Luck and Gossip’s Bite

Pindar, Pythian 2. 49-57

“The god authorizes every outcome on his own expectations–
the god who races the winged eagle,
Outdoes the sea-dwelling dolphin and
Brings the arrogant mortals to their knees,
And then grants unaging glory to other people.

I need to escape the gnawing bite of bad gossip–
I have watched from afar while Archilochus,
That shit-talker, is pressed to helplessness
Thanks to hateful words.
Getting rich with luck
Is the best allotment of wisdom.”

θεὸς ἅπαν ἐπὶ ἐλπίδεσσι τέκμαρ ἀνύεται,
θεός, ὃ καὶ πτερόεντ᾿ αἰετὸν κίχε, καὶ θαλασ-
σαῖον παραμείβεται
δελφῖνα, καὶ ὑψιφρόνων τιν᾿ ἔκαμψε βροτῶν,
ἑτέροισι δὲ κῦδος ἀγήραον παρέδωκ᾿. ἐμὲ δὲ χρεών
φεύγειν δάκος ἀδινὸν κακαγοριᾶν·
εἶδον γὰρ ἑκὰς ἐὼν τὰ πόλλ᾿ ἐν ἀμαχανίᾳ
ψογερὸν Ἀρχίλοχον βαρυλόγοις ἔχθεσιν
πιαινόμενον· τὸ πλουτεῖν δὲ σὺν τύχᾳ
πότμου σοφίας ἄριστον.

Picture of a fragment of a Roman wall painting. Two women incline their heads toward each other
Roman wall painting of women gossiping. Getty Villa 96.AG.302

Everyone’s Heard of Peleus

Pindar, Isthmian 6.23-30

“There’s no city so foreign
Nor so tongue-tied that
It has not heard the fame of the Hero Peleus,
Blessed son-in-law to the gods,
Nor Ajax, the son of Telamon,
And his father–Alkmene’s son took him in ships
To the bronze-delighting war,
When he went as a willing ally
From Tiryns to Troy, that labor for heroes,
Because of Laomedon’s duplicity.”

οὐδ᾿ ἔστιν οὕτω βάρβαρος
οὔτε παλίγγλωσσος πόλις,
ἅτις οὐ Πηλέος ἀίει κλέος ἥ-
ρωος, εὐδαίμονος γαμβροῦ θεῶν,
οὐδ᾿ ἅτις Αἴαντος Τελαμωνιάδα
καὶ πατρός· τὸν χαλκοχάρμαν ἐς πόλεμον
ἆγε σὺν Τιρυνθίοισιν πρόφρονα σύμμαχον ἐς
Τροΐαν, ἥρωσι μόχθον,
Λαομεδοντιᾶν ὑπὲρ ἀμπλακιᾶν
ἐν ναυσὶν Ἀλκμήνας τέκος.

Oil painting with banquet scene in profile. Large number of semi-clothed divine people in post-renaissance romanticized style. All the figures are looking right at the appearance of a golden apple
Painting of the Feast of Peleus by Edward Burne-Jones, ca. 1872/1881.

Two Sources for Happiness

Pindar, Isthmian 5.11-16

“Valor comes to people from the gods.
Indeed, only two things nurture a lifetime’s sweetness
With healthy happiness.
When someone succeeds and hears a good report too.

Don’t try to become Zeus.
You have everything,
If a share of good comes to you.
Mortal things are proper for mortal beings.”

κρίνεται δ᾿ ἀλκὰ διὰ δαίμονας ἀνδρῶν.
δύο δέ τοι ζωᾶς ἄωτον μοῦνα ποιμαί-
νοντι τὸν ἄλπνιστον εὐανθεῖ σὺν ὄλβῳ,
εἴ τις εὖ πάσχων λόγον ἐσλὸν ἀκούῃ.
μὴ μάτευε Ζεὺς γενέσθαι· πάντ᾿ ἔχεις,
εἴ σε τούτων μοῖρ᾿ ἐφίκοιτο καλῶν.
θαντὰ θνατοῖσι πρέπει.

Black figure vase: Herakles in the center with lion skin and club. Hermes (on the left) and Athena (on the right) welcoming Heracles to Olympus.
Black-figure oenochoe, ca. 520 BC.

