Humanitext Reader

Pindar · Isthmian Odes §2.1-2.48

Poetry for Money and Xenocrates' Victories and Virtue

Passage 2 of 8 · Greek

Summary

Pindar laments that the Muse, once singing freely of boyish love, has now become a hired laborer driven by money, but goes on to praise the chariot victories of Thrasybulus' father Xenocrates at the Isthmus, Krisa, and Athens, celebrating his legendary hospitality and urge for virtue, while sending these songs via Nikasippos with the command not to keep them silent.

§2.1οἱ μὲν πάλαι, ὦ Θρασύβουλε, φῶτες, οἳ χρυσαμπύκων §2.2ἐς δίφρον Μοισᾶν ἔβαινον κλυτᾷ φόρμιγγι συναντόμενοι, §2.3ῥίμφα παιδείους ἐτόξευον μελιγάρυας ὕμνους, §2.4ὅστις ἐὼν καλὸς εἶχεν Ἀφροδίτας §2.5εὐθρόνου μνάστειραν ἁδίσταν ὀπώραν.
The men of old, Thrasybulus, who mounted the chariot of the golden-snooded Muses, meeting them with the glorious lyre, swiftly shot their honey-voiced hymns of boyhood love, at whoever was beautiful and possessed the sweetest autumn, the reminder of lovely-throned Aphrodite.
§2.6ἁ Μοῖσα γὰρ οὐ φιλοκερδής πω τότʼ ἦν οὐδʼ ἐργάτις· §2.7οὐδʼ ἐπέρναντο γλυκεῖαι μελιφθόγγου ποτὶ Τερψιχόρας §2.8ἀργυρωθεῖσαι πρόσωπα μαλθακόφωνοι ἀοιδαί.
For the Muse was not yet fond of gain then, nor a hired laborer; nor were sweet, soft-voiced songs sold under honey-voiced Terpsichore, having their faces silvered over.
§2.9νῦν δʼ ἐφίητι τὸ τὠργείου φυλάξαι §2.10ῥῆμʼ ἀλαθείας ἐτᾶς ἄγχιστα βαῖνον, §2.11χρήματα, χρήματʼ ἀνήρ, ὃς φᾶ κτεάνων θʼ ἅμα λειφθεὶς καὶ φίλων.
But now she bids us keep the word of the Argive, which goes closest to actual truth: "Money, money is the man," which he said when stripped of possessions and friends alike.
§2.12ἐσσὶ γὰρ ὦν σοφός, οὐκ ἄγνωτʼ ἀείδω §2.13Ἰσθμίαν ἵπποισι νίκαν, §2.14τὰν Ξενοκράτει Ποσειδάων ὀπάσαις, §2.15Δωρίων αὐτῷ στεφάνωμα κόμᾳ §2.16πέμπεν ἀναδεῖσθαι σελίνων, §2.17εὐάρματον ἄνδρα γεραίρων, Ἀκραγαντίνων φάος.
For you are wise, so I sing of no unknown victory, the Isthmian victory with horses, which Poseidon granted to Xenocrates, and sent him a wreath of Dorian wild celery to bind upon his hair, honoring the man of the fine chariot, the light of the Agrigentines.
§2.18ἐν Κρίσᾳ δʼ εὐρυσθενὴς εἶδʼ Ἀπόλλων νιν πόρε τʼ ἀγλαΐαν §2.19καὶ τόθι· κλειναῖς δʼ Ἐρεχθειδᾶν χαρίτεσσιν ἀραρὼς §2.20ταῖς λιπαραῖς ἐν Ἀθάναις, οὐκ ἐμέμφθη §2.21ῥυσίδιφρον χεῖρα πλαξίπποιο φωτός, §2.22τὰν Νικόμαχος κατὰ καιρὸν νεῖμʼ ἁπάσαις ἁνίαις· §2.23ὅντε καὶ κάρυκες ὡρᾶν ἀνέγνον, σπονδοφόροι Κρονίδα §2.24Ζηνὸς Ἀλεῖοι, παθόντες πού τι φιλόξενον ἔργον· §2.25ἁδυπνόῳ τέ νιν ἀσπάζοντο φωνᾷ §2.26χρυσέας ἐν γούνασιν πίτνοντα Νίκας §2.27γαῖαν ἀνὰ σφετέραν, τὰν δὴ καλέοισιν Ὀλυμπίου Διὸς §2.28ἄλσος· ἵνʼ ἀθανάτοις Αἰνησιδάμου §2.29παῖδες ἐν τιμαῖς ἔμιχθεν.
And in Krisa wide-ruling Apollo looked upon him and granted him glory there too; and fitted with the glorious favors of the Erechtheids in shining Athens, he did not blame the chariot-saving hand of the horse-striking driver, which Nikomachos applied at the right moment to all the reins; whom also the heralds of the seasons recognized, the truce-bearing Eleans of Zeus, since they had experienced, no doubt, some hospitable deed from him; and they welcomed him with sweet-breathing voice as he fell upon the knees of golden Victory in their own land, which they call the grove of Olympian Zeus; where the sons of Ainesidamos were joined with immortal honors.
§2.30καὶ γὰρ οὐκ ἀγνῶτες ὑμῖν ἐντὶ δόμοι §2.31οὔτε κώμων, ὦ Θρασύβουλʼ, ἐρατῶν, §2.32οὔτε μελικόμπων ἀοιδᾶν.
For indeed, Thrasybulus, your halls are not strangers to lovely revelry, nor to honey-sounding songs.
§2.33οὐ γὰρ πάγος, οὐδὲ προσάντης ἁ κέλευθος γίνεται, §2.34εἴ τις εὐδόξων ἐς ἀνδρῶν ἄγοι τιμὰς Ἑλικωνιάδων.
For the path is neither steep nor uphill, if one should bring the honors of the Heliconian Muses to the homes of famous men.
§2.35μακρὰ δισκήσαις ἀκοντίσσαιμι τοσοῦθʼ, ὅσον ὀργὰν §2.36Ξεινοκράτης ὑπὲρ ἀνθρώπων γλυκεῖαν §2.37ἔσχεν.
If I were to throw the discus far, I would cast the javelin as far as Xenocrates had a sweet disposition beyond other men.
αἰδοῖος μὲν ἦν ἀστοῖς ὁμιλεῖν, §2.38ἱπποτροφίας τε νομίζων ἐν Πανελλάνων νόμῳ· §2.39καὶ θεῶν δαῖτας προσέπτυκτο πάσας· οὐδέ ποτε ξενίαν §2.40οὖρος ἐμπνεύσαις ὑπέστειλʼ ἱστίον ἀμφὶ τράπεζαν· §2.41ἀλλʼ ἐπέρα ποτὶ μὲν Φᾶσιν θερείαις, §2.42ἐν δὲ χειμῶνι πλέων Νείλου πρὸς ἀκτάς.
He was revered in his intercourse with citizens, and maintained horse-breeding according to the custom of the Panhellenes; and he embraced all the banquets of the gods; nor did any wind of hospitality ever make him furl his sail around his table; but he sailed to Phasis in summer, and in winter sailed to the shores of the Nile.
§2.43μή νυν, ὅτι φθονεραὶ θνατῶν φρένας ἀμφικρέμανται ἐλπίδες, §2.44μήτʼ ἀρετάν ποτε σιγάτω πατρῴαν, §2.45μηδὲ τούσδʼ ὕμνους· ἐπεί τοι §2.46οὐκ ἐλινύσοντας αὐτοὺς εἰργασάμαν.
Now, let him not, because envious hopes hang around the minds of mortals, ever keep silent his father's excellence, nor these hymns; since I did not fashion them to stand idle.
§2.47ταῦτα, Νικάσιππʼ, ἀπόνειμον, ὅταν §2.48ξεῖνον ἐμὸν ἠθαῖον ἔλθῃς.
Deliver these words, Nikasippos, when you come to my cherished guest-friend.

