μέλιτι καὶ τοιαίδε τιμαὶ καλλίνικον χάρμ ̓ ἀγαπάζοντι. μαρνάσθω τις ἔρδων 55 ἀμφ ̓ ἀέθλοισιν γενεὰν Κλεονίκου ἐκμαθών· οὔτοι τετύφλωται μακρὸς μόχθος ἀνδρῶν· οὐδ ̓ ὁπόσαι δαπάναι ἐλπίδων ἔκνισ ̓ ἔπιν. αἰνέω καὶ Πυθέα ἐν γυιοδάμαις other two cases, as in Ol. VII. 12, Nem. III. 79 (which last is the closest parallel to the alleged construction), this use of év occurs in connection with musical instruments. Dissen says " χάρμα ἐν μέλιτι h. e. MEλTÓEv, cf. alia ap. Schaefer ad Longum, p. 404." 54. τοιαίδε τιμαί.] Two Schol. bear witness to a reading Tolade Tiμa, which Bergk adopts. 14. powv.] Cf. Nem. vII. 11 note. 55. dup'.] Cf. Nem. II. 17, VI. Kλeovikov.] Cf. Nem. v. Introd. 56. ἐκμαθών.] We should say 'Let anyone learn well before he strives.' Cf. Thuk. 1. 20 § 2 TúρavVov ovта άπolaveiv, Shilleto's note, and Dem. p. 530, χορηγὸς ὢν ἐπεπόνθειν. For Tis Prof. Seymour wrongly compares Isth. vII. [VIII.] 1. τετύφλωται.] 'Hath sunk into obscurity,' cf. Simonides Frag. 4, 5, ἐντάφιον δὲ τοιοῦτον οὔτ ̓ εὐρὼς | οὔθ ̓ ὁ πανδαμάτωρ ἀμαυρώσει χρόνος. 57. avdpwv.] 'Its men,' including Lampon with his sons; cf. Isth. v. 73, 74. 58. ἐλπίδων.] Genitive of cause, origin, after daπával, as Aristarchos (so Schol.) explained it. ἔκνισ'.] Mss. ἔκνιξ, ἔκνιξ'. The Schol. says that Aristarchos (reading ὀπί) explained ἔκνισα τῇ φωνῇ. The reading oπiv gives a much better sense. The frequentative 70 Ἐπ. γ. 75 aorist is appropriate to the recurring irritation of expenses. Render 'check by frequent chafing their regard' (for games or for deities as shewn most conspicuously in devotion to games). The nom. to ěkviσ' is the substantive clause ὁπόσ. δαπ. ἐλπ. 59. ἐν γυιοδάμαις.] Generally taken, after Hermann, with xepoi, giving the most flagrant violation of usual order to be found in Pindar. The two old мss. give Þvλakiδα (αν). The Schol. took γυιοδάμαις for denrais (so too Mommsen), a notion which may have led to the corruption of πλαγαῖς to πλαγᾶν (MSS.). The alteration λayaîs is Hartung's. Render, 'I declare in praise of Pytheas too (as well as of Phylakidas) that Phylakidas kept on a straight course amid crushing blows, an antagonist skilled in fight by-reason-of-his-intelligence.' For Xepol='in boxing and wrestling,' cf. Pyth. x. 23, supra, v. 9. I take this difficult and much-disputed passage to mean simply that Phylakidas never got 'wild' in his fighting, but in spite of punishment' persevered in his clever tactics-thanks in part at least to his elder brother Pytheas, who either trained him or practised with him. It is strange that L. and S. say that the sense of değiòs is the same Nem. III. 8 as here. There it is fittest,' or 'happiest,' ('best-omened'); 6ο Φυλακίδαν πλαγαῖς δρόμον εὐθυπορῆσαι χερσὶ δεξιὸν νόῳ ἀντίπαλον. λάμβανέ οἱ στέφανον, φέρε δ ̓ εὔμαλλον μιτραν, καὶ πτερόεντα νέον σύμπεμψον ὕμνον. here dexterous.' Those who follow Hermann put a comma after χερσὶ and take δεξιὸν νόῳ ἀντίπαλον together, but Mommsen (after the Schol.) puts commas before and after xepoi değióv, rendering "manibus habilem mente haud indoctiorem." Most edd. read v. 59 f. ἀ. κ. Π. έ. γ. | Φυλακίδᾳ πλαγᾶν δ. εὐθυπορῆσαι Phylacidae plagarum cursum recta praeivisse (Dissen). Bergk conjectures év (sive ès) yvioδαμᾶν Φυλακίδᾳ πλαγᾶν δρόμον εὐθυ πορῆσαι. So Christ, except τοῦ for ἐν. These readings are open to the grave objection that of ought to refer to avтímaλov and to Phy. lakidas. 