The names of ten of his pieces are known to us. (Fabric., Bibl. Gr., vol. 2, p. 483, ed. Harles.-Theatre of the Greeks, ed. 4, p. 101.)-III. A native of Arabia, as is supposed, but who established himself in Bithynia in the latter half of the second century of our era. He compiled a Lexicon of Attic forms of Ex

people, named Galatia and Galatæ, or Gallo-Græci.-tom of introducing grumbling slaves on the stage. The Phrygians are generally stigmatized by the ancients as a slavish nation, destitute of courage or energy, and possessing but little skill in anything save music and dancing. (Athenæus, 1, p. 27.- Virg., En., 12, 99.-Eurip., Alcest., 678.-Id., Orest., 1447. -Athenæus, 14, p. 624, seqq.)-Phrygia, considered with respect to the territory once occupied by the peo-pression ('Ekλoyǹ 'Attikŵv pnμútwv kaì óvoμátev). ple from whence it obtained its appellation, was divided into the Great and Less. The latter, which was also called the Hellespontine Phrygia, still retained that name, even when the Phrygians had long retired from that part of Asia Minor, to make way for the Mysians, Teucrians, and Dardanians; and it would be hazardous to pronounce how much of what is included under Mysia and Troas belonged to what was evidently only a political division. Besides this ancient classification, we find in the Lower Empire the province divided into Phrygia Pacatiana and Phrygia Salutaris. The name Epictetus, or "the Acquired," was given to that portion of the province which was annexed by the Romans to the kingdom of Pergamus. (Cramer's Asia Minor, vol. 2, p. 1, seqq.)

We have also from the same writer another work, entitled Пporаρаokevǹ σopiotiký (Sophistic Apparatus), in thirty-seven books, a production of considerable importance on account of the numerous quotations which it contains from ancient writers. Phrynicbus distinguishes between words, according to the style to which they are adapted, which is either the oratorical, the historical, or the familiar kind. As models of genuine Atticism, he recommends Plato, Demosthenes, and the other Attic orators, Thucydides, Xenophon, Eschines the Socratic, Critias, and the two authentic discourses of Antisthenes; and among the poets, Aristophanes and the three great tragic writers. He then makes a new arrangement of these authors, and places Plato, Demosthenes, and Eschines in the first rank. As regards his own style, Phrynichus is justly chargeable with great prolixity.-The best edition of the Lexicon is that of Lobeck, Lips., 1820, 8vo. Of the "Sophistic Apparatus" Montfaucon published a portion in his "Catalogus Bibliotheca Coisliniana," p. 465, seqq. Bast made another extract from the MS. (No. 345, Biblioth. Coislin., at present in the Royal library at Paris), accompanied with critical remarks, which has passed from the Continent to Eng land. In 1814, Bekker published a part in the first volume of his "Anecdota Græca," under the title, 'Ex τῶν Φρυνίχου τοῦ ̓Αραβίου τῆς σοφιστικής προπαρα σKevñs. (Schöll, Hist. Lit. Gr., vol. 5, p. 12.)

PHTHIA, a district of Thessaly, forming part of the larger district of Phthiotis. (Vid. Phthiotis.)

