Complete Works of Pindar Read online

  The Complete Works of

  PINDAR

  (c. 522–443 BC)

  Contents

  The Translations

  PINDAR’S VICTORY ODES

  FRAGMENTS

  The Greek Texts

  LIST OF GREEK TEXTS

  The Biography

  THE LIFE OF PINDAR by Sir John Edwin Sandys

  The Delphi Classics Catalogue

  © Delphi Classics 2013

  Version 1

  The Complete Works of

  PINDAR

  By Delphi Classics, 2013

  COPYRIGHT

  Complete Works of Pindar

  First published in the United Kingdom in 2013 by Delphi Classics.

  © Delphi Classics, 2013.

  All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published.

  Delphi Classics

  is an imprint of

  Delphi Publishing Ltd

  Hastings, East Sussex

  United Kingdom

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  www.delphiclassics.com

  The Translations

  Livadeia, Boeotia. Pindar was born c. 522 BC in Cynoscephalae, a village in Boeotia, not far from Thebes. It is reported that he was stung on the mouth by a bee in his youth and this was the reason he became a poet of ‘honey-like verses’.

  PINDAR’S VICTORY ODES

  Translated by Ernest Myers

  Pindar (c. 522–443 BC) was regarded as one of the canonical nine lyric poets of ancient Greece, whose work is the best preserved. The Roman Quintilian wrote, “Of the nine lyric poets, Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace rightly held, make him inimitable.” His poetry illustrates the beliefs and values of Archaic Greece at the dawn of the classical period. Nevertheless, Pindar’s odes are very challenging to the new reader, due to the poet’s inventive use of language and quick, complex and sudden changes of thought patterns. Therefore due to the challenge that Pindar presents to the casual reader, he continues to be a much admired, though largely unread poet of the ancients. And yet, he was considered to be the greatest of all the lyric poets.

  The Scholars at the Library of Alexandria collected Pindar’s compositions into seventeen books, organised according to genre:

  1 book of humnoi – “hymns”

  1 book of paianes – “paeans”

  2 books of dithuramboi – “dithyrambs”

  2 books of prosodia – “processionals”

  3 books of parthenia – “songs for maidens”

  2 books of huporchemata – “songs for light dances”

  1 book of enkomia – “songs of praise”

  1 book of threnoi – “laments”

  4 books of epinikia – “victory odes”

  Of this varied body of works, sadly only the epinikia, the odes written to commemorate athletic victories, survive in complete form, with the rest surviving merely through quotations by other ancient authors or from occasionally papyrus scraps unearthed in Egypt. Even in fragmentary form however these precious fragments reveal the same complexity of thought and language that are found in Pindar’s victory odes. The great scholastic master himself, Dionysius of Halicarnassus, singled out Pindar’s work as an outstanding example of austere style (αὐστηρὰ ἁρμονία).

  Almost all the victory odes are celebrations of triumphs gained by competitors in Panhellenic festivals such as the Olympian Games. The establishment of these athletic and musical festivals was among the greatest achievements of the Greek aristocracies. Even in the 5th century, when there was an increased tendency towards professionalism, the games were predominantly aristocratic assemblies, reflecting the expense and leisure needed to attend such events, whether as a competitor or spectator. Pindar’s odes seek to portray the prestige and aristocratic grandeur of the moment of victory achieved by each victor.

  The victory odes are grouped into four books named after the Olympian, Pythian, Isthmian, and Nemean Games – the four major festivals held respectively at Olympia, Delphi, Corinth and Nemea. This order reflects the fact that most of the odes were composed in honour of boys, youths and men that had recently enjoyed victories in athletic, as well as musical, contests in those festivals. In the original manuscripts, the four books of odes were arranged in the order of importance assigned to the festivals, with the Nemean festival, considered least important, coming last. Victory odes that lacked a Panhellenic subject were then added to the end of the book of Nemean odes.

  The style of Pindar’s poetry is particularly distinctive, even when the peculiarities of the genre are set aside. The odes typically feature a grand and engaging opening, often with a famous mythological setting. These openings frequently employ an architectural metaphor or a resounding invocation to a place or goddess. Pindar is celebrated for his use of decorative and ornate language, with florid compound adjectives. Sentences are often compressed to the point of obscurity, unusual words and periphrases give the language an esoteric quality, whilst transitions in meaning often seem erratic. The images used by the poet seem to burst out of the stanzas and the style can be misleading due to the number of layers in the storytelling, as Pindar often digresses from the main narrative.

