Imagens das páginas
PDF
ePub

ναίειν πατρὶ Σωγένης ἀταλὸν ἀμφέπων θυμὸν προγόνων ἐϋκτήμονα ζαθέαν αγυιάν.

ἐπεὶ τετραόροισιν ὧθ ̓ ἁρμάτων ζυγοῖς

135

Αντ. €.

ἐν τεμένεσσι δόμον ἔχει τεοῖς, ἀμφοτέρας ἰων χειρός. ὦ μάκαρ,

ος τὶν δ ̓ ἐπέοικεν Ηρας πόσιν τε πειθέμεν

95

κόραν τε γλαυκώπιδα δύνασαι δὲ βροτοῖσιν ἀλκὰν ἀμαχανιᾶν δυσβάτων θαμὰ διδόμεν.

tion,' 'in dependence on thee.' Cf. Soph. Αiax, 519, ἐν σοὶ πᾶσ ̓ ἔγωγε σώζομαι, and Prof. Jebb's note.

ἐθέλοι.] Equal to μέλλοι; or should we render-'would be willing to cherish an obedient mind towards his father and so to go on dwelling happily,' &c.? I.e. the neighbourhood of Herakles' temple is enough to keep Sôgenes contentedly at home tending his father in his old age, rather than ranging in quest of adventures like Herakles who subdued the Giants. For the advice to the youthful victor to honour his father cf. Pyth. vi. 19—

27.

93, 94. 'For that he hath his house between thy precincts as a four-horse chariot is between its Joke horses, (having one) on either hand as he goes.' It is a mistake to suppose that four-horse chariots had two poles or two yokes, as art proves the reverse; but Euripides' phrase τετράζυξ ὄχος shows that Júya was used catachrestically for horses. The genitive ἁρμάτων gives us the word in the simile corresponding to δόμον, and the phrase lov shows that either the road to the house was between temples, or else the street in which the house stood had temples on the opposite side. Either the preposition év is used loosely or else the poet was thinking of the pole as part of the

140

[blocks in formation]

εἰ γάρ σφισιν ἐμπεδοσθένεα βίοτον ἁρμόσαις ἥβα λιπαρῷ τε γήραϊ διαπλέκοις

100 εὐδαίμον ̓ ἐόντα, παίδων δὲ παῖδες ἔχοιεν αἰεὶ

γέρας τό περ νῦν καὶ ἄρειον ἔπιθεν,

τὸ δ' ἐμὸν οὔ ποτε φάσει κέαρ

ἀτρόποισι Νεοπτόλεμον ἑλκύσαι

ἔπεσι ταὐτὰ δὲ τρὶς τετράκι τ ̓ ἀμπολεῖν

145

'ET. é'.

150

105 ἀπορία τελέθει, τέκνοισιν ἅτε μαψυλάκας Διός Κό

ρινθος.

v. 60 it would seem that Theârion laboured under some bodily ailment or infirmity.

98. σφισιν.] Sogenes and Theárion.

99. διαπλέκοις.] 'Carry on to the end.'

101. The present victory and a nobler one (at Delphi or Olympia) afterwards.'

The notion of Delphi in ἄρειον brings the poet back to Neoptolemos.

103. ἑλκύσαι.] "That I have maltreated;' like beasts worrying a corpse. Cf. Il. XVII. 394, 558.

104. ταὐτά; κ.τ.λ.] ‘Το work over the same ground three or four times argueth lack of inventive power, like Διὸς Κόρινθος foolishly repeated to children.' This was probably the burden of a popular nursery ditty. Cf. Aristoph. Ranae, 439, Eccl. 828. Müller, Dor. I. p. 88 Transl. 2nd ed. p. 96 and von Leutsch, Paroem. Gr. II. p. 368, give the historical account of the origin recorded by the Schol., namely that ambassadors from

