Killed Him Some Lions, When He Was Only Six

Pindar, Nemean 3.40-49

“Someone born to glory grows super strong,
But one who has only learned is a shady figure,
Inspired about different things at different times and
Never putting down a sure foot– someone who tries to taste
Countless accomplishments without thinking things through.

So, fiery Achilles when he was staying in the home of Philyra,
Even though he was a child, would play out great deeds.
He shook the short, iron-edged javelins in his hands like the winds
And designed murder for wild lions and he slaughtered boars.
He used to carry their bodies still breathing to Kronos’ son, the Centaur,
From when he was six years old and forever after.

συγγενεῖ δέ τις εὐδοξίᾳ μέγα βρίθει.
ὃς δὲ διδάκτ᾿ ἔχει, ψεφεννὸς ἀνὴρ
ἄλλοτ᾿ ἄλλα πνέων οὔ ποτ᾿ ἀτρεκεῖ
κατέβα ποδί, μυριᾶν δ᾿ ἀρετᾶν ἀτελεῖ νόῳ γεύεται.

ξανθὸς δ᾿ Ἀχιλεὺς τὰ μὲν μένων Φιλύρας ἐν δόμοις,
παῖς ἐὼν ἄθυρε μεγάλα ἔργα· χερσὶ θαμινά
βραχυσίδαρον ἄκοντα πάλλων ἴσα τ᾿ ἀνέμοις,
μάχᾳ λεόντεσσιν ἀγροτέροις ἔπρασσεν φόνον,
κάπρους τ᾿ ἔναιρε· σώματα δὲ παρὰ Κρονίδαν
Κένταυρον ἀσθμαίνοντα κόμιζεν,
ἑξέτης τὸ πρῶτον, ὅλον δ᾿ ἔπειτ᾿ ἂν χρόνον·

Schol. Ad Pin. Nem3. 71b

“the meaning of this: who ever achieves noble things from practice and learning is shadowed and not similarly brilliant, because they are not always focusing on the same things, but they are changing their ways easily because of the weakness of their preparation from one set of goals to others.”

ὁ δὲ νοῦς· ὅστις δὲ ἐξ ἐπιτηδεύσεως καὶ μαθήσεως ἔχει τὰ καλὰ, σκοτεινός ἐστι καὶ οὐχ ὁμοίως ἐκλάμπων, οὐκ ἀεὶ τὰ αὐτὰ φρονῶν ἀλλ’ εὐμαρῶς μεταβαλλόμενος διὰ τὸ σαθρὸν τῆς ἐπιτηδεύσεως ἀφ’ ἑτέρων εἰς ἕτερα

Photograph of a Roman Wall painting showing a centaur pointing out something to a young nude hero holding a lyre
Roman Wall painting, Chrorn instructing Achilles, National Archaeological Museum, Naples, Italy

Stitching Together the Songs

Pindar, Nemean 2.1-5

“Just as the Homeridae in fact,
Those singers who stitch songs together,
Begin with a prayer to Zeus
So too has this man welcomed the first of his victories
In the holy contests in the much-sung grove of Nemean Zeus.”

Ὅθεν περ καὶ Ὁμηρίδαι
ῥαπτῶν ἐπέων τὰ πόλλ᾿ ἀοιδοί
ἄρχονται, Διὸς ἐκ προοιμίου, καὶ ὅδ᾿ ἀνήρ
καταβολὰν ἱερῶν ἀγώ-
νων νικαφορίας δέδεκται πρῶτον Νεμεαίου
5ἐν πολυυμνήτῳ Διὸς ἄλσει.

Schol. Ad Pin. Nem. 2.1  var.

Just as the Homeridae”: They used to say in ancient times that the Homeridae were the descendants of Homer who used to sing his poetry in turns. But later on, the rhapsodes no longer attributed their lineage to Homer. But once the performers around Kynaithos became well-known—those ones who people claim composed many verses and inserted them into Homer’s poetry. Kynaithos’ was from Khios and he is said to have composed the Hymn to Apollo among those poems attributed to Homer. This Kynaithos was the first to sing the poems of Homer as a rhapsode among the Syracusians during the sixty-ninth Olympiad, as Hippostratus claims.

