Abstract

There was a time when the detractors of Bacchylides singled out his eleventh ode as inept even by Bacchylidean standards: it was like the unfortunate tenor who was so stupid that even the other tenors noticed. The time of such criticism is gone, and the unfavourable verdict against Bacchylides' ode has nearly disappeared as well. The mythical journey in time which proceeds from the building of Artemis' altar back to the madness of Proetus' daughters and back further to the quarrel between Proetus and Acrisius is no longer seen as rambling. Instead the ode's structure has been revealed as an elegant set of concentric rings. Proetus' unhappy daughters are no longer unwanted, for Bacchylides has woven images into and around their story which suggest the integration of young women into the structure of the Greek city: the girls' resistance to marriage is overcome through the mediation of Artemis, and they are returned to their father at last fit to be wed to the men of Tiryns. The entire ode has now been described as a fitting song for a city delighting in a victory gained with the aid of Artemis.4 The ode's images have been analysed and found coherent. Epithets, once scorned as too plentiful and various to bear true meaning, have now been defended. And finally, for a wonder, the song has been singled out as an example of that very thing so routinely denied to Bacchylides: Pindaric style. But even the most complimentary treatments of the poem seem somehow to fall short of explaining how this song serves as proper and sufficient praise for Alexidamus, the boy from Metapontum who wrestled his way to victory at the Pythian games