NEMEA III. ON THE VICTORY OF ARISTOKLEIDAS OF AEGINA IN THE PANKRATION. INTRODUCTION. ARISTOKLEIDAS, son of Aristophanes, was probably himself a member of a college of theôri or state ambassadors to Delphi (v. 70). He won this victory many years before the composition of the ode, as he seems to have been well advanced in age (vv. 73–76). The poet seems to apologise for his delay (v. 80), but not very profoundly, so that we need not suppose an interval of more than a year or two, if any, between the dates of the promise and the ode. From vv. 4, 5, it seems that the chorus was taught at Thebes. The ode was performed in the hall or temple of the college of theôri. The date is evidently prior to the Athenian conquest of Aegina Ol. 80. 3, B.C. 458. Leop. Schmidt fancifully connects the ode with P. 3, and assigns it to the same date. It was sung by a chorus of youths (v. 5). The tone and phraseology of this ode is set by the names 'Аpiσтoкλeídas, son of 'Apioтopávns. It is inspired by the Muse Kleio and is full of superlative expressions and suggestions of brilliance. The ode is μeλɩγαρὺς κῶμος νυ. 4, 5, δόκιμος ὕμνος υ. 11, χώρας ἄγαλμα υ. 13, τὸ καλλίνικον which is πλαγᾶν ἄκος ὑγιηρόν νυ. 17, 18, γλυκύ τι υ. 32, included under εὐκλέϊ λόγῳ υ. 68, μεμιγμένον μέλι λευκῷ σὺν γάλακτι υυ. 77, 78, πόμ' ȧoldiμov v. 79, which victory-in-games loves and thirsts for vv. 6, 7, and (like εὐφροσύνα, N. 4. 1) is almost personified as ἄριστος ἰατρός, namely as στεφάνων ἀρετᾶν τε δεξιώτατον ὀπαδόν v. 8. The theme is victory won by transcendent worth, e.g. ἀεθλονικία υ. 7, στεφάνων ἀρετᾶν τε υ. 8, οὐκ ἐλεγχέεσσιν υ. 15, τὸ καλλίνικον υ. 18, ἀνορέαι ὑπέρταται υ. 20, ποτίφορον κόσμον υ. 31, τηλαυγές φέγγος υ. 64, εὐδοξία υ. 40, νικαφορ- ν. 67, ἀεθλοφόρου λήματος ἕνεκεν...δέδορκεν φάος. The φέγγος and φάος are intended to emphasise the comparison between Aristokleidas and Achilles, and are Αριστοφαν-, cf. ἐὼν καλός υ. 19, and ἐν δὲ πείρᾳ τέλος | διαφαίνεται κ.τ.λ. vv. 70, 71. This τέλος manifestly presents a contrast to the ἀτελεῖ νόῳ of v. 42, and vv. 41, 42 echo with two tautometric recurrences vv. 20, 21, i.e. οὔ ποτ ̓ ἀτρεκέι κατέβα ποδὶἀτελεῖ οὐκέτι πρόσω ἀβάταν ἅλα beyond Herakles τέλος. Remarkable is the fourfold echo of γόνον τέ Fοι φέρτατον υ. 57 from γένει τε Μοῖσαν φέρειν ν. 28, which marks Achilles as the most famous of the race of Aeakos whether the poet intended it or not. The tautometric echo of άperaîs v. 32 by άperás v. 74 seems quite superfluous, and may be accidental, as άpera- occurs four times. Other tautometric echoes are - έπει (ἐνέπει) υ. 75, (ἔπειτεν) υ. 54, ὃς νυ. 68, 34, -ιστ- υυ. 20, 7, άρ- υ. 58, 'Ap- v. 50, av- vv. 79, 58, póvov v. 44, πóvov v. 12, èv vv. 79, 16. The end of the first of the three divisions of the ode is in the first line of the second strophe, and the middle division-devoted to Aeacid victors-ends with the close of the first verse of the fourth strophe; but the second strophe is devoted to the exploits of the single-handed Hêrakles by land and sea, while the rest of the two middle systems celebrate the exploits of Pêleus, Telamon, and Achilles. Hêrakles, Pêleus and Achilles are examples of victors in single combat (vv. 34, 51) like Aristokleidas. Bacchylides, 12. 8 calls the wrestling contest τὰν γυιαλκέα μουνοπάλων. It is patent that Hêrakles and the Aeacid heroes are represented as prototypes of Aristokleidas. That fame was won far away beyond sea by Hêrakles, Telamon and Achilles and by the husband of Tоvтía Đétis implies that the fame of Aristokleidas will be spread far and wide, as is expressed N. 5. 2-6 in the case of Pytheas. The compounds which seem to be coined for this ode are: deλovikia, πολυνεφέλας, ὑπέραλλος, ἐγκονητί, χαλκότοξος, βραχυσίδαρος, βαθυμῆτα, μαλακόχειρ, ἐγχεσφόρος. The derivatives δαφοινός and κραγέτας are not found elsewhere. The mode is Æolian, or Lydo-Æolian (v. 79). STROPHE. A1, A2, tripodies (of the form of first and second Pherecratics). B dipodies. Vv. 1-4 form an inverted period, vv. 5-8 an inverted mesodic period. The numbers are respectively 6 2. 