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6 και το Δάματρος κλυτον άλσος Ελευσίνα και Εύβοιας εν γναμπτους δρόμους
'Αντ. δ. 1 Πρωτεσίλα, το τεόν δ' ανδρών Αχαιών
ο εν Φυλάκα τέμενος συμβάλλομαι. 60 και πάντα δ' εξειπείν, όσ’ αγώνιος Ερμάς
85 “Ηροδότο έπoρεν 5 ίπποις, αφαιρείται βραχύ μέτρον έχων 6 ύμνος. η μάν πολλάκι και το σεσωπαμένον εύθυμίαν μείζω φέρει.
Έπ. δ. ο είη μιν ευφώνων πτερύγεσσιν άερθέντ' άγλααΐς 90 49? Certainly Orchomenos was Sentiment of. Ρ. 4. 247 ώρα γάρ in neither a corner nor & recess. συνάπτει. Funeral games in honor of Minyas 68 of par-kal 'Verily oft-times were held near his tomb. Paus. 9. that which is wrapped in silence 38. 3.
actually brings more satisfaction.' 87 εν γναμπτους δρόμους To be For η μάν cf. Ρ. 4. 40, Soph. Phil. taken with προσειπείν, in the sphere 593. πολλάκι According to the of,'à propos of bent race-courses'; prevailing theory not a case of lo88 cf. v. 18 supra. The epithet has of final o (s), but a form without especial reference to the frequent the casual of πολλάκις. το turns in the chariot raco, of. 0. 6. σισωπαμένον For form of. Ο. 13. 75. Similarly Eur. Iph. in Tanr. 01. Tho poct means that often it 81 δρόμους τε πολλούς εξέπλησα is politic to any least about the very καμπίμους.
BUCCeas which is most pleuring and 68 8' Also. Not quito the satisfactory. Somo edu. alter to usual 86 after a vocntive. The poet σεσιγαμένον. adds (συμβάλλ.) the shrine by which, 64 τη μιν Μ88. μιν, odd. νιν. at Phylakd on the Pegasuan gull, For phrase cf. Ο. 1. 115, P. 2. 96, the sepulchral games in honor of N. 7. 24, 25, Aristoph. Acharn. the hero Protesilas were held. 1079, Οd. 2. 310, 16. 243; and with
6Ο εξειπείν Cf. N. 4, 33. For pronoun suppressed P. 1. 29. For absence of μή after αφαιρείται cf. sentiment cf. Ρ. 5. 107, 8, 25, Ν. 7. Ν. 11. 23. αγώνιος Cf. Ο. 22, Theognis 237 σοι μέν εγώ πτέρ' 6. 79.
έδωκα, συν οίς επ' άπειρονα πόντον 02 ίπποις Additional dative or πωτηση και γήν πάσαν αειράμενος closer specification, cf. 0. 2. 14, pridlws. The wings of the Muros Εur. Herc. Fur. 179 Γίγασι πλευροίς are songs; there is no need to πτην' έναρμόσας βέλη, Aristoph, supporo that Pindar regarded the Equites 603 υμείς δ' ημίν πρόσχετα l'ierinn goddesseH winged. I. 8. τον νούν τους αναπαίστοις, Ol. 12. 27, 20, μαρτύρια δόξας are borno on 266 και μου που εμπισε θυμώ. the air, αηται. Τheognis gives αφαιρείται In this sense, pre wings to the subject of his verse. vents,' takes math in Trag. For
66 ο Πιερίδων έτι και Πυθώθεν Όλυμπιάδων τ' εξαιρέτους
• Αλφεου ερνεσι φράξαι χείρα τιμάν επταπύλοις & Θήβαισι τεύχοντ'. ει δέ τις ένδον νέμει πλούτον
κρυφαίον, • άλλοισι δ' εμπίπτων γελά, ψυχάν Αίδα τελέων ου
φράζεται δόξας άνευθεν.
66 ιτι και “Besides also.' ΠυΘωθεν κ88. Πυθόθεν. εξαιρέτους Of. N. 10. 32; it only qualifies 'Ολυμπ. Ερν.
66 spáfa. Perbaps · fill to the full,' of. farcio.
67 τεύχοντ' Cf. υ. 14 εupra τεύχων γέρας. νέμει Schol. αποταμιευσάμενος, “lay up,' an common sense of véuw. Perhaps lords it over 'is what was meant. κρυφαίον For sentiment of. N. 1. 31. Cf. Bacchyl. 3. 13 οίδε πυργωθέντα πλούτον μη μελαμ φαρέι κρύπτειν σκότω.
68 But inveighs against and
jeers at others (who, like Herodotos, do not do so), he considereth not that he will render up his soul to Hades without honor. Cf. P. 11. 57, Ν. 8. 36, Theognis 243 όταν δνοφερής υπό κεύθεσι γαίης' βης πολυ. κωκύτους εις 'Αΐδαο δομους, | ουδε τότ' ουδέ θανών απολείς κλέος, αλλά μελήσεις | άφθιτον ανθρώποις αιέν έχων όνομα. τελέων Perhaps future, in spite of τελέσει Ν. 4. 43, and Prof. Seymour. For the debt of nature Cookesley quotes Hor. A. P. 63 debemur morti 1108 nostruque. For the participle cf. O. 6. 8 ίστω... έχων, Ν. 11. 15.
ISTHMIA I I.
ON THE VICTORIES OF XENOKRATES OF AKRAGAS WITH
THE FOUR-HORSE CHARIOT.
