1 ἀμπέλου παῖδ', ἅς ποθ ̓ ἵπποι κτησάμεναι Χρομίῳ πέμψαν θεμιπλέκτοις ἅμα 125 3 Λατοίδα στεφάνοις ἐκ τᾶς ἱερᾶς Σικυῶνος. Ζευ πάτερ, 4 εὔχομαι ταύταν ἀρετὴν κελαδῆσαι σὺν Χαρίτεσσιν, ὑπὲρ πολλῶν τε τιμαλφεῖν λόγοις 55 5 νίκαν, ακοντίζων σκοποῖ ̓ ἄγχιστα Μοισᾶν. 62 αμπέλου παῖδ ̓ • The masterful child of the vine.' Conversely (Aesch. Pers. 616), ἀκήρατόν τε μητρὸς ἀγρίας απο | ποτόν, παλαιᾶς ἀμπέλου γάνος τόδε. In the Schol. the quotation from N. 5. 6 ματέρ οινάνθας οπώραν is misplaced and put under v. 48. It appears that Chromios did not himself attend these games. θεμιπλέκτοις Schol. νομίμως καὶ καθηκόντως πεπλεγμέ νους, ' twined with due ceremonial '; not fairly-twined,' 'twined in justice to him,' i.e. fairly won.' For crowns won by herses of. O. 2. 50, 6. 26, P. 3. 73, 74. But the plural is used for the victor's crown for a single victory, e.g. I. 3. 11. 88 lepas The Schol. refers this epithet to the partition of the victims between gods and men at Mekona close to Sikyon. Cf. Hes. Theog. 535, but the fact of Pythian games being held there is perhaps sufficient ground for the attribute. 64 εὔχομαι ‘I pray. ἀρετάν Glory (in games) '; cf. I. 1. 41, 4. 130 17. σὺν Χαρίτεσσιν For the association of the Graces with Epinician poetry and with Pythia cf. P. 6. 2, Ν. 10. 1. For -σαι σύν cf. I. 3. 17. ὑπὲρ πολλῶν, κ.τ.λ. • And that more than many (bards) I may make victory of great account by my verses.' Notice the aorist κελαδῆσαι referring the poet's cele bration of the particular achievement, the present τιμαλφεῖν referring to his general habit. A Schol. gives an unhappy v. Ι. πολλῶν ... νικᾶν, which Christ appropriates. For ὑπὲρ πολλῶν cf. I. 2. 36. 65 ακοντίζων For the hurling of the javelin, one of the contests of the quinquertium, cf. O. 13. 93, P. 1. 44. For the metaphor of. O. 1. 112. σκοποί 388. give σκοποῦ, but cf. P. 11. 41 (where I find Christ had anticipated my suggestion of μισθοῖο), Ο. 13. 35 πατρὸς δὲ Θεσσάλοι ̓ ἐπ ̓ ̓Αλφέου ῥεέθροισιν αἴγλα ποδῶν ἀνάκειται, I. 1. 16. The ΜΒ. of Bacchylides supports -o', e.g. 5. 62 υἱὸν ἀπλάτοι Εχίδνας. [NEMEA X.] ON TWO VICTORIES OF THEIAEOS OF ARGOS IN THE WRESTLING MATCH (IN THE HEKATOMBAEA AT ARGOS). INTRODUCTION. THIS fine ode is proved by vv. 22, 23 and the thrice-ropeated mention of Hêra to be composed for an anniversary of the Hekatombaca at Argos, in which Theiaeos son of Ulias of Argos had won the wrestling match twice. He had also won thrice at Nemea, thrice at the Isthmos, once at Pytho, but not yet at Olympia. Disson argues from Amphitryon being called an Argive that the date falls after the destruction of Mykênae by the Argives, Kleônacans and Tegeaeans B.C. 468; he also fixes the later limit, B.C. 458, by the consideration that Argos joined in an invasion of Boeôtia in that year, after which Pindar would hardly compose an ode for an Argive. It is probable from vv. 29-36 that an Olympian contest was at hand, that is that the date was either B.C. 464 or 460, as Mykonao was probably not taken till lato in the year and the poet would hardly be likely to transfer the myths of Mykênae to Argos immediately after the destruction of the former. For such transference in the Tragedians cf. Aesch. Ag. 24, Porson on Eur. Heracl. 188 (Elmsley and Barnes). The confusion was made easy by the larger meaning of Argos = Argolis (see on v. 42). Mezger points out that vv. 37 f. form the middle point of the ode, referring the victories of the family to the Graces, who are invoked v. 1, and the Tyndaridae, who form the subject of the close of the ode. Polydeukes is vividly presented as the ideal exemplar of brotherly love, and it is hard to believe that the poet wished beautiful picture to be blurred by any occult references to Theiaeos. Dissen sees that the exaltation of Polydeukes' brotherly love is the point of the myth, but gratuitously proceeds to infer that Theineos' unselfish brotherly love is indirectly celebrated. The poet implies, v. 54, that he is just; but beyond that no indication of his character can be traced. All the heroes and heroines mentioned in this ode are children or descendants (or both) of Zeus. Talaos, and Adrastos and Diomedes, three Aeolidae, through Pero wife of Bias are descended from both Zeus and Poseidon. Amphiaraos is not only-through his ancestress, the daughter of Proctos, wife of Melampus-a link between the Argive Aeolidae and the line of Epaphos, but through his mother Hypermnestra, sister of Lêda, the seer is cousin to the Dioskuri and descendant of Zeus again through Thestios