4 3. 3 4. 2 6 and 2 4. 2 3. 2 3 2.4 2. > B.4*. B.A2. B.A1.B. 5 > ¦ - ~ | - ~ ||-~|~~~|~~~IL] w: 4*.B. : EPODE. Two inverted mesodic periods, vv. 1-3 and 4, 5. w; 4*.B.B. 5 w ~~~ |-~|~~~|~~~~||~|~||~|-] Note that 4*.B= A2.A2-6 logaœdic feet. vv. ANALYSIS. 1-5. The Muse is entreated to go to Aegina on the anniversary of a Nemean victory, where a chorus awaits her. 6-8. An ode is the highest object of a victor's ambition. 9-14. The Muse is entreated to inspire the poet to begin the hymn with Zeus of Nemea and to praise the country of the Myrmidons. 14-18. Whom the victorious endurance of Aristokleidas in the pankration at Nemea does not discredit. 19, 20. Aristophanes' son, having done justice to his fine form, has attained to the highest achievements. 20-26. One cannot well pass the pillars which Hêrakles set up at the limit of his Western explorations. 26, 27. The poet is digressing. 28. His theme is the race of Aeakos. 29. It is the height of justice to praise the worthy. 30. But it is not good to yearn for distinctions for which one's inborn nature has not fitted one. 31. The victor need not do so, as he inherits worth. 31. The legend of Pêleus is appropriate to him. 32-39. Exploits of Pêleus. 40-42. Innate worth is best. Acquired capacities are fruitless. 43-64. The above doctrine is illustrated by Achilles' childhood, by the aged Cheiron, and by the manhood of Achilles. 65, 66. Invocation of Zeus. 67-70. This beseems Aristokleidas who has brought glory to Aegina and the college of Pythian theôri. 70-74. Trial proves a man's excellence in all stages of life. Four divisions of life bring four several virtues. The victor partakes of all four. 74, 75. 76. 76-80. 80, 81. Dedication of the ode. As the eagle swoops from afar upon its prey, so the poet can seize upon the theme of a long past victory. 82. But the flight of chattering crows has a lower range. 83, 84. By favour of Kleiô the victor has won glory from Nemea, Epidauros and Megara. Στρ. α'. 5 I 1 Ω πότνια Μοῖσα, μᾶτερ ἡμετέρα, λίσσομαι, 2 τὰν πολυξέναν ἐν ἱερομηνίᾳ Νεμεάδι 3 ἵκεο Δωρίδα νᾶσον Αἴγιναν· ὕδατι γὰρ 4 μένοντ ̓ ἐπ ̓ Ασωπίῳ μελιγαρύων τέκτονες 5 κώμων νεανίαι, σέθεν ὄπα μαιόμενοι. 6 διψῇ δὲ πρᾶγος ἄλλο μὲν ἄλλου, 7 ἀεθλονικία δὲ μάλιστ ̓ ἀοιδὰν φιλεῖ, shice ι τᾶς ἀφθονίαν ἔπαζε μήτιος ἀμᾶς ἄπο· 1 μάτερ Apollo and the Muses were in a metaphysical sense parents of poets and poems. N. 4. 3. Asklêpiades in his Τραγῳδούμενα is said to have made Orpheus the son of Apollo and Kalliopê. 2 τὰν πολυξέναν For the fame of the Aeginêtans for fair dealing with strangers cf. O. 8. 21, N. 4. 12, 5. 8. For the fem. form of the compound adjective cf. N. 5. 9 vavσικλύταν. Ν. 7. 83 ἁμέρᾳ. ἱερομηνία A holy day was so called because the period of its return was calculated by the moon. For special mention of the full moon of the Olympian festival cf. O. 3. 19, 20, 11. 73-75. The Nemean festival was probably not on the new moon, see note on N. 4. 35 νεομηνία. 3 Δωρ. Α passing tribute to actual fact, before connecting a Dorian with the glories of the mythical Aeakidae. Perhaps the mention of the (Epidaurian) Asklêpios, v. 54, is an acknowledgment that Dorians of Epidaurus colonised Aegina. 4 Ασωπίῳ Two streams called Asôpos are recorded, and possibly in Aegina there was third, named after the mythical father of the eponymous nymphs Thêbê, Aegina, 5 ΙΟ 'Αντ. α'. 15 and Nemea, O. 6. 84. We cannot be sure that the poet wishes to represent himself as present in Aegina, as Távde vâoov (v. 68) is not conclusive on the point. Cf. O. 8. 25, Ρ. 9. 91. τέκτονες κώμων Here the chorus; elsewhere poets. Cf. P. 3. 113. 6 SunDivers achievements cause divers thirsts.' The verb is suggested by μeλ- v. 4, and leads up to vv. 18, 77-79. Lit. 'Another (kind of) achievement thirsts after something else.' Tρâyos According to analogy and usage this word is rather equivalent to pâĝis than το πράγμα, and means 'great achievement,' as here, or 'conduct of important affairs,' as in Aesch. Sept. c. Th. 2. 7 delλo- See v. 83. |