The Lifespan of Happiness

Pindar, Isthmian 3

“If some person has been lucky
Either with glorifying contests or
By dint of wealth and still subdues wretched excess in their thoughts,
Then they are worthy to receive their fellow citizens’ praise.

Zeus, great kinds of excellence come to mortals from you!
And happiness lives longer when people revere the gods.
But it does not bloom for nearly as long
When it is mixed with crooked thoughts.

It’s my job to sing of a noble person
In exchange for well-famed deeds–
But it is also my task to praise them with kind verses,
While they revel through the street.

Melissos has the good luck of twin prizes
To turn his heart to sweet joy–
He received crowns in the Isthmian groves
And in the deep valley of the barrel-chested lion
He had Thebes announced as eminent,
By mastering the chariot race.

He brings no shame to his ancestors,
Surely, you must have heart of the ancient fame
If Kleonymos for his chariots,
And his cousins on his mothers side among the Labdakids,
They applied their wealth to the work of the four-horsed races.

Life turns one way and another as the days roll by–
But the gods’ children stay unharmed.”

Εἴ τις ἀνδρῶν εὐτυχήσαις
ἢ σὺν εὐδόξοις ἀέθλοις
ἢ σθένει πλούτου κατέχει φρασὶν αἰανῆ κόρον,
ἄξιος εὐλογίαις ἀστῶν μεμίχθαι.
Ζεῦ, μεγάλαι δ᾿ ἀρεταὶ θνατοῖς ἕπονται
ἐκ σέθεν· ζώει δὲ μάσσων
ὄλβος ὀπιζομένων, πλαγίαις δὲ φρένεσσιν
οὐχ ὁμῶς πάντα χρόνον θάλλων ὁμιλεῖ.
εὐκλέων δ᾿ ἔργων ἄποινα
χρὴ μὲν ὑμνῆσαι τὸν ἐσλόν,
χρὴ δὲ κωμάζοντ᾿ ἀγαναῖς χαρίτεσσιν βαστάσαι.
ἔστι δὲ καὶ διδύμων ἀέθλων Μελίσσῳ
μοῖρα πρὸς εὐφροσύναν τρέψαι γλυκεῖαν
ἦτορ, ἐν βάσσαισιν Ἰσθμοῦ
δεξαμένῳ στεφάνους, τὰ δὲ κοίλᾳ λέοντος
ἐν βαθυστέρνου νάπᾳ κάρυξε Θήβαν

ἱπποδρομίᾳ κρατέων· ἀνδρῶν δ᾿ ἀρετάν
σύμφυτον οὐ κατελέγχει.
ἴστε μὰν Κλεωνύμου
δόξαν παλαιὰν ἅρμασιν·
καὶ ματρόθε Λαβδακίδαισιν σύννομοι
πλούτου διέστειχον τετραοριᾶν πόνοις.
αἰὼν δὲ κυλινδομέναις ἁμέραις ἄλλ᾿ ἄλλοτ᾿ ἐξ
ἄλλαξεν. ἄτρωτοί γε μὰν παῖδες θεῶν.

Reconstruction from clay fragments of a toy or model charioteer with a horse. Rough figures.
Chariot and Charioteer. Reconstructed from fragments. Offerings from funeral pyre. 725 BC.

“Dying is the Sweetest Thing”: The Gods Love Those Who Give The Most

This poem moves from praising the victory of Hiero’s horses at Olympos to the tale of Croesus’ reaction to the sacking of Sardis. In this version of the tale, he prepares to sacrifice his family on a pyre. The story is, well, a bit horrifying.

Bacchylides, Victory Odes 3.1-60

“Kleio, sweetness-giver, sing of Demeter
Who rules rich-grained Sicily, and also
Her purple-crowned daughter, and the swift
Olympic-racing horses of Hiero.

For they rushed with overwhelming Victory
And Glory alongside the broad-eddying
Alpheos where they made the blessed son of Deinomenes
A master of the crowns.

And the people shouted out:
“Oh, thrice-blessed man
Who obtained from Zeus
The widest-ruling power of all the Greeks
And knows not to hide his towered health
With black-cloaked shadow.