155

the Bakchiadae sent to invite the Megarians to resume their allegiance, at last said δικαίως στενάξει ὁ Διὸς Κόρινθος εἰ μὴ λήψοιτο δίκην παρ' ὑμῶν. Whereupon they were pelted, and in an ensuing fight the Megarians urged each other to strike τὸν Διὸς Κόρινθον. The proverb is said to refer ἐπὶ τῶν ἄγαν σεμνυνομένων καὶ δειλῶς ἀπαλλαττόντων ; an explanation which is not supported by Pindar. Some editors seem to take μαψυλάxas as nom. sing. 'a silly babbler,' but the construction with are after ἀμπολεῖν would be the accusative, and the only possible construction for the nom. sing. is to make μαψυλάκας agree with Κόρινθος, which I believe to be right. The Schol. Vet. explains ὥσπερ παρὰ νηπίοις τοῖς τέκνοις as though the reading had been μαψυλάκαις, or else the interpretation last given was intended. The phrase in this case is regarded by the poet as the agent in the vain repetition of itself; for such a form as μαψ. could hardly be passive in meaning.

NEMEA VIII.

ON THE VICTORY OF DEINIS OF AEGINA IN THE SHORT

FOOT-RACE.

INTRODUCTION.

DEINIS, the son of Megas, of the family of the Chariadae (v. 46), of Aegina, had, like his father, been twice victor in the stadium at Nemea. From the allusion to Sparta in vv. 9-12, I think that this second victory was won during the troubles of Sparta with the Messênians and Helots which began B. C. 464, and before the war between Athens and Aegina, B.C. 458. From v. 20 I infer that this ode was composed just before the Seventh Nemean, and hence I regard it as probable that this victory falls in Ol. 79, either B.C. 463 or 461. The victor's father was dead (v. 44) at this time. From the opening lines addressed to the goddess of youthful bloom and young desire, though to be sure they lead up naturally to the birth of Aeakos, and from the prominence given to unfair preference and misrepresentation, it may be gathered with some slight probability that Deinis had recently been an unsuccessful suitor, and that his rival's friends had brought unfair influence to bear in the matter. However Prof. Jebb's remarks in his introduction to his edition of Aiax, p. viii., are very much to the point. 'For a special reason not difficult to conjecture, Ajax was rather a favourite with Pindar. Not a few of the great men whose praises Pindar sang must have had skeletons in their closets. The chariot-race, the foot-race, the boxing and wrestling matches might have gone well, on the whole, for them and for their forefathers. But every family which had furnished a long series of competitors at the great festivals would be likely to have its grievances; its tradition of the ancestor who was beaten by a doubtful neck; its opinion about that recent award in which the

judges had shown such scandalous partiality for their fellow-townsman. In such cases it would be consoling to remember that a hero second only to Achilles had been defrauded by a corrupt tribunal of the prize which was his due. The complimentary poet might flatter his patron's self-complacency by comparing him to great and successful heroes; but he might also chance to soothe feelings of a less agreeable kind by the mention of Ajax, so unsuccessful and yet so great.' The ode was sung on the occasion of the dedication of Deinis' crown at the temple of Aeakos (v. 13).—The harmony is Lydian (v. 15), the measures chiefly Dorian. The apparent cretic after the first double trochee of the last strophic line is equivalent, most probably, to an epitrite, the last long syllable being long by nature or by a nasal, and being produced a double time. This syllable in no case ends a word in this ode. There is more break than usual between the metrical divisions of this ode.

vv.

ANALYSIS.

1-3. The goddess of young desire is sometimes kind, sometimes cruel.

4, 5. One must be content to be moderate and attain one's nobler desires.

6—8. The marriage and offspring of Zeus and Aegina was

blest.

8-12. Aeakos was much courted by heroes.

13-16.

17, 18.

19.

20, 21.

Dedication of ode and crown to Aeakos.

Prosperity granted by the gods is comparatively lasting, such, for instance, as that of Kinyras of Cyprus.

I pause like a runner preparing to start.

For anything new provokes envious criticism.

