6 καὶ τὸ Δάματρος κλυτὸν ἄλσος Ἐλευσῖνα καὶ Εὔβοιαν I ἐν γναμπτοῖς δρόμοις· Πρωτεσίλα, τὸ τεὸν δ ̓ ἀνδρῶν ̓Αχαιών 2 ἐν Φυλάκᾳ τέμενος συμβάλλομαι. 60 3 πάντα δ ̓ ἐξειπεῖν, ὅσ ̓ ἀγώνιος Ερμᾶς 4 Ηροδότῳ ἔπορεν 5 ἵπποις, ἀφαιρεῖται βραχὺ μέτρον ἔχων ̓Αντ. δ'. 85 6 ὕμνος. ἢ μὲν πολλάκι καὶ τὸ σεσωπαμένον εὐθυμίαν μείζω φέρει. α εἴη μιν εὐφώνων πτερύγεσσιν ἀερθέντ ̓ ἀγλααῖς 42? Certainly Orchomenos was in neither a corner nor a recess. Funeral games in honor of Minyas were held near his tomb. Paus. 9. 38. 3. 57 ἐν γναμπτοῖς δρόμοις Το be taken with προσειπεῖν, 'in the sphere of,' 'à propos of bent race-courses'; cf. v. 18 supra. The epithet has especial reference to the frequent turns in the chariot race, cf. O. 6. 75. Similarly Eur. Iph. in Taur. 81 δρόμους τε πολλοὺς ἐξέπλησα καμπίμους. 58 8''Also.' Not quite the usual dé after a vocative. The poet adds (συμβάλλ.) the shrine by which, at Phylakê on the Pegasæan gulf, the sepulchral games in honor of the hero Prôtesilas were held. 60 ἐξειπεῖν Cf. N. 4. 33. For absence of μή after ἀφαιρεῖται cf. Ν. 11, 23. ἀγώνιος Cf. Ο. 'Eπ. S'. 90 sentiment cf. P. 4. 247 ὥρα γὰρ συνάπτει. 63 ή μαν—καί ‘Verily oft-times that which is wrapped in silence actually brings more satisfaction.' For ή μάν cf. Ρ. 4. 40, Soph. Phil. 593. πολλάκι According to the prevailing theory not a case of loss of final σ (s), but a form without the casual s of πολλάκις. τὸ σεσωπαμένον For form cf. O. 13. 91. The poet means that often it is politic to say least about the very success which is most pleasing and satisfactory. Some edd. alter to σεσιγαμένον. 64 εἴη μιν mss. μιν, edd. νιν. For phrase cf. O. 1. 115, P. 2. 96, N. 7. 24, 25, Aristoph. Acharn. 1079, Od. 2. 310, 16. 243; and with pronoun suppressed P. 1. 29. For sentiment cf. Ρ. 5. 107, 8. 25, Ν. 7. 22, Theognis 237 σοὶ μὲν ἐγὼ πτέρ ̓ ἔδωκα, σὺν οἷς ἐπ ̓ ἀπείρονα πόντον πωτήσῃ καὶ γῆν πᾶσαν ἀειράμενος ῥηιδίως. The wings of the Muses are songs; there is no need to suppose that Pindar regarded the Pierian goddesses as winged. I. 3. 27, 29, μαρτύρια δόξας are borne on the air, ἄηται. Theognis gives wings to the subject of his verse. 65 ο Πιερίδων ἔτι καὶ Πυθῶθεν Ὀλυμπιάδων τ ̓ ἐξαιρέτοις ̓Αλφεοῦ ἔρνεσι φράξαι χεῖρα τιμὴν ἑπταπύλοις 95 α Θήβαισι τεύχοντ ̓. εἰ δέ τις ἔνδον νέμει πλοῦτον C κρυφαῖον, ε ἄλλοισι δ ̓ ἐμπίπτων γελᾷ, ψυχὴν ̓Αΐδᾳ τελέων οὐ φράζεται δόξας ἄνευθεν. 100 jeers at others (who, like Herodotos, do not do so), he considereth not that he will render up his soul to Hades without honor.' Cf. P. 11. 57, Ν. 8. 36, Theognis 243 ὅταν δνοφερῆς ὑπὸ κεύθεσι γαίης βῇς πολυκωκύτους εἰς ̓Αΐδαο δόμους, | οὐδὲ τότ' οὐδὲ θανὼν ἀπολεῖς κλέος, ἀλλὰ μελήσεις | ἄφθιτον ἀνθρώποις αἰὲν ἔχων ὄνομα. τελέων Perhaps future, in spite of τελέσει Ν. 4. 43, and Prof. Seymour. For the debt of nature Cookesley quotes Hor. A. P. 63 debemur morti nos nostraque. For the participle cf. Ο. 6. 8 ἴστω... ἔχων, Ν. 11. 15. ISTHMIA II. ON THE VICTORIES OF XENOKRATES OF AKRAGAS WITH THE FOUR-HORSE CHARIOT. INTRODUCTION. THE position of the Isthmian victory, vv. 13-16, before the Pythian victory justifies the classification of this ode among the Isthmia. But we cannot determine whether the celebration of Xenokrates' three victories by his son Thrasybulos had any special connexion with an Isthmian festival, as Pindar had already composed an ode, P. 6, in honor of the Pythian victory, and may merely for this reason have given prominence to the Isthmian. For the victor's family and the chronology cf. O. 2. Introd. Ol. 75. 4, B.C. 477, is probably the date of this Isthmian victory. It is mentioned in O. 2. 