The temples overflow with sacrificial feasts
And the streets overflow with hospitality.
And god shines too in glancing light
From the tall-wrought tripods which were set up

In front of the temple where the Delphians
Take care of the greatest grove of Apollo
Alongside the waters of Kastalia—let someone
Glory in god, in god—this is the best of the blessings.

For once there was a time when
Even though the Sardians were sacked by the Persian army
Because Zeus had brought to an end
The judgment which was fated,
The leader of the horse-taming
Lydians, Kroisos, golden-sworded

Apollo protected. For Kroisos,
When he had come to that lamentable, unhoped for day
Was not about to wait for slavery any more. But he
Had a pyre built up in front of his bronze-walled yard.

There he climbed up with his dear wife
And his well-tressed daughters who were
Mourning uncontrollably. Then he raised his hands
Up to the high sky above

And he shouted: “Powerful god
Where is divine gratitude now?
Where is Leto’s son the lord?
Alyattes’ halls are falling down.
[what of the] myriad [gifts I gave you?]
[What trust can mortals give to gods?]

[Look now, the enemy has sacked my] city,
And the gold-eddying Paktôlos runs red
With blood and women are shamefully dragged away
From the well-built halls.

What was hated before is now dear. Dying is the sweetest thing.”
So much he said, and he ordered his light-stepping attendant
To Set fire to the wooden home. Then the girls were crying out
And they were throwing their hands to their

Mother. For mortals most hateful death
Is the one we see coming.
But as the shining strength
Of the terrible fire was leaping forth
Zeus sent over a dark-covering cloud
To extinguish the yellow flame.

Nothing is unbelievable when divine care
Makes it. Then Delian-born Apollo
Carried the old man to the Hyperboreans
And settled him there with his thin-ankled daughters

Because of his piety, because he sent to sacred Pytho
Gifts greatest of all the mortals.

᾿Αριστο[κ]άρπου Σικελίας κρέουσαν
Δ[ά]ματρα ἰοστέφανόν τε Κούραν
ὕμνει, γλυκύδωρε Κλεοῖ, θοάς τ’ ᾿Ο-
[λυμ]πιοδρόμους ῾Ιέρωνος ἵππ[ο]υς.

[Σεύον]το γὰρ σὺν ὑπερόχῳ τε Νίκᾳ
[σὺν ᾿Αγ]λαΐᾳ τε παρ’ εὐρυδίναν
[᾿Αλφεόν, τόθι] Δεινομένεος ἔθηκαν
ὄλβιον τ[έκος στεφάνω]ν κυρῆσαι·

θρόησε δὲ λ[αὸς ]
[] ἆ τρισευδαίμ[ων ἀνὴρ]
ὃς παρὰ Ζηνὸς λαχὼν πλείστ-
αρχον ῾Ελλάνων γέρας
οἶδε πυργωθέντα πλοῦτον μὴ μελαμ-
φαρέϊ κρύπτειν σκότῳ.

Βρύει μὲν ἱερὰ βουθύτοις ἑορταῖς,
βρύουσι φιλοξενίας ἀγυιαί·
λάμπει δ’ ὑπὸ μαρμαρυγαῖς ὁ χρυσός,
ὑψιδαιδάλτων τριπόδων σταθέντων

πάροιθε ναοῦ, τόθι μέγι[στ]ον ἄλσος
Φοίβου παρὰ Κασταλίας [ῥ]εέθροις
Δελφοὶ διέπουσι. Θεόν, θ[εό]ν τις
ἀγλαϊζέθὠ γὰρ ἄριστος [ὄ]λβων·

ἐπεί ποτε καὶ δαμασίπ-
[π]ου Λυδίας ἀρχαγέταν,
εὖτε τὰν πεπ[ρωμέναν] Ζη-
νὸς τελέ[σσαντος κρί]σιν
Σάρδιες Περσᾶ[ν ἁλίσκοντο στρ]ατῷ,
Κροῖσον ὁ χρυσά[ορος]

