ο κραγέται δὲ κολοιοὶ ταπεινὰ νέμονται. α τίν γε μέν, εὐθρόνου Κλειοῦς ἐθελοίσας, ἀεθλοφόρου λήματος ἕνεκεν 145 • Νεμέας Επιδαυρόθεν τ ̓ ἄπο καὶ Μεγάρων δέδορκεν φάος. 32 ταπεινὰ νέμονται ‘Have a low range of fight. For νέμεσθαι ='to have a range' cf. Simonides, Frag. 5 [12] (Plat. Protag. 339 c) 8 οὐδέ μοι έμμελέως τὸ Πιττάκειον νέμεται, even the saw of Pittakos goeth not far enough to suit me,' Herod. 9. 7 καὶ τὸ μὲν ἀπ ̓ ἡμέων οὕτω ἀκίβδηλον ἐὸν νέμεται ἐπὶ τοὺς Έλληνας. Cf. ἐπινέμεσθαι encroach. The poet means that it is easy for him to give lively interest to a distant event in a case where the ode of an inferior poet would fall flat. γε μέν I.ε. γε μήν, however.' Cf. N. 10. 83, P. 4. 50, O. 12. 5. Κλείους Perhaps chosen because of the victor's name. For omens in names of. O. 6. 56, Aesch. Prom. 85, Ν. 2. 8. 84 dró. For position cf. O. 7. 12, 8. 47, P. 2. 10, 11, 59, 5. 66, 8. 99, Ν. 9. 22. For prep. with -θεν cf. Ηes. W. and D. 763 ἐκ Διόθεν. δέδορκεν Ο. Ο. 1. 94, Ν. 9. 41, and for the perfect cf. O. 1. 53. The phrase δέδορκ. φά. answers to ápape péyyos, v. 64 supra (Mezger). NEMEA IV. ON THE VICTORY OF TIMASARCHOS OF AEGINA IN THE BOYS' WRESTLING MATCH. INTRODUCTION. TIMASARCHOS, son of Timokritos, a harper (v. 14), of the family or clan of the Theandridae, was victorious in the boys' wrestling match at Thebes in the Herakleia, at Athens in the Panathenaea and at Nemea. The last victory was won B.C. 461, Ol. 79. 3, or a little earlier. The ode was most likely processional, as it is monostrophic. It was probably sung before a banquet as a рokov (v. 11). The theme of the ode is the power of song to extend a victor's fame through time and space. The distant centres of Eacid sovereignty, Dodona, Phthia, Leuke, Cyprus, and even the shores of Acheron, are centres of fame for the Bardevoir loodaiμwv Timâsarchos. From stanza 4 to stanza 9, the central portion of the ode, is mythical, though from v. 30 to v. 45 there is a break which chiefly concerns the victor. The rest celebrates the triumphs and sway of Eacid heroes. There are some significant echoes: πeñpwμév- vv. 43, 61 (see note on v. 61), and ν. 83, 84 ύμνος... έργμάτων recalls ῥῆμα δ ̓ ἐργμάτων κ.τ.λ. υ. 6. See also v. 16 note. There is one reinforced tautometrio echo which seems significant, emphasising the friendship between Aegina and Thebes, namely νν. 45, 46 πεφιλημένον | Οινώνᾳ and v. 22 Αἰγίνας ἔκατι. φίλοισι γὰρ φίλος ἐλθών. The rest are either superfluous or without poetic significance. θέμεν υυ. 81, 9, ῥήματα ν. 94, ῥῆμα ν. 6 (also γλῶσσαν v. 86), Ev- vv. 89, 49, κal vv. 26, 18, -wтodeμ- v. 51, woλeμ. v. 27, éx- vv. 36, 76, eù v. 43, ců- v. 19, κe vv. 7, 15, -wvi- vv. 87, 47, où v. 28, oð- v. 20, où- v. 4, worl v. 70, wodl v. 54, fv- v. 46, èr v. 88, ¿koxúrara v. 92, lkoxoi kará- v. 52, -ev v. 77, ed- v. 5. The compounds which seem to have been coined for this ode are ἀπειρομάχας, ἀεξίγυιος, κελαδῆτις, and common to Aeschylus and Pindar AΙΘ Ισοδαίμων and παγκρατής (also used three times in the newly found Bacchylides). The mode is Lydo-Eolian. The metre is logaœdic. Verses 1-4 of the strophe consist of six 2nd Pherecratics (4) evenly disposed about a second Glyconic (G) in an antithetic mesodic period. Verses 5-8 are apparently unsymmetrical, though two symmetrical periods or one antithetic mesodic epodic period can be assumed. |~~~|-~||~|~~~~ | - ^ ]] 2; 4.4. 