22-32. For envy attacks the noble as in the case of Aias and the arms of Achilles.

[blocks in formation]

35-39. Far be this from the poet, who hopes to win fame and popularity by straightforward plain speaking.

40-44. Excellence and the joy of victory are enhanced by song. 44-50. The poet cannot restore Megas to life, but he can rear a monument to father and son and assuage pain.

50, 51. The antidote of song is as old as the poison of detraction.

Στρ. α'.

Ωρα πότνια, κάρυξ ̓Αφροδίτας ἀμβροσιᾶν φιλοτάτων, ἅτε παρθενηΐοις παίδων τ ̓ ἐφίζοισα γλεφάροις, τὸν μὲν ἁμέροις ἀνάγκας χερσὶ βαστάζεις, ἕτερον δ ̓ ἑτέραις. ἀγαπατὰ δὲ καιροῦ μὴ πλαναθέντα πρὸς ἔργον ἕκαστον 5 τῶν ἀρειόνων ἐρώτων ἐπικρατεῖν δύνασθαι.

5

Αντ. α'. οἷοι καὶ Διὸς Αἰγίνας τε λέκτρον ποιμένες ἀμφεπόλησαν

ΙΟ

Κυπρίας δώρων· ἔβλαστεν δ' υἱὸς Οἰνώνας βασιλεὺς χειρὶ καὶ βουλαῖς ἄριστος. πολλά νιν πολλοὶ λιτά νευον ἰδεῖν·

ἀβοατὶ γὰρ ἡρώων ἄωτοι περιναιεταόντων

1. "Ωρα.] Goddess of puberty. Cf. Aesch. Suppl. 973 (P), quoted Nem. v. 6. For the double genitive cf. Ol. Ι. 94, τῶν Ολυμπιάδων ἐν δρόμοις | Πέλοπος. Pyth. Ιx. 39, κρυπταὶ κλαΐδες ἔντι σοφᾶς πειθούς ἱερᾶν φιλοτάτων.

2. Cf. Soph. Αnt. 795, νικᾷ δ' ἐναργὴς βλεφάρων ἵμερος εὐλέκτρου νύμφας.

3. ἀνάγκας χερσί.] Cf. Pyth. IV. 234, ἀνάγκας ἔντεσιν, Pyth. xΙ. 34, δόμους ἁβρότατος.

ἑτέραις.] Euphemistic for ἀγρίαις. Cf. Pyth. III. 34, Eur. Herc. F. 1238, also the similar use of ἄλλος. The poet means violent or thwarted passion.

There is a zeugma in the construction of βαστάζεις, which first means to carry in fondling fashion and then to enfold in a tight grip. We can render by 'bear along' in both cases, but I do not think ἀγρίαις χερσὶ βαστάζεις would stand alone.

4. ἀγαπατά.] For plur. cf. Pyth. I. 34, Nem. IV. 71.

15

καιροῦ.] “Without having transgressed the bounds of moderation.' 5. ἐπικρατεῖν.] To get secure possession of his nobler objects of desire.'

6. οἷοι.] Ι. e. ἀρείονες.
ποιμένες, κ.τ.λ.] 1.e. ἔρωτες.
7. υἱός.] Aeakos.

Οἰνώνας.] Old name of the island before the nymph Aegina gave her name to it.

8. πολλά.] Cf. Nem. v. 31, and the Homeric πολλὰ λίσσεσθαι. Dissen interprets πολλάκις, but Don. rightly observes that 'the secondary idea of frequency' is contained in λιτάνευον.

ἰδεῖν.] That they might behold him.' Do not take viv as primarily the object of ideîv.

9. ἀβοατί.] Generally rendered 'unbidden,' 6 unsummoned,' but without fighting, = ἀμαχητί, seems to be more in accordance with analogy and with the meanings of βοή.

7.

ἄωτοι.] ‘The flower. Cf. Οl. ΙΙ.

« AnteriorContinuar »