25 ἐν λυγρῷ νείκει· μέγιστον δ ̓ αἰόλῳ ψεύδει γέρας ἀντέ

ταται.

κρυφίαισι γὰρ ἐν ψάφοις Ὀδυσσῆ Δαναοὶ θεράπευ

σαν

χρυσέων δ' Αἴας στερηθεὶς ὅπλων φόνῳ πάλαισεν.

ἢ μὲν ἀνόμοιά γε δᾴοισιν ἐν θερμῷ χροῒ
ἕλκεα ῥῆξαν πελεμιζόμενοι

45

Ἐπ. β'.

50

30 ὑπ ̓ ἀλεξιμβρότῳ λόγχα, τὰ μὲν ἀμφ' Αχιλεῖ νεοκτόνῳ, ἄλλων τε μόχθων παμφθόροισιν ἐν

ἡμέραις. ἐχθρὰ δ ̓ ἄρα πάρφασις ἦν καὶ πάλαι, 55 αἱμύλων μύθων ὁμόφοιτος, δολοφραδής, κακοποιὸν όνειδος

ἃ τὸ μὲν λαμπρὸν βιᾶται, τῶν δ ̓ ἀφάντων κῦδος ἀντείνει σαθρόν.

Στρ. γ'. 35 εἴη μή ποτέ μοι τοιοῦτον ἦθος, Ζεῦ πάτερ, ἀλλὰ κελεύ

θοις

25. ἀντέταται.] The greatest prize has been held out to,' conferred upon, not 'held up,' 'proposed.' For perfect cf. Ol. 1. 53, Nem. III. 84.

27. φόνῳ.] ‘Invited the grip of violent death.' Cf. Hes. W. and D., 413, ἄτῃσι παλαίει.

28. ή μάν.] ‘Yet verily.

ἀνόμοιά γε.] Though Odysseus was perhaps equal to Aias, or almost equal, according to the terms of the contest for the arms, in battle 'at least they made far different wounds gape (or' gush [with blood]') on the warm flesh of foemen (dat. incommodi) when hard pressed, &c.'

That is to say in battle Aias was very superior to Odysseus.

29. πελεμιζόμενοι.] So Schol. Vet. MSS. πολεμιζ.

30. μὲν—τε.] Cf. Ol. iv. 15. The poet refers to exploits not related

60

in our Iliad, but probably from the ballads which formed the Aethiopis of Arktinos. From the frequent mention of Memnôn this group of legends seems to have been a favourite either with Pindar or with the Aeginêtans. Of course the fight with Hektor, Il. xiv. 402, may have been in the poet's mind among the ἄλλων μόχθων.

32. ἐχθρά, κ.τ.λ.] 'Fell detraetion then (as may be inferred from the above-mentioned instance) existed even of old.'

33. δολοφραδής, κ.τ.λ.] Deviser of guile, mischief-making calumny.'

34. Cf. Apollod. (Brunck, Gnom.) ιν. 12, πρὸς γὰρ τὸ λαμπρὸν ὁ φθόνος βιάζεται | σφάλλει τ ̓ ἐκείνους οὓς ἂν ὑψώσῃ τύχη; and for βιᾶται, Od. ΧΙ. 503, οἳ κεῖνον βιόωνται ἐέργουσίν τ' ἀπὸ τιμῆς (Dissen). For ἀφάντων cf. Pyth. 1. 84, xI. 30. Render

ἁπλόαις ζωᾶς ἐφαπτοίμαν, θανὼν ὡς παισὶ κλέος μὴ τὸ δύσφαμον προσάψω. χρυσὸν εὔχονται, πεδίον δ ̓ ἕτεροι

ἀπέραντον· ἐγὼ δ ̓ ἀστοῖς ἰδὼν καὶ χθονὶ γυῖα καλύ ψαιμ',

αἰνέων αἰνητά, μομφὰν δ ̓ ἐπισπείρων ἀλιτροῖς.

