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ISTHMIA I.

ON THE VICTORY OF HERODOTOS OF THEBES IN THE FOUR-HORSE CHARIOT RACE.

INTRODUCTION.

HERODOTOS, Son of Asôpodôros of Thebes, was one of several Theban victors at some Isthmian festival of uncertain date. Some consider that Asôpodôros had been exiled from Thebes (vv. 36—38); but this supposition is not consistent with the most natural interpretation of the passage vv. 34-46, and seems in particular to involve making his father's exile too prominent a topic introducing the most striking part of the ode. If Herodotos himself had been exiled at the time of the Persian war as a young man of about twenty he would not be too old to act as his own charioteer (v. 15) in B.C. 458, O. 80. 3, to which date Dissen refers the composition of the ode. He thinks that the alliance between Thebes and Sparta, before the war in which the battles of Tanagra and Oenophyta were fought, is figured in the association of Kastor and Iolâos vv. 16, 17 (but cf. P. 9. 59 f. composed B.C. 478); that war is suggested by the allusion to Gêryon's pareîaɩ kúves (v. 12) (but Prof. Seymour justly remarks, agreeing with Don.-"This was the most distant point reached by Heracles, hence this clause means 'whose mighty deeds reached even to the ends of the world'"); and by rodepisov v. 50 (but see my note), so that the premises can hardly be said to be strong enough to carry Dissen's conclusion. Leopold Schmidt on altogether insufficient grounds places the date between the third Isthmian and the fifth Nemean, that is, in the first period of Pindar's poetic activity. Pindar may merely intend to apologise for the slightness of the composition and the thinness of the

sentiments when he mentions his engagement for the men of Keos. It is to be safely inferred from vv. 39, 40 that Herodotos was an aristocrat. (Mezger thinks the father was obliged to retire to Orchomenos through loss of property by actual shipwrecks, reading épeimóμevov v. 16, a view which I cannot at all admit.) The main thread of the ode is the enforcement and illustration of the glory conferred on the warpis by a successful pursuit of åperá and the consequent reward of praise and remembrance due from fellowcitizens (cp. vv. 12; 17; 30, 31; 35; 40; 66, 67; 1—6; 43—46; 50, 51; 67, 68). This train of thought is peculiarly appropriate if Herodotos was re-established at Thebes in consequence of this Isthmian victory, which may be inferred from vv. 39, 40.

Exact echoes are τὸ τεόν υυ. 58. 1*, ἁλός ν. 37, άλι- ν. 9, στεφάνο νυ. 21, 10, δρόμο. νν. 57, 23, αοιδάν ν. 35, νιν ύμνῳ, ν. 16*, χεῖρα ν. 66, Xepol v. 15. (The last epode echoes vv. 14-16 of the first epode generally, but it is unsafe to enter into particulars, with Mr Bury, as to the several responsions being specially significant.) The first responsion is obviously ineffective, and the rest are superfluous as keys, signals, or aids towards interpretation. The introduction of the ode extends to v. 17, that is, over all the first system except the last verse; and the conclusion occupies the last system. The central portion has marked breaks at vv. 32 ¿yw dé, and 40 d wovhœas dé. The compounds which seem to be coined for this ode are ἀσπιδόδουπος, ὑψίπεδος, ὀρνιχολόχος.

The mode is Dorian, the metres are dactylo-epitritic.

The strophe is antithetic-mesodic, the epode antithetic with both mesode and epode.

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The numbers are respectively 6.5.5.3.5.5 6 and 8.8.7.8.8 4.

• Not noticed by Bury or Mezger.

+ Incisio after the epitrite.

Caesura after the first syllable.

vv.

ANALYSIS.

1-10. Invocation of Theba, with an apology for laying aside a poem for the men of Keos to compose an Athenian ode. Since six prizes have fallen to Thebes.

10-12.

12, 13. 14-16.

The birthplace of Herakles.

In honour of Herodotos' victory in the four-horse chariot race the poet is ready to compose a Kastoreion or ode of Iolãos.

17-31. The athletic prowess of Kastor and Iolâos.

32-40. Allusion to the victor's family and to his exile and return to good fortune.

40-52. General sentiments in praise of prowess and enterprise glancing at Herodotos.

53-59.

Enumeration of some of his victories.

60-63. The scope of the ode prevents him proclaiming all.

63.

