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5 ὕμνος ὁρμᾶται θέμεν

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αἶνον ἀελλοπόδων μέγαν ἵππων, Ζηνὸς Αἰτναίου χάριν ἅρμα δ ̓ ὀτρύνει Χρομίου Νεμέα θ' ἕργμασιν νικαφόροις ἐγκώμιον ζεῦξαι μέλος.

ἀρχαὶ δὲ βέβληνται θεῶν

It is really an adverb of motion from, as it is here used.

5. ὁρμᾶται.] Cf. Ol. III. 9, 10, Πίσα.. τᾶς ἄπο | θεύμοροι νίσοντ ̓ ἐπ ̓ ἀνθρώπους ἀοιδαί, where the song starts from the scene of the victory, here quite as naturally from the place where it is first recited.

Oéμev.] Not 'to describe' (Cookesley) but to establish.'

6. αἶνον, κ.τ.λ.] Cf. Frag. 206 [242], 'Αελλοπόδων μέν τιν ̓ εὐφραίνοισιν ἵππων | τίμια καὶ στέφανοι.

χάριν.] Is this 'to please' or 'by grace of'? [Mr Fanshawe]. Mezger takes the latter interpretation and quotes Pyth. 11. 70, III. 95.

7. For the appropriateness of the metaphor to the victory cf. Ol. vi. 22-27, vIII. 25, Nem. Iv. 93-end, Nem. vII. 70-72, VIII. 19, Isth. 1. 6. Here the poet's verses are the winged horses which will bear over the world the car, Chromios' victory. For metaphor cf. Pyth. x. 65. For the conjunction ἅρμα Χρομίου Νεμέα θ', cf. Nem. ιν. 9, Νεμέα Τιμασάρχου τε πάλα.

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8. Its (the ode's) foundations have been laid in mention of deities in conjunction with the heavensent excellences of yon man.' Cf. Pyth. vii. 4, κρηπῖδ ̓ ἀοιδᾶν.. βαλέσ Oai, Frag. 176 [206], for the metaphor, for the sentiment Nem. v. 25, Διὸς ἀρχομέναι, II. 1–3. I take the genitive θεῶν as “ κατὰ σύνεσιν, ἀρχαὶ βέβληνται being regarded as equivalent to 'I have begun.' For such a licence with an accusative cf. Eur. Ion, 572, τοῦτο κἄμ' ἔχει πόθος.

ΙΟ

Αντ. α'.

Mr Wratislaw asks (in a paper read before the Camb. Philolog. Soc. Nov. 27, 1878), 'would not the most natural way of understanding this passage, considering that the human victory was won shortly after the foundation of Aetna, be: "And the commencements of the Gods, i.e. the foundations of their temples at Aetna, have been laid contemporaneously with the Divine exploits of Chromius"?' I do not any more than Mr Wratislaw ' accept Dissen's equation, "initia Deorum posita sunt " = "initia a Deis posita

sunt."

But it is not easy to see how ἀρχαὶ θεῶν can mean ἀρχαὶ ναῶν, which is what Mr Wratislaw's suggestion seems to amount to. Moreover, Ol. VI. 96, Ζεὺς is Αίτναῖος in connection with Syrakuse quite independently of the city Aetna, so that there is nothing in the strophê to lead up to the supposed allusion. Yet again, as the chief temples would have their foundations laid at the time of the founding of the city, σuv has to cover more than two years. The intervention of the suggested mention of Aetna's temples is isolated itself and isolates vv. 10-12. If ever convinced of the untenability of my construction I should read βέβληντ ̓ ἐκ θεῶν with Mingarelli. Dawes and Pauwe read few, or render ἀρχαὶ θεῶν ‘a beginning with the gods, βέβληνται “ has been made.' For apxal cf. Terpander Frag. 1 (Bergk), Zeû σol oπévdw | ταύταν ὕμων ἀρχάν.

Yet again does ἀρχαὶ θεῶν =

κείνου συν ἀνδρὸς δαιμονίαις ἀρεταῖς.

1ο ἔστι δ ̓ ἐν εὐτυχίᾳ

πανδοξίας ἄκρον· μεγάλων δ ̓ ἀέθλων

Μοῖσα μεμνᾶσθαι φιλεῖ.