φύλαξ’ ᾿Απόλλων. [῾Ο δ’ ἐς] ἄελπτον ἆμαρ
μ[ο]λὼν πολυδ[άκρυο]ν οὐκ ἔμελλε
μίμνειν ἔτι δ[ουλοσύ]ναν, πυρὰν δὲ
χαλκ[ο]τειχέος π[ροπάροι]θεν αὐ[λᾶς]
ναήσατ’, ἔνθα σὺ[ν ἀλόχῳ] τε κεδ[νᾷ]
σὺν εὐπλοκάμοι[ς τ’] ἐπέβαιν’ ἄλα[στον]
[θ]υ[γ]ατράσι δυρομέναις· χέρας δ’ [ἐς]
[αἰ]πὺν αἰθέρα σ[φ]ετέρας ἀείρας

[γέ]γ[ω]νεν· «῾Υπέρ[βι]ε δαῖ-
μον, [πο]ῦ θεῶν ἐστι[ν] χάρις;
[πο]ῦ δὲ Λατοίδ[ας] ἄναξ; [ἔρ-]
[ρουσ]ιν ᾿Αλυά[τ]τα δόμοι

[] μυρίων
[]ν.
[]ν ἄστυ,
[ἐρεύθεται αἵματι χρυσο]δίνας
Πακτωλός, ἀ[ε]ικελίως γυνα[ῖ]κες
ἐξ ἐϋκτίτων μεγάρων ἄγονται·

τὰ πρόσθεν [ἐχ]θρὰ φίλα· θανεῖν γλύκιστον.»
Τόσ’ εἶπε, καὶ ἁβ[ρο]βάταν κ[έλε]υσεν
ἅπτειν ξύλινον δόμον. ῎Εκ[λα]γον δὲ
παρθένοι, φίλας τ’ ἀνὰ ματρὶ χεῖρας

ἔβαλλον· ὁ γὰρ προφανὴς
θνατοῖσιν ἔχθιστος φόνων·
ἀλλ’ ἐπεὶ δεινο[ῦ π]υρὸς λαμ-
πρὸν διάϊ[σσεν μέ]νος,
Ζεὺς ἐπιστάσας [μελαγκευ]θὲς νέφος
σβέννυεν ξανθὰ[ν φλόγα.]

῎Απιστον οὐδὲν ὅ τι θ[εῶν μέ]ριμνα
τεύχει· τότε Δαλογενὴ[ς ᾿Από]λλων
φέρων ἐς ῾Υπερβορέο[υς γ]έροντα
σὺν τανισφύροις κατ[έν]ασσε κούραις

δι’ εὐσέβειαν, ὅτι μέ[γιστα] θνατῶν
ἐς ἀγαθέαν <ἀν>έπεμψε Π[υθ]ώ.

 

Oil painting of decadently dressed early modern king pointing out his wealth to a Greek visitor
Nikolaus Knüpfer, “Solon Before Croesus” c 1650

A Measure for Each Thing

Pindar, Olympian 13.43-54

“I am fighting with many others over
The sheer number of noble things,
How your family has excelled at Delphi and
In the fields of the lion. I just couldn’t imagine how
To speak a true number of all the sand in the sea.

Still, a measure exists for each thing-
And it is best to recognize what is timely.
Because I as a private person went ahead on a common mission,
Praising aloud the wit of their forebears
And their war in heroic endeavors,
I will not lie about Corinth, mentioning Sisyphus
As clever as a god, or Medea
Who set up her own marriage,
Against her father’s wishes,
To be the savior of the Argo and its men.”

ὅσσα τ᾿ ἐν Δελφοῖσιν ἀριστεύσατε
ἠδὲ χόρτοις ἐν λέοντος, δηρίομαι πολέσιν
περὶ πλήθει καλῶν· ὡς μὰν σαφές
οὐκ ἂν εἰδείην λέγειν
ποντιᾶν ψάφων ἀριθμόν.
ἕπεται δ᾿ ἐν ἑκάστῳ
μέτρον· νοῆσαι δὲ καιρὸς ἄριστος.
ἐγὼ δὲ ἴδιος ἐν κοινῷ σταλείς
μῆτίν τε γαρύων παλαιγόνων
πόλεμόν τ᾿ ἐν ἡρωίαις ἀρεταῖσιν
οὐ ψεύσομ᾿ ἀμφὶ Κορίνθῳ, Σίσυφον
μὲν πυκνότατον παλάμαις ὡς θεόν,
καὶ τὰν πατρὸς ἀντία Μή-
δειαν θεμέναν γάμον αὐτᾷ,
ναῒ σώτειραν Ἀργοῖ καὶ προπόλοις

