 3, μèv vv. 19, 9, pwvv. 25, 20. The compounds which seem to have been coined for this ode are πολυύμνητος, εὐθυπομπός. The mode is Lydo-Æolian. The metre is logaœdic. The recurrent phrases are (A) tetrapodies (Glyconics) with syncope of the first foot, and (B) tripodies (second Pherecratics). The second and last verses are first Glyconics. If the two long syllables at the end of the third foot be each reckoned as a trochee, the first three verses come equal in number of feet to the last two. If the second portion of the third verse be taken as mesodic and the last verse as epodic, we get a symmetrical period, or we can count 4 | 4 | 7 | 7.4 | 4, or 4 | 5 | 6 | 5.6 | 4. My analysis disregards symmetry. vv. ANALYSIS. 1-5. As the Homêridae begin by invoking Zeus, so Timodêmos begins his career of victory in Zeus' grove at Nemea. 6-10. He ought still, since his Fate has led him straight along the path his fathers trod and caused him to do honor to Athens (by winning at Nemea), to win often at the Isthmus and Delphi. 10-12. When the Pleiades are seen, Orion is to be expected. 13-15. Salamis can rear fighting men such as the Trojan warrior Aias and the pancratiast Timodêmos. 16, 17. The Acharnians were famous of old. 17-24. Enumeration of victories of the Timodêmidae in the Pythian, Isthmian, Nemean and the (Athenian) Olympian games. 24, 25. The citizens are bidden to celebrate Timodêmos' return as victor from Nemea. I 1 Ὅθεν περ καὶ Ομηρίδαι 2 ῥαπτῶν ἐπέων τὰ πόλλ ̓ ἀοιδοὶ Στρ. α'. 3 ἄρχονται, Διὸς ἐκ προοιμίου· καὶ ὅδ ̓ ἀνὴρ 4 καταβολὴν ἱερῶν ἀγώνων | νικαφορίας δέδεκται πρῶτον 2 εἴπερ καθ ̓ ὁδόν νιν εὐθυπομπός 1-5 There is only one slight irregularity of construction in this strophe, namely that instead of τόθεν οἱ ἐκ Διός after καὶ (ν. 3) we find Νεμεαίου | ἐν π. Δ. ἄ. υυ. 4, 5. 1, 3 και...και For καὶ or καὶ... καὶ emphasising a parallel see Jebb on Soph. Oed. Col. 53 ὅσ' οἶδα κἀγώ, who quotes Xenoph. Symp. 2. 25 δοκεῖ μέντοι μοι καὶ τὰ τῶν ἀνδρῶν συμπόσια ταὐτὰ πάσχειν ἅπερ καὶ τὰ ἐν γῇ φυόμενα. See also Dem. Meid. p. 514 ἐγὼ δ ̓, ὅπερ ἂν καὶ ὑμῶν ἕκαστος [ὑβρισθεὶς] προείλετο πρᾶξαι, τοῦτο καὶ αὐτὸς ἐποίησα. 1 ̔Ομηρίδαι A clan or school of rhapsodists from Chios. The Schol. on this line tells us that Kynaethos of Chios introduced many verses into the Homeric poems and founded a distinguished school of rhapsodists. 2 ραπτῶν ‘Continuous, hence 'epic.' The opening to which Pindar refers is probably preserved by Theokritos, 17. 1 ἐκ Διὸς ἀρχώμεσθα, and by Arâtos, Phaen. 1. Cf. Virg. Ecl. 3. 60 ab Iove principium. It is as old as Alkman, cf. Frag. 2 [31] ἐγώνγα δ ̓ ἀείσομαι | ἐκ Διὸς ἀρχομένα. A Schol. quotes from Hêsiod ev Δήλῳ τότε πρῶτον ἐγὼ καὶ Ὅμηρος ἀοιδοὶ | μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδήν, | Φοῖβον Απόλλωνα χρυσάορον ὃν τέκε Λητώ. 3 Διὸς ἐκ προ Cf. N. 5. 25. 'With an exordium about Zeus.' The phrase is in apposition with ὅθεν περ. Zeus is the subject matter of the proëme, so that the gen. is of material, not of connexion as with verbs of saying and hearing, e.g. Soph. Εl. 317 τοῦ κασιγνήτου τί φής; The ode also ends with Zeus. 4 καταβολάν Cf. Kallim., quoted by Schol., Αρσινόης, ὦ ξεῖνε, γάμον καταβάλλομ ̓ ἀείδειν. For the metaphor from laying a foundation cf. note on N. 1. 8. νικαφ. I did not mean "his career of victory" for a translation (1st ed. p. 16). Render "hath first won an opening strain of the rewards of victory," i.e. of epinician odes inter alia. The abstract equals a concrete plural. Cf. Eur. Herc. Fur. 663 & δυσγένεια =oi dvoyeveîs. In O. 13. 