Epinikion
The epinikion or epinicion (plural "epinikia" or "epinicia", Greek , from "epi-", "on," + "nikê", "victory") is a genre of occasional poetry also known in English as a victory ode. In ancient Greece, the "epinikion" most often took the form of a choral lyric, commissioned for and performed at the celebration of an athletic victory in the Panhellenic Games and sometimes in honor of a victory in war. Major poets in the genre are Simonides, Bacchylides, and Pindar. Origins. Since the poets most often call their victory songs "hymnoi" (), it has been conjectured that hymns for Herakles, honored as the  founder of the Olympic Games, were the original model for the athletic "epinikion". Victory odes are also associated with the Dioscuri; Pindar uses the term "Castor-song" (), and Polydeuces (Pollux), the mortal twin of Castor, was a boxer. Although the best-known "epinikia" appear to have been composed for a chorus, they may have originally been performed by a soloist. Pindar says that a lyric by Archilochus was sung at Olympia, and a scholiast to the passage gives a quotation. The performance of these songs seems to have led in the 6th century BC to aristocratic commissions for more elaborate  numbers. The earliest "epinikia", surviving only in fragments, were composed by Simonides of Ceos in the 520s BC. Simonides was the first professional poet known to write odes in honor of victorious athletes at the games; in antiquity, he was also notorious for being the first poet to charge a fee for his services. The "epinikia" of Bacchylides were formerly considered lost and were known only from quotations in other authors, until the discovery in the late 19th century of a papyrus manuscript containing fifteen of his odes. Pindar's four surviving books of "epinikia", called one of "the great  monuments of Greek lyric," correspond to each of the four major festivals of the Panhellenic Games: Olympian, Pythian, Isthmian, and Nemean. Many of Pindar's odes can be identified by event, champion, and year. Occasion and performance. The "epinikion" was performed not at the games, but at the celebration surrounding the champion's return to his hometown or perhaps at the anniversary of his victory. The odes celebrate runners, pentathletes, wrestlers, boxers, and charioteers; Pindar usually narrates or alludes elaborately to a myth connected to the victor's family or birthplace. The Pindaric ode has a metrical structure rivaled in  its complexity only by the chorus of Greek tragedy, and is usually composed in a triadic form comprising strophe, antistrophe, and epode. The odes were performed by a chorus that sang and danced to the musical accompaniment of the phorminx or aulos. The "epinikion" and society. "The victory ode," notes Mary Lefkowitz, "is a curious and somewhat paradoxical form of art." Simon Goldhill has described the "epinikion" as practiced by Pindar as "a performance hired to mark the place of an individual within his city." The "epinikion" praised the victorious athlete as an ideal representative of the community and of  the aristocratic class, linking his achievements with those of local cult heroes. But the athlete was also admonished against hubris, "not to seek to become Zeus." A later contributor to the genre was Callimachus.