 ῞Οθεν περ καὶ ῾Ομηρίδαι: ῾Ομηρίδας ἔλεγον τὸ μὲν ἀρχαῖον τοὺς ἀπὸ τοῦ ῾Ομήρου γένους, οἳ καὶ τὴν ποίησιν αὐτοῦ ἐκ διαδοχῆς ᾖδον· μετὰ δὲ ταῦτα καὶ οἱ ῥαψῳδοὶ οὐκέτι τὸ γένος εἰς ῞Ομηρον ἀνάγοντες. ἐπιφανεῖς δὲ ἐγένοντοοἱ περὶ Κύναιθον, οὕς φασι πολλὰ τῶν ἐπῶν ποιήσαντας ἐμβαλεῖν εἰς τὴν ῾Ομήρου ποίησιν. ἦν δὲ ὁ Κύναιθος τὸ γένος Χῖος, ὃς καὶ τῶν ἐπιγραφομένων ῾Ομήρου ποιημάτων τὸν εἰς ᾿Απόλλωνα γεγραφὼς ὕμνον ἀνατέθεικεν αὐτῷ. οὗτος οὖν ὁ
Κύναιθος πρῶτος ἐν Συρακούσαις ἐραψῴδησε τὰ ῾Ομήρου ἔπη κατὰ τὴν ξθ′ ᾿Ολυμπιάδα, ὡς ῾Ιππόστρατός φησιν (FHG IV 433).

“In addition: The rhapsodes etymologize “rhapsodes” because they proceed through Homeric poetry with the rhabdos . Callimachus writes, “I am forever singing the story woven on a rhabdos as a received it…”

Other people claim that Homeric poetry was not brought together into one corpus, but that it was spread around and separated into pieces. When they would act as rhapsodes, they would make something like a series or a stitch as they brought it together into the same composition.

This is what Pindar means too. Some people claim that previously each of the competitors sang whatever part of the separated poem he wanted and that the prize for the victors was a lamb which is why the performers was called “lamb-singers” but that once each of the poems was introduced, the competitors would listen to one another’s parts and go through the whole poem, they were called rhapsodes. Dionysios the Argive claims these things. But Philokhoros says that they were called this from the collocation and stitching of song. Hesiod clearly writes: “Homer and I were then the first singers / who performed at Delos, stitching together song among the new hymns / for Phoibos Apollo, of the golden sword whom Leto bore”. Nikokles says that Hesiod was the first to rhapsodize. Menaikhmos records that rhapsodes were called stikhodes because rhabdoi are called stikhoi by some.

ἄλλως. τοὺς ῥαψῳδοὺς οἱ μὲν ῥαβδῳδοὺς ἐτυμολογοῦσι διὰ τὸ μετὰ ῥάβδου δηλονότι τὰ ῾Ομήρου ἔπη διεξιέναι.
Καλλίμαχος (fr. 138)·
καὶ τὸν ἐπὶ ῥάβδῳ μῦθον ὑφαινόμενον / ἠνεκὲς ἀείδω δεδεγμένος.
οἱ δέ φασι τῆς ῾Ομήρου ποιήσεως μὴ ὑφ’ ἓν συνηγμένης, σποράδην δὲ ἄλλως καὶ κατὰ μέρη διῃρημένης, ὁπότε ῥαψῳδοῖεν αὐτὴν, εἱρμῷ τινι καὶ ῥαφῇ παραπλήσιον ποιεῖν, εἰς ἓν αὐτὴν ἄγοντας. οὕτω καὶ ὁ Πίνδαρος ἐκδέδεκται. οἱ δὲ, ὅτι κατὰ μέρος πρότερον τῆς ποιήσεως διαδεδομένης τῶν ἀγωνιστῶν ἕκαστος ὅ τι βούλοιτο μέρος ᾖδε, τοῦ δὲ ἄθλου τοῖς νικῶσιν ἀρνὸς ἀποδεδειγμένου προσαγορευθῆναι τότε μὲν ἀρνῳδούς, αὖθις δὲ ἑκατέρας τῆς ποιήσεως εἰσενεχθείσης τοὺς ἀγωνιστὰς οἷον ἀκουμένους πρὸς ἄλληλα τὰ μέρη καὶ τὴν σύμπασαν ποίησιν ἐπιόντας, ῥαψῳδοὺς προσαγορευθῆναι. ταῦτά φησι Διονύσιος ὁ ᾿Αργεῖος (FHG III 26). Φιλόχορος (FHG I 417) δὲ ἀπὸ τοῦ συντιθέναι καὶ ῥάπτειν τὴν ᾠδὴν οὕτω φησὶν αὐτοὺς προσκεκλῆσθαι. δηλοῖ δὲ ὁ ῾Ησίοδος λέγων (fr. 265)·
ἐν Δήλῳ τότε πρῶτον ἐγὼ καὶ ῞Ομηρος ἀοιδοὶ
μέλπομεν, ἐν νεαροῖς ὕμνοις ῥάψαντες ἀοιδὴν,
Φοῖβον ᾿Απόλλωνα χρυσάορον, ὃν τέκε Λητώ.
ῥαψῳδῆσαι δέ φησι πρῶτον τὸν ῾Ησίοδον Νικοκλῆς (FHG IV 464). Μέναιχμος δὲ ἱστορεῖ τοὺς ῥαψῳδοὺς στιχῳδοῦς καλεῖσθαι διὰ τὸ τοὺς στίχους ῥάβδους λέγεσθαι ὑπό τινων.