An ancient wall painting of Medea. She stands on the right, one arm folded over body. To the elft two young childen play. A man lurks behind them in a doorway
Museo archeologico nazionale di Napoli, (inv. nr. 8977). Da Pompei, Casa dei Dioscuri. Medea medita di uccidere i suoi figli intenti a giocare con gli astragali, guardati con mestizia dal pedagogo.

In Exchange for Pain, Sometimes Good

Pindar, Olympian 12.1-12a

“I am begging you, child of Zeus-who-Frees,
Savior Chance, safeguard mighty Himera.
For you direct swift ships on the sea,
And fast wars on land,
And  counsel-bringing assemblies too.
Human hopes rise up and then back down
As they turn, traversing pointless lies.

No mortal has yet discovered a trustworthy sign,
From the gods about deeds still to come.
Plans for the future remain in the dark.

Humans experience many things against their expectations–
Sometimes, it’s the opposite of pleasure, but in others
Those who have faced great storms receive profound good for their pain
In a short time.”

Λίσσομαι, παῖ Ζηνὸς Ἐλευθερίου,
Ἱμέραν εὐρυσθενέ᾿ ἀμφιπόλει, σώτειρα Τύχα.
τὶν γὰρ ἐν πόντῳ κυβερνῶνται θοαί
νᾶες, ἐν χέρσῳ τε λαιψηροὶ πόλεμοι
κἀγοραὶ βουλαφόροι, αἵ γε μὲν ἀνδρῶν
πόλλ᾿ ἄνω, τὰ δ᾿ αὖ κάτω
ψεύδη μεταμώνια τάμνοισαι κυλίνδοντ᾿ ἐλπίδες·
σύμβολον δ᾿ οὔ πώ τις ἐπιχθονίων
πιστὸν ἀμφὶ πράξιος ἐσσομένας εὗρεν θεόθεν,
τῶν δὲ μελλόντων τετύφλωνται φραδαί·
πολλὰ δ᾿ ἀνθρώποις παρὰ γνώμαν ἔπεσεν,
ἔμπαλιν μὲν τέφψιος, οἱ δ᾿ ἀνιαραῖς
ἀντικύρσαντες ζάλαις
ἐσλὸν βαθὺ πήματος ἐν μικρῷ πεδάμειψαν χρόνῳ.

Seated Marble sculpture. Female figure in draped clothing looking right, hand on chin
Seated Muse or Nymph on Rock (Adaptation of Urania Type), Walters Art Museum

The Debt of Fault and Song

Pindar, Olympian 10.1-15

“Read me aloud the name of the Olympian victor,
The child of Arkhestratos, from the place where
It is entered in my thoughts since
He’s owed a sweet song and
It has been forgotten.
Muse, you and Truth, Zeus’ daughter,
Keep me from harming a friend with lies.

For the coming future approached from far away
And shamed me for my debt.
Yet interest paid can has the power to release us
From sharp critique.

Let him see now how, just as a wave
Washes over a pebble as it rolls through the sea,
So too do I pay back shared speech
As a dear favor.”

Τὸν Ὀλυμπιονίκαν ἀνάγνωτέ μοι
Ἀρχεστράτου παῖδα, πόθι φρενός
ἐμᾶς γέγραπται· γλυκὺ γὰρ αὐτῷ μέλος ὀφείλων
ἐπιλέλαθ᾿· ὦ Μοῖσ᾿, ἀλλὰ σὺ καὶ θυγάτηρ
Ἀλάθεια Διός, ὀρθᾷ χερί
ἐρύκετον ψευδέων
ἐνιπὰν ἀλιτόξενον.
ἕκαθεν γὰρ ἐπελθὼν ὁ μέλλων χρόνος
ἐμὸν καταίσχυνε βαθὺ χρέος.
ὅμως δὲ λῦσαι δυνατὸς ὀξεῖαν ἐπιμομφὰν
τόκος. ὁράτω νῦν ψᾶφον ἑλισσομέναν
ὁπᾷ κῦμα κατακλύσσει ῥέον,
ὁπᾷ τε κοινὸν λόγον
φίλαν τείσομεν ἐς χάριν.

