seem to wish it to be believed that he had been carried away by his poetical fervour, when he returns to his theme from a long mythical narration, or when he annexes a mythical story to a proverbial saying; as, for example, when he subjoins to the figurative expression, "Neither by sea nor by land canst thou find the way to the Hyperboreans," the history of Perseus' visit to that fabulous people[1]. But even in such cases as these, it will be found, on close examination, that the fable belongs to the subject. Indeed, it may be observed generally of those Greek writers who aimed at the production of works of art, whether in prose or in poetry, that they often conceal their real purpose; and affect to leave in vague uncertainty that which had been composed studiously and on a preconceived plan. Thus Plato often seems to allow the dialogue to deviate into a wrong course, when this very course was required by the plan of the investigation. In other passages, Pindar himself remarks that intelligence and reflection are required to discover the hidden meaning of his mythical episodes. Thus, after a description of the Islands of the Blessed, and the heroes who dwell there, he says, "I have many swift arrows in my quiver, which speak to the wise, but need an interpreter for the multitude[2]." Again, after the story of Ixion, which he relates in an ode to Hiero, he continues—"I must, however, have a care lest I fall into the biting violence of the evil speakers; for, though distant in time, I have seen that the slanderous Archilochus, who fed upon loud-tongued wrath, passed the greater part of his life in difficulties and distress[3]." It is not easy to understand in this passage what moves the poet to express so much anxiety; until we advert to the lessons which the history of Ixion contains for the rapacious Hiero.
The reference of these mythical narratives to the main theme of the ode may be either historical or ideal. In the first case, the mythical personages alluded to are the heroes at the head of the family or state to which the victor belongs, or the founders of the games in which he has conquered. Among the many odes of Pindar to victors from Ægina, there is none in which he does not extol the heroic race of the Æacids. "It is," he says, "to me an invariable law, when I turn towards this island, to scatter praise upon you, O Æacids, masters of golden chariots[4]." In the second case, events of the heroic age are described, which resemble the events of the victor's life, or which contain lessons and admonitions for him to reflect upon. Thus two mythical personages may be introduced, of whom one may typify the victor in his praiseworthy, the other in his blameable acts; so that the one example may serve to deter, the other to encourage[5]. In general, Pindar contrives to unite both these modes of allusion, by representing the national or family heroes as allied in character and spirit to