Notes

  1. 2.4ὅστις ἐὼν καλὸς εἶχεν — The relative pronoun ὅστις generalizes the antecedent, meaning 'whoever'. The participle ἐὼν indicates concession or condition ('being beautiful'), and is followed by the object ὀπώραν ('the autumn of life', metaphorically referring to 'the bloom of youth'). It explains how poets shot their love songs at beautiful youths.
  2. 2.11χρήματα, χρήματʼ ἀνήρ — A quotation of the famous Argive proverb with the copula (ἐστί) omitted, meaning 'Money, money is the man.' It functions as a noun phrase in apposition to ῥῆμα, followed by the relative clause ὃς φᾶ... explaining the context under which it was said.
  3. 2.20οὐκ ἐμέμφθη — An example of litotes. Literally 'he/it was not blamed,' meaning that the Athenian spectators or the city itself highly praised the skill of Nicomachus' hand which saved the chariot from disaster.
  4. 2.35μακρὰ δισκήσαις ἀκοντίσσαιμι — The combination of the optative ἀκοντίσσαιμι ('may I hurl') and the participle δισκήσαις ('having thrown the discus') uses athletic metaphors (discus and javelin throw) to express the power of Pindar's praise. It voices his poetic desire to fling his words as far as Xenocrates' sweet disposition surpassed other men.
  5. 2.44μήτʼ ἀρετάν ποτε σιγάτω — The subject of the third-person singular imperative σιγάτω ('let him not keep silent') is Thrasybulus (or a general third person). Despite the envious hopes (or apprehensions) hanging over mortal minds introduced in the preceding ὅτι clause, it is a strong injunction not to allow his father's excellence (ἀρετάν) or these hymns to go unsung.

Cite this passage

Pindar, Isthmian Odes §2.1-2.48. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:greekLit:tlg0033.tlg004.humanitext-grc2:2.1-2.48

Please note the AI-draft status of the translation and the date accessed.

Translation, notes and summary are AI-generated drafts, revised through reader feedback.