  The odes typically begin with an invocation to a god or the Muses, followed by praise of the victor and his family, ancestors and home town. Next follows a narrated myth, usually occupying the central and longest section of the poem, exemplifying a moral, connecting the victor with the world of gods and heroes. The ode usually culminates with more eulogies, for example of trainers (if the victor is a boy), and of relatives that have won past events, as well as with prayers or expressions of hope for future success. Surprisingly, the event where the victory was gained is never described in detail, but there is often some mention of the hard work required to bring about the victory.

  The festival at Olympia was held once every four years in honour of Zeus. The prize was a wreath of wild olive, though when the victor returned to their home town they would receive their true reward from their fellow townsmen and women — the greatest gifts that fame and pride can win for victors that have won great renown for their city. The festival regarded as being second in prestige was the Pythian games, taking place every four years at the sanctuary of Apollo at Delphi, with the prize being a wreath of bay. The Nemean games were held once every two years in honour of Zeus, rewarding the prize of a wreath of wild parsley. Named after the Isthmus of Corinth where they were held, the Isthmian games were also celebrated every two years, in honour of Poseidon, with a prize of a wreath of wild parsley or pine.

  Pindar — Roman copy of Greek 5th century BC bust

  Hieron I, the tyrant of Syracuse in Sicily from 478 to 467 BC, was one of Pindar’s grandest patrons and the subject of some of his most famous victory odes, including the first Olympian Ode, which celebrates Hieron’s greatest athletic achievement, winning a chariot race at Olympia.

  An ancient vase displaying a chariot race at Olympia

  Ancient vase depicting athletes in a foot race, c. 530 BC.

  The Farnese Diadumenos statue, a Roman copy of a Greek original, depicting an athlete tying a victory ribbon round his head

  CONTENTS

  OLYMPIAN ODES.

  I. FOR HIERON OF SYRACUSE, WINNER IN THE HORSE-RACE.

  II. FOR THERON OF AKRAGAS, WINNER IN THE CHARIOT-RACE.

  III. FOR THERON
OF AKRAGAS, WINNER IN THE CHARIOT-RACE.

  IV. FOR PSAUMIS OF KAMARINA, WINNER IN THE MULE-CHARIOT-RACE.

  V. FOR PSAUMIS OF KAMARINA, WINNER IN THE MULE-CHARIOT-RACE.

  VI. FOR AGESIAS OF SYRACUSE, WINNER IN THE MULE-CHARIOT-RACE.

  VII. FOR DIAGORAS OF RHODES, WINNER IN THE BOXING-MATCH.

  VIII. FOR ALKIMEDON OF AIGINA, WINNER IN THE WRESTLING-MATCH OF BOYS.

  IX. FOR EPHARMOSTOS OF OPOUS, WINNER IN THE WRESTLING-MATCH.

  X. FOR AGESIDAMOS OF EPIZEPHYRIAN LOKRIS, WINNER IN THE BOYS’ BOXING-MATCH.

  XI. FOR AGESIDAMOS OF EPIZEPHYRIAN LOKRIS, WINNER IN THE BOYS’ BOXING-MATCH.

  XII. FOR ERGOTELES OF HIMERA, WINNER IN THE LONG FOOT-RACE.

  XIII. FOR XENOPHON OF CORINTH, WINNER IN THE STADION RACE AND IN THE PENTATHLON.

  XIV. FOR ASOPICHOS OF ORCHOMENOS, WINNER IN THE BOYS’ SHORT FOOT-RACE.

  THE PYTHIAN ODES.