THE position of the Isthmian victory, vv. 13-16, before the Pythian victory justifies the classification of this ode among the Isthmia. But we cannot determine whether the celebration of Xenokrates' three victories by his son Thrasybulos had any special connexion with an Isthmian festival, as Pindar had already conposed an ode, P. 6, in honor of the Pythian victory, and may merely for this reason have given prominence to the Isthmian. For the victor's family and the chronology cf. O. 2. Introd. Ol. 78. 4, B.O. 477, is probably the date of this Isthmian victory. It is mentioned in 0. 2. 50, which was composed B.C. 476. The ode was probably composed before Theron's death in B.C. 473, certainly after Xenokrates' death. Donaldson and Cookesley both say that Thöron is spoken of as dead, which is inaccurato.
Mr Bury assumes (a) that the ode was composed after the fall of the Emmenidae,
(6) that Pindar composed the ode and also P. 6 without payment,
(c) that Thrasybulos was a poet capable of producing an Epinician ode.
Now the first assumption makes far too much of vv. 43–45 (see my note), and the general tone of the ode, if it be as sombre as some think, is amply accounted for by the death of Xenokrates. The second assumption mainly depends on the first. The third assumption rests on wrong interpretations of P. 6. 49 and I. 2. 12. In the former passage Thrasybulos' cultivation of minstrelsy is
mentioned in connexion with his wealth, so that it is clear that he culled the flowers of other poople's poetry not of his own. In the latter passage it would obviously not require a poet to understand that Pindar is celebrating in song a famous Isthmian victory. In Pindar's works copós does not always mean a 'poet,' 'poetical,' óskilled in minstrelsy,' for example see P. 8. 74.
Mr Bury adduces several parallelisms of thought and diction to prove that Pindar “not only echoes but alludes to the earlier hymn," P. 6. The coincidences with perhaps two exceptions are just what might be expected in two perfectly distinct poems dealing with the same persons and similar things. Of course it is quite likely that the diction of the later ode was influenced by that of the earlier without any deliberate intention of making either echo or allusion. It is worth remark that v. 34 of I. 2 might be taken for an allusion to I. 3. 14, if there were any connexion between the odes.
There are exact responsions of kindred ideas in vo. 34, 7 'Elux Wνιάδων, Τερψιχόρας, υυ. 8, 3 μαλθακόφωνοι αοιδαι, μελιγαρύους βωους, νυ. 35, 3 ακοντισσαιμι, έτοξευον. Perhaps the recurrence of ουκ άγνωτ., vv. 30, 12 is meant to be effective. Compounds of uela. are applied to songs vv. 8, 7, as also are yduro v. 7 (cf. 36), ådu- v. 25 (cf. v. 5), épatov. 81. Hospitality is mentioned vv. 24, 39, 48, as is natural in celebrating hospitable Zero kpárnis (vv. 14, 36). The introduction of the ode occupies vu. 1-9. The central portion, vv. 10—34, encroaches both on the first and on the last system.
The compounds apparently coined for this ode are maldakbowvos, ρυσίδιφροι, μελίκομπος, ? προσάντης.
The mode is Dorian; the metres dactylo-epitritic.
+ Caesura after the first syllable exoopt u. 89. I Caesun after the fifth syllable.
ANALYSIS. νν. 1-6. Poots of old trooly sang of their favorites. 6-8. For the Muse was not yet an artisan. 9-11. But now we must regard the saying of the Argive
‘Money makes the man.' 19-22. Verbum sap. Famous are the victories of Xenokrates
won by Nikomachos, 23-28. Whom the Elean truce-bearers welcomed to Olympia,
28, 29. Where the immortals gave honor to Aonosidamos' sons. 30—32. Thus their homes are familiar with songs of triumph.
33, 34. It is easy to utter praises of men of high renown. • 35—42. Praise of Xenokrates' popular disposition, his horse
breeding, and his hospitality. 43-48. Nikäsippos is enjoined to tell Thrasybulos not to be
deterred by the envy of the commonalty from rehearsing his father's distinction and the odes he (Nikäsippos) has charge of, for they were not composed to lie idle.
Στρ. α'. ι οι μεν πάλαι, ώ Θρασύβουλε, φώτες, οι χρυσαμπύκων ο ές δίφρoν Μοισάν έβαινον κλυτα φόρμιγγι συναν
τόμενοι, 3 ρίμφα παιδείους ετόξευον μελιγάρυας ύμνους,
και όστις έως καλός είχεν 'Αφροδίτας 5 5 ευθρόνου μνάστειραν αδίσταν οπώραν.
1 οι Μ88. οσοι. χρυσαμπύκων CI. P. 3. 89.
2 δίφρoν Μοισαν Cf. Ο. 9. 81, P. 10. 65, Ι. 7. 62, and for the identification of the Muses' car with & victor's chariot cf. 0. 6. 23. συναντόμενοι Cf. Ο. 2. 96. Lit. • coming into contact with,' i.e. • taking up.'
8 δίμφα “Freely.' Metaphor from the regular unrestrained motion of a body Aying through the air. For the two adjectives cf.
P. 9. 8. maiSelous •Addressed to youths. Cf. Baochyl. Frag. 46. 12 παιδικοί θ' ύμνος φλέγωνται. τόξευον Cf. Ο. 1. 112, Ν. 3. 65, 6. 28, 9. 55.
4 όστις The antecedent is con. tained in παιδείους.
και μνάστειραν Cf. Ρ. 12. 24 νόμον, ευκλεα λαοσσόων μναστήρ αγώνων. οπώραν Cf. Ν. 5. 6. Aikae08 Frag. 61 τερένας άνθος οπώρας.