66 Nothing but apparent necessity could reconcile Dissen and others to referring the two last verses of 80 the ode to Pytheas. The old мss. seem to shew that the scribes of Triclinius' MSS. found both proper names in the accusative and altered the second to the dative, perhaps partly because my alteration of the first makes a hiatus (but of an admissible kind, see O. and P. p. xlii.), and partly because an accusative after aivéw seems so natural. Of course IIvoéa is a dat. commodi. 62. The poet bids himself (cf. supra, v. 24) take a crown (in spirit) for Phylakidas and send therewith a fresh ode. ISTHMIA V. [VI.] ON THE VICTORY OF PHYLAKIDAS OF AEGINA IN THE PANKRATION. INTRODUCTION. THIS Ode is in honour of the same person as the preceding ode. It was probably composed soon after the Isthmian games immediately preceding the battle of Salamis, Ol. 74. 4, B. c. 480, certainly not later than this date. It is clear that it was composed pretty soon after Nem. v. Prof. Jebb, Journ. of Hellen. Stud. June, 1882, p. 35, says: "In the fifth Isthmian ode, Pindar gives a most brilliant treatment to the initial episode of the very theme which occupied the east pediment of the temple at Aegina-Heracles coming to seek the aid of Telamon against Troy, when Telamon gave his guest 'a wine-cup rough with gold,' and Heracles prophesied the birth and prowess of Ajax. Here then is a case in which we can conceive that the poet's immediate theme may have occurred to his mind as he gazed on the sculptor's work in the splendid entablature of the temple; and we recall Pindar's own comparison of an opening song to the front of a stately building," Ol. vI. 3, 4. The ode was in all probability sung at a banquet in Lampôn's house. The rhythm is Dorian. vv. ANALYSIS. 1-9. Comparison of this ode and Nem. v. (composed for Phylakidas' elder brother) to the second and first libations at a banquet, and expression of hope that the third libation may be poured out to Olympian Zeus in honour of a victory gained by one of Lampôn's family at Olympia. 10-13. For when a man (as is the case with Lampôn) grudges no pains or expense in earning distinctions and the deity gives him renown, he has reached the utmost limits of prosperity. 14-16. Lampon prays that he may feel the satisfaction brought by such fill of success before he is visited by death or old age. 16-18. May Klôthô attend to his entreaties. 19-21. The poet is bound to celebrate the Aeakids when visiting Aegina 22, 23. Broad roads carry their fame all over the world. 24-35. All have heard of Pêleus, Aias, and Telamôn, and of the exploits of the last as the companion of Hêrakles on his expedition against Troy and the Meropes of Kôs and Alkyoneus. 35-56. Hêrakles, when he went to summon Telamôn to this expedition, found him feasting; and, being invited to pour out the first libation, prayed for strength and courage for Telamon's son. He interprets the good omen sent in answer, the appearance of an eagle, and proposes the name Aias accordingly. 