13: 2: 7 [-1-1~~112-1~~10-12 ANALYSIS. vv. 1-8. Feasting and song are the best recompense for severe struggles. 13-24. Had Timokritos been alive he would have played the lyre on the occasions of his son's victories at Nemea, Athens and Thebes. 25-30. Telamon's exploits as Herakles' comrade. 30-32. Achievements entail suffering. 33-43. The poet checks himself and bids the victor strive boldly against calumnies, Στρ. α'. 1 Αριστος εὐφροσύνα πόνων κεκριμένων 3 ἰατρός· αἱ δὲ σοφαὶ 4 3 Μοισάν θύγατρες ἀοιδαὶ θέλξαν νιν ἁπτόμεναι. οὐδὲ θερμὸν ὕδωρ τόσον γε μαλθακὰ τέγξει 5 5 γυΐα, τόσσον εὐλογία φόρμιγγι συνάορος. 6 ῥῆμα δ' ἑργμάτων χρονιώτερον βιοτεύει, . 1 εὐφροσύνα 'Good cheer,' cf. P. 4. 129, I. 3. 10. κεκριμένων When a painful struggle is decided,' cf. O. 3. 21, N. 10. 23 αέθλων κρίσιν, Ο. 7. 80 κρίσις ἀμφ' αέθλοις; or when labors have won a favorable verdict' (or 'distinction'), cf. I. 4. 11, N. 7. 7. Bacchyl. 11. 4 ft. (of Nika) ἐν πολυχρύσῳ δ' ὀλύμπῳ | Ζηνὶ παρισταμένα | κρίνεις τέλος ἀθανάτοισίν τε καὶ θνα τοῖς ἀρετᾶς. Don. explains the Schol. κρίσιν λαβόντων καὶ συντελεσ θέντων, brought to a determination. Perhaps the name Τιμόκριτος suggested the phrase. 2 Ιατρός For the order cf. Ο. and P. p. xxv. For the phrase cf. Aesch. Choeph. 698 νῦν δ', ἤπερ ἐν δόμοισι βακχείας καλῆς | ἰατρὸς ἐλπὶς ἦν, παροῦσαν ἐγγράφει. σοφαί There seems to be a double allusion, to skill in leechcraft and skill in poetry, in this instance. 3 θύγατρες ἀοιδα Cf. Ν. 3. 1. Songs are elements of εὐφροσύνα. θέλξαν Not produce by spells L. and S., but with the Schol. 'soothe.' νιν ‘Him, the victor, implied in πόν. κεκρ., cf. Ν. 8. 21-23. Don. Paley. Mommsen however [comparing P. 3. 63 και τί fοι (Χείρωνι) | φίλτρον ἐν θυμῷ μελιγάρνες ὕμνοι | ἁμέτεροι τίθεν] and Mezger explain νιν = εὐφροσύναν, taking ἁπτόμεναι ='when they set to work'; but I prefer by their touch,' cf. P. 4. 271 χρὴ μαλακὰν χέρα προσβάλλοντα τρώμαν ἕλκεος ἀμφιπολεῖν. γι The force is that sooth. 5 10 ing as water is, its soothing properties are proportionately small. However, Plutarch, de Tranqu. 6, quotes thus, οὐδὲ θ. υ. τοσόνδε τέγξει μαλθακὰ γυῖα, κατὰ Πίνδαρον, ὡς δόξα ποιεῖ πόνον ἡδύν. μαλθακὰ τέγξει The adjective is proleptic, 'bedew with soft relief,' 'soften by moistening,' 'steep limbs in softness' (Holmes). Μ88. give τεύχει, but Plutarch's more uncommon word and tense are more likely to be original. Edd. read τέγγει, but for the gnomic future cf. O. 7. 3, where it is taken up by a gnomic aorist. Ο. 8. 53 τερπνὸν δ ̓ ἐν ἀνθρώποις ἴσον ἔσσεται οὐδέν, Ο. 9. 100 μία δ ̓ οὐχ ἅπαντας ἄμμε θρέψει | μελέτα, 11. 22. 317 οἷος δ ̓ ἀστὴρ εἰσι μετ ̓ ἀστράσι νυκτὸς ἀμολγῷ | ἔσπερος, ὃς κάλλιστος ἐν οὐρανῷ ἵσταται ἀστήρ, | ὡς αἰχμῆς ἀπέλαμπ ̓ εὐήκεος, ἣν ἄρ ̓ ̓Αχιλλεὺς | πάλλεν. Cf. ib. 309. 