65

̓Αντ. γ'. 40 αὔξεται δ ̓ ἀρετά, χλωραῖς ἐέρσαις ὡς ὅτε δένδρεον

ᾄσσει,

ἐν σοφοῖς ἀνδρῶν ἀερθεῖσ ̓ ἐν δικαίοις τε πρὸς ὑγρὸν 7ο

which doth violence to the illustrious, but sets up a rotten notoriety of the obscure. Lit. ἀντείνει σαθρόν=rears on a rotten foundation.

36. ἐφαπτοίμαν.] For the dat. of something realised cf. Pyth. VIII. 60, μαντευμάτων ἐφάψατο συγγόνοισι τέχναις, ΟΙ. Ι. 86, ἐφάψατο ἔπεσι; for the genitive of something not actually realised cf. Nem. ΙΧ. 47, Ο1. ΙΧ. 12, οὗτοι χαμαιπετέων λόγων ἐφάψεαι, where the meaning is the same in other respects as in Ol. I. 86, L. and S. notwithstanding, while in Pyth. VIII. 60 the verb means precisely the same as Ol. I. 86, i.e. make use of.' In Nem. Ix. 47 the meaning is attain,' here it is keep to.' Cf. eoxov, 'I got,' ἔχω, ‘I keep. The word illustrates the relation of χράομαι, use, to the v of χείρ and χράω, χραύω, χραίνω, graze. For metaphor cf. Ol. 1. 115, Nem. 1. 25, Ix. 47.

38. ἐγώ, κ.τ.λ.] ‘But for me, may I even till death prove a favourite with my fellow-citizens for praising the praiseworthy and scattering censure on wrongdoers.' The aorist participle ἀδὼν = 6 as an established favourite'; or is it the participle of the gnômic aorist? cf. Nem. I. 62, VII. 3. With many misgivings I have not adopted Shilleto's explanation given on Thuk. I. 90 § 3, δράσαντές τι καὶ κινδυνεῦσαι, ' do something if they must risk their lives '-in effect, 'may I please ..., if I die for it.' He compares Aesch. Choëph. 438, ἔπειτ ̓ ἐγὼ νοσφίσας ὀλοίμαν, Soph. El. 1079. Here, however, the idea of death is not involved in that of pleasing.

40. χλωραΐς.] Cf. O. and P. p. XXXV, Frag. 99 [87], note,

ᾄσσει.] mss. ἀΐσσει | σοφοῖς. The text is Böckh's.

41. When exalted to the elastic air of heaven among men who love song and justice. Many are the uses of friends. Most important is help in regard to toilsome achievements. While the delight (of success and rest) seeks to get evidence set before men's eyes.' I.e. in the first flush of triumph men long for perpetual commemoration of their exploits. Though substantial help is most important

αἰθέρα. χρεῖαι δὲ παντοῖαι φίλων ἀνδρῶν· τὰ μὲν ἀμφὶ πόνοις

ὑπερώτατα μαστεύει δὲ καὶ τέρψις ἐν ὄμμασι θέσθαι πίστιν. ὦ Μέγα, τὸ δ ̓ αὖτις τεὰν ψυχὰν κομίξαι 75 Ἐπ. γ'.

45 οὔ μοι δυνατόν· κενεᾶν δ ̓ ἐλπίδων χαῦνον τέλος ̇ σεῦ δὲ πάτρα Χαριάδαις τε λάβρον

ὑπερεῖσαι λίθον Μοισαῖον ἕκατι ποδῶν εὐωνύμων 80 δὶς δὴ δυοῖν. χαίρω δὲ πρόσφορον

ἐν μὲν ἔργῳ κόμπον ἱείς, ἐπαοιδαῖς δ ̓ ἀνὴρ

50 νώδυνον και τις κάματον θῆκεν· ἦν γε μὰν ἐπικώμιος

ὕμνος

85

δὴ πάλαι καὶ πρὶν γενέσθαι τὴν ̓Αδράστου τάν τε Καδμείων ἔριν.

as leading to success, yet success cannot be enjoyed unless one gets lasting credit for merit by confirmation or proof of song. Dissen cites Ο1. Χ. 5, μελιγάρυες ὕμνοι | ὑστέρων ἀρχαὶ λόγων | τέλλεται καὶ πιστὸν ὅρκιον μεγάλαις ἀρεταῖς, Ovid, Ex Pont. 1. 5, 32, sumque fides hujus maxima vocis ego.