PHRYNICHUS, I. an Athenian tragic poet, a scholar of Thespis. The dates of his birth and death are alike unknown: it seems probable that he died in Sicily. (Clinton, Fast. Hell., vol. 2, p. xxxi., note (t).) He gained a tragic victory in 511 B.C., and another in 476, when Themistocles was his choragus. (Plut., Vit. Themist.) The play which he produced on this occasion was probably the Phænissæ, and Eschylus is charged with having made use of this tragedy in the composition of his Persæ, which appeared four years after (Arg. ad Pers.), a charge which Eschylus seems to rebut in “the Frogs” of Aristophanes (v. 1294, seqq.). In 494 B.C., Miletus was taken by the Persians, and Phrynichus, unfortunately for himself, selected the capture of that city as the subject of au historical tragedy. The skill of the dramatist, and the recent occurrence PHTHIOTIS, a district of Thessaly, including, ac of the event, affected the audience even to tears, and cording to Strabo, all the southern portion of that counPhrynichus was fined 1000 drachmæ for having recall- try, as far as Mount Eta and the Maliac Gulf. To ed so forcibly a painful recollection of the misfortunes the west it bordered on Dolopia, and on the east reachof an ally. (Herod., 6, 21.) According to Suidas, ed the confines of Magnesia. Referring to the geoPhrynichus was the first who introduced a female graphical arrangement adopted by Homer, we shall mask on the stage, that is, who brought in female find, that he comprised within this extent of territory characters; for, on the ancient stage, the characters of the districts of Phthia and Hellas properly so called, females were always sustained by males in appropriate and, generally speaking, the dominions of Achilles, dress. Bentley is thought to have purposely mistrans- together with those of Protesilaus and Eurypylos. lated this passage of Suidas, in his Dissertation on (Strab., 432, seqq.) Many of his commentators have Phalaris (vol. 1, p. 291, ed. Dyce.—Donaldson, The-imagined that Phthia was not to be distinguished from atre of the Greeks, p. 47). Phrynichus seems to have the divisions of Hellas and Achaia, also mentioned by been chiefly remarkable for the sweetness of his melo- him. But other critics, as Strabo observes, were of a dies, and the great variety and cleverness of his figure- different opinion, and the expressions of the poet cerdances. (Aristoph., Av., 748.-Id., Vesp., 269.-Id. tainly lead us to adopt that notion in preference ib., 219. Plutarch, Symp., 3, 9.) The Aristophanic other. (Il., 2, 683.-I., 1, 478.-Cramer's Ancient Agathon speaks generally of the beauty of his dramas Greece, vol. 1, p. 397.) (Thesmoph., 164, seqq.), though, of course, they fell far short of the grandeur of Eschylus, and the perfect art of Sophocles. The names of seventeen tragedies attributed to him have come down to us, but it is probable that some of these belonged to two other writers, who bore the same name. (Theatre of the Greeks, ed. 4, p. 59, seq.)—II. A comic poet, who must be carefully distinguished from the tragedian of the same name. He exhibited his first piece in the year 435 B.C., and was attacked as a plagiarist in the Popμopópot of Hermippus, which was written before the death of Sitalces, or, in other words, before 424 B.C. (Clinton, Fast. Hell., vol. 2, p. 67.) In 414 B.C., when Ameipsias was first with the Kauaoral, and Aristophanes second with the 'Opves, Phrynichus was third with the Movórрorоç. (Arg., Av.) In 405 B.C., Philonides was first with the Bárpaxot of Aristophanes, Phrynichus second with the Movoat, and Plato third with the Kheopov. (Arg., Ran.) He is ridiculed by Aristophanes in the Bárpaxot for his cus

PHURNUTUS. Vid. Cornutus.

to the

PHYA, a tall and beautiful woman of Attica, whom Pisistratus, when he wished to re-establish himself in his usurped power, arrayed like the goddess Minerva, and led to the city in a chariot, making the populace believe that the goddess herself came to restore him to power. Such is the account of Herodotus (1,59). Consult, however, remarks under the article Pisistra tus.

PHYCUS (gen. -untis: in Greek, Hukovç, gen. roc), a promontory of Cyrenaica, northwest of Apollonia, and now Ras Sem.

PHYLACE, I, a town of Macedonia, in the interior of Pieria, according to Ptolemy (p. 84), and of which Pliny (4, 10) makes mention. Some similarity to the ancient name is discoverable in that of Phili, situate on the Haliacmon, somewhat to the west of Servitza.

II. A town of Epirus, supposed to correspond with the vestiges observed by Hughes (vol. 2, p. 483) near the village of Velchista, on the western side of the lake

ing devoted a part of their territory to the raising of grain. (Adelung, Mithradates, vol. 2, p. 96.)