Often what is not mentioned gives the greater satisfaction. 64-67. A hope that encouraged by poetic praises Herodotos may win at the Pythian and Olympian games.

67, 68. If any one hoards and finds fault with those who aré lavish in pursuit of honor, he does not consider that he will die 'unhonored and unsung.'

Μᾶτερ ἐμά, τὸ τεόν, χρύσασπι Θήβα, πρᾶγμα καὶ ἀσχολίας ὑπέρτερον 3 θήσομαι. μή μοι κραναὰ νεμεσάσαι 4 Δᾶλος, ἐν ᾧ κέχυμαι.

1 χρύσασπι This epithet refers to a statue of Thebe, perhaps that which is mentioned in Frag. 177 εὐάρματε, χρυσοχίτων, ἱερώτατον ἄγ αλμα, Θήβα. For the prominence given here to the shield compare the shield on coins of Thebes. The hypothesis that the epithet has reference to a state of war is baseless (see Introd.). For Thêbê, daughter of Asôpos and Metôpe, cf. O. 6. 84, 85.

2 жрâуμа "Thy interests,' the re

F. II.

Στρ. α'.

quirements arising from the recent Isthmian victories of her children. doxoxías ‘A pressing engagement.' Plato, Phaedr. 227 B, refers to this passage, οὐκ ἂν οἴει με κατὰ Πίνδαρον καὶ (even) ἀσχολίας ὑπέρτερον πρᾶγο μα ποιήσεσθαι τὸ σήν τε καὶ Λυσίου διατριβὴν ἀκοῦσαι;also Plutarch, de genio Socratis 575 D éμè kal ἀσχολίας ὑπέρτερον θέσθαι κατὰ τὸν Πίνδαρον τὸ δεῦρο ἐλθεῖν ἐπὶ τὴν διήγησιν.

Aaλos Delos, as the birth10

5 5 τί φίλτερον κεδνῶν τοκέων ἀγαθοῖς;

6 είξον, ὦ 'πολλωνιάς· ἀμφοτερᾶν τοι χαρίτων σὺν θεοῖς

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place of Apollo, was interested in the paean which was being com. posed for the Isle of Keos. κέχυ

μαι 'On which I have been pouring forth my soul.' Cf. Cio. Att. 1. 18. 2 in qua...omnes profudi uires animi atque ingenii mei. Dissen points out that κεχυμένος (εἴς τις πρός τι) is generally used in a bad

sense.

The claims of parents, i.e. in this case of warpls, are paramount. A respectful apology is needful to excuse his taking up a human theme, when engaged on a paeân. The poet does not ask leave to postpone the paeân, but prays to be excused for diverting his attention for a time from it.

• ὦ πολλωνιάς Beloved of Apollo.' The tutelary deity of Delos is entreated to respect the poet's devotion to Thêbê even as she appreciates the devotion of Apollo to herself. For the personification cf. P. 6. 6, 12. 2, O. 7. 13, 14, N. 1. 4, Frag. 64. Others explain Apollinea urbs, quoting Ov. Met. 13. 631. χαρίτων ‘I shall combine the completing of both songs,' i.e. by finishing one very soon after the other. Mr Bury, altering καὶ to κἀν=καὶ ἀνὰ ν. 9, renders "shall yoke together the particular ends of both gracious works," explaining that "The praise of Apollo is a Téλos common to both." Mr Bury's pair, the incidental and the essential, is

Αντ. α'.

ΤΟ

badly matched. Cf. P. 8. 72. The phrase feûta peλos, N. 1. 7, is a different application of the metaphor.

·

7 ἀκαρ. "Milton's 'unshorn Apollo" (Prof. Seymour). xo. prvwv Composing a choral ode for-is what is meant, but he represents himself as the xopnyós, κορυφαῖος. The Schol. says that Pindar was asked by the men of Keos to compose a pacân to be sung at Dêlos, inferring the place of recitation from v. 3, ἐκ τούτου δῆλον, ὅτι εἰς Δῆλον ἔγραφε Κείος, but from v. 8 it is clear that the ode was to be recited in Keos, perhaps in the principal temple of Apollo at Kartheia, in the xopnyetov of which Athenaeos tells us (456 F) that Simonides, who was perhaps dead at the date of this ode, was for some time χοροδιδάσκαλος.

8 audio. This form of the fem. is Epic. The word is only found here in Pindar's extant works.

