The first-person epinician speaker, interjects here with a self-reference for the first (and only) time in the song, announcing his arrival: ‘I come as your suppliant’ (ἱκέτας σέθεν ἔρχομαι), O.5.20. The polysemy, that is, the plurality of potential references inherent in the first-person epinician speaker is crucial for proper understanding the full range of the first person (both singular and plural) choral statements. Recognition that the epinician “ego-statements” often elide distinct moments from the time of the song’s composition to its live performance, leading to a frequent conflation of the choral “we, the performers” with the composer’s “I, the poet” and even with the audience’s “we, the local community,” helps to avoid the vexed attempts to assign a uniform referent to Pindaric ego across the epinician corpus as a whole. Here, the enunciative ego entreats Zeus to honor Kamarina—‘this city (πόλιν τάνδε), O. 5.20—and, in a parallel construction, addresses the Olympic victor himself (Ὀλυμπιόνικε), O. 5.21. The double apostrophe thus combines distal deixis (to Zeus in Olympia) with proximal deixis (to Psaumis in Kamarina), bringing the man and the god closer together, especially in light of the request ‘to adorn this city with famous deeds of manliness’ (πόλιν εὐανορίαισι τάνδε κλυταῖς δαιδάλειν), O.5.20–21, an act of which both Zeus and Psaumis can be seen as agents on the divine and human level respectively.