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σπεῖρέ νυν ἀγλαΐαν τινὰ νάσῳ, τὴν Ὀλύμπου δεσπότας

Ζεὺς ἔδωκεν Φερσεφόνᾳ, κατένευσέν τέ οἱ χαίταις, ἀριστεύοισαν εὐκάρπου χθονὸς

οὐλοχύται, and is βέβληνται to be explained by Il. I. 458, αὐτὰρ ἐπεί ῥ' εὔξαντο καὶ οὐλοχύτας προβάλοντο, and was the ode sung during a domestic sacrifice, in the peristyle, the first strophê answering to or accompanying the preliminary invocation to Zeus of Aetna and Artemis? Prof. Paley says, 'Lit. "A foundation is laid of the gods," viz., of praising them.' Mr Holmes renders Now of heaven have been laid the foundations that sustain yon hero's godlike merits, and in success is the crown of glory, for

&c.'

9. δαιμονίαις.] Cf. Οl. ΙΧ. 110. These good qualities are puậ (ib. 100), and opposed to διδακταῖς ἀρε ταῖς. I think ἀρεταὶ would scarcely be used in the plural of one 'victory,' which is all we have here.

10. εὐτυχίᾳ.] If we regard Isth. III. 1 as a mild case of zeugma, εὐτυχία, εὐτυχέω, in all four instances where they occur in Pindar, mean the crowning good fortune of success in games: so too ἦν ἔχοντες, Ο1. v. 16. For sentiment, cf. Nem. IX. 46.

11. ἄκρον.] As πανδοξίας (prob. coined by Pindar, cf. παγγλωσσία) is a superlative expression, a. may mean 'first prize;' cf. Pyth. xi. 55, (ἀρετᾶν) ἄκρον ἑλών, and Theokr. XII. 31, ἄκρα φέρεσθαι. The meaning of the sentence is, 'The consummation (or 'first prize') of highest renown'-i.e. celebration in song

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'has its occasion in victory.' For the sentiment cf. Pyth. 1. fin. Tò δὲ παθεῖν εὖ πρῶτον ἀέθλων· εὖ δ' ἀκούειν δευτέρα μοῖρ ̓· ἀμφοτέροισι δ' ἀνὴρ ὃς ἂν ἐγκύρσῃ καὶ ἕλῃ, στέφα νον ὕψιστον δέδεκται, Nem. ΙΧ. 46.

11. δ'.] ‘For. Several mss. read μεγίστων for μεγάλων.

13. σπερέ νυν.] Corrected from ἔγειρε νῦν, νῦν ἔγειρ', on a hint of the Schol. ἔκπεμπε τοίνυν, ὦ Μοῦσα, καὶ σπεῖρε λαμπρότητά τινα τῇ νήσῳ τῇ Σικελίᾳ, κ.τ.λ. In uncials ΣΠΕΙΡΕ and ΕΓΕΙΡΕ are not unlike. For phrase cf. Ol. xI. 94, τὶν δ ̓ ἁδυεπής τε λύρα | γλυκύς τ' αὐλὸς ἀναπάσσει χάριν. The poet invokes himself or the chorus. The word Tvà apologises for the boldness of the phrase, as ἀγλαΐαν has not elsewhere the meaning wanted, namely, 'fame' or 'song,' though the ode is ἀγλαΐας ἀρχὰ in Pyth. 1. 2, cf. Frag. 182 [213], χοροὶ καὶ Μοῖσα καὶ ̓Αγλαΐα.

14. ἔδωκεν.] As a dowry on her union with Pluto. Perhaps there is a covert allusion to the temples of Dêmêter and her daughter built by Gelo. The Schol. is needlessly exercised at the δέμνιον Αρτέμιδος being in a possession of Persephone's, and suggests that the two goddesses were identical, citing Kallim. Hecale οι νυ καὶ Απόλλωνα παναρκέος Ηελίοιο | χῶρι διατμήγουσι καὶ εὔποδα Δηϊωΐνην | Αρτέμιδος.

ἀριστεύοισαν.] This goes with the

Επ. α'.

15 Σικελίαν πίειραν ὀρθώσειν κορυφαῖς πολίων ἀφνεαῖς· ὤπασε δὲ Κρονίων πολέμου μναστῆρά οἱ χαλκεντέος λαὸν ἵππαιχμον, θαμὰ δὴ καὶ Ὀλυμπιάδων φύλλοις ἐλαιῶν χρυσέοις

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μιχθέντα. πολλῶν ἐπέβαν καιρὸν οὐ ψεύδει βαλών

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predicate as bearing off the palm for fertility of soil' (lit. 'from (all) fruitful soil').