45. Cf. Pyth. II. 61, χαύνᾳ πραπίδι παλαιμονεῖ κενεά.

46. Χαριάδαις τε.] Dissen thinks that the pparpía of the Chariadae included the πάτρα of Deinis ; but perhaps Te is explanatory as in Aesch. Ag. 10, 210, 1503, Eum. 107.

λάβρον.] Cookesley would read τ ̓ ἐλαφρὸν =‘it is easy, comparing Nem. VII. 77. Schneider proposed λαμπρόν. I think the text should be kept. Here as elsewhere Pindar may have recorded a rare meaning akin to which is that of λόφος, 'neck,' being secondary. Cf. the use of θοός, Frag. 139, πίτναντες θοὰν κλίμακ ̓ ἐς οὐρανὸν αἰπόν.

47. (I can) uprear a lofty stêlê of song on behalf of the twice illustrious feet of two men. Cf. supra, v. 16.

49. ἐν ἔργῳ.] ‘On the occasion of an exploit.'

50. καί τις.] For the position of τις cf. Pyth. 1. 52. The poet is meant ; his ode is a proper expression of triumph, while at the same time it is a spell to soothe physical pain. For sentiment cf. Nem. IV. 4.

θῆκεν.] Gnomic aorist.

γεμάν.] 'Nevertheless,' i. e. this is no new thing, for though detraction existed in olden time (v. 32) there also existed the antidote of laudatory poetry even before the foundation of the Nemean games by Adrastos when his host set out against Thebes. There is a double opposition: the antiquity of his art opposed to present effort of the poet, and the beneficent art itself opposed to coëval detraction. 51. δή.] ‘Already = ἤδη.

NEMEA IX.

ON THE VICTORY OF CHROMIOS OF AETNA WITH THE FOUR-HORSE CHARIOT IN THE PYTHIA AT SIKYON.

INTRODUCTION.

In this victory

FOR Chromios see Introduction to Nem. I. Chromios won a crown (vv. 52, 53) and silver bowls (v. 51). The ode was composed some time after the victory (v. 52) soon after the founding of Aetna, i. e. B. C. 474 or 472 (v. 2). As Pindar seems to have been present the latter date is preferable.

The rhythm is Dorian and the ode is processional, accompanied both by lyre and flute (v. 8).

vv. 1-5.

ANALYSIS.

Invocation to the muses to inspire the chorus to celebrate Chromios' victory in games sacred to Lêtô and her children.

6, 7.

Let not a deed of prowess sink into oblivion.

8, 9.

Strike up with lyre and flute in honour of the games instituted by Adrastos.

9-27.

Myth of the Seven against Thebes concluding with the flight and engulfing of Amphiarâos.

28-32. Prayer that Zeus may grant lasting peace, civil order

and glory in games to the Aetnaeans.

32-34. They are fond of horses and, strange to say, are above considerations of gain or economy in their ambition.

34-39. Chromis is a mighty warrior such as few besides. 39-43. As Hektôr by Skamandros, so Chromios by Helôros got glory, and elsewhere too by land and sea.

He has earned a peaceful old age.

He has been blessed with riches and honour.

The banquet loves peace; fresh victory is enhanced by song, which is inspired by the bowl.

50-53. Let the prize bowls be filled with wine.

53-end. Zeus is invoked to note the excellence of the poet's min

Κωμάσομεν παρ' ̓Απόλλωνος Σικυώνοθε, Μοῖσαι, τὰν νεοκτίσταν ἐς Αἴτναν, ἔνθ ̓ ἀναπεπταμέναι ξείνων νενίκανται θύραι,

ὄλβιον ἐς Χρομίου δωμ'. ἀλλ ̓ ἐπέων γλυκὺν ὕμνον

τὸ κρατήσιππον γὰρ ἐς ἅρμ ̓ ἀναβαίνων ματέρι καὶ διδύμοις παίδεσσιν αὐδὲν μανύει