PICTONES, a people of Aquitanic Gaul, a short distance below the Ligeris or Loire. Their territory corresponds to the modern Poitou. Ptolemy assigns them two capitals, Augustoritum and Limonum, but the former in strictness belonged to the Lemovices. The city of Limonum, the true capital, answers to the modern Poitiers. Strabo gives the name of this people with the short penult, Ptolemy with the long one. The short quantity is followed by Lucan (1, 436): Ammianus Marcellinus uses the form Pictavi. (Amm. Marcell., 15, 11.)

PIERIDES, I. a name given to the Muses, from the district of Pieria, their natal region. (Vid. Musæ.)— II. The nine daughters of Pierus, who challenged the Muses to a contest of skill, and were overcome and changed into magpies. Some suppose that the victorious Muses took their name, just as Minerva, according to some authorities, assumed that of the giant Pallas after she had conquered him. (Ovid, Met., 5, 300.)

PIERUS, a native of Thessaly, father of the Pierides who challenged the Muses. (Vid. Pierides, II.)

PIGRUM MARE, an appellation given to the extreme Northern Ocean, from its being supposed to be in a semi-congealed or sluggish state. (Plin., 4, 13.— Tacit., Germ., 45.)

which was known to Homer (, 14, 226), was derived apparently from the Pieres, a Thracian people, who were subsequently expelled by the Temenida, the conquerors of Macedonia, and driven north beyond the Strymon and Mount Pangæus, where they formed a new settlement. (Thucyd, 2, 99-Herod., 7, 112.) The boundaries which historians and geographers have assigned to this province vary; for Strabo, or, rather, his epitomiser, includes it between the Haliacmon and Axius. (Strab., 330.) Livy also seems to place it north of Dium (44, 9), while most authors ascribe that town to Pieria. Ptolemy gives the name of Pieria to all the country between the mouth of the Peneus and PICUMNUS and PILUMNUS, two deities of the Latins, that of the Ludias. (Cramer's Anc. Greece, vol. 1, presiding over nuptial auspices. (Non., c. 12, n. 36. p. 204.)-II. A district of Syria, bounded on the west -Varro, ap. Non., 1. c.) The new-born child, too, by the Sinus Issicus, on the north by Mount Pierius was placed by the midwife on the ground, and the fa-(the southern continuation of Amanus), from which vour of these deities was propitiated for it. Pilum-the region received its name. (Ptol.-Bischoff und nus was also one of the three deities who kept off Sil- Möller, Wörterb. der Geogr., p. 851.) vanus from lying-in women at night. (Varro, frag., p. 231.) The other two were Intercido and Deverra. Three men went by night round the house, to signify that these deities were watchful: they first struck the threshold with an axe, then with a pestle (pilum), and finally swept (deverrere) with brooms; because trees are not cut (caduntur) and pruned without an axe, corn bruised without a pestle, or heaped up without brooms. Hence the names of the deities, who prevented the wood-god Silvanus from molesting parturient females. (Keightley's Mythology, p. 537.)* Servius, in place of Picumnus, uses the name Pithumnus, and makes this deity to have been the brother of Pilumnus, and to have discovered the art of manuring land; hence he was also called Stercutius and Sterquilinus, from_stercus, manure." The same authority makes Pilumnus, to have invented the art of pounding corn in a mortar (pilum), whence his name. (Serv. ad Virg., En., 9, 4.-Compare Plin., 3, 18.) Some of the ancient grammarians regarded these two deities as identical with Castor and Pollux, than which PINARII and POTITII, two distinguished families nothing can be more erroneous. Piso, one of this among the subjects of Evander, at the time when Herclass of writers, deduced the name Pilumnus from cules visited Italy on his return from Spain. A sacpello, "to drive away" or "avert," because he avert-rifice having been offered to the hero by Evander, the ed the evils that are incident to infancy, "quia pellit Potitii and Pinarii were invited to assist in the cere mala infantia." (Spangenberg, Vet. Lat. Relig. Do- monies and share the entertainment. It happened mest., p. 65.) that the Potitii attended in time, and the entrails were PICUS, a fabulous king of Latium, son of Saturn, served up to them; the Pinarii, arriving after the enand celebrated for his beauty and his love of steeds. trails were eaten, came in for the rest of the feast; He married Canens, the daughter of Janus and Venil- hence it continued a rule, as long as the Pinarian famia, renowned for the sweetness and power of her ily existed, that they should not eat of the entrails. voice. One day Picus went forth to the chase clad The Potitii, instructed by Evander, were directors of in a purple cloak, bound round his neck with gold. that solemnity for many ages, until the solema office He entered the wood where Circe happened to be at of the family was delegated to public servants, on that time gathering magic herbs. She was instantly which the whole race of the Potitii became extinct. struck with love, and implored the prince to respond This desecration of the rites of Hercules was brought to her passion. Picus, faithful to his beloved Canens, about, it is said, by the censor Appius Claudius, who indignantly spurned her advances, and Circe, in re-induced the Potitii by means of a large sum of money venge, struck him with her wand, and instantly he was changed into a bird with purple plumage and a yellow ring around its neck. This bird was called by his name Picus, "the woodpecker." (Ovid, Met., 14, 320, seqq.-Plut., Quæst. Rom., 21.) Servius says that Picus was married to Pomona (ad Æn., 7, 190). -This legend seems to have been devised to give an origin for the woodpecker after the manner of the Greeks. (Keightley's Mythology, p. 538.-Compare Spangenberg, Vet. Lat. Rel. Dom, p. 62.)