15. opowσew.] This sense 'raise to renown' (Isth. iv. 48, v. 65) is an extension of rear (as a memorial),' rear a memorial pillar to,' cf.Ol. III. 3 note. The grammar of the transition is well illustrated by the double accusative Aristoph. Acharn. 1233, τήνελλα καλλίνικον ᾷ δοντες σὲ καὶ τὸν ἀσκόν. The κορυφαὶ πολίων ἀφνεαί, ' cities unsurpassed in wealth,' are the σтĥλai which perpetuated the renown of Sicily. For Kopupal in this sense 'prime, choicest specimens,' cf. v. 34, Οl. Ι. 13, δρέπων κορυφὰς ἀρετᾶν ἀπὸ πασᾶν. It is equivalent to awTos, 'choicest bloom.' Here and v. 31 there is perhaps hypallage, cf. O. and P. p. xxxv.

16. μναστῆρα.] Cf. Pyth. xII. 24, μναστῆρ ̓ ἀγώνων.

XaλKEVTéos.] The epithet alludes to the fame of the Sicilian armour, cf. Pyth. II. 2.

17. θαμὰ δὴ καί.] ' Right often

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into contact with.' Cf. Nem. ix. 31, 01. 1. 21, κράτει δὲ προσέμιξε δεσπόταν, Nem. II. 22, ὀκτὼ στεφάνοις Eμixoev non. Infra v. 56 the use is not quite similar. Mr Fanshawe suggests that the lemma, coming so close to μvaoтĥpa, 'wooer,' may here mean wedded'; so Holmes. L. and S. wrongly render it here and in Pyth. XII. 24, calling to mind,'' mindful of.' Dissen compares μνήσασθαι χάρμης, but the idea is not the same. The aor.= 'call to mind,' uvnornp ' one who keeps in mind of.'

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πολλῶν, κ.τ.λ.] I have entered upon a copious theme, having aimed at moderation with a statement of simple truth.' The Aldine and Roman editions with two Scholia make καιρὸν object of βαAv. It is generally taken as the object of Téẞav. I think the sense inferior and the construction questionable, though it is true that èπBaivwv takes an accusative of place. T. Mommsen (on Ol. 1. 89) regards Yeuse as a dativus termini (cf. Pyth. xII. 31), but it is better to make it the instrumental dative. Mr Myers-Thus shoot I arrows many and without falsehood have I hit the mark'-scarcely represents the criginal. Pindar has briefly mentioned five points on which a poet might dilate, the divine patronage of Sicily, its fertility, the wealth of its cities, its achievements in war and in games. He has stated truths without exaggeration. But only to dismiss them

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and turn to his special theme, the praise of Chromios, &c.

In this difficult sentence the poet checks himself-the suggestion of the necessity for doing so being a compliment to Sicily, Syrakuse and Hiero, the fact that he does so a compliment to Chromios. Thus οὐ ψεύδει= not with a false statement.' For dat. cf. Ol. xi. [x.] 72, μᾶκος δὲ Νικοὺς ἔδικε πέτρῳ; Isth. 1. 24. What he has said is a βέλος shot Μοισᾶν ἀπὸ τόξων (Ο1. IX. 5). Both ἐπέβαν and ἔσταν are idiomatic aorists indicating the immediate past; the former refers to the recitation of the previous verses, the latter to the arrival of the chorus at the place of recitation. For the sense given to καιрov ef. Pyth. 1. 81, καιρὸν εἰ φθέγξαιο, IX. 78, Ol. Ix. 38. Mr Postgate has kindly sent me an interpretation substantially the same as the above, and quotes Nem. vIII. 37 for the emphatic application of the negative to a single word.

19. αὐλείαις.] The chorus with the poet were, it would seem, just outside the półυрov (cf. Pyth. III. 78, Isth. vII. 3). Perhaps they were in the πρόθυρον, for the εὐτειχὲς Tpóluρor of Ol. vi. 1 could hardly have been a space before a door' or a porch' (L. and S., Smith's Dict. of Antiquities, Guhl and Koner); but was probably walled on three sides and with pillars in the front like the póvaos of a

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templum in antis. It is probable that in such cases the αὐλεία θύρα opened immediately into the peristyle without a Oupúv, a narrow pas sage' or 'entrance chamber,' which would appear in town houses when the sides of the półuрov were buit up to form chambers. According to L. and S. the household gods were in the Tрólvрov, but Smith's Dict. of Ant. places them in the peristyle.

21. ἔνθα.] 'In whose hall.' Though, as the victory was won at the summer Nemea, the feast may have been held outside.

ἁρμόδιον.] Cf. Pyth. iv. 129, ξείνι ἁρμόζοντα, and the Homeric δαιτὸς εΐσης.

22. ἀλλοδαπῶν.] Perhaps includes the poet, who was in Sicily this year. For Chromios' hospitality cf. Nem. IX. 2.

