See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

PINDAR (Gr. HivSapos, c. 522–443 B.c.)  , the See also:

• GREAT

great lyric poet of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• GREECE

Greece, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Cynoscephalae, in See also:

• BOEOTIA

Boeotia, at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of the Pythian See also:

• GAMES, CLASSICAL

games (Jr . 175, Bergk4, 193),1 which is taken by See also:

• BOCKH, PHILIPP AUGUST (1785-1867)

Bockh to be 522 B.C . He would thus be some See also:

• THIRTY

thirty-four years younger than See also:

• SIMONIDES (or SEMONIDES) OF AMORGOS

Simonides of See also:

• CEOS (Gr. Kiws, mod. Zea or Tzia)

Ceos . He was the son of Daiphantus and Cleodice (or Cleidice) . The traditions of his See also:

• FAMILY

family have See also:

• LEFT

left their impress on his See also:

• POETRY

poetry, and are not without importance for a correct estimate of his relation to his contemporaries . The See also:

• CLAN (Gaelic clann, O. Ir. cland, connected with Lat. planta, shoot or scion, the ancient Gaelic or Goidelic substituting k for p)

clan of the Aegidae—tracing their See also:

• LINE

line from the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero See also:

• AEGEUS

Aegeus—belonged to the " Cadmean " See also:

• ELEMENT (Lat. elementum)

element 1 The references are to the edition of See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

Pindar by C . A . M . Fennell (1893-1899), and the See also:

• FOURTH

fourth edition of See also:

• BERGK, THEODOR (1812—1881)

Bergk's Poetae l_yrici graeci.of See also:

• THEBES (anciently &Oat, Thebae, or in poetry sometimes Oif3a, in modern Greek Phiva, or, according to the corrected pronunciation, Thivae)
• THEBES (e 3a1)
• THEBES, ROMANCE OF

Thebes, i.e. to the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• NOBILITY

nobility whose supposed date went back to the days of the founder See also:

• CADMUS

Cadmus . A See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of the Theban Aegidae had been settled in Achaean times at Amyclae in the valley of the Eurotas (Pind . Isthm. vi . 14), and after the Dorian See also:

• CONQUEST

conquest of the See also:

• PELOPONNESUS (" Island of Pelops ")

Peloponnesus had apparently been adopted by the Spartans into one of the three Dorian tribes .

The Spartan Aegidae helped to colonize the See also:

• ISLAND (O.E. ieg =isle, +land')

island of See also:

• THERA

Thera (Pyth. v . 68–7o) . Another branch of the See also:

• RACE

race was settled at See also:

• CYRENE [mod. Ain Shahat-Grenna]

Cyrene in See also:

• AFRICA
• AFRICA, ROMAN

Africa; and Pindar tells how his Aegid clansmen at Thebes " showed See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour " to Cyrene as often as they kept the festival of the See also:

• CARNEA

Carnea (Pyth. v . 75) . Pindar is to be conceived, then,, as See also:

• STANDING

standing within the circle of those families for whom the heroic myths were domestic records . He had a See also:

• PERSONAL

personal See also:

• LINK

link with the memories which everywhere were most cherished by See also:

• DORIANS

Dorians, no less than with those which appealed to men of " Cadmean " or of Achaean stock . And the wide ramifications of the Aegidae throughout Hellas rendered it peculiarly fitting that a member of that illustrious clan should celebrate the glories of many cities in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse which was truly Panhellenic . Pindar is said to have received lessons in See also:

• FLUTE

flute-playing from one Scopelinus at Thebes, and afterwards to have studied at See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens under the musicians See also:

• APOLLODORUS

Apollodorus (or See also:

• AGATHOCLES (361—289 B.C.)