  I. FOR HIERON OF AITNA, WINNER IN THE CHARIOT-RACE.

  II. FOR HIERON OF SYRACUSE, WINNER IN THE CHARIOT-RACE.

  III. FOR HIERON OF SYRACUSE, WINNER IN THE HORSE-RACE.

  IV. FOR ARKESILAS OF KYRENE, WINNER IN THE CHARIOT-RACE.

  V. FOR ARKESILAS OF KYRENE, WINNER IN THE CHARIOT-RACE.

  VI. FOR XENOKRATES OF AKRAGAS, WINNER IN THE CHARIOT-RACE.

  VII. FOR MEGAKLES OF ATHENS, WINNER IN THE FOUR-HORSE CHARIOT-RACE.

  VIII. FOR ARISTOMENES OF AIGINA, WINNER IN THE WRESTLING-MATCH.

  IX. FOR TELESIKRATES OF KYRENE, WINNER OF THE FOOT-RACE IN FULL ARMOUR.

  X. FOR HIPPOKLEAS OF THESSALY, WINNER IN THE TWO-STADION FOOT-RACE OF BOYS.

  XI. FOR THRASYDAIOS OF THEBES, WINNER IN THE BOYS’ SHORT FOOT-RACE.

  XII. FOR MIDAS OF AKRAGAS, WINNER IN THE FLUTE-PLAYING MATCH.

  THE NEMEAN ODES.

  I. FOR CHROMIOS OF AITNA, WINNER IN THE CHARIOT-RACE.

  II. FOR TIMODEMOS OF ATHENS, WINNER IN THE PANKRATION.

  III. FOR ARISTOKLEIDES OF AIGINA, WINNER IN THE PANKRATION.

  IV. FOR TIMASARCHOS OF AIGINA, WINNER IN THE BOYS’ WRESTLING-MATCH.

  V. FOR PYTHEAS OF AIGINA, WINNER IN THE BOYS’ PANKRATION.

  VI. FOR ALKIMIDAS OF AIGINA, WINNER IN THE BOYS’ WRESTLING-MATCH.

  VII. FOR SOGENES OF AIGINA, WINNER IN THE BOYS’ PENTATHLON.

  VIII. FOR DEINIS OF AIGINA, WINNER IN THE SHORT FOOT-RACE.

  IX. FOR CHROMIOS OF AITNA, WINNER IN THE CHARIOT-RACE.

  X. FOR THEAIOS OF ARGOS, WINNER IN THE WRESTLING-MATCH.

  XI. FOR ARISTAGORAS OF TENEDOS, ON HIS ELECTION TO THE PRESIDENCY OF THE SENATE.

  THE ISTHMIAN ODES.

  I. FOR HERODOTOS OF THEBES. WINNER IN THE CHARIOT-RACE.

  II. FOR XENOKRATES OF AKRAGAS, WINNER IN THE CHARIOT-RACE.

  III. FOR MELISSOS OF THEBES, WINNER IN THE PANKRATION.

  IV. FOR PHYLAKIDAS OF AIGINA, WINNER IN THE PANKRATION.

  V. FOR PHYLAKIDAS OF AIGINA, WINNER IN THE PANKRATION.

  VI. FOR STREPSIADES OF THEBES, WINNER IN THE PANKRATION.

  VII. FOR KLEANDROS OF AIGINA, WINNER IN THE PANKRATION.

  The arched entrance into the Olympic stadium

  Gymnasion and Palaestra in the archaeological site of Olympia

  The sanctuary of Apollo at Delphi and the setting of the Pythian games

  The stadion of Nemea

  The setting of the Isthmian Games at Corinth

  OLYMPIAN ODES.

  I. FOR HIERON OF SYRACUSE, WINNER IN THE HORSE-RACE.

  This ode seems to owe its position at the head of Pindar’s extant works to Aristophanes the grammarian, who placed it there on account of its being specially occupied with the glorification of the Olympic games in comparison with others, and with the story of Pelops, who was their founder.

  Hieron won this race B.C. 472, while at the height of his power at Syracuse. Probably the ode was sung at Syracuse, perhaps, as has been suggested, at a banquet.

  * * * * *

  Best is Water of all, and Gold as a flaming fire in the night shineth eminent amid lordly wealth; but if of prizes in the games thou art fain, O my soul, to tell, then, as for no bright star more quickening than the sun must thou search in the void firmament by day, so neither shall we find any games greater than the Olympic whereof to utter our voice: for hence cometh the glorious hymn and entereth into the minds of the skilled in song, so that they celebrate the son1 of Kronos, when to the rich and happy hearth of Hieron they are come; for he wieldeth the sceptre of justice in Sicily of many flocks, culling the choice fruits of all kinds of excellence: and with the flower of music is he made splendid, even such strains as we sing blithely at the table of a friend.

  Take from the peg the Dorian lute, if in any wise the glory of Pherenikos2 at Pisa hath swayed thy soul unto glad thoughts, when by the banks of Alpheos he ran, and gave his body ungoaded in the course, and brought victory to his master, the Syracusans’ king, who delighteth in horses.