24. λέλογχε, κ.τ.λ.] It is in my opinion impossible to arrive at a definite conclusion as to the interpretation of this difficult sentence. I therefore give the views of the chief authorities before my own. (4.) 'But he hath got good men and true against cavillers (dat. incommodi) so as to bring water against smoke,' i. e. to use to drown the voice of envy; so Hermann, Don. (B.) Dissen also approves; but says," Credas etiam sic jungi posse: λέλογχε, ἐσλοὺς μεμφομένοις ὕδωρ κάπνῳ ἀντία φέρειν, consequutus est hoc, ut probi viri obtrectatoribus

25 ἀντίον. τέχναι δ ̓ ἑτέρων ἕτεραι χρὴ δ ̓ ἐν εὐθείαις ὁδοῖς στείχοντα μάρνασθαι φυᾷ.

πράσσει γὰρ ἔργῳ μὲν σθένος,

aquam obviam ferant fumo, quem movent." He objects however to an accusative and infinitive after λαγχάνειν as unsupported. (C.) Matthiae proposes λελογχεν ἐσλούς, μ. ϋ. ά. φ. (ὥσπερ) καπνῷ ignoring the order of the words. (D.) Mommsen (after a Schol.) renders "Innata vero est (sortito evenit) iis qui bonos vituperare solent ars fumum [gloriae] aquâ [reprehensionis] restinguendi.' (E.) An improvement in this line of interpretation seems to be "Tis men's lot when cavilling at the good to bring water to check smoke,' i. e. to increase what they wish to diminish. Only thus I think could KаTVOS stand for glory in such a metaphor (von Leutsch, Mezger). The two last interpretations make too abrupt a disconnection of sense, not to mention the rare construction which is assumed. Mezger cites Strabo to defend the dat. governed by Mayxávw. Bergk would alter ἐντί· λ. to ἀντιλέλογχεν, only found, I believe, as an Attic law term.

(F.) I prefer the following version, suggested by the reading oλòs of the best мss, and supported by Ol. 1. 53, ἀκέρδεια λέλογχεν θαμινὰ και Kayóρos, 'some loss hath oft befallen evil speakers'; 'It hath befallen the noble against cavillers, to bring water against smouldering fire (of envy),' taking μeupoμévois as dat. incom. and pépew, K.T.λ. as inf. subject to λéλoyxe. The metaphor of water for streams of song is used, as here, in connection with strangers Nem. vII. 61, 62 (noted by Don.) ξεϊνός εἰμι· σκοτεινὸν (κοτεινὸν) ἀπέχων ψόγον, | ὕδατος ὥστε ῥοὰς

̓Αντ. β'.

φίλον ἐς ἄνδρ ̓ ἄγων κλέος ἐτήτυμον αἰνέσω· ποτίφορος δ' ἀγαθοῖσι μισθὸς OUTOS. Plutarch, Fragm. XXIII. 2, τὸν φθόνον ἔνιοι τῷ καπνῷ εἰκάJovo, was thinking more of other applications of the similitude than of this passage, for he goes on to explain πολὺς γὰρ ἐν τοῖς ἀρχομένοις ὤν, ὅταν ἐκλάμψωσιν, ἀφανίζεται· ἥκιστα γοῦν τοῖς πρεσβυτέροις φθονοῦow. The connection of this difficult passage is not impaired by making the statement general. "We poets are wont to help the noble by drowning the voices of cavillers with our song. Divers folk have divers arts. (This comprehends the idea that it is the poet's work to perpetuate a victory as much as it is the work of men of action to

gain one.) One must walk uprightly and make the best use of natural powers. Strength, to wit, has its function in action, intellect in counsel, in the case of those who have an innate gift of foresight (which class includes the poet and also, as is at once stated, Chromios).' As to sentiment vv. 24-33 have much in common with Isth. 1. 40-— 51.

25. τέχναι δ' ἑτέρων ἕτεραι.] For sentiment, cf. Ol. Ix. 104-107, VIII. 12-14, Nem. vII. 54.

OTEίXOVTα.] For metaphor, cf. Ol. 115, εἴη σέ τε τοῦτον ὑψοῦ χρόνον Tатεiv, Nem. VIII. 35.

μάρνασθαι.] Cf. Nem. v. 47, ἐστ λοῖσι μάρναται πέρι πᾶσα πόλις.

pua.] For the superiority of natural over acquired attainments, cf. ΟΙ. II. 85, ΙΧ. 100, τὸ δὲ φυλ κράτιστον ἅπαν.

26. Tрáoσel.] Exercises its function,' cf. Frag. 108 [96] πpaoσóvтwv

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