14 (in spite of the accent) and I. 1. 22 νικαφόρος = ‘brought by victory. δέδεκται Αt Nemea he became the winner of and is the winner of at Athens or elsewhere. Cf. Ο. 2. 49, 6. 27, P. 1. 80, 100, I. 5. 4. 5 άλσει See Paus. 2. 15. 2. The grove was of cypresses. 6 ὀφείλει Impersonal, but there is a v. i. ὀφείλει δέ τι. 7 For metaphor cf. P. 10. 12. Note that vir is acc. after εὐθυπομπὸς as well as after δέδωκε. 3 αἰὼν ταῖς μεγάλαις δέδωκε κόσμον ̓Αθάναις, + θαμὰ μὲν Ἰσθμιάδων δρέπεσθαι | κάλλιστον ἄωτον, ἐν Πυθίοισί τε νικᾶν 10 - Τιμονόου παῖδ'. ἔστι δ ̓ ἐοικὸς α ὀρειᾶν γε Πελειάδων * μὴ τηλόθεν Ωαρίωνα νεῖσθαι. ο καὶ μὲν ὁ Σαλαμίς γε θρέψαι φῶτα μαχατὰν 15 Στρ. γ'. 20 « δυνατός. ἐν Τροΐᾳ μὲν Εκτωρ Αἴαντος ἄκουσεν· ὦ Τιμόδημε, σὲ δ ̓ ἀλκὰ 8 alov Fate' in the sense of the destiny of an individual life. Cf. I. 3. 18, Soph. Aj. 645, Trach. 34. Observe that κόσμον ̓Αθάναις glances at the meaning of Τιμόδημος Τιμονόου παῖς. Cf. N. 3. 83. 9 δρέπεσθαι Cf. O. 1. 13. ἄωτον Cf. Ο. 2. 7, 5. 1. 'The fairest bloom of victories' is epinician song. ἐν Note the Pindaric variation of construction. τε For μὲντε cf. Ο. 4. 15, Ρ. 2. 31, N. 7. 86. 10 8' 'For.' Timodêmos' antecedents make the anticipation of his future victories as reasonable as the expectation of seeing Orion when the Pleiades are in sight. Cf. Paley's note Hes. W. and D. 619. Catullus, 66. 94, uses the form Oarion. 11 ὀρειᾶν So called because daughters of Atlas. So Simonidês quoted by a Schol., Μαιάδος οὐρείας ἑλικοβλεφάρου, of Maia, one of the daughters. Cf. Frag. 52. The succession of the constellations is a very natural example of sure succession, and no constellations would be more likely to be mentioned than those which marked the beginning of the ploughing season, and again the end of the sailing season. The word ὀρειαν converts a bare astronomical truism into mythical poetry instinct with human interest. ye Emphasises the phrase όρ. Πελ. Of all the stars which the huge Orion pursues, he especially pursues the Pleiades. 12 νεῖσθαι Some good mss. give the error -ν' ἀνεῖσθαι. Bergk adopts this misreading under the strange delusion that ἀνεῖσθαι stands for ἀνανεῖσθαι. 13 καὶ μάν Introduces a second reason for anticipating that Timodêmos would win further victories. Cf. Soph. Αj. 539 καὶ μὴν πέλας γε προσπόλοις φυλάσσεται. 14 δυνατός Fem., cf. Ο. 9. 26, P. 4. 209, 9. 92, N. 5. 20, I. 3. 53. ἄκουσεν The Schol. cites πληγῆς αίοντες, ΙΙ. 11. 532; cf. O. 3. 24 ὑπακουέμεν αὐγαῖς ἀελίου, ‘to be at the mercy of' [Prof. Colvin]. After all ἄκουσεν is simply heard, with a reminiscence of Il. 16. 361, where Hektor attacked by Ajax σκέπτετ ̓ ὀιστῶν τε ῥοῖζον καὶ δοῦπον ἀκόντων. ἢ μὲν δὴ γίγνωσκε μάχης ετεραλκέα νίκην and perhaps of a sculpture or painting of the scene. For the cult of Ajax see Jebb Soph. Aj. p. xxx. For the opposition of Aias to Hektor cf. Il. 8. 14. 402, 15. end, 16. 114, 358. σὲ δ ̓, κ.τ.λ. While thee, Timodêmos, doth power of endurance in the pankration exalt.' For the position of d' answering to μέν after a vocative cf. N. 7. 85, 86 . 2 εὐάνορες· ὅσσα δ ̓ ἀμφ ̓ ἀέθλοις, 3 Τιμοδημίδαι ἐξοχώτατοι προλέγονται. 