Agathocles) and See also:

• LASUS

Lasus of Hermione . In his youth, as the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story went, he was defeated in a poetical contest by the Theban See also:

• CORINNA

Corinna—who, in reference to his profuse employment of Theban See also:

• MYTHOLOGY

mythology, is said to have advised him " to sow with the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, not with the See also:

• SACK

sack." There is an extant fragment in which Corinna reproves another Theban poetess, Myrtis, " for that she, a woman, contended with Pindar " (See also:

• SIN
• SIN (O. Eng. syn: a common Teutonic word, cf. Dutch zonde, Ger. Siinde)

sin f3ava Oda' if3a Hev5apowo 7ror' Epw) —a sentiment which hardly fits the story of Corinna's own victory . The facts that stand out from these meagre traditions are that Pindar was precocious and laborious . Preparatory labour of a somewhat severe and complex See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind was, indeed, indispensable for the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek lyric poet of that See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . Lyric See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition demanded studies not only in See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre but in See also:

• MUSIC

music, and in the See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of both to the intricate movements of the choral See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance (opXr7o-See also:

• ROD (O.E. rodd, probably related to Norw. rudda, stick, rodda, stake)
• ROD, EDOUARD (1857-1910)

rod) .

Several passages in Pindar's extant odes glance at the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long technical development of Greek lyric poetry before his time, and at the various elements of See also:

• ART

art which the lyrist was required to See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper into a harmonious whole (see, e.g . 01. iii . 8, vi . 91, xiii . 18, xiv . 15; Pyth. xii . 23, &c.) . The earliest See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode which can be dated (Pyth. x.) belongs to the twentieth See also:

• YEAR

year of Pindar's age (502 B.C.); the latest (Olymp. v.) to the seventieth (452 B.C.).2 He visited the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of See also:

• HIERO (strictly HIERON)

Hiero at See also:

• SYRACUSE
• SYRACUSE (Gr. Mvpaaovoat; Lat. Syracusae, Ital. Siracusa)

Syracuse; Theron, the See also:

• DESPOT (Gr. Sc-va6rgs, lord or master; the origin of the first part of the Gr. word is unknown, the second part is cognate with rbvcs, husband, Lat. potens, powerful)

despot of Acragas, also entertained him; and his travels perhaps included Cyrene . Tradition notices the See also:

• SPECIAL

special closeness of his relations with See also:

• DELPHI (the Pytho of Homer and Herodotus; in Boeotian inscriptions BeA4oi, on coins Aa)tg5oi)

Delphi: " He was greatly honoured by all the Greeks, because he was so beloved of See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo that he even received a See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of the offerings; and at the sacrifices the See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest would cry aloud that Pindar come in to the feast of the See also:

• GOD

god." a His wife's name was Megacleia (another See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account says Timoxena, but this may have been a second wife), and he had a son named Daiphantus and two daughters, Eumetis and Protomache . He is said to have died at See also:

• ARGOS

Argos, at the age of seventy-nine, in 443 B.C . Among the Greeks of his own and later times Pindar was pre-eminently distinguished for his piety towards the gods . He tells us that, " near to the See also:

• VESTIBULE (from Lat. vestibulum)

vestibule " of his See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house (Pyth. iii .

78), choruses of maidens used to dance and sing by See also:

• NIGHT

night in praise of the See also:

• MOTHER

Mother of the Gods (See also:

• CYBELE, or CYBEBE (Gr. Ku/3X, Ku,(3i7sn)

Cybele) and See also:

• PAN (" pasturer ")
• PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open)

Pan—deities peculiarly associated with the Phrygian music of the flute, in which other members of Pindar's family besides the poet himself are said to have excelled . A statue and See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine of Cybele, which he dedicated at Thebes, were the See also:

• WORK

work of the Theban artists, Aristomedes and See also:

• SOCRATES

Socrates . He also dedicated at Thebes a statue to See also:

• HERMES
• HERMES, GEORG (1775-1831)

Hermes Agoraios, and another, by See also:

• CALAMIS

Calamis, to See also:

• ZEUS

Zeus See also:

• AMMON
• AMMON, CHRISTOPH FRIEDRICH VON (1766—185o)

Ammon . The latter god claimed his especial veneration because Cyrene, one of the homes of his Aegid ancestry, stood " where Zeus Ammon hath his seat," i.e. near the See also:

• OASIS (Gr. &toss, the name given by Herodotus to the fertile spots in the Libyan desert: it probably represents an Egyptian word, cf. Coptic ouahe, ouih, to dwell, from which the Egyptian Arabic sod is derived)

oasis and See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple 2 According to others, his latest poem is the eighth Pythian ode, 450 or 446 . 4 llwSapov ybios, in ed . Ald . PINDAR victory of the Athenian Megacles, he begins thus: " Fairest of preludes is the renown of Athens for the mighty race of the See also:

• ALCMAEONIDAE

Alcmaeonidae . What See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, or what house, could I See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call mine by a name that should See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound more glorious for Hellas to hear ?" Referring to the fact that an Aeginetan See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

victor in the games had been trained by an Athenian, he says (Nem. v . 49) " meet it is that a shaper of athletes should come from Athens" — and recollecting how often Pindar compares the poet's efforts to the See also:

• ATHLETE (Gr. aOX177'7r; Lat. athleta)

athlete's, we may well believe that he was thinking of his own See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early training at Athens . Pindar's versatility as a lyric poet is one of the characteristics remarked by See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace (Odes, iv . 2), and is proved by the fragments, though the poems which have come down entire See also:

• WORKS

works. represent only one class of compositions—the Epinicia, or odes of victory, commemorating successes in the great games . The lyric types to which the fragments belong, though it cannot be assumed that the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list is See also:

• COMPLETE

complete, are at least numerous and varied .

(I) "T.zvoc, See also:

• HYMNS

Hymns to deities—as to Zeus Ammon, to Persephone, to See also:

• FORTUNE, ROBERT (1813-188o)

Fortune . The fragmentary iµvos entitled Oni3aLocs seems to have celebrated the deities of Thebes . (2) llacaves, Fragments. paeans, expressing See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer or praise for the help of a protecting god, especially Apollo, See also:

• ARTEMIS

Artemis or Zeus . (3) OcObpaµSee also:

• SOC

soc, Dithyrambs, odes of a lofty and impassioned See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain, sung by choruses in honour of See also:

• DIONYSUS (probably = " son of Zeus," from & Os and vv(7os, a Thracian word for " son ")

Dionysus (cf . Pind . 01. xiii . 18, raL Ocwvboou ar6Oev iEHpavev obv /3oiXarg %aperes S&Ovpaµ4m—where Pindar alludes to the choral See also:

• FORM (Lat. forma)

form given to the dithyramb, c . 60o B.C., by See also:

• ARION

Arion—13onXariLs, " ox-See also:

• DRIVING (from " to drive," i.e. generally to propel, force along or in, a word common in various forms to the Teutonic languages)

driving," perhaps meaning " winning an ox as See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize ") . (4) Hpoo6Sca, Processional Songs, choral chants for worshippers approaching a shrine . One was written by Pindar for the Delians, another for the Aeginetans . (5) IIapOEVCa, Choral Songs for Maidens . The reference in Pyth. iii .

78 to maidens worshipping Cybele and Pan near the poet's house is illustrated by the fact that one of these HapOfvca invoked " Pan, See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

lord of See also:

• ARCADIA

Arcadia, attendant of the Great Mother, watcher of her awful shrine " (fr . 72, Bergk4, 95) . (6) 'Tropxi See also:

• TARA
• TARA, VISCOUNTS AND BARONS

Tara, Choral Dance-Songs, adapted to a lively See also:

• MOVEMENT

movement, used from an early date in the cult of Apollo, and afterwards in that of other gods, especially Dionysus . To this class belongs one of the finest fragments (84, Bergk4, 107), written for the Thebans in connexion with propitiatory See also:

• RITES

rites after an See also:

• ECLIPSE (Gr. €uheo,tis, falling out of place, failing)

eclipse of the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun, probably that of the 3oth of See also:

• APRIL

April 463 B.C . (7) See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

Eye(uµca, Songs of Praise (for men, while uµvoc were for gods), to be sung by a Kn iO or festal See also:

