3 ἔμπυρα χαλκοαρᾶν ὀκτὼ θανόντων, 4 τοὺς Μεγάρα τέκε τοι Κρεοντὶς υἱούς· 5 τοῖσιν ἐν δυθμαῖσιν αὐγᾶν φλοξ ἀνατελλομένα συνεχές newly built altars,' but the altars were probably permanent, not like the δαῖτα provided fresh every year. βωμών We should say 'for the altars.' The plur. στεφανώματα could not have the force of a circle. αὔξομεν | ἔμπυρα We sacrifice victims. Cf. Eur. Hippol. 537 βούταν φόνον 'Ελλὰς απ' ἀέξει. 81 χαλκοαρᾶν This Pindaric form is distinct from χαλκήρης, cf. φρενοάραις Bacchyl. 17. 118. Is it for χαλκοδάρης (cf. Ωαρίων, Ν. 2. 10) =‘mighty in (or 'with ') bronze, cf. Lat. 'vir'? Gen. abs. 'since the eight warrior sons (vioús taken with the relative clause) suffered death.' 82 τέκε οι M83. οἱ τέκε. 83 A Schol. says ἔθος πρὸς δυσμὰς ἱερουργεῖν τοῖς ἥρωσι, κατὰ τὰς ἀνατολὰς τοῖς θεοῖς. The Schol. on Apoll. Rhod. 1. 587 says the same οι οἱ κατοιχόμενοι and Οὐρανίδαι. (Dissen.) τοῖσιν ‘In their honor. αὐγαν Gen. after δυθμαῖσιν. 80veral times avyal stands for 'light.' Aesch. seems to have adopted the phrase, Ag. 1123, βίου δύντος αὐτ γαῖς. 84 λακτίζοισα Has the meta 120 phor a reference to the kicking up of the pancratiast when struggling on his back? 85 δεύτερον άμαρ For this some what unusual accusative cf. I. 5. 46, Aesch. Εum. 10 έθυον ώραν οὐδενὸς κοινὴν θεῶν, Eur. Bacch. 723 αἱ δὲ τὴν τεταγμένην ¦ ὥραν ἐκίνουν θύρσον ἐς βακχεύματα, Soph. Oed. R. 1138 and Jebb's note. The notion of 'on' or 'at' is joined to that of 'during.' τέρμ ̓ ἀέθλων 185. ἀέθλων τέρμα, text Schmid. τέρμα "The end consisting of annual games.' The "periphrastic” "pleonastic” use of τέρμα and τέλος is an είδωλον. The idea of 'end,' 'limit,' 'consummation,' is indicated in all the alleged cases. 87 Myrtle was sacred (not exclusively) to the dead. Cf. Eur. El. 323, Alc. 172, but I. 7. 67. 88 ἀνήρ Ι.e. ἐξηνδρωμένος. 89 ανεφάνατο Caused a return to be made of,' cf. N. 6. 26. καὶ παίδων M88. do not give και but παίδων (τὴν) τρίταν. Böckh παίδων τε τρίτων. The construction παίδων νίκαν is exactly paralleled by κῦδος ἀνδρῶν, Ο. 9. 88. 90 3 γνώμα πεπιθὼν πολυβούλῳ. σὺν Ορσέᾳ δέ νιν κωμάξομαι τερπνὰν ἐπιστάζων χάριν. πεπιθών Hartung πεπιθώς. Hermann πίσυνος. πολύβουλ ̓ Ορσέα σὺν σοὶ δέ νιν. Cf. P. 3. 28, note. The meaning 'obeying,' 'guided by,' is clearly needed. There is not sufficient evidence to pronounce upon the isolated intransitive use of the form. 8 'Accordingly,' cf. I. 6. 23. Orseas was his trainer. Trainers are celebrated at the end also of N. 4. 6. κωμάξομαι Causative middle; ‘I will cause the kômos to celebrate.' Cf. P. 9. 89. Don. with one good M8. reads κωμάζομαι. For the future cf. P. 11. 10, N. 9. 1. ἐπιστάζων 8o Schol. Vet. The best ss. αποστάζων and the other old M33. ἐπιστοχάζων. For metaphor cf. P. 5. 94, 8. 57, I. 5. 21, O. 11. 99. χάριν ‘Song. Cf. Ο. 11. 93 τὴν δ ̓ ἀδυεπής τε λύρα | γλυκύς τ' αὐλὸς ἀναπάσσει χάριν, 78, v. 8 supra, Frag. 53. 2. ISTHMIA IV. [V.] ON THE VICTORY OF PHYLAKIDAS OF AEGINA IN THE PANKRATION. INTRODUCTION. PHYLAKIDAS of Aegina, youngest (I. 5. 6) son of Lampon, was brother to Pytheas, for whom N. 5 was composed. Phylakidas had won an Isthmian victory, celebrated in I. 5, before the occasion of this ode (I. 5. 2-7), which was soon after the battle of Salamis, vv. 48-50, i.e. in the next Isthmian games, B.C. 478, Ol. 75. 