20

Ἐπ. α'.

25

In uncials

σῳ τῇ Σικελίᾳ, κ.τ.λ. ΣΠ and ΕΓ were not unlike. For phrase cf. O. 11. 94 τὶν δ ̓ ἁδυεπής τε λύρα | γλυκύς τ' αὐλὸς ἀναπάσσει χάριν. The poet invokes himself or the chorus. The word τινὰ apologises for the boldness of the phrase, as ἀγλαΐα, has not elsewhere the meaning wanted, namely, 'fame' or 'song,' though the ode is ảyλatas åpxà in P. 1. 2, cf. Frag. 182 χοροὶ καὶ Μοῖσα καὶ ̓Αγλαΐα. There is an allusion to the φυλλοβολία, cf. Ρ. 9. 123.

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 Ἠελίοιο | χῶρι διατμήγουσι καὶ εὔποδα Δηιωΐνην | Αρτέμιδος. ἀριστεύοισαν This goes with the predicate, 'as bearing off the palm for fertility of soil' (lit. 'from (all) fruitful soil'). Cf. Bacchyl. 3. 1 ἀριστοκάρπου Σικε λίας.

15 ὀρθώσειν This sense raise to greatness, or splendor, or renown' (I. 4. 48, 5. 65) is a metaphor from raising up a prostrate person to an erect position or from raising up a conspicuous erection such as a πύργος (Ι. 4.

44 f.) οι στάλα (Ν. 4. 81). The κορυφαὶ πολίων ἀφνεαί, cities unsurpassed in wealth, are the στῆλαι which perpetuated the renown of Sicily. For κορυφαί in this sense 'prime, choicest specimens,' cf. v. 34, Ο. 1. 13 δρέπων κορυφὰς ἀρετᾶν ἄπο πασᾶν. It is equivalent to ἄωτος, ' choicest bloom. Here and v. 31 there is perhaps hypallage, cf. O. and P. p. xxiii.

16 μναστῆρα Cf. P. 12. 24 μναστῆρ ̓ ἀγώνων. χαλκεντέος The epithet alludes to the fame of the Sicilian armour, cf. P. 2. 2.

Στρ. β'.

The

but the idea is not the same. aor.='call to mind,' uvnστýp='one who keeps in mind of.' ToλλWV, κ.τ.λ. I have mounted 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 βαλών. It is generally taken as the object of éréẞav, a construction which lacks support. 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 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, Syracuse and Hiero, the fact that he does so a compliment to Chromios. Thus où Veúder='not with a false statement.' For dat. cf. O. 11. [10.] 72 μᾶκος δὲ Νικεὺς ἔδικε πέτρῳ ; Ι. 1. 24. What he has said is a Béλos shot Μοισᾶν ἀπὸ τόξων (Ο. 9. 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. kaupov οὐ ψεύδει βαλών • Having aimed at moderation with no false statement.' The song which was a team of mares, v. 7, and a building, v. 8, is again a team, behind which the poet mounts the car of Sicily's merits, and then in a flash is an unerring missile. Cf. Aesch. Suppl. 446 γλῶσσα τοξεύσασα μὴ τὰ καίρια,

30

N. 6. 27, 28. Of course Baλwv is lit. 'having hit,' which is obviously implied in my translation. 'Having hit the mark of' is clumsy. Note that the action of ẞav is prior to that of éréßav. The poet is a shooter or hurler as a selecter of ideas for his ode, a charioteer as applying them to the occasion, expressing, and uttering them. There is therefore no confusion of metaphor. For the sense given to κapòv cf. P. 1. 81 καιρὸν εἰ φθέγξαιο, 9. 78, Ο. 9. 38, P. 10. 4. Dr Postgate's interpretation is substantially the same as the above, and he quotes N. 8. 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 πρόθυρον (cf. P. 3. 78, I. 7. 3). Perhaps they were in the πρόθυρον, for the εὐτειχὲς πpółυpov of 0. 6. 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 templum in antis. Probably in such cases the αὐλεία θύρα opened immediately into the peristyle without a Oupúv, a narrow passage' or entrance chamber,' which would appear in town houses when the sides of the półupov were built up to form chambers. According to L. and S. the household gods were in the πpóluрov, but Smith's Dict. of Ant. places them in the peristyle.

20 κaλá'Noble achievements,' ef. Ο. 10. 18, 13. 11 ἔχω καλά τε φράσαι, τόλμα τε κ.τ.λ. Bacchyl. 2. 6 καλῶν δ' ἀνέμνασεν ὅσ'...ἐπιδεί ξαμεν. Bergk suggests the rare form

3 ἔνθα μοι ἁρμόδιον

[φέρειν 35

κλέα, for which before a consonant there is no good authority, while any alteration is gratuitous.

21 ἔνθα 'In whose hall.' Though, as the victory was won at the summer Nemea, the feast may have been held outside. ἁρμόδιον Cf. P. 4. 129 ξείνι ̓ ἁρμόζοντα, and the Homeric δαιτὸς εΐσης.

22 ἀλλοδαπών Includes the poet, who was in Sicily this year, and perhaps was present. For Chromios' hospitality cf. N. 9. 2.