50, which was composed B.C. 476. The ode was probably composed before Theron's death in B.C. 473, certainly after Xenokrates' death. Donaldson and Cookesley both say that Thêron is spoken of as dead, which is inaccurate. Mr Bury assumes (a) that the ode was composed after the fall of the Emmenidae, (b) that Pindar composed the ode and also P. 6 without payment, (c) that Thrasybulos was a poet capable of producing an Epinician ode. Now the first assumption makes far too much of vv. 43-45 (see my note), and the general tone of the ode, if it be as sombre as some think, is amply accounted for by the death of Xenokrates. The second assumption mainly depends on the first. The third assumption rests on wrong interpretations of P. 6. 49 and I. 2. 12. In the former passage Thrasybulos' cultivation of minstrelsy is mentioned in connexion with his wealth, so that it is clear that he culled the flowers of other people's poetry not of his own. In the latter passage it would obviously not require a poet to understand that Pindar is celebrating in song a famous Isthmian victory. In Pindar's works oopós does not always mean a 'poet,' 'poetical,' 'skilled in minstrelsy,' for example see P. 8. 74. Mr Bury adduces several parallelisms of thought and diction to prove that Pindar "not only echoes but alludes to the earlier hymn," P. 6. The coincidences with perhaps two exceptions are just what might be expected in two perfectly distinct poems dealing with the same persons and similar things. Of course it is quite likely that the diction of the later ode was influenced by that of the earlier without any deliberate intention of making either echo or allusion. It is worth remark that v. 34 of I. 2 might be taken for an allusion to I. 3. 14, if there were any connexion between the odes. There are exact responsions of kindred ideas in vv. 34, 7 'Eλık wνιάδων, Τερψιχόρας, υυ. 8, 3 μαλθακόφωνοι ἀοιδαί, μελιγαρύους ὕμνους, υυ. 35, 3 ἀκοντίσσαιμι, ἐτόξενον. Perhaps the recurrence of οὐκ ἀγνωτο, vv. 30, 12 is meant to be effective. Compounds of μeλ- are applied to songs vv. 3, 7, as also are yλuк- v. 7 (cf. 36), åðv- v. 25 (cf. v. 5), épatov. 31. Hospitality is mentioned vv. 24, 39, 48, as is natural in celebrating hospitable Eevокρáтηs (vv. 14, 36). The introduction of the ode occupies vv. 1-9. The central portion, vv. 10-34, encroaches both on the first and on the last system. The compounds apparently coined for this ode are μαλθακόφωνος, ῥυσίδιφρος, μελίκομπος, ? προσάντης. The mode is Dorian; the metres dactylo-epitritic. vv. ANALYSIS. 15. Poets of old freely sang of their favorites. 6-8. For the Muse was not yet an artisan. 9-11. But now we must regard the saying of the Argive'Money makes the man.' 12-22. Verbum sap. Famous are the victories of Xenokrates won by Nikomachos, 23-28. Whom the Elean truce-bearers welcomed to Olympia, 28, 29. Where the immortals gave honor to Aenêsidâmos' sons. 30-32. Thus their homes are familiar with songs of triumph. 33, 34. It is easy to utter praises of men of high renown. 35–42. Praise of Xenokrates' popular disposition, his horsebreeding, and his hospitality. 43-48. Nikasippos is enjoined to tell Thrasybulos not to be deterred by the envy of the commonalty from rehearsing his father's distinction and the odes he (Nikâsippos) has charge of, for they were not composed to lie idle. Στρ. α'. · Οἱ μὲν πάλαι, ὦ Θρασύβουλε, φῶτες, οἳ χρυσαμπύκων 2 ἐς δίφρον Μοισᾶν ἔβαινον κλυτῇ φόρμιγγι συναν τόμενοι, 3 ρίμφα παιδείους ἐτόξευον μελιγάρνας ὕμνους, 4 ὅστις ἐὼν καλὸς εἶχεν ̓Αφροδίτας 5 5 εὐθρόνου μνάστειραν ἁδίσταν ὀπώραν. 5 5 μνάστειραν Cf. P. 12. 24 νόμον, | εὐκλεᾶ λαοσσόων μναστήρ ἀγώνων. ὀπώραν Cf. Ν. 5. 6. Alkaeos Frag. 61 τερένας ἄνθος ὀπώρας. |