XXXIV. Schol. Aristoph. Aves 1410. Perhaps, like Frag. xxxiii., from a dithyramb sung at the coming of the swallow (cf. FOLK-SONGS Xxii.); so evodμov čap Pind. iv. 17. KAUTά: perhaps 'clear-voiced,' 'loud.' Fennell takes Kλutós to mean loud in κλ. ἀγγελίαν Pind. Οl. 14. 21, κλυταῖς ἐπέων poaîow Isth. 7. 19 (cf. paevvâs ỏπós Рyth. 4. 28 of loud calumny). If so, KλUTÓS (=Old-Eng. hlúd) is used as in the folk-song to the spring hude sing cuccu. Anakr. 67 has ἡδυμελές, χαρίεσσα χελιδοῖ. -Metre: logaoedic. XXXV. Schol. Pind. Ol. 9. 48=74 (alvei dè maλaiòv μèv οἶνον, ἄνθεα δ ̓ ὕμνων | νεωτέρων). The schol. says that the lines of Sim. are an attack on a.judge (thought by Bergk to be Agathokles, Pindar's teacher), who had awarded the palm of excellence to Pindar. Bergk suggested that, in conferring the prize on the younger poet, the judge made the invidious remark that old wine was often inferior to new; a comparison which prompted the reply of Sim. 'the saying is foolish.' Taking ulos here as myth,' Boeckh thought Sim. was criticizing Pindar's transformation of the old mythology; to which criticism Pindar replied that between age in wine and in poetry there is an essential difference. In Frag. 193 Sim. attacks those who πολεμεῖν τῷ πολλῷ χρόνῳ. On the preference for new songs, see on Alkm. i., Timoth. vii.—Metre : logaoedic. XXXVI. Schol. Eur. Οr. 236 (κρεῖσσον δὲ τὸ δοκεῖν, κἂν ȧλnoeías ảπn, cf. 782), Plato Rep. 2. 365 c. Cf. Aisch. Agam. 788 πολλοὶ δὲ βροτῶν τὸ δοκεῖν εἶναι προτίουσι δίκην παραβάντες, Sept. 592 οὐ γὰρ δοκεῖν ἄριστος, ἀλλ ̓ εἶναι θέλει (Aristeides), Xen. Memorab. 1. 7. 1 ἀεὶ γὰρ ἔλεγεν (Sokr.) ὡς οὐκ εἴη καλλίων ὁδὸς ἐπ ̓ εὐδοξίαν ἢ δι ̓ ἧς ἂν τις ἀγαθὸς τοῦτο γένοιτο, δ καὶ δοκεῖν βούλοιτο, Plato Apol. 36 D ὃ μὲν (the Olympian victor) γὰρ ὑμᾶς ποιεῖ εὐδαίμονας δοκεῖν εἶναι, ἐγὼ δὲ εἶναι, Gorg. 527 B, Eur. H. F. 184, "So that they Seem, but covet not to Be," Gascoigne The Steel Glass; so in German Das was man scheint hat jedermann zum Richter, | Das was man ist, hat keinen. The articular infinitive may be scornful. Alkm. xii.-Metre: part of a dact.-epitritic line. See on TIMOKREON. TIMOKREON of Ialysos in Rhodes is chiefly known as the antagonist of Themistokles and his friend Simonides. i Like Archilochos he was a good hater. With Simonides he seems to have waged a war of epigrams. In Frag. 10 Κηΐα με προσῆλθε φλυαρία οὐκ ἐθέλοντα. οὐκ ἐθέλοντά με προσῆλθε Κηΐα φλυαρία he answers the Keian poet's attack (Frag. 170) on his redundant and dislocated style: Μουσά μοι ̓Αλκμήνης καλλισφύρου υἱὸν ἄειδε· υἱὸν ̓Αλκμήνης ἄειδε Μοῦσά μοι καλλισφύρου. The inversion recalls the line that damned Thomson's play : "O Sophonisba, Sophonisba O." A sportive sepulchral epigram was written during the life-time of Timokreon, if it correctly bears the name of Simonides (169) Πολλὰ φαγὼν καὶ πολλὰ πιὼν καὶ πολλὰ κάκ ̓ εἰπὼν Timokreon is reported to have distinguished himself as an athlete and as a glutton at the court of the king of Persia, where he took refuge after his expulsion from Rhodes. His originality as a poet lies in his adoption of the triadic grouping in monodic skolia to express satire and polemic. Before Timokreon the triad had been restricted to hymns, epinikia and other species of choral composition that were eulogistic in character. With him it is made to subserve the purpose of the iambics of Archilochos. Like Stesichoros, ĺbykos, and Simonides, Timokreon gave a lyric setting to the fable, which was a favourite subject of the skolion. Though he used the dactylo-epitritic measure of choral lyric, he seems to have composed skolia rather than choral songs. He also used the catalectic dimeter ionic a minore in stichic form. His dialect is mainly Doric from which specific Rhodian forms are absent. I. Plut. vita Themist. 21. The grouping in short strophes and the use of aλλà Túye point to a skolion. Each of the other singers had in turn praised his favourite. There is no reason for supposing with Sintenis that the reference to Pausanias, Xanthippos, and Leutychidas represents a covert attack because the career of each was not free from reproach. Pausanias is the victor at Plataia, not the would-be despot; Xanthippos is not the enemy of Miltiades, but the distinguished citizen who was honoured by a statue on the Akropolis; and Leutychidas is the victor at Mykale, not the venal general who died in disgrace. Kirchhoff Hermes 11. 