Schol. Ad Pin. Ol. 10.15e

“He speaks allegorically comparing his own power to the flow of the sea. For, just as a wave washes over a stone whirled up, expelled on the shore, so in the same way, he claims, I wash away blame circulated like that stone.”
παραβάλλει δὲ ἀλληγορῶν τῷ τῆς θαλάσσης ῥεύματι τὴν ἑαυτοῦ δύναμιν. ὡς

γὰρ ψῆφον παρ’ αἰγιαλὸν κυλινδουμένην ἐκβρασσόμενον τὸ κῦμα κατακλύζει, τὸν αὐτὸν τρόπον, φησὶ, κἀγὼ τὴν ἐπικυλιομένην μέμψιν ἐκκλύσω ὡς ψῆφον.

“otherwise: now a stone hurling on. The hymn washes away criticism from people like a [the water washes away] the stone.”

ἄλλως· νῦν ψᾶφον ἑλισσομέναν: νῦν [ψᾶφον] τὴν παρὰ τῶν ἀνθρώπων μέμψιν κατακλύσει ὁ ὕμνος ὡς ψῆφον

“The wave” when [he mentions] the shared speech, which is the poem, we pay back in return…”

κῦμα, ὅταν τὸν κοινὸν λόγον, τουτέστι τὸ ποίημα, πρὸς χάριν ἀποτίσωμεν.

Oil painting of a wave, semi impressionistic style
The Wave by Gustave Courbet, c. 1869, oil on canvas, California Palace of the Legion of Honor

Don’t Gossip About the Gods!

Pindar, Olympian 9.21-42

“But when I set that dear city ablaze
With my burning songs,
Faster than a proud horse
Or a flying ship in every direction,
I will send my message–
If with some fate-allotted talent,
I tend the select garden of the Graces,
Because they are the ones who grant pleasure.

Men become good or wise by divine lot.
Is there any other way that Herakles
Could have swung the club in his hands
Against the trident when Poseidon faced him
Before Pylos and backed him down,

Or when Apollo pushed him back with
His silver bow, or could he have held Hades’ staff unmoved,
The one he uses to lead the bodies of those who die
Along a shallow passage?

Ah! Banish that tale from my mouth!
Mocking the gods is hateful wisdom–
Boasting at the wrong time sounds like insanity:
Don’t gossip about such things now,
But keep war and all battle away from the gods.”

ἐγὼ δέ τοι φίλαν πόλιν
μαλεραῖς ἐπιφλέγων ἀοιδαῖς,
καὶ ἀγάνορος ἵππου
θᾶσσον καὶ ναὸς ὑποπτέρου παντᾷ
ἀγγελίαν πέμψω ταύταν,
εἰ σύν τινι μοιριδίῳ παλάμᾳ
ἐξαίρετον Χαρίτων νέμομαι κᾶπον·
κεῖναι γὰρ ὤπασαν τὰ τέπρν᾿· ἀγαθοὶ
δὲ καὶ σοφοὶ κατὰ δαίμον᾿ ἄνδρες
ἐγένοντ᾿· ἐπεὶ ἀντίον
πῶς ἂν τριόδοντος Ἡ-
ρακλέης σκύταλον τίναξε χερσίν,
ἁνίκ᾿ ἀμφὶ Πύλον σταθεὶς ἤρειδε Ποσειδάν,
ἤρειδεν δέ νιν ἀργυρέῳ τόξῳ πολεμίζων
Φοῖβος, οὐδ᾿ Ἀίδας ἀκινήταν ἔχε ῥάβδον,
βρότεα σώμαθ᾿ ᾇ κατάγει κοίλαν πρὸς ἄγυιαν
θνᾳσκόντων; ἀπό μοι λόγον
τοῦτον, στόμα, ῥῖψον·
ἐπεὶ τό γε λοιδορῆσαι θεούς
ἐχθρὰ σοφία, καὶ τὸ καυχᾶσθαι παρὰ καιρόν
μανίαισιν ὑποκρέκει.
μὴ νῦν λαλάγει τὰ τοι-
αῦτ᾿· ἔα πόλεμον μάχαν τε πᾶσαν
χωρὶς ἀθανάτων·