66

PILUMNUS. Vid. Picumnus.

PIMPLEA, a small town of Macedonia, not far from Dium and Libethra, where Orpheus was said by some to have been born. (Strab., Epit., 330.—Apollon. Rhod., 1, 23, et Schol. ad loc.-Lycophr., v. 273.)

to teach the manner of performing these rites to the public slaves mentioned above. (Liv., 1, 7.-Id., 9, 29.-Festus, s. v. Potitium.-Serv. ad Æn., 8, 269.)

PINĀRUS, a river of Cilicia Campestris, rising in Mount Amanus, and falling into the Sinus Issicus near Issus. The Greek and Persian armies were at first drawn up on opposite banks of this stream: Darius on the side of Issus, Alexander towards Syria. The modern name of the Pinarus is the Del-sou. (French Strabo, vol. 4, pt. 2, p. 384.)

PIERIA, I. a region of Macedonia, directly north of PINDARUS, a celebrated lyric poet of Thebes, in Thessaly, and extending along the Thermaïc Gulf. Baotia, born, according to Böckh, in the spring of It formed one of the most interesting parts of Mace-522 B.C. (Olympiad 64.3), and who died, according donia, both in consideration of the traditions to which to a probable statement, at the age of eighty. (Pinit has given birth, as being the first seat of the Muses, and the birthplace of Orpheus; and also of the important events which occurred there at a later period, involving the destiny of the Macedonian empire, and many other parts of Greece. The name of Pieria,

dar, ed. Böckh, vol. 3, p. 12.—Compare Clinton, Fast. Hell., vol. 1, p. 17, who makes his birth-year 518 B.C.) He was, therefore, nearly in the prime of life at the time when Xerxes invaded Greece, and when the battles of Thermopyle and Salamis were fought;

was the position which Pindar assumed with regard to these princes; and, in accordance with this, he frequently proclaims, that frankness and sincerity are always laudable. But his intercourse with the princes of his time appears to have been limited to poetry. We do not find him, like Simonides, the daily associate, counsellor, and friend of kings and statesmen; he plays no part in the public events of the time, either as a politician or a courtier. Neither was his name, like that of Simonides, distinguished in the Persian war: partly be