and Ares. From Zeus through Epaphos descend Danaos, Lynkeus, Hypermnêstra, Danaộ, Perseus, Alkmênê, Herakles, Kastor (through Perseus), the Apharêtidae, and Amphiaraos. According to Pausanias, Lysianassa the wife of Talaos was daughter of Polybos, son of Hermes, son of Zeus. The whole ode is radiant. We find ἀγλαο- ν. 1, φλέγεται ν. 2, χρυσο- suggested v. 11, χρυσεο- ν. 88, χαλκ- νν. 14, 22, 45, 60, 70, 90, αργυρο- ν. 43, φάο: ν. 40, Παμφάης ν. 49. There is much recurrence. Zeus is mentioned by name or title vv. 8, 11, 16 (Zeû tautometrio with Zeds v. 11), 20, 56, 65, 71, 76, 79. Vv. 7984 naturally contain several cohoes from vv. 15-18 as the themes present several points of similarity. Heredity is noticed vv. 87, 40, 51, 54. Hêra is mentioned vv. 18, 23, 36, and Herakles vv. 17, 33, 58. Vv. 45, 46 echo vv. 8, 4, with μup- and paкp in corresponding verses. The echo παλάμαις ν. 65 seems unmeaning, as do the exact echoes ἀλλὰ ν. 45, ἀλλ' 6. υ. 21, πολ. υυ. 59, 46, πέρι ν. 85, περὶ ν. 31, Πολυδεύκεος νυ. 68, 50, •cyxeî v. 84, Xóyxas v. 60. The nearly exact echo @ávarov vv. 83, 77 is natural. The echo Tirol v. 78 of wiσrdv v. 54 is effective. As Zeus enters so largely into the ode and as the Dioskuri are his offspring and vayúvioi Ocol as well as fewol of Theiacos' ancestor, it is quite superfluous to look for parallels between Theincos and the Dioskuri, which indood would savour of impious prosumption. How indifferent to, or onrelons about simple cohoos Pindar was, is shown by the oxnot responsion of the solemn 'Erol v. 80 with the -era of Xapiresal v. 88, The five systems are distributed in the unusual scheme, 1+2+2, devoted respectively to Argive worthies, Theiaeos' victories and aspirations, and the myth of the apotheosis of the Dioskuri. The mode is Dorian with a few Lydian characters. The metres are dactylo-epitric. From v. 2 to end we get the symmetrical numbers 26. 23.232. 26. 2442 1-3. Invocation of the Graces to laud Hera's Argos. 4-18. Mention of mythic worthies of Argos (see note on v. 12). 19, 20. The poet must refrain from reciting the blessings of Argos. 21-23. Still he will turn his mind to wrestlings under the influence of the festival of the Horaea (Hekatombaea). Either Incisio or caesura in the next foot. First syllable resolved, * Caesura after first syllable. vv. 24-28. 29, 30. 31-36. Enumeration of victories of Theiaeos. Invocation of Zeus to grant Theiaeos' prayer. What it is, is well known. His Panathenaic victory is an omen that it will be answered. 37, 38. His successes are due to hereditary worth and to the favour of the Graces and the Dioskuri. 39-48. Mention of victories of Theiacos' maternal ancestors. 49-54. No wonder, since Pamphaês (a remote ancestor) entertained the Dioskuri, the faithful patrons of games. 55-end. The death of Kastor and self-sacrifice of Polydeukes. Στρ. α'. · Δαναοῦ πόλιν ἀγλαοθρόνων τε πεντήκοντα κορᾶν, Χάριτες, 1 "Αργος "Ηρας δῶμα θεοπρεπὲς ὑμνεῖτε· φλέγεται δ' ἀρεταῖς 3 μυρίαις ἔργων θρασέων ἕνεκεν. 4 μακρὰ μὲν τὰ Περσέος ἀμφὶ Μεδοίσας Γοργόνος· 1 ἀγλαοθρόνων So old Mss. Triclinian ἀγλαοθώκων. For the meaning of the epithet cf. O. 2. 22, P. 3. 94, N. 4. 65, from which last line we may gather that at Aegina the Nereids were represented enthroned. In Eur. Iph. in Aul. 239, golden statues of the Nereids stand on the sterns of the ships of Achilles. Bacchylides applies the epithet to the Nereids xvII. 124 f. So also no doubt at Thebes and Argos were the local heroines thus sculptured in some public building. The Fates, Seasons, Nereids and Danaiads would scarcely suggest this attribute without the intervention of plastic representation demanded by solemn cults. With the great deities the case is different. See Addenda. Χάριτες_ For the Graces as patronesses of Epinician minstrelsy cf. O. 14. 12-14, P. 6. 2, 9. 89, N. 9. 54. The Seasons and the Graces had been sculptured by Polykleitos on the crown of his colossal statue of Hêra in the Hêraeon at Argos. This fact may have influenced the poet in his invocation, but it is rash to be positive on the point. 2 δώμα Home'; cf. Soph. Oed. Rex 28, 29 πόλιν...δῶμα Καδ μεῖον. The Argives constitute a family of which Hêra is mistress and foundress. φλέγεται For metaphor, cf. P. 5. 42, 11. 45, I. 6. 23. dperais Dat. of manner. 'Distinctions,' cf. O. 13. 15, N. 7. 51. 4 μакρά Onе мs., Medic. B., gives kakpá, an interesting error; this vox nihili is corrected in the lemma of the same Ms. to kalaρá. In I. 5. 56 ἀναγήσασθαι is expressed with μakpóv. ἀμφί ‘The tale of |