56-58. Pindar can now say no more about the Aeakid heroes, as he is engaged to sing of the victorious brothers and their uncle. 58, 59. The ode shall proceed with extreme brevity, in Argive fashion. 60-66. Praise of the three victors just mentioned. 66-73. Praise of Lampôn for hospitality, moderation, prudence of speech, and patient encouragement of athletes. 74, 75. The poet offers the family a draught from the fountain of Dirkê which was raised by Mnemosynê hard by one of the gates of Thebes. Θάλλοντος ἀνδρῶν ὡς ὅτε συμποσίου 1. θάλλοντος.] Cf. Hom. δαῖτα 2. δεύτερον.] For the three customary libations cf. Aesch. Ag. 237 Στρ. α'. [P. note], and the following Schol. on our passage, εὔχεται τὸν τρίτον τῶν ᾠδῶν κρατῆρα κεράσαι, νικήσαντος αὐτοῦ τὰ Ολύμπια· τὸν δὲ τρίτον κρατῆρα Διὸς Σωτῆρος ἔλεγον, καθὰ κίρναμεν Λάμπωνος εὐάθλου γενεᾶς ὕπερ, ἐν Νεμέα μὲν πρῶτον, ὦ Ζεῦ, τὶν ἄωτον δεξάμενοι στεφάνων, 5 νῦν αὖτε, Ἰσθμοῦ δεσπότα, Νηρεΐδεσσί τε πεντήκοντα παίδων ὁπλοτάτου σωτῆρι πορσαίνοντας Ὀλυμπίῳ Αἴγιναν κατὰ 10 εἰ γάρ τις ἀνθρώπων δαπάνᾳ τε χαρεὶς 66 καὶ Σοφοκλῆς ἐν Ναυπλίῳ σε Ζεὺς παυσίλυπε, καὶ Διὸς σωτηρίου | σπονδὴ τρίτου κρατῆρος·” τὸν μὲν γὰρ πρῶτον Διός Ολυμπίου ἐκίρνασαν, τὸν δὲ δεύτερον ἡρώων, τὸν δὲ τρίτον Διὸς Σωτῆρος καθὰ καὶ Αἴσχυλος ἐν Επιγόνοις " λοιβὰς Διὸς μὲν πρῶτον ὡραίον γάμον | Ηρας τε. ...” εἶτα· “ τὴν δευτέραν γε κρᾶσιν ἥρωσιν νέμω.” εἶτα· “τρίτον Διὸς Σωτῆρος εὐκταίαν λίβα.” Hence Aeschylos calls Ζεὺς “ σωτὴρ τρίτος” Suppl. 26, Eum. 729, 730 [P.]. Pindar's first bowl of song was Nem. v. For the metaphor cf. Isth. iv. 25. Μοισαίων.] MSS. μοισέων. 66 3. Λάμπωνος.] Cf. Nem. v. Introd. μέν.] Taken up by αὖτις v. 5, cf. O. and P. p. xxxviii. 4. τίν.] Mss. give text. Many edd. τίν γ'. The particle certainly emphasises the pronoun, for, having begun by winning in games sacred to Zeus, they may hope for the third victory under the auspices of Zeus of Olympia. But for the sense' is not really wanted, and though τὶν is short, Pyth. I. 29, Nem. x. 30, the form τεΐν shews that it may be long. For this dat., and δεσπότα Νηρεΐδεσσί τε, cf. Pyth. IV. 23, Ol. XIII. 29. ἄωτον στεφάνων.] Cf. Ol. v. 1, Ix. 19. Here the expression is not 5 ΙΟ Αντ. α'. quite superlative, a choice crown." 7. εἴη.] For the accus. πορσαίνοντας cf. Ol. I. 115, Pyth. II. 96, Nem. VII. 25, Isth. I. 64, Od. II. 310, χνι. 243, Aristoph. Αch. 1079 : with dat. Theognis 1153: for suppression of pronoun cf. Pyth. 1. 29, II. 83. τρίτον.] Sc. κρατῆρα. 8. πορσαίνοντας.] Sc. ἡμᾶς, i. e. the poet alone or with the chorus included. Ολυμπίῳ.] Not immediately of Olympos but of Olympia. Of course Olympia was named from Zeus of Olympos. κατὰ | σπένδειν.] A metrical tmesis. He pours over Aegina' the wine of song (cf. infra, v. 21) as he pours (in fancy) the material wine on her soil. For the compound and construction cf. Eur. Or. 1239, δακρύοις κατασπένδω σ', ‘I make a libation over thee (the dead Agamemnon) with tears.' Secondarily the meaning 'to honour with offerings of tears' (L. and S.) is right, but κατασπένδω Δία would not be likely to occur. 9. μελιφθόγγοις.] Appropriate, as wine was sweetened with honey. For metaphor cf. Nem. III. 77. 10. δαπάνα.] Cf. Isth. IV. 57, Ι. 42. |