and he thus belongs to that period of the Greek nation when its great qualities were first distinctly unfolded, and when it exhibited an energy of action and a spirit of enterprise never afterward surpassed, together with a love of poetry, art, and philosophy, which produced much, and promised to produce more. His native place was Cynocephala, a village in the territory of Thebes, and the family of the poet seems to have been skilled in music: since we learn from the ancient biographies of him, that his father or his uncle was a flute-player. But Pindar, very early in life, soared far.cause his fellow-citizens, the Thebans, were, together beyond the sphere of a flute-player at festivals, or even with half of the Grecian nation, on the Persian side, a lyric poet of merely local celebrity. Although, in his while the spirit of independence and victory was with time, the voices of Pierian bards, and of epic poets of the other half. Nevertheless, the lofty character of the Hesiodean school, had long been mute in Boeotia, Pindar's muse rises superior to these unfavourable yet there was still much love for music and poetry, circumstances. He did not, indeed, make the vain which had taken the prevailing form of lyric and cho- attempt of gaining over the Thebans to the cause of ral compositions. That these arts were widely culti- Greece; but he sought to appease the internal dissenvated in Boeotia is proved by the fact that two females, sions which threatened to destroy Thebes during the Myrtis and Corinna, had attained celebrity in them war, by admonishing his fellow-citizens to union and during the youth of Pindar. Both were competitors concord (Polyb., 4, 31, 5.- Frag. incert., 125, ed. with him in poetry. Myrtis strove with the bard for a Böckh); and, after the war was ended, he openly proprize at public games; and although Corinna said, claims, in odes intended for the Æginetans and Athe"It is not meet that the clear-toned Myrtis, a woman nians, his admiration of the heroism of the victors.— born, should enter the lists with Pindar," yet she is Having mentioned nearly all that is known of the said (perhaps from jealousy of his rising fame) to have events of Pindar's life, and his relations to his conoften contended against him in the agones, and five temporaries, we proceed to consider him more closely times to have gained the victory. (Elian, V. H., 13, as a poet, and to examine the character and form of 24.) Corinna also assisted the young poet with her his poetical productions. The only class of poems advice; and it is related of her, that she recommend- which enable us to judge of Pindar's general style are ed him to ornament his productions with mythical nar- the trivikia, or triumphal odes. Pindar, indeed, exrations; but that, when he had composed a hymn, in celled in all the known varieties of choral poetry; namethe first six verses of which (still extant) almost the ly, hymns to the gods, pæans, and dithyrambs approwhole of the Theban mythology was introduced, she priate to the worship of particular divinities, odes for smiled and said, "We should sow with the hand, not processions (pooódia), songs of maidens (aplévεia), with the whole sack."-Pindar placed himself under mimic dancing songs (úroрxýμara), drinking songs the tuition of Lasus of Hermione, a distinguished poet, (σkoλá), dirges (pivo), and encomiastic odes to but probably better versed in the theory than the prac- princes (éуκúμa), which last approached most nearly tice of poetry and music. Since Pindar made these to the enivikia. The poems of Pindar in these variarts the whole business of his life, and was nothing but ous styles were nearly as renowned among the ancients a poet and musician, he soon extended the boundaries as the triumphal odes, which is proved by the numerof his art to the whole Greek nation, and composed ous quotations of them. Horace, too, in enumerating poems of the choral lyric kind for persons in all parts of the different styles of Pindar's poetry, puts the dithyGreece. At the age of twenty he composed a song of ramb first, then the hymns, and afterward the epinikia victory in honour of a Thessalian youth belonging to the and the dirges. Nevertheless, there must have been family of the Aleuada (Pyth. 10, composed in Olym- some decided superiority in the epinikia, which caused piad 69.3, B.C. 502). We find him employed soon af- them to be more frequently transcribed in the later terward for the Sicilian rulers, Hiero of Syracuse and period of antiquity, and thus rescued them from perTheron of Agrigentum; for Arcesilaus, king of Cyrene, ishing with the rest of the Greek lyric poetry. At and Amyntas, king of Macedonia, as well as for the any rate, these odes, from the vast variety of their subfree cities of Greece. He made no distinction ac- jects and style, and their refined and elaborate struccording to the race of the persons whom he celebra- ture, some approaching to hymns and paans, others ted: he was honoured and loved by the Ionian states to scolia and hyporchemes, serve to indemnify us for for himself as well as for his art: the Athenians made the loss of the other sorts of lyric poetry. We will him their public guest (πpóɛvos); and the inhabitants now explain, as briefly as possible, the occasion of an of Ceos employed him to compose a processional song epinikian ode, and the mode of its execution. A vic(πpoσódiov), although they had their own poets, Si- tory has been gained in a contest at a festival, particmonides and Bacchylides. Pindar, however, was not ularly at one of the four great games most prized by a common mercenary poet, always ready to sing the the Greeks. Such a victory as this, which shed a praises of him whose bread he ate. He received, in- lustre not only on the victor himself, but on his famideed, money and presents for his poems, according to ly, and even on his native city, demanded a solemn the general usage previously introduced by Simoni- celebration. This celebration might be performed by des; yet his poems are the genuine expression of his the victor's friends on the spot where the prize was thoughts and feelings. In his praises of virtue and obtained; as, for example, at Olympia, when, in the good fortune, the colours which he employs are not evening, after the termination of the contests, by the too vivid nor does he avoid the darker shades of his light of the moon, the whole sanctuary resounded subject; he often suggests topics of consolation for with joyful songs after the manner of encomia; or it past and present evil, and sometimes warns and ex- might be deferred till after the victor's solemn return horts to avoid future calamity. Thus he ventures to to his native city, where it was sometimes repeated in speak freely to the powerful Hiero, whose many great following years, in commemoration of his success. A and noble qualities were alloyed by insatiable cupid-celebration of this kind always had a religious character; ity and ambition, which his courtiers well knew how it often began with a procession to an altar or temto turn to a bad account; and he addresses himself in ple, in the place where the games had been held, or in the same manly tone to Arcesilaus IV., king of Cy- the native city of the conqueror; a sacrifice, followed rene, who afterward brought on the ruin of his dynas- by a banquet, was then offered at the temple, or in the ty by his tyrannical severity, Thus lofty and dignified house of the victor; and the whole solemnity conclu