  Bright is his fame in Lydian Pelops’ colony3, inhabited of a goodly race, whose founder mighty earth-enfolding Poseidon loved, what time from the vessel of purifying4 Klotho took him with the bright ivory furnishment of his shoulder.

  Verily many things are wondrous, and haply tales decked out with cunning fables beyond the truth make false men’s speech concerning them. For Charis5, who maketh all sweet things for mortal men, by lending honour unto such maketh oft the unbelievable thing to be believed; but the days that follow after are the wisest witnesses.

  Meet is it for a man that concerning gods he speak honourably; for the reproach is less. Of thee, son of Tantalos, I will speak contrariwise to them who have gone before me, and I will tell how when thy father had bidden thee to that most seemly feast at his beloved Sipylos, repaying to the gods their banquet, then did he of the Bright Trident6, his heart vanquished by love, snatch thee and bear thee behind his golden steeds to the house of august Zeus in the highest, whither again on a like errand came Ganymede in the after time.

  But when thou hadst vanished, and the men who sought thee long brought thee not to thy mother, some one of the envious neighbours said secretly that over water heated to boiling they had hewn asunder with a knife thy limbs, and at the tables had shared among them and eaten sodden fragments of thy flesh. But to me it is impossible to call one of the blessed gods cannibal; I keep aloof; in telling ill tales is often little gain.

  Now if any man ever had honour of the guardians of Olympus, Tantalos was that man; but his high fortune he could not digest, and by excess thereof won him an overwhelming woe, in that the Father hath hung above him a mighty stone that he would fain ward from his head, and therewithal he is fallen from joy.

  This hopeless life of endless misery he endureth with other three7, for that he stole from the immortals and gave to his fellows at a feast the nectar and ambrosia, whereby the gods had made him incorruptible. But if a man thinketh that in doing aught he shall be hidden from God, he erreth.

  Therefore also the immortals sent back again his son to be once more counted with the short-lived race of men. And he when toward the bloom of his sweet youth the down began to shade his darkening cheek, took counsel with himself speedily to take to him for his wife the noble Hippodameia from her Pisan father’s hand.

  And he came and stood upon the margin of the hoary sea, alone in the darkness of the night, and called aloud on the deep-voiced Wielder of the Trident; and he appeared unto him nigh at his foot.

  Then he said unto him: ‘Lo now, O Poseidon, if the kind gifts of the Cyprian goddess are anywise pleasant in thine eyes, restrain Oinomaos’ bronze spear, and send me unto Elis upon a chariot exceeding swift, and give the victory to my hands. Thirteen lovers already hath Oinomaos slain, and still delayeth to give his daughter in marriage. Now a great peril alloweth not of a coward: and forasmuch as men must die, wherefore should one sit vainly in the dark through a dull and nameless age, and without lot in noble deeds? Not so, but I will dare this strife: do thou give the issue I desire.’


  Thus spake he, nor were his words in vain: for the god made him a glorious gift of a golden car and winged untiring steeds: so he overcame Oinomaos and won the maiden for his bride.

  And he begat six sons, chieftains, whose thoughts were ever of brave deeds: and now hath he part in honour of blood-offerings in his grave beside Alpheos’ stream, and hath a frequented tomb, whereto many strangers resort: and from afar off he beholdeth the glory of the Olympian games in the courses called of Pelops, where is striving of swift feet and of strong bodies brave to labour; but he that overcometh hath for the sake of those games a sweet tranquillity throughout his life for evermore.

  Now the good that cometh of to-day is ever sovereign unto every man. My part it is to crown Hieron with an equestrian strain in Aeolian mood: and sure am I that no host among men that now are shall I ever glorify in sounding labyrinths of song more learned in the learning of honour and withal with more might to work thereto. A god hath guard over thy hopes, O Hieron, and taketh care for them with a peculiar care: and if he fail thee not, I trust that I shall again proclaim in song a sweeter glory yet, and find thereto in words a ready way, when to the fair-shining hill of Kronos I am come. Her strongest-wingëd dart my Muse hath yet in store.

  Of many kinds is the greatness of men; but the highest is to be achieved by kings. Look not thou for more than this. May it be thine to walk loftily all thy life, and mine to be the friend of winners in the games, winning honour for my art among Hellenes everywhere.

  1: The Olympic games were sacred to Zeus.

  2: The horse that won this race for Hieron.

  3: Peloponnesos.