4 παρὰ μὲν ὑψιμέδοντι Παρνασ|-ῷ τέσσαρας ἐξ ἀέθλων 3 30 Στρ. έ. ἑπτὰ δ ̓ ἐν Νεμέᾳ· τὰ δ ̓ οἴκοι μάσσον ̓ ἀριθμοῦ 35 4 Διὸς ἀγῶνι. τόν, ὦ πολῖται, κωμάξατε Τιμοδήμῳ σὺν εὐκλέϊ νόστῳ· 25 5 ἁδυμελεῖ δ ̓ ἐξάρχετε φωνῇ. ἐμᾷ μὲν πολίαρχον εὐωνύμῳ πάτρᾳ, | Ηράκλεες, σέο δέ. By σε ἀλκὰ ἀέξει the poet means σὰ ἀλκὰ αὔξεται cf. Ν. 8. 40 αὔξεται δ ̓ ἀρετά. 16 παλαίφατον So MSS. Ρ. 11. 30. Βöckh -φατοι. Cf. ‘In 17 ὅσσα δ ̓ ἀμφ' ἀέθλοις all that concerns games.' Cf. N. 11. 43 τὸ δ ̓ ἐκ Διός. Cf. Eur. El. 945 ἃ δ ̓ ἐς γυναῖκας. For ἀμφὶ cf. N. 6. 14, 8. 42, P. 5. 111. 18 προλέγονται ‘Are named before all others.' Cp. I. 3. 25. 19 ὑψιμέδ. King of mountains.” ἐκόμ. ‘Won, cf. O. 13. 59, Ρ. 4. 106, Soph. Oed. Col. 1411 ἔπαινος, ὃν κομίζετον and Jebb's note “=roμίζεσθον...ep. 6 φέροντα = φερόμενον ...Il. 11. 738 κόμισσα δὲ μώνυχας ἵππους,” also εὑρεῖν Ο. 7. 89, Ρ. 2. 64 and φέρειν = ' win' passin, Soph. Oed. R. 480. 20 αλλά For μὲν ἀλλὰ cf. O. 9.5. 21 I.e. at the Isthmian games. Cf. I. 3. 11 ἐν βάσσαισιν Ισθμοῦ, 7. 63 Ισθμιον ἂν νάπος, but O. 3. 23 ἐν βάσσαις Κρονίου Πέλοπος means at 40 Olympia. He is regarded as the hero Eponymos of the Peloponnese. For πτυχαίς cf. the use of πολύπτυχος. 22 ἔμιχθεν Cf. O. 1. 22. 23 ἀριθμοῦ ‘Τoo many to number' (lit. for numbering), cf. Soph. Oed. R. 1374 ἔργ ̓ ἐστὶ κρείσσον ἀγχόνης εἰργασμένα. Cf. Ο. 2. 98 ἐπεὶ ψάμμος ἀριθμὸν περιπέφευγεν, 13. 113. 24 Διὸς ἀγῶνι The Athenian Olympia, celebrated in the Spring, between the great Dionysia and the Bendideia. Note the emphatic position, and cf. v. 10 Τιμονόου παῖδ', υ. 14 δυνατός, υ. 17 εὐάνορες. τόν ...κωμάξατε Τιμ. Him do ye cele brate in epinician song in honour of Tim.' Cf. for dative P. 9. 89, I. 6. 20, 21. σύν ‘Under the inspiration of.' 25 ἁδυμ. κ.τ.λ. A variation of the regular ἁδείᾳ μέλους ἐξάρχετε φωνά. A genitive or accusative of the utterance is usual with ἐξάρχειν. NEMEA III. ON THE VICTORY OF ARISTOKLEIDAS OF AEGINA IN THE PANKRATION. INTRODUCTION. ARISTOKLEIDAS, son of Aristophanes, was probably himself a member of a college of theôri or state ambassadors to Delphi (v. 70). He won this victory many years before the composition of the ode, as he seems to have been well advanced in age (vv. 73–76). The poet seems to apologise for his delay (v. 80), but not very profoundly, so that we need not suppose an interval of more than a year or two, if any, between the dates of the promise and the ode. From vv. 4, 5, it seems that the chorus was taught at Thebes. The ode was performed in the hall or temple of the college of theôri. The date is evidently prior to the Athenian conquest of Aegina Ol. 80. 3, B.C. 458. Leop. Schmidt fancifully connects the ode with P. 3, and assigns it to the same date. It was sung by a chorus of youths (v. 5). The tone and phraseology of this ode is set by the names 'Аpiσтoкλeídas, son of 'Apioтopávns. It is inspired by the Muse Kleio and is full of superlative expressions and suggestions of brilliance. The ode is μɛλɩγαρὺς κῶμος υυ. 4, 5, δόκιμος ὕμνος υ. 11, χώρας ἄγαλμα ν. 13, τὸ καλλίνικον which is πλαγᾶν ἄκος ὑγιηρόν νυ. 17, 18, γλυκύ τι ν. 32, included under εὐκλέϊ λόγῳ υ. 68, μεμιγμένον μέλι λευκῷ σὺν γάλακτι υυ. 77, 78, πόμ' doídiμov v. 79, which victory-in-games loves and thirsts for vv. 6, 7, and (like evopoσúva, N. 4. 1) is almost personified as äpiσros iaтpós, namely as στεφάνων ἀρετᾶν τε δεξιώτατον ὀπαδόν υ. 8. The theme is victory won by transcendent worth, e.g. ἀεθλονικία υ. 7, στεφάνων ἀρετᾶν τε υ. 8, οὐκ ἐλεγχέεσσιν υ. 15, τὸ καλλίνικον υ. 18, ἀνορέαι ὑπέρταται υ. 20, ποτίφορον |