“Another version is this: the Homeridai were once the children of Homer and then later on the rhapsodes around Kunaithos. These are the people who remembered the Homeric poetry that had been scattered around and they performed it. But they totally ruined it. They always begin their poems by making a proem to Zeus. And sometimes the Muses.

Ἄλλως. ῾Ομηρίδαι πρότερον μὲν οἱ ῾Ομήρου παῖδες, ὕστερον δὲ οἱ περὶ Κύναιθον ῥαβδῳδοί· οὗτοι γὰρ τὴν ῾Ομήρου ποίησιν σκεδασθεῖσαν ἐμνημόνευον καὶ ἀπήγγελλον· ἐλυμήναντο δὲ αὐτῇ πάνυ. αἰεὶ οὖν τὴν ἀρχὴν ὡς ἐπὶ τὸ πλεῖστον ἐκ Διὸς ἐποι-οῦντο προοιμιαζόμενοι, ἐνίοτε δὲ καὶ Μουσῶν.

Some links on this passage: Greg Nagy in classical inquiries;  Derek Collins in Master of the Game; Nagy again in Homer the Preclassic; and José M González, ., The Epic Rhapsode and His Craft: Homeric Performance in a Diachronic Perspective.

color photograph of ancient greek sewing needles, three of them
Ancient greek sewing needles. reek Gallery, Altes Museum, Berlin, Germany. Complete indexed photo collection at WorldHistoryPics.com

A Wandering Ship of Songs

Pindar, Nemean 3.28-33

“Oh, my heart, to what foreign shore
Are you turning my ship?
I want you to bring the Muse to Aiakos and his kin.

The heart of justice follows the principle “praise the good”–
Yet, lusts for different tales are not better for a man to endure.
Look for these at home.

You have earned the proper place
Of singing something sweet.”

θυμέ, τίνα πρὸς ἀλλοδαπάν
ἄκραν ἐμὸν πλόον παραμείβεαι;
Αἰακῷ σε φαμὶ γένει τε Μοῖσαν φέρειν.
ἕπεται δὲ λόγῳ δίκας ἄωτος, “ἐσλὸν αἰνεῖν,”

οὐδ᾿ ἀλλοτρίων ἔρωτες ἀνδρὶ φέρειν κρέσσονες·
οἴκοθεν μάτευε. ποτίφορον δὲ κόσμον ἔλαχες
γλυκύ τι γαρυέμεν.

Black figure vase of ship with large bearded figure reclined. Sail is white and unfurled. Dolphins leap around the edge
Black figure Kylix (drinking cup) depicting Dionysus crossing the sea, ca. 530 BC, Staatliche Antikensammlungen, Munich

Words, Deeds, and Hopes in Common

Pindar, Nemean 1.26-30

“Strength works through deed
But thought works through the plans
Of those who have the innate skill to anticipate what will be.

Child of Hagesidamos, thanks to your nature
There are uses for both domains.

I don’t lust to keep
Great wealth hidden in my home
But rather to do well as things are and
To be praised for helping friends.
The hopes of hard-working people
Roll on in common.”