24 ἐντί See ἔστι v. 10. λέλογχε, κ.τ.λ. The following version is suggested by the reading ἐσλὸς οἱ the best ass., and supported by O. 1. 53 ἀκέρδεια λελογχεν θαμινά και καγόρος, sore loss hath oft befallen evil speakers '; ' It hath befallen the noble against cavillers, to bring water against smouldering fre (of envy), taking μεμφομένοις as dat. incom. to the whole phrase ὕδωρ καπνῷ φέρειν ἀντίον and φέρειν, κ.τ.λ. as inf. subject to λελογχε. Obviously any infinitive phrase as subject can take the place of any abstract noun such as ἀκέρδεια. Note the chiasmos μεμφομένοις ἐστ λοὺς ὕδωρ καπνῷ, which accounts for the order. The metaphor of water for streams of song is used, as here, in connexion with strangers N. 7. 61 f. ξεῖνός εἰμι· σκοτεινὸν (κοτεινὸν) ἀπέχων ψόγον, | ὕδατος ὥστε ῥοὰς φίλον ἐς ἄνδρ ̓ ἄγων | κλέος ετήτυμον αἰνέσω· ποτίφορος δ ̓ ἀγαθοῖσι μισθὸς οὗτος. Plutarch, Frag. 23. 2 τὸν φθόνον ἔνιοι τῷ καπνῷ εἰκάζουσι, 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 φθονοῦσιν. The connexion of this difficult passage is not impaired by making the statement general. “The worthy by noble conduct with poets who celebrate the same drown the voices of cavillers with 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 in the fight of life. 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 I. 1. 40-51.

>

There are several inferior interpretations. (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 sit jungi posse: λελογχε, ἐσλοὺς μεμφομένοις ὕδωρ κάπνῳ ἀντία φέρειν, consequutus est hoc, ut probi viri obtrectatoribus aquam obviam ferant fumo, quem movent." He objects

however to an accusative and infinitive after λαγχάνειν as unsupported. (C.) Matthiae proposes λέλογχεν ἐσλούς, μ. ϋ. ά. φ. (ὥσπερ) καπνῷ. (D.) Mommsen (after a Schol.) renders “ Innata vero est (sortito evenit) iis qui bonos vituperare solent ars fumum [gloriae] aquí [reprehensionis] restinguendi.” (E.) Tis men's lot when cavilling at

'Αντ. β'.

40

[ἔχειν, 45

7

the good to bring water to check smoke,' i.e. to increase what they wish to diminish (von Leutsch). (F.) Bergk would alter ἐντί· λ. to ἀντιλέλογχεν, only found, I believe, as an Attic law term.

25 ἀντίον The prominent position helps the application to μεμ φομένοις as well as to καπνῳ. See Introd. for the echo ἀντιά- υ. 68. τέχναι δ' έ. %. For sentiment cf. O. 9. 104-107, 8. 12—14, N. 7. 54, Bacchyl. 10. 35-45. στείχοντα For metaphor ef. O. 1. 115 εἴη σέ τε τοῦτον ὑψοῦ χρόνον πατεῖν, Ν. 8. 35. Note echo v. 65. μάρνασθαι Cf. N. 5. 47 ἐσλοῖσι μάρναται πέρι πᾶσα πόλις. φυᾷ For the superiority of natural over acquired attainments, cf. O. 2. 86, 9. 100 τὸ δὲ φυᾷ κράτιστον ἅπαν, Ν. 3. 40 f.

26 πράσσει ‘Exercises its function, cf. Frag. 108 πρασσόντων μετ λέων. This does not contradict Frag. 14 ἐν ἔργμασι δὲ νικᾷ τύχα, οὐ σθένος.

27 ἐσσόμενον, κ.τ.λ. ‘In those whose birthright it is to foresee what shall be.'

29 σέο, κ.τ.λ. In thy character are faculties for using both this endowment and that. For ἀμφὶ cf. Ρ. 5. 111 ἀμφὶ βουλαῖς, in which

passage Arkesilas also is praised for ἔργα as well as βουλαί. Lit. 'on the various sides of'; the faculties are observed from the outside. δ' For dé after vocative cf. O. and P. index, N. 2. 14. For τῶν τε καὶ τῶν cf. O. 2. 53, I. 3. 51; here all the varieties are good.

31 Euripides seems to be thinking of these two lines, Ion, 639 οὐ φιλῶ ψογοὺς κλύειν | ἐν χερσὶ σῴζων ὄλβον οὐδ ̓ ἔχειν πόνους. κατακρύ ψαις ἔχειν Conditum habere, cf. γήμας ἔχεις, Soph. Oed. R. 577. For sentiment cf. I. 1. 67 f., Bacchyl. 3. 12 (Ιέρων) ὃς παρὰ Ζηνὸς λαχών | πλείσταρχον Ελλάνων γέρας | οἶδε πυργωθέντα πλοῦτον μὴ μελαμ φαρέι κρύπτειν σκότῳ.

32 'But from what I have both to enjoy myself and to have the credit of being duly open-handed to (lit. ' thoroughly satisfying ') my friends. For the expectations of men, born to sore trouble as all are, are uncertain for all alike.' For the uncertainty cf. Bacchyl. τὸ μέλλον | δ ̓ ἀκρίτους τίκτει τελευτάς, where ἀκρίτ. = 'uncertain, cf. Ο. 2. 30 f. ἐόντων Cf. Theognis, 1009 τῶν αὐτοῦ κτεάνων εὖ πάσχεμεν. Cf. P. 3. 104 for sentiment, also Simonides, 85 [60] ν. 13 ̓Αλλὰ σὺ ταῦτα μαθὼν βιότου ποτὶ τέρμα | ψυχῇ τῶν ἀγαθῶν