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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. 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 'Apiσroxλeldas, son of 'ApiσTopávns. It is inspired by the Muse Kleio and is full of superlative expressions and suggestions of brilliance. The ode is μe. γαρὺς κῶμος τυ. 4, 5, δόκιμος ὕμνος υ. 11, χώρας ἄγαλμα υ. 13, τὸ καλλίνικον which is πλαγᾶν ἄκος ὑγιηρόν νν. 17, 18, γλυκύ τι ν. 32, included under εὐκλέϊ λόγῳ ν. 68, μεμιγμένον μέλι λευκῷ σὺν γάλακτι ου. 77, 78, πόμ' doldiμor v. 79, which victory-in-games loves and thirsts for vv. 6, 7, and (like evpporúra, N. 4. 1) is almost personified as apiaros larpós, namely as στεφάνων ἀρετῶν τε δεξιώτατον ὀπαδόν ν. 8. The theme is victory won by transcendent worth, e.g. άεθλονικία υ. 7, στεφάνων ἀρετῶν τε ν. 8, οὐκ ἐλεγχέεσσιν ν. 15, τὸ καλλίνικον ν. 18, ἀνορέαι ὑπέρταται υ. 20, ποτίφορον

κόσμον υ. 31, τηλαυγές φέγγος υ. 64, εὐδοξία ν. 40, νικαφορ- ν. 67, άεθλοφόρου λήματος ἕνεκεν...δέδορκεν φάος. The φέγγος and φάος are intended to emphasise the comparison between Aristokleidas and Achilles, and are ̓Αριστοφαν-, cf. ἐὼν καλός ν. 19, and ἐν δὲ πείρᾳ τέλος | διαφαίνεται κ.τ.λ. vv. 70, 71.

This Télos manifestly presents a contrast to the dreλeî vóy of v. 12, and vv. 41, 42 echo with two tautometric recurrences vv. 20, 21, i.e. οὔ ποτ' ἀτρεκέι

κατέβα ποδί...ἀτελεῖ...

οὐκέτι πρόσω

ἀβάταν άλα beyond Herakles τέλος.

Remarkable is the fourfold echo of γόνον τέ μοι φέρτατον υ. 57 from yével Te Motoar 4épew v. 28, which marks Achilles as the most famous of the race of Aeakos whether the poet intended it or not. The tautometric echo of åperaîs v. 32 by åperás v. 74 seems quite superfluous, and may be accidental, as dpera- occurs four times. Other tautometric echoes are -έπει (ἐνέπει) ν. 75, (Imeltev) v. 54, ds vv. 68, 34, -1ør- vv. 20, 7, åp- v. 58, 'Ap- v. 50, av- vv. 79, 58, póvov v. 44, wóvov v. 12, év vv. 79, 16.

The end of the first of the three divisions of the ode is in the first line of the second strophe, and the middle division-devoted to Aeacid victors-ends with the close of the first verse of the fourth strophe; but the second strophe is devoted to the exploits of the single-handed Herakles by land and sea, while the rest of the two middle systems celebrate the exploits of Peleus, Telamon, and Achilles. Herakles, Pêleus and Achilles are examples of victors in single combat (vv. 34, 51) like Aristokleidas. Bacchylides, 12. 8 calls the wrestling contest τάν γυιαλκέα μουνοπάλων. It is patent that Herakles and the Aeacid heroes are represented as prototypes of Aristokleidas. That fame was won far away beyond sea by Hêrakles, Telamon and Achilles and by the husband of πovría eÉTIS implies that the fame of Aristokleidas will be spread far and wide, as is expressed N. 5. 2—6 in the case of Pytheas.

The compounds which seem to be coined for this ode are: de@Xovikla, πολυνεφέλας, ὑπέραλλος, ἐγκονητί, χαλκότοξος, βραχυσίδαρος, βαθυμήτα, μαλακόχειρ, έγχεσφόρος. The derivatives δαφοινός and κραγέτας are not found elsewhere.

The mode is Eolian, or Lydo-Eolian (v. 79).
The metre is logacdic.


4', 4', tripodies (of the form of first and second Pherecratics). B dipodies. Vv. 1-4 form an inverted period, vv. 5-8 an inverted mesodic period.

The numbers are respectively 6 2. 4 3. 3 4. 2 6 and 2 4. 2 3. 23 2.4 2.

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Two inverted mesodic periods, vv. 1—3 and 4, 5.

The numbers are respectively 6. 34 3. 6 and 2 6 3. 6 2.

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Note that 4*.B= A3.A3=6 logaœdic feet.


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1-5. The Muse is entreated to go to Aegina on the anniversary of a Nemean victory, where a chorus awaits her.

6-8. An ode is the highest object of a victor's ambition. 9-14. The Muse is entreated to inspire the poet to begin the hymn with Zeus of Nemea and to praise the country of the Myrmidons.

