πνοϲ, in general a common word in Greek tragedy, is a cardinal theme in the Heracles. In the first half of the play the glorious saving Labours of the warrior Hero with his bow, club and other weaponry are retrospectively evoked and further enacted. Repeated emphasis on this kind of ‘noble toil’ accords with the heroic definition of ρετ, which traditionally βανει διμχθω–8 the first strophe of the long First Stasimon in honour of Heracles ends with: μνῆϲαι ϲτεφνωμα μ– χθων (...) δι' ελογαϲ θλω γενναων δ' ρετα πνων τοῖϲ θανοϲιν γαλμα. Heracles par excellence merits the title πολπονοϲ and for their individual greatness. πολυ- can mean either ‘much-’, so that it suffices for Amphitryon at 1190ff. to mention a single especially grand and godlike Labour: AM.μϲ μϲ δε γνοϲ πολπονοϲ, π δρυ γιγαντοφνον λθεν ϲν θεο- ϲι Φλεγραον ϲ πεδον ϲπιϲτϲ This we may call the ‘epic’ view of the hero and of the πνοι performed by him cw ϲν θεοϲ. πνοϲ is normally martial in the Iliad.4 Note also, however, that the terminal ϲπιϲτϲ adds an allusion to the kind of martial ρετ most admired by 5th-century Athenians. (shrink)

In a previous article I discussed some textual and metrical issues in the lyric-iambic stanzas Supplices 71–8/79–86, and the problematic persona and constitution of the Chorus. The preceding maternal κεсα in four ionic stanzas presents fewer textual problems; but here too there is a challenging crux, at 45 in the first strophe; and there is more to be said about the ode's metrical structure. I begin with a metrical reappraisal, which will prove to have a bearing on the textual problem. (...) Unless otherwise stated, the text given is identical with those of both Diggle and Collard, except in lineation. (shrink)