ded with the merry and boisterous revel called by the | wisdom, which began to show itself among the Greeks Greeks kwμog. At this sacred and, at the same time, joyous solemnity (a mingled character frequent among the Greeks), appeared the chorus, trained by the poet or some other skilled person, for the purpose of reciting the triumphal hymn, which was considered the fairest ornament of the festival. It was during either the procession or the banquet that the hymn was recited, as it was not properly a religious hymn, which could be combined with the sacrifice. The form of the poem must, to a certain extent, have been determined by the occasion on which it was to be recited. From expressions which occur in several epinikian odes, it is probable that all odes consisting of strophes without epodes were sung during a procession to a temple or to the house of the victor; although there are others which contain expressions denoting movement, and which yet have epodes. It is possible that the epodes in the latter odes may have been sung at certain intervals when the procession was not advancing; for an epode, according to the statements of the ancients, always required that the chorus should be at rest. But by far the greater number of the odes of Pindar were sung at the Comus, at the jovial termi-thought, either in an apophthegmatic or mythical form, nation of the feast and hence Pindar himself more frequently names his odes from the Comus than from the victory. The occasion of the epinikian ode-a victory in the sacred games-and its end-the ennobling of a solemnity connected with the worship of the gods-required that it should be composed in a lofty and dignified style. But, on the other hand, the boisterous mirth of the feast did not admit the severity of the antique poetic style, like that of the hymns and nomes; it demanded a free and lively expression of feeling, in harmony with the occasion of the festival, and suggesting the noblest ideas connected with the victor. Pindar, however, gives no detailed description of the victory, as this would have been only a repetition of the spectacle which had already been beheld with enthusiasm by the assembled Greeks; nay, he often bestows only a few words on the victory, recording its place, and the sort of contest in which it was won. On the other hand, we often find a precise enumeration of all the victories, not only of the actual victor, but of his entire family: this must evidently have been required of the poet. Nevertheless, he does not (as many writers have supposed) treat the victory as a merely secondary object; which he despatches quickly, in order to pass on to objects of greater inter

