[[See translation above]]
The relevance of this death scene to Pindar’s song of praise for the chariot victory celebrated by his patrons, Xenokrates and Thrasyboulos, is signaled the expression νόημα τοῦτο φέρων ‘who wins-as-a-prize [pherein] this thought [noēma]’ here at P.6.29, which applies both to Thrasyboulos as patron and to that young man’s model Antilokhos as hero, just as the expression λόγον φέρεις ‘you win-as-a prize the wording [logos]’ at P.8.38 applies both to Aristomenes as patron and to his model Alkmaion as hero (PH 193–196 = 6§86–88). The thinking of Thrasyboulos is also expressed by way of the related word nóos ‘mind, thought, thinking’ at P.6.49 and P.6.51. So, the thinking of the hero Antilokhos and the thinking of the patron Thrasyboulos are fused in the medium of Pindar, and, in this way, the patron of Pindar can be “channelling,” as it were, the identity of the hero who is his model even by way of the name Thrasyboulos, the meaning of which replicates, as I have been arguing, the heroic nature of Antilokhos. The name of the patron Thrasyboulos, which signals implicitly the heroic idea of matching boldness and restraint as exemplified by Antilokhos, comes to life in Pythian 6, where the patron is explicitly praised in song for following the example set by the hero Antilokhos. And, by following such a heroic example, he fits into an ancestral paradigm that is politically as well as poetically constructed by the lineage of the Emmenidai. In general, the paradigm of heroes who are celebrated in epic is connected in Pindar’s songmaking with the paradigm of ancestors who are venerated by the patrons celebrated in his songmaking. This way, Pindar’s medium celebrates the heroes as well as his own patrons and their ancestors.