6 τόσσον Equiv. to ὅσον. L. and S. cite Kallim. Apoll. 94. Cf. τόθεν relative Aesch. Pers. 100. συνάορος Ας εὐφροσύνα is ἄριστος Ιατρός and εὐλογία = εὐκλεὴς λόγος Pindar can wed' such ideas regard. less of gender. But 'linked,' 'associated' will suffice. Cf. I. 6. 19. For sentiment cf. P. 3. 114, Frag. 98 πρέπει δ ̓ ἐσλοῖσιν ὑμνεῖσθαι καλλίσταις ἀοιδαῖς· | τοῦτο γὰρ ἀθανά τοις τιμαῖς ποτιψαύει μόνον [ῥηθέν]: [ θνάσκει δὲ σιγαθὲν δ ̓ ἐπιλασθὲν καλὸν ἔργον. Note that ῥῆμα with έργμά των is echoed by ὕμνος τῶν ἀγαθῶν ἐργμάτων υυ. 83, 84. η ὅ,τι κα σὺν Χαρίτων τύχα 8 γλῶσσα φρενὸς ἐξέλοι βαθείας. ι τό μοι θέμεν Κρονίδα τε Διὶ καὶ Νεμέα 10 : Τιμασάρχου τε πάλα 3 ὕμνου προκώμιον εἴη· δέξαιτο δ' Αἰακιδᾶν 7 Ke For xe with optative in protasis, with pres. ind. in apodosis Bee Goodw. M. and T. 506, P. 4. 264 and my notes. Of course ἐξέλοι has been altered to ἐξέλῃ. 'WhatBoever a tongue would (as mine will) haply draw forth.' τύχα Cf. N. 6. 25. σύν... Β ́ φρενὸς ἐξελοι βαθείας Mezger compares N. 3. 9. Paley says the metaphor is from drawing arrows out of a quiver, but the epithet βαθείας rather suggests choosing from a rich store. Don. quotes Theognis 105 μή ποτ' ἐπειγόμενος πρήξῃς κακόν, ἀλλὰ βαθείῃ ¦ σῇ φρενὶ βουλεῦσαι, where the meaning may be a little different. See on βαθύδοξος, Ρ. 1. 66, Ο. 2. 54 βαθεῖαν μέριμναν ἀγροτέραν. Here σὺν Χαρί των τύχᾳ may be equivalent to s protasis. • Tó 'Wherefore,' cf. P. 5. 37, Π. 17. 404, Soph. Phil. 142. Paley renders τὸ θέμεν ' to offer this tribate'; Cookesley 'dedicate this prelude. For θέμεν cf. v. 81. μοι εἴη For this phrase cf. P. 1. 29 with the pronoun suppressed, P. 2. 96, O. 1. 115, N. 7. 24 f. el ĥv ê Tàv ἀλάθειαν ἰδέμεν, with the pronoun in the accusative. τι καίτο See O. and P. p. xxvii. For the mention of the locality of the games, the victor's achievement and the god of the games together, Στρ. β'. 15 20 of. N. 1. 7 ἅρμα δ' οτρύνει Χρομίου Νεμέα θ' ἔργμασιν νικαφόροις εγκώ μιον ζεύξαι μέλος, Νομ. το παλ. is a hendiadys, 'wrestling at Nemea.' 11 προκώμιον Editors and translators seem agreed that the prelude' or proëme of the processional ode sung by the kômos is meant. I think that the whole ode is the προκώμιον, the beginning of the revel, and that Duvov is a genitive of material, cf. P. 4. 206 λίθων βωμοῖο, ib. 71 ἀδάμαντος ἅλοις. Stξαιτο Is 'me or the ode the implied object? The latter most likely. The direct object of δέκομαι is absent also P. 4. 70. 12 δίκα, κ.τ.λ. 'A light that shines in view of all by reason of their justice in protecting aliens': metaphor from a beacon (πυρσός). For the justice of Eginetans cf. O. 8. 26. 13 ζαμενεί Elsewhere in Pindar this adjective means 'quickened by inspiration,' applied to Mêdea, Chei ron, Dionysos (Frag. 133) and to τόλμα (Frag. 216 τόλμα τέ μιν ζαμενής καὶ σύνεσις πρόσκοπος ἐσάωσεν). Here it is causative (P. 4. 81), in a metaphysical sense, 'quickening,' 'inspiring.' 14 ἐθάλπετο 'Had been basking in' (Holmes). ποικίλον Cf. Ο. 3. 8 φόρμιγγα ποικιλόγαριν, Ο. 4. 2 |