:

at the time of the Seven Wise Men, and which formed an important element of elegiac and choral lyric poetry before the time of Pindar.-The other element of his poetry, his mythical narratives, occupies, however, far more space in most of his odes. That these are not mere digressions for the sake of ornament bas been fully proved by modern commentators.-This admixture of apophthegmatic maxims and typical nar ratives would alone render it difficult to follow the thread of Pindar's meaning; but, in addition to this cause of obscurity, the entire plan of his poetry is so intricate, that a modern reader often fails to understand the connexion of the parts, even where he thinks he has found a clew. Pindar begins an ode full of the lofty conception which he has formed of the glori ous destiny of the victor; and he seems, as it were, carried away by the flood of images which this conception pours forth. He does not attempt to express directly the general idea, but follows the strain of thought which it suggests into its details, though without losing sight of their reference to the main object. Accordingly, when he has pursued a train of up to a certain point, he breaks off, before he has gone far enough to make the application to the victor sufficiently clear; he then takes up another thread, which is, perhaps, soon dropped for a fresh one; and at the end of the ode he gathers up all these different threads, and weaves them together into one web, in which the general idea predominates. By reserving the expla nations of his allusions until the end, Pindar contrives that his odes should consist of parts which are not complete or intelligible in themselves; and thus the curiosity of the reader is kept on the stretch throughout the entire ode.-The characteristics of Pindar's poetry, which have just been explained, may be discovered in all his epinikian odes. Their agreement, however, in this respect, is quite consistent with the extraordinary variety of style and expression which belongs to this class of poems. Every epinikian ode of Pindar has its peculiar tone, depending upon the course of the ideas and the consequent choice of the expressions. The principal differences are connected with the choice of the rhythms, which again is regulated by the musical style. According to the last distinction, the epinikia of Pindar are of three sorts, Doric, Eolic, and Lydian; which can be easily distinguished, although each admits of innuThe victory, in truth, is always the point upon merable varieties. In respect of metre, every ode of which the whole of the ode turns; only he regards it, Pindar has an individual character, no two odes being not simply as an incident, but as connected with the of the same metrical structure. In the Doric ode the whole life of the victor. Pindar establishes this con- same metrical forms occur as those which prevailed in nexion by forming a high conception of the fortunes the choral lyric poetry of Stesichorus, namely, sysand character of the victor, and by representing the tems of dactyls and trochaic dipodies, which most victory as the result of them. And as the Greeks nearly approach the stateliness of the hexameter. Acwere less accustomed to consider a man in his indi- cordingly, a severe dignity pervades these odes; the vidual capacity than as a member of his state and his mythical narrations are developed with greater fulness, family, so Pindar considers the renown of the victor and the ideas are limited to the subject, and are free in connexion with the past and the present condition from personal feeling; in short, their general characof the race and state to which he belongs. Even, ter is that of calmness and elevation. The language however, when the skill of the victor is put in the fore-is epic, with a slight Doric tinge, which adds to its ground, Pindar, in general, does not content himself brilliancy and dignity. The rhythms of the Æolic odes with celebrating this bodily prowess alone, but he usu- resemble those of the Lesbian poetry, in which light ally adds some moral virtue which the victor has dactylic, trochaic, or logamedic metres prevailed: these shown, or which he recommends and extols. This rhythms, however, when applied to choral lyric poetry, virtue is sometimes moderation, sometimes wisdom, were rendered far more various, and thus often acsometimes filial love, sometimes piety to the gods. quired a character of greater volubility and liveliness. The latter is frequently represented as the main cause The Eolic odes, from the rapidity and variety of their of the victory; the victor having thereby obtained the movement, have a less uniform character than the Doprotection of the deities who preside over gymnastic ric odes; for example, the first Olympic, with its joycontests, as Mercury or the Dioscuri.-Whatever ous and glowing images, is very different from the might be the theme of one of Pindar's epinikian odes, second, in which a lofty melancholy is expressed, it would naturally not be developed with the systemat- and from the ninth, which has an air of proud and ic completeness of a philosophical treatise. Pindar, complacent self-reliance. The language of the Eohowever, has undoubtedly much of that sententious lic epinikia is also bolder, more difficult in its syn

est.