πράσσει γὰρ ἔργῳ μὲν σθένος,
βουλαῖσι δὲ φρήν, ἐσσόμενον προϊδεῖν
συγγενὲς οἷς ἕπεται.
Ἁγησιδάμου παῖ, σέο δ᾿ ἀμφὶ τρόπῳ
τῶν τε καὶ τῶν χρήσιες.
οὐκ ἔραμαι πολὺν ἐν
μεγάρῳ πλοῦτον κατακρύψαις ἔχειν,
ἀλλ᾿ ἐόντων εὖ τε παθεῖν καὶ ἀκοῦ-
σαι φίλοις ἐξαρκέων. κοιναὶ γὰρ ἔρχοντ᾿ ἐλπίδες
πολυπόνων ἀνδρῶν

Schol. Ad Pin. Nem 1.39

“Strength works through deed”: bravery ix exhibited and demonstrates itself through deeds, while thoughts do the same through counsels. This riffs on the Homeric line “war’s goal comes through the hands, words end in counsel”.

πράσσει γὰρ ἔργῳ μὲν σθένος: συμπράσσει καὶ συνεργεῖ τοῖς μὲν ἔργοις ἡ ἀνδρεία, τοῖς δὲ βουλεύμασι καὶ λόγοις ὁ νοῦς· μετέβαλε δὲ τὸ ῾Ομηρικόν (Π 630)· ἐν γὰρ χερσὶ τέλος πολέμου, ἐπέων δ’ ἐνὶ βουλῇ.

Schol. Ad Pin. Nem 1.48a

“Hopes roll on in common”: for he means that hopes and expectations and things to come are equally unknown to people.

κοιναὶ γὰρ ἔρχοντ’ ἐλπίδες: αἱ γὰρ ἐλπίδες καὶ αἱ μέλλουσαι, φησί, προσδοκίαι κοιναὶ καὶ ἄδηλοι τοῖς ἀνθρώποις εἰσίν.

Fragmentary statue of Herakles without a beard. Torso and head remain.

Cypriot; Statuette of Herakles; Stone Sculpture. MET, 6th Century BCE

A Voice For Sale at the Crossroads

Pindar, Pythian 11.39-42

“Friends, did I really get turned around
At the fork in the road and lose my way
When I had just been following a straight path?
Or did some wind knock me aside as if
I were a boat on the sea?

Muse! It’s your job to keep things moving here and there,
since you agreed to sell your voice for silver

ἦρ᾿, ὦ φίλοι, κατ᾿ ἀμευσίπορον τρίοδον ἐδινάθην,
ὀρθὰν κέλευθον ἰὼν
τὸ πρίν· ἤ μέ τις ἄνεμος ἔξω πλόου
ἔβαλεν, ὡς ὅτ᾿ ἄκατον ἐνναλίαν;
Μοῖσα, τὸ δὲ τεόν, εἰ μισθοῖο συνέθευ παρέχειν
φωνὰν ὑπάργυρον, ἄλλοτ᾿ ἄλλᾳ ταρασσέμεν

color photograph of a threeway intersection

Somebody to Drink With: Anacreon’s Epitaph and Some Poems

Greek Anthology 7.26, Antipater of Sidon

“Stranger passing by the humble grave of Anakreon,
If my books were of any use to you,
Pour some wine on my ashes, pour it out in drops
So that my bones can smile, refreshed a bit by wine,
so I, who loved the shouting raves of Dionysus,
so I, who was a partner of music matched to drink,
may not lie dead apart from Bacchus in this place below,
the land which all the race of mortals one day must know.”

Ξεῖνε, τάφον παρὰ λιτὸν ᾿Ανακρείοντος ἀμείβων,
εἴ τί τοι ἐκ βίβλων ἦλθεν ἐμῶν ὄφελος,
σπεῖσον ἐμῇ σποδιῇ, σπεῖσον γάνος, ὄφρα κεν οἴνῳ
ὀστέα γηθήσῃ τἀμὰ νοτιζόμενα,
ὡς ὁ Διωνύσου μεμελημένος εὐάσι κώμοις,
ὡς ὁ φιλακρήτου σύντροφος ἁρμονίης
μηδὲ καταφθίμενος Βάκχου δίχα τοῦτον ὑποίσω
τὸν γενεῇ μερόπων χῶρον ὀφειλόμενον.

Fr. 395

“Hades’ hall is horrifying
And the passage there is hard.
Worse: it is decided that
who ventures there does not return.”

Ἀίδεω γάρ ἐστι δεινὸς
μυχός, ἀργαλῆ δ᾿ ες αὐτὸν
κάτοδος. και γὰρ ἐτοῖμον
καταβάντι μὴ ἀναβῆναι

Anacreon. Marble. Roman copy of the 2nd century A.D. after a Greek original of the 5th century B.C. Inv. No. 491. Copenhagen, New Carlsberg Glyptotek.