3. The ode was performed in Aegina, according to Dissen 'undoubtedly' at Lampon's house; but, as Theia was clearly worshipped in Aegina as a patroness of games, the ode may have been sung at a family gathering before a shrine of that goddess. There are several reminiscences of the earlier ode, I. 5. Exact responsions are τιμα- νυ. 54, 6, Φυλακίδα νυ. 60, 18, Διὸς ἔκατι ν. 29, στο δέκατι υ. 2, καύχημα υ. 51, κόμπον υ. 24, Εὐ- ν. 33, εύ- ν. 12. The name Kλebvikos inspires vv. 8, 9 κλéos vindoavt', and vv. 13, 26 f., 48, 54. There is no warrant for assuming that Pindar meant to offer consolation for a defeat at Olympia. The introduction of the poem ends with the 4th verse of σrp. ẞ'; the centre, devoted to heroes, especially those of Aegina, extends to the third verse of στρ. γ'. The compounds which seem to have been coined for this ode are ὠκυδίνατος, στράταρχον, εὐθυπορήσαι (Aesch.). The mode is Dorian; the metres are dactylo-epitritic, represented as in N. 1. Unsymmetrical. Eight verses are of 5 feet, seven being similar. If vv. 1, 2 be supposed equal to v. 6, by scanning v. 1 B.A'. the strophe is antithetic and mesodic. But the presumption is that the first verse is really as well as apparently the same in metre as vv. 3, 5 and Ep. 1, 6. The epode might be regarded as consisting of two periods, I., vv. 1-4, palinodic, II., vv. 5-9, antithetic with epode. ANALYSIS. vv. 1-10. Invocation of Theia, bestower of wealth and victory. 11. For prowess gains distinction by aid of deities. 12, 13. 14, 15. 16. Well-being and good fame are the two things needful to Be content with participation in these blessings. 17-19. Mention of victories of Phylakidas and Pytheas. 19-22. The occasion, having brought him (in spirit) to Aegina, demands celebration of the Aeakidae. 22-25. For since the island is devoted to noble deeds the meed of laudatory song must not be grudged. 26-28. Her warriors have been sung of for countless ages. 28-35. Different states revere different heroes-Aegina reveres Aeakos and his seed, 35-38. Who twice took Troy. 38-42. Who performed the mightiest deeds (in the second war)? 43, 44. Achilles of Aegina. 44, 45. The island has long been an example of lofty virtues. 46-50. For instance, Aeginetan sailors won the battle of Salamis. 51-53. But enough, Zeus sends vicissitudes. 53, 54. Athletic victories too love to be celebrated in song. 54-58. Praise of the family of Kleonikos for perseverance in the labors and expenses demanded by athletics. 59-61. Credit is given to Pytheas for his brother's fighting. 62, 63. The poet sends the ode with a wreath. Μᾶτερ Αελίου πολυώνυμε Θεία, 2 σέο σέκατι καὶ μεγασθενῆ νόμισαν 3 χρυσὸν ἄνθρωποι περιώσιον ἄλλων· 4 καὶ γὰρ ἐριζόμεναι 1 Θεία A Titanid (Hes. Theog. 126136), mother of Helios, Selênê, and Eos (ib. 371-374) by Hyperion. Welcker, quoted by Böckh, identifies her with a Lemnian goddess Chrysê depicted on a vase found in Magna Graecia, while Böckh takes her for the Euryphaëssa of the Homeric hymn to Helios. Pindar's τιμαί of Theia are given by Hêsiod to Hekatê, Theog. 409-443. Note that here Theia is connected with χρυσός and νίκα, while we have χρυσέα Νίκα, I. 2. 26. For πολυώνυμε cf. Aesch. Prom. 210 Γαΐα, πολλῶν ὀνομάτων μορφὴ μία: 30, πολυώνυμε of Dionysos, Soph. Αntig. 1115; and of Aphrodite, Soph. Frag. 850 ἤτοι Κύπρις οὐ Κύπρις μόνον, ἀλλ ̓ ἔστι πολλῶν ὀνομάτων ἐπώνυμος. 2 στο Ρέκατι MSS. σεό (σου) γ' ἕκατι. The Scholl. ignore the γ'. For the digamma of fέκατι cf. O. 14. 18. Cf. Διὸς ἔκ. ν. 29 infra. μεγασθενῆ Cf. Ι. 3. 2. The Στρ. α'. order shows that the adjective is an extension of the predicate‘men even (και) esteem gold as potent..... Pindar is explaining why men actually go so far as to esteem gold as more potent than all besides. νόμισαν Gnomic aorist. 3 χρυσόν Schol. ἐκ Θείας καὶ Υπερίονος "Ηλιος, ἐκ δὲ 'Ηλίου ὁ χρυσός. ἑκάστῳ δὲ τῶν ἀστέρων ὕλη τις ἀνάγεται, ἡλίῳ μὲν ὁ χρυσός Σελήνη ὁ ἄργυρος, Αρεϊ σίδηρος, Κρόνῳ μόλιβ δος, Διὰ ἤλεκτρος, Ερμῇ κασσίτερος, ̓Αφροδίτῃ χαλκός. But Frag. 207 we find Διὸς παῖς ὁ χρυσός. 4 καὶ γάρ Elliptical like ἀλλὰ γάρ. 'Aye and I can say more for....” The poet goes on to ascribe the speed of the swift and the strength of the strong to Theia. ἐριζόμενοι For the Middle cf. I. 3. 47. The competition of ships in speed was for commercial objects, like the present competition of tea ships. Vergil's ship-race, Aen. 5, is an anachronism. |