14-18. Whom the victorious endurance of Aristokleidas in the pankration at Nemea does not discredit.

19, 20. Aristophanes' son, having done justice to his fine form, has attained to the highest achievements.

20-26. One cannot well pass the pillars which Herakles set up at the limit of his Western explorations.

26, 27.

The poet is digressing.

28. His theme is the race of Aeakos.

29. It is the height of justice to praise the worthy.

30. But it is not good to yearn for distinctions for which one's inborn nature has not fitted one.

31. The victor need not do so, as he inherits worth.

31. The legend of Pêleus is appropriate to him.

32-39. Exploits of Pêleus.

40-42. Innate worth is best. Acquired capacities are fruitless. 48-64. The above doctrine is illustrated by Achilles' childhood, by the aged Cheiron, and by the manhood of Achilles. 65, 66. Invocation of Zeus.

67-70. This beseems Aristokleidas who has brought glory to Aegina and the college of Pythian theori.

70-74. Trial proves a man's excellence in all stages of life.
74, 75. Four divisions of life bring four several virtues.
76. The victor partakes of all four.


80, 81.

Dedication of the ode.

As the eagle swoops from afar upon its prey, so the poet can seize upon the theme of a long past victory. 82. But the flight of chattering crows has a lower range. 83, 84. By favour of Kleid the victor has won glory from Nemea, Epidauros and Megara.

ι Ω πότνια Μοῖσα, μᾶτερ ἡμετέρα, λίσσομαι, 2 τὰν πολυξέναν ἐν ἱερομηνία Νεμεάδι

3 ἵκεο Δωρίδα νασον Αἴγιναν· ὕδατι γὰρ 4 μένοντ ̓ ἐπ ̓ Ασωπίῳ μελιγαρύων τέκτονες 5 5 κώμων νεανίαι, σέθεν ὅπα μαιόμενοι. 6 διψῇ δὲ πρᾶγος ἄλλο μὲν ἄλλου, ἢ ἀεθλονικία δὲ μάλιστ ̓ ἀοιδὰν φιλεῖ, 8 στεφάνων ἀρετῶν τε δεξιωτάταν ὀπαδόν·

1 τᾶς ἀφθονίαν ἔπαζε μήτιος ἀμᾶς ἄπο·

1 μάτερ Apollo and the Muses were in a metaphysical sense parents of poets and poems. N. 4. 3. Asklôpiades in his Τραγῳδούμενα is said to have made Orpheus the son of Apollo and Kalliope.

2 τὰν πολυξέναν For the fame of the Aeginêtans for fair dealing with strangers cf. O. 8. 21, N. 4. 12, 5. 8. For the fem. form of the compound adjective of. N. 5. 9 ναυ· σικλύταν. Ν. 7. 83 ἡμέρᾳ. ἱερομηνία A holy day was so called because the period of its return was calcu lated by the moon. For special mention of the full moon of the Olympian festival cf. O. 3. 19, 20, 11. 73-75. The Nemean festival was probably not on the new moon, see note on N. 4. 35 νεομηνία.

8 Δωρ. Α passing tribute to actual fact, before connecting & Dorian with the glories of the mythical Aeakidae. Perhaps the nention of the (Epidaurian) As. klipios, v. 54, is an acknowledge ment that Dorians of Epidaurus colonised Aegina.

Ασωπίῳ Το streams called Asopos are recorded, and possibly in Aegina there was a third, named after the mythical father of the eponymous nymphs Thebe, Aegina,

Στρ. α'.



'Αντ. α'.


We cannot

and Nemea, O. 6. 84. be sure that the poet wishes to represent himself as present in Aegina, as τάνδε νᾶσον (ν. 68) is not conclusive on the point. Cf. Ο. 8. 25, Ρ. 9. 91. τέκτονες κώμων Here the chorus ; elsewhere poets. Cf. P. 3. 113.

• διψῇ 'Divers achievements cause divers thirsts.' The verb is suggested by μελι- ν. 4, and leads up to vr. 18, 77-79. Lit. 'Another (kind of) achievement thirsts after something else. πράγος Accord. ing to analogy and usage this word is rather equivalent to pâtis than το πράγμα, and means 'great achievement,' as here, or 'conduct of important affairs,' as in Aesch. Sept. c. Th. 2.

η άεθλο. See v. 83.

8 στεφάνων ἀρετῶν τε A hendiadys of crowns for highest merit.' δεξιωτ. όπαδ. 'Deftest attendant, ministering ἄκος ὑγιηρόν (v. 18). Here órad. is a substantive as in Frag. 72.

No grudging measure there. of do thou elicit from my store of skill. It is not easy to render the play on ὀπαδὸν in όπαζε in English. The verb should literally be ren dered 'do thou bid attend,' as in

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