Anacreon fr. 2

“I don’t love the man who while drinking next to a full cup
Talks about conflicts and lamentable war.
But whoever mixes the shining gifts of Aphrodite and the Muses
Let him keep in mind loving, good cheer.”

οὐ φιλέω, ὃς κρητῆρι παρὰ πλέωι οἰνοποτάζων
νείκεα καὶ πόλεμον δακρυόεντα λέγει,
ἀλλ’ ὅστις Μουσέων τε καὶ ἀγλαὰ δῶρ’ ᾿Αφροδίτης
συμμίσγων ἐρατῆς μνήσκεται εὐφροσύνης.

Fr. 428

“I love and again do not love
I am insane and yet sane too”

ἐρέω τε δηὖτε κοὐκ ἐρέω
καὶ μαίνομαι κοὐ μαίνομαι

This last fragment recalls (the much later) Carmen 85 of Catullus:

“I hate and I love: you might ask why I do this–
I don’t know, but I see it happen and it’s killing me.

Odi et amo. quare id faciam, fortasse requiris.
nescio, sed fieri sentio et excrucior.

Flying with the Muses

Pindar, Pythian 5.106-117

“People who know praise that man.
I will tell you what is said.
He wields a mind
Stronger than his age
And his tongue too. His courage is like
A fine-winged eagle among the other birds
He flies among the Muses thanks to his dear mother
And has proved to be a wise charioteer.
He has dared to travel
Every approach their is
To his homeland’s excellence.”

ἄνδρα κεῖνον ἐπαινέοντι συνετοί·
λεγόμενον ἐρέω·
κρέσσονα μὲν ἁλικίας
νόον φέρβεται
γλῶσσάν τε· θάρσος δὲ τανύπτερος
ἐν ὄρνιξιν αἰετὸς ἔπλετο·
ἀγωνίας δ᾿, ἕρκος οἷον, σθένος·
ἔν τε Μοίσαισι ποτανὸς ἀπὸ ματρὸς φίλας,
πέφανταί θ᾿ ἁρματηλάτας σοφός·
ὅσαι τ᾿ εἰσὶν ἐπιχωρίων καλῶν ἔσοδοι,
τετόλμακε.

white vase with red lined muse tuning a lyre
Muse tuning two kitharai. Detail of the interior from an Attic white-ground cup, ca. 470–460 BC. From Eretria.

Oedipus’ Wisdom and Healing’s Soft Touch

Pindar, Pythian 4.262-275

“Now recognize the wisdom of Oedipus:
If someone could cleave the branches from
A giant oak tree with a sharp-edged axe
And wreck its eye-catching beauty,
It would still weigh in about itself even though
It could no longer bear fruit
If it came face to face with a winter’s fire in the end
Or if set upon columns for some master,
It provides the labor for someone else’s walls,
Leaving its place deserted.

But you are the most timely healer and Paian
Honors your light.
You need a soft touch to work on
An open wound.

It is easy for cowards to shake up a state,
But it is hard indeed to make it stable again,
Unless the leaders suddenly have a god
For a pilot.”

γνῶθι νῦν τὰν Οἰδιπόδα σοφίαν· εἰ
γάρ τις ὄζους ὀξυτόμῳ πελέκει
ἐξερείψειεν μεγάλας δρυός, αἰσχύ-
νοι δέ οἱ θαητὸν εἶδος,
καὶ φθινόκαρπος ἐοῖσα διδοῖ ψᾶφον περ᾿ αὐτᾶς,
εἴ ποτε χειμέριον πῦρ ἐξίκηται λοίσθιον,
ἢ σὺν ὀρθαῖς κιόνεσσιν
δεσποσύναισιν ἐρειδομένα
μόχθον ἄλλοις ἀμφέπει δύστανον ἐν τείχεσιν,
ἑὸν ἐρημώσαισα χῶρον.
ἐσσὶ δ᾿ ἰατὴρ ἐπικαιρότατος, Παι-
άν τέ σοι τιμᾷ φάος.
χρὴ μαλακὰν χέρα προσβάλ-
λοντα τρώμαν ἕλκεος ἀμφιπολεῖν.
ῥᾴδιον μὲν γὰρ πόλιν σεῖσαι καὶ ἀφαυροτέροις·
ἀλλ᾿ ἐπὶ χώρας αὖτις ἕσσαι δυσπαλὲς
δὴ γίνεται, ἐξαπίνας
εἰ μὴ θεὸς ἁγεμόνεσσι κυβερνατὴρ γένηται.

Schol. Ad Pin. Pyth. 3.467

“Now recognize the wisdom of Oedipus”: Pindar encourages Arkesilaos to examine his own riddle. For he wants him to consider the wisdom of Oedipus because he solved the riddle of the Sphinx. And he is riddling here, and he means this kind of thing. Some people were in revolt in Kyrene during Arkesilaos’ reign because they wanted to expel him from power. But because he was stronger than them, he sent them into exile from the country. Demophilos was among the rebels because he was an insurrectionist himself. He also went as exile into Thebes. Some people thought—since others claim that he gave money to Pindar for the victory ode—that Pindar was using the poem to reconcile him to Arkesilaos

γνῶθι νῦν τὰν Οἰδιπόδα σοφίαν: προτρέπεται τὸν ᾿Αρκεσίλαον ὁ Πίνδαρος συνορᾶν αὐτοῦ τὸ αἴνιγμα. τὸ γὰρ Οἰδιπόδα σοφίαν τοῦτο βούλεται, ὅτι κἀκεῖνος τὸ τῆς Σφιγγὸς αἴνιγμα ἔλυσεν. ὃ δὲ αἰνίττεται, ἔστι τοιοῦτον. ἐστασίασάν τινες ἐν τῇ Κυρήνῃ κατὰ τοῦ ᾿Αρκεσιλάου, βουλόμενοι αὐτὸν μεταστῆσαι τῆς ἀρχῆς· ὁ δὲ ἐπικρατέστερος αὐτῶν γενόμενος ἐφυγάδευσεν αὐτοὺς τῆς πατρίδος. ἐν τοῖς οὖν στασιώταις ἦν καὶ ὁ Δημόφιλος, ὃς καὶ αὐτὸς ἀνάστατος γέγονε τῆς πατρίδος, καὶ φυγαδευθεὶς ἔρχεται εἰς Θήβας καὶ ἀξιοῖ τὸν Πίνδαρον (τινὲς δὲ, ὅτι καὶ τὸν μισθὸν τοῦ ἐπινίκου δίδωσι τῷ Πινδάρῳ αὐτός), ὥστε τῇ τοῦ ἐπινίκου γραφῇ διαλλάξαι αὐτὸν πρὸς τὸν ᾿Αρκεσίλαον.

Oil painting of Oedipus and the Sphinx. Oedipus is mostly nude, knee raised on a stone, staff on his shoulder. He is pointing his hand at the Sphinx on the left hand margin in conversation
Jean-Auguste Dominique Ingres, Oedipus and the Sphinx (1808–27). Oil on canvas, 189 x 144 cm. Louvre, Paris

Famous Songs for a Precious Few

Pindar, Pythian 3.108-116

“I’ll be small for minor matters but big for big ones
and I will cultivate in my thoughts
The fate that comes to me, serving it by my own design.

So if god allows me wealth’s luxury
I have hope of finding fame’s height as well.

We know about Nestor and Lykian Sarpedon–
People’s legends, from famous songs which
The wise craftsmen assembled. And excellence blooms
In famous songs for all time. But it is easy for only a few to earn.”

σμικρὸς ἐν σμικροῖς, μέγας ἐν μεγάλοις
ἔσσομαι, τὸν δ᾿ ἀμφέποντ᾿ αἰεὶ φρασίν
δαίμον᾿ ἀσκήσω κατ᾿ ἐμὰν θεραπεύων μαχανάν.
εἰ δέ μοι πλοῦτον θεὸς ἁβρὸν ὀρέξαι,
ἐλπίδ᾿ ἔχω κλέος εὑρέσθαι κεν ὑψηλὸν πρόσω.
Νέστορα καὶ Λύκιον Σαρπηδόν᾿, ἀνθρώπων φάτις,
ἐξ ἐπέων κελαδεννῶν, τέκτονες οἷα σοφοί
ἅρμοσαν, γινώσκομεν· ἁ δ᾿ ἀρετὰ κλειναῖς ἀοιδαῖς
χρονία τελέθει· παύροις δὲ πράξασθ᾿ εὐμαρές.

White vase with brown/black line figures. Hypnos and Thanatos carrying the body of Sarpedon from the battlefield of Troy.
Hypnos and Thanatos carrying the body of Sarpedon from the battlefield of Troy. Detail from an Attic white-ground lekythos, ca. 440 BC. British Museum D56

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