nia, and Miletus, a maritime, pleasant city, and who also[1] rulest mightily over sea-washed Delos. But the son of all-renowned Latona goes to rocky Pytho, playing on his hollow harp, wearing immortal incense-scented garments, while his harp beneath the golden quill[2] utters a pleasant twang. But hence from the earth he goes to heaven, when [he has] the mind, to the house of Jove, after the assemblage of the other gods; and straightway the harp and song are a care to mortals. The muses indeed, all at once answering with beauteous voice, sing the immortal gifts of the gods, and the sufferings of men, as many things as they possessing at the hands of the immortal gods, live destitute of counsel[3] and resources, nor are able to find a remedy for death and a defence against age. But the fair-tressed Graces, and the wise Hours, and Harmony, and Hebe, and Venus, the daughter of Jove, dance, holding each others' hands by the wrist. To them no mean nor trivial[4] [songstress] plays, but shaft-rejoicing Dian, the foster-sister of Apollo, most mighty to behold, and in aspect wondrous. Here again with them sport Mars and well-watching Mercury, but Phœbus Apollo strikes the harp, taking grand and lofty steps, and a shining haze surrounds him, and glittering of feet, and of his well-fitted tunic. And both golden-tressed Latona and deep-planning Jove are delighted at it, as they perceive his mighty mind, their darling son sporting among the immortal gods.
How then shall I hymn thee who art altogether worthy to be hymned? Shall I sing of thee among suitors and love, how once on a time, wooing,[5] thou didst approach the Azanian girl, in company with godlike Ischys, the son of Elation,
- ↑ Hermann says that αὐτὸς is ideas.
- ↑ The plectrum, with which the strings of the lyre were struck. Pollux, iv. 9, 3. The modern mandolin is played in the same manner.
- ↑ Barnes rightly reads ἀμφραδέες.
- ↑ Read οὐτ' ἐλάχεια with Barnes, as in Od. ix. 116, etc.
- ↑ Hermann reads ὁπποτ' ἀγαιόμενος, observing, "indignatum coronidi Apollinem constat." So Hom. Od. xx. 16, ἀγαιομένου κακὰ ἔργα. This certainly approaches the vestiges of the old reading, ἀνωόμενος The present one, adopted by Ernesti, is due to Bernard Martin.
priests and the Crissæans, which afterwards led to the war of the Amphictyons against the city of Crissa, (in Olymp. 47,) there is no trace; a passage also shows that horse-races had not as yet been introduced at the Pythian games, which began immediately after the Crissæan war: the ancient Pythian contests had been confined to music."