• και Bury needlessly alters to κάν (for καὶ ἀνὰ), as he demurs to making Ισθμοῦ δειράδ' parallel to Poißor and assumes a reference to Apollo being praised at the Isthmos as well as at Keos. άλι

Feрkéa Cf. P. 1. 18; here 'barring sea from sea.' The epithet seems to be in contrast to ἀμφιρύτα. But 'sea-fenced' may be right. Observe the hiatus, -ea 'Io0μoû, cf. infra, vv. 16, 32, O. 7. 74, also Bacchyl. 2. 7 αὐχένι Ισθμοῦ.

10 + δειράδ ̓· ἐπεὶ στεφάνους

5 ἓξ ὤπασεν Κάδμου στρατῷ ἐξ ἀέθλων,

6 καλλίνικον πατρίδι κῦδος. ἐν ᾧ καὶ τὸν ἀδείμαντον Αλκμήνα τέκεν

'ET. a'.

15

4 παῖδα, θρασείαι τόν ποτε Γηρυόνα φρίξαν κύνες. ὁ ἀλλ ̓ ἐγὼ Ηροδότῳ τεύχων τὸ μὲν ἅρματι τεθρίππῳ γέρας,

15 c ἁνία τ ̓ ἀλλοτρίαις οὐ χερσὶ νωμάσαντ ̓ ἐθέλω « ἢ Καστορείῳ ἡ Ἰολάοι ̓ ἐναρμόξαι μιν ὕμνῳ.

11 στρατῷ Taken up by πατρίδι 18 στεφάνους is by καλλίν. κύδος. In P. 2. 87, ὁ λάβρος στρατός means the democracy,' in P. 1. 86, 2. 58, Hieron, in N. 1. 61 Amphitryon is excluded. But no such exclusion is intended here or in O. 9. 95, 10. 17, N. 10. 25. ἀέθλων Obviously only means the recent Isthmian games. Herodotos was clearly one of several (from four to six) Thebans who had won prizes.

13 κύνες It must remain & question whether Orthros is made plural in consideration of his two heads or whether Pindar is following an unknown version of the myth.

14 ἀλλ' The poet checks him. self in the praise of Hêrakles. Prof. Seymour points out that here, and N. 1. 33, Ι. 5. 16, εγώ introduces the transition to a myth. Cf. also O. 9. 21, 13. 49, P. 1. 42, 9. 103. For τεύχων...ἐθέλω τε cf. O. 1. 14 δρέπων μὲν ἀγλαΐζεται δέ, Ι. 3. 12, Aesch. Αg. 97 λέξασα...παίων τε γενοῦ, and with the verb before the participle N. 11. 44, 45. For μένατε cf. N. 2. 9, Ο. 4. 15. Prof. Seymour takes τὸ μέν = ' partly. Of course editors, esp. Germans, alter. ἄρμ. For instrumental dat. with noun cf. Soph. Oed. Col. 1026 τὰ γὰρ δόλῳ | τῷ μὴ δικαίῳ κτήματα, so often, esp. in

66

30

Plato" (Jebb), and O. and P. Ρ. xxvi. It matters not to the construction whether the yepas be the crown as in P. 5. 31 or the ode. Dissen and others, regardless of the order, compare double datives such as those at O. 2. 14 sq., P. 7. 2, vv. 61, 62 infra. τεύχων ... γέρας π 'making (-the-ode-on)-the victory'; the theme is put in the place of the composition, as occasionally with ποιέω. This reasonable assumption saves the passage from the charge of corruption. For τεύχων cf. τεύ XOVT' v. 67 infra, working,' 'causing (honor).' Or is it making for Herodotos the gift due to the chariot'?

15 νωμάσαντο Acc. agreeing with v. For that he managed the reins with no alien hands.' Note that ἀλλοτρ. οὐ χερσί = οὐκ ἀλλοτρο χερσί.

16 Ιολάοι Μ88. -άου, but cf. O. 13. 35, Ν. 9. 55. This conjecture is confirmed by the Bacchylides papyrus, e.g. 5. 62 ἀπλάτοι Εχίδνας. ἐναρμόξαι Cf. I. 6. 19, Ν. 3. 11, 12, for the kind of phrase. The strain of Iolaos was probably a variety (perhaps Theban) of the ἵππιος νόμος, the Καστόρειον being another variety of the same, cf. P. 2. 69. As Iolaos was charioteer to Hôrakles (Schol.), perhaps an Ioλ. ύμν.

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