Schol. Ad Pindar, Olympian 9. 50a

“And couldn’t have held Hades’ staff unmoved.” He used his staff just as a tool, applying no force, as with a trident or sword or spear, but he relied on its power to bewitch and ensnare the mind. For this reason people say that he also guides spirits downward. Hades was able to do nothing with the staff against Herakles thanks to its power being blunted by Zeus.

And this [goes with] the common saying, that men become good through god, ‘[since?] not even Hades could hold his staff while fighting Herakles feebly and without moving, with the very same staff he makes the bodies of men weak in the same way and leads them down into the hollow place then they’re dead.”

οὐδ’ ᾿Αίδας ἀκινήταν ἔχε ῥάβδον: τῇ ῥάβδῳ κέχρηται καθάπερ ὅπλῳ τινὶ, βίαν μὲν οὐδεμίαν παρεχομένῃ, καθάπερ ἢ τριόδους ἢ ξίφος ἢ δόρυ, ἀλλὰ δυνάμει συνεχρῆτο θελκτικῇ καὶ μαλακτικῇ τῆς ψυχῆς· ταύτῃ γοῦν φησι καὶ τὰς ψυχὰς αὐτὸν κατάγειν. ἐπὶ τοῦ ῾Ηρακλέους οὖν ὁ ῞Αιδης ἐργωδίᾳ τῆς ῥάβδου ταύτης οὐδὲν ἠδύνατο δρᾶσαι διὰ τὸ τὴν δύναμιν αὐτῆς ὑπὸ τοῦ Διὸς ἀμβλύνεσθαι. ἀπὸ κοινοῦ δὲ τὸ εἰ μὴ κατὰ δαίμονα ἄνδρες ἐγένοντο, οὐκ ἂν οὐδὲ ὁ ῞Αιδης ἀσθενῆ καὶ ἀκίνητον διαμαχόμενος ῾Ηρακλεῖ εἶχε τὴν ῥάβδον, ἐν ᾗ ῥάβδῳ τὰ τῶν CEQ ἀνδρῶν σώματα ἀσθενῆ ποιῶν οὕτως εἰς τὸν κοῖλον τόπον[τοῦ ῞Αιδου] κατάγει τῶν τελευτώντων.

Color photograph of a mall bronze tatue of middling quality. The figure has a raised club in his right hand and a lion skin in the lowered left.
Bronze Statue of Herakles, Italian, c. 2nd century BCE, MET

The Good Deeds of Fantasy

Pindar, Olympian 8.72-3

“A man who has done proper things,
Certainly forgets about Hades.”

Ἀίδα τοι λάθεται
ἄρμενα πράξαις ἀνήρ.

Schol. ad Pin. Ol. 8.72

“He certainly forgets about Hades.” For every man who has accomplished fitting things obtains forgetfulness of Hades by his own choice, and this in fact means death. For, I guess, this is naturally just the thought of those who are troubled: for this sort of thing is the fine action of a fantasy for those who do well.”

 ᾿Αίδα τοι λάθεται: πᾶς γὰρ ἀνὴρ ἁρμόδια πράξας τῇ ἑαυτοῦ προαιρέσει ῞Αιδου, τουτέστι τοῦ θανάτου, λήθην λαμβάνει· ἤ πού γε τῶν ἁπλῶς κατὰ φύσιν ὀχλούντων οἱονεὶ τὸ φρόνημα· τοιαύτη γὰρ ἡ τῆς φαντασίας εὐπραξία τοῖς εὖ πράττουσιν.

Somewhat impressionist Oil painting with a disintegrating figure on the left foreground turning back towards a doorway and garden images in the background the palate is mostly orange and brown

Witold Wojtkiewicz (1879–1909), “Fantasy”. Muzeum Narodowe w Krakowie; http://www.zbiory.mnk.pl ;MNK II-b-205;;fot. Pracownia Fotograficzna MNK