• COMPANY

company . In strictness E'rKWjCOV was the genus of which ErevLKGOV was a See also:

• SPECIES

species; but the latter is more conveniently treated as a distinct kind . Pindar wrote encomia for Theron, despot of Acragas, and for See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander I . (son of Amyntas), See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of Macedon . (8) ZsbXia, Festal Songs . The usual sense of rsbawv is a drinking-See also:

• SONG

song, taken up by one See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest after another at a banquet . But Pindar's oKOXca were choral and antistrophic . One was to be sung at See also:

• CORINTH
• CORINTH, ISTHMUS OF

Corinth by a See also:

• CHORUS (Gr. xopbs)Z

chorus of the LspbSovaoc attached to the temple of See also:

• APHRODITE

Aphrodite Ourania, when a certain See also:

• XENOPHON

Xenophon offered See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice before going to compete at See also:

• OLYMPIA

Olympia .

Another brilliant fragment, for Theoxenus of Tenedos, has an erotic See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . (9) Opfivoc, Dirges, to be sung with choral dance and the music of the flute, either at the See also:

• BURIAL

burial of the dead or in commemorative rituals . Some of the most beautiful fragments belong to this class (Io6—IIo, Bergk4, 129-133) . One of the smaller fragments (114, Bergk4, 137)—in memory of an Athenian who had been initiated into the Eleusinian mysteries (L&bv KEtva)—has been conjecturally referred to the Opfivos which Pindar is said to have written (schol . Pyth. vii . 18) for See also:

• HIPPOCRATES

Hippocrates, the grandfather of See also:

• PERICLES (49o-429 B.C.)

Pericles . A number of small fragments, which cannot be certainly classified, are usually given as EE b,MOwv ELMi v, " of uncertain class." On comparing the above list with Horace, Odes, iv . 2, it will be seen that he alludes to No . 3 (dithyrambos) ; to Nos . 1, 2, and 7 (seu deos regesve canit); and to No . 9 (flebili sponsae juvenemve raptum Plorat)—as well as to the extant Epinicia (sive quos Elea domum red ucit See also:

• PALMA, JACOPO (c. 1480-1528)
• PALMA, or PALMA DE MALLORCA
• PALMA, or SAN MIGUEL DE LA PALMA

Palma caelestes) . • The Epinicia.—The ErcPbaa (sc .

OM), or ErwisCoc (sc . Divot)," Odes of Victory," form a collection of See also:

• FORTY

forty-four odes, traditionally divided into four books, answering to the four great festivals: (I) 'OXvµrcov2Kac (sc. uµvoc): fourteen odes for winners of the See also:

• WILD, JONATHAN (c. 1682-1725)

wild See also:

• OLIVE (Olea europaea)

olive-See also:

• WREATH (O. Eng. wry, from wriian, to twist)

wreath in the Olympian games, held at Olympia in honour of Zeus once in four years; (2) l vOcoviKa : twelve odes for winners of the See also:

• LAUREL

laurel-wreath in the Pythian games held at Delphi in honour of Apollo, once in four years, the third of each See also:

• OLYMPIAD

Olympiad; (3) NepeoviKac: eleven odes for winners of the See also:

• PINE (Lat. Pinus, Gr. srlrur)

pine-wreath in the Nemean games, held at Nemea, in honour of Zeus, once in two years, the second and fourth of each Olympiad; and (4) 'IaOtuoeZsac: seven odes for winners of the See also:

• PARSLEY

parsley wreath in the Isthmian games, held at the See also:

• ISTHMUS (Gr.io0pbs, neck)

Isthmus (Pyth. iv . 16) . The author of one of the Greek lives of Pindar says that, " when See also:

• PAUSANIAS

Pausanias the king of the Lacedaemonians was burning Thebes, some one wrote on Pindar's house, ` See also:

• BURN, RICHARD (1709-1785)

Burn not the house of Pindar the poet'; and thus it alor.; escaped destruction." This incident, of which the occasion is