38 ff. connects the circumstances mentioned in 11. 5 ff. with the events recorded by Hdt. 8. 108-112, 121-123 (480 B.C.) and concludes that, in one of the revolutions that followed the disaster of the Persians, Timokreon was expelled from Rhodes because he had been an adherent of their policy. Kirchhoff argues that Themistokles was then at Andros with the Greek fleet and that his refusal of the poet's request for restoration to his native city prompted this attack. There is nothing to show that the fleet of Eurybiades and Themistokles was in Rhodian waters, and I prefer to place the poem between 476 and 471, probably the year when Themistokles was ostracized. Some 2. AEUTUX (dav: with ev as in Hdt. The native Doric form would be Aa-. We often find ev for eo, ew in Ionic monuments. Pausanias calls him Λεωτυχίδης. ἐγὼ δέ: with δέ of the apodosis. èraιvéw: cf. Sim. 11. 14. The mention of Aristeides only serves to lead up to the attack upon his rival.-3. This order (adj., prep., noun) is especially common in Pindar, e.g. Ol. 2. 71 (cf. Gildersleeve on 5. 22), Sim. ii. 4. -4. Eva: with the superlative as in fortissimus unus. Cf. Soph. Phil. 1344 Ἑλλήνων ἕνα | κριθέντ ̓ ἄριστον, Αίας 1340 ἕν ̓ ἄνδρ' ἰδεῖν ἄριστον ̓Αργείων. On the less strict use, see Jebb on O. T. 1380, Trach. 460. EμOTOкλna is a suspicious form. -Kλ (3rd century Doric) produces hiatus, which some defend. Aaró: why Lato should detest Them. is not clear. think that the mother, like her son Apollo, was ȧyevdńs. (In Lykia she protects the sanctity of groves.) Others regard her as κоuρотρópos and think that Them. was a rascal from his earliest youth.-5. The vigour of the assault suits the beginning of the antistrophe. Tрodóτav: the personal enemy, not the Medizing commander who was involved in Pausanias' treachery. -6. κυβαλικός = κόβαλος· πανούργος, κακοῦργος. Hesych. has also κυβηλιστάς· καὶ κοβάλους [καὶ] κακούργους; κυβηλικὸν τρόπον ; and Kuußaλikos Tрóπos (with parasitic nasal; cf. K. Z. 33. 366 ff.). L. and S. accept Hermann's σKUßaλIKтós 'dirty,' though the x form is doubtful. Ahrens read σκυβαλισκίοισι a contemptuous diminutive. Grote (5. 135) thought that, while Timokreon's attack may be exaggerated through personal hate, the charges of venality against Them. are too well supported by other evidence to be discredited. Recent German scholars hold that these charges are due in large measure to the gossip set afloat by Themistokles' enemies (e.g. the story in Hdt. 8. 4-5). Calumniare fortiter, aliquid adhaerebit. The tale that Them. was worth 100 talents when he was condemned to death rests on the authority of the oligarch Kritias, whose K sources of information would not have been friendly to the democratic statesman. No doubt the poems of Tim. helped to spread the belief in the corruptibility of Them. Cf. Bauer Themistokles 13, 23, Busolt Griech. Gesch. 2. 386. We need not believe that the three talents of 1. 8 were the price paid in 1. 6. —7. Ιάλυσον is scanned ; cf. Anth. Pal. 7. Homer has — ——— B 656, 716, 1 Ιαλύσοιο Pindar = ར 66 Ol. 7. 74. In v. 3 we have a dactyl in the second place, here a spondee—a substitution that is the more excusable because it occurs in a proper name.-8. ȧpyvpíov ȧpyúpov as in Boiotian (Cauer 298. 51) and Lakonian (11 B, 12). Themistokles' booty amounted to the sum he possessed before he began his political career.-10. After the unsuccessful attack on Andros, the fleet proceeded to the Isthmos to distribute the prize of excellence to the most worthy of the commanders. The narration in 10-12 may refer to this event, when Them. failed to get the first place. yeλolws: Bergk read γλοιῶς ‘stingily'; cf. γλοιός ῥυπαρός. But cf. γλοιῶς· νυστατικῶς Hesych. ἐπανδόκευε may contain a sting ; cf. Plato Laws 918 D, Theophr. Char. 6. For the form, cf. the variation between voxeúw and -ew and see on Alkm. x. 8.-11. No greater offence to the poet of an unbounded stomach." Cf. Athen. 10. 416 A. Bergk conj. vdpá counterfeit,' Ahrens nxpá 'shabby,' 'mean.' Some think the meaning is that Them. took the lion's share.-12. oi: scil. at the Isthmos' ('Ioμoî). pav curam Ahrens and Kirchhoff. Cf. Hdt. 9. 8 ὤρην ἐποιήσαντο οὐδεμίαν, Tyrt. 10. 11 ἀνδρὸς ἀλωμένου οὐδεμί ὤρη | γίγνεται. μὴ ὥραν with synizesis ; not Fώραν ; Fοράω lost its F very early. pav (MSS.) has been variously translated: 'that his harvest-time might never come'; 'that he might not live to next year'; 'that his day might be no more' (against this is the position of μή and the meaning of γενέσθαι; cf. Headlam C. R. 6. 438). Were un pav yev. a form of the colloquial un paσiv ikotтo (cf. Aristoph. Lysistr. 1037) = pereat it might be defended; but the singular is unsupported. Cobet read μὴ ὥρας or μὴ 'ς ὥρας. Bergk suggested χώραν = curam : see his note on Theogn. 152. The poem falls, according to Ahrens' arrangement (cf. R. M. 2. 457) which is here adopted, into three groups which, because of their slight extent, are well suited to a convivial song. Boeckh thought we have only part of the strophe, the antistr. beginning with 5; Hermann made 1-4 the epode, 5-12 the strophe. Rossbach thinks the poem is a fragment and that it is monostrophic.-Metre: dact.-epitrite. The use of this rhythm, generally solemn and stately, as a vehicle of satire and invective is surprising. Perhaps the poet de signed a contrast between form and contents. Aristophanes uses the same measure for caricature and parody. The dialect avoids certain Doricisms (αἰ, τύγα 1. 1, τοί 1. 12). ξεῖνον, the form adopted by the choral poets, is properly Ionic. For Τιμοκρέοντα, -εῦντα has been proposed unnecessarily, though in fact Rhodian shows this contraction, which is probably due to the influence of Ionic. Tμокρηûν (nom.) appears in Telos, Cauer 169 c, 3. Synizesis is very frequent. II. Plut. ..: after the flight and sentence of Them. (468 ?) he was reviled even more immoderately by Timokreon.-Metre: dact. -epitrite. III. Plut. .. (cf. Apostol. 7. 28): when the question was under discussion whether Tim. should be banished for Medizing, Them. voted against him, and when Them. was accused of the same crime, Tim. wrote this poem. This statement cannot well be correct since the charge of Medizing brought against Them. was later than his ostracism, while the like charge against Tim. was much earlier. There is nothing to show that Them. voted to exile his former friend as a Persian sympathizer. Kirchhoff thinks iii. is later than ii., referring the latter poem to Timokreon's exultation over the ostracism (471 B.C.) of his enemy.-2. оρкιaтóμeɩ with åpa, see p. 280. The Ionic form is oρкloтoμéw.-4. An allusion to the fox of the fable that lost his tail. The skolia, e.g. xiv., often referred to fables.-Metre: dact.-epitrite. In 1. 5 Bergk suggested käλa (glyconic) or åλúπŋкes (5=1). The verse may be incomplete: dact. trip.+the first syllable of an epitrite. Ahrens divided after ὁρκιατομεί (sic) and κόλουρις, making the first two lines iambic. He read μóvos in 1. 1. IV. Schol. Aristoph. Acharn. 532 (cf. 530 ff. évтeûbev ὀργῇ Περικλέης ολύμπιος | ἤστραπτ', ἐβρόντα, ξυνεκύκα τὴν Ελλάδα, | ἐτίθει νόμους ὥσπερ σκόλια γεγραμμένους, | ὡς χρὴ Μεγαρέας μήτε γῇ μήτ' ἐν ἀγορᾷ | μήτ' ἐν θαλάττῃ μήτ' ἐν ἠπείῳρ uével). Cf. Thuk. 1. 139. The poem is a skolion. Isodor. Pelus. Ep. 2. 146 says it was an ancient custom after the banquet to sing to the lyre ἀπόλοιο, ὦ Πλοῦτε, καὶ μήτε ἐν vî pavelns, μýt' év aλáσon. Aristoph. Vespae 1063 is also a parody of Timokreon.-1. peλev: impersonal as Pind. Nem. 2. 6 ὀφείλει νικᾶν Τιμονόου παῖδα, Lucian Dea Syr. 25 οἷα μήτε ἐμὲ ἰδέσθαι ὠφελε. τυφλέ: Plutos is first called 'blind' in Hipponax 20; cf. Theokr. 10. 19. To avoid the (inoffensive) tautology of yê and Teipw, Farnell conj. μnt' 'Tys 'above the earth,' Schneidewin oupavą, which was defended by Haupt Opusc. 3. 352, Teuffel Jahrb. 1859, p. 760. Cf. Aristoph. Vespae 22 (the riddle at the banquet) Tí Tavτòv |