This is a section of the name-vase of the Talos-Painter, so called from the story it depicts, which is not related by Pindar. Here is the story as Apollodorus tells it:

"Putting to sea from there, they [the Argonauts] were hindered from touching at Crete by Talos. Some say that he was a man of the Brazen Race, others that he was given to Minos by Hephaestus; he was a brazen man, but some say that he was a bull. He had a single vein extending from his neck to his ankles, and a bronze nail was rammed home at the end of the vein. This Talos kept guard, running round the island thrice every day; wherefore, when he saw the Argo standing inshore, he pelted it as usual with stones. His death was brought about by the wiles of Medea, whether, as some say, she drove him mad by drugs, or, as others say, she promised to make him immortal and then drew out the nail, so that all the ichor gushed out and he died. But some say that Poeas shot him dead in the ankle." (From Apollodorus 1.9.26)

Link here to the drawing of the whole vase, and to the left side of it, where you can see Medea next to the prow of the Argo, along with some of the Argonauts. How does the representation of Medea in this story and on this vase compare with how she is presented in Pythian 4?

• Does Medea in Pythian 4 desire? Does she exert will? Does she act on her own behalf? Does she exhibit qualities otherwise assigned to male characters in victory odes? Does she use words like the poet, efficaciously?
  
• Is Medea a type-character (as in fairy tales: e.g. "the helper of the hero")? Or is she individualized?
  
• Is Medea a minor or major characters in Pythian 4? I.e., does she have a story, told by the poet from her subject position? or is she an adjunct in the story of the male protagonist, Jason?
  

   

This heavily-mended vase represents an aspect of the myth of Atalanta described on the background notes. The setting is the exercise grounds that were used exclusively by men--as indicated by the presence of the washing basin and pilaster. (Link here to see the whole vase.) Atalanta, nude except for footwear, necklace, earrings, and headwrap, and Aphrodite, to her right, occupy the center of the composition. On Atalanta's left stands Atalanta's father, who is bearded and leans on his staff. Aphrodite concerns herself with the golden apples, which she is receiving from a winged Eros. (Eros holds two more apples in his left hand.) To the right of Aphrodite and Eros stands Hippomenes/Melanion, holding a scraper, which will be used after the competition for cleansing. The other three male figures visible here as onlookers are presumably other suitors, waiting for their chance to compete. How does the story of Atalanta and this representation of it compare with that of Cyrene? What do you think about the relationship between Atalanta and Aphodite as it is shown on this vase?

• Compare the "maturation process" for Cyrene and Apollo: both of them start out, in the ode, as youthful virgins. What does maturation mean for Apollo? How does this differ from or compare to what maturation is for Cyrene? What is Cyrene's life like after she is married?
• Consider the implications of lines 90-100, and the reactions of the girls and women who watch Telesicrates's victories in his competitions. Why do you think Pindar uses this device to praise Telesicrates?
• What do you make of the story of Alexidamus' marriage, and the bride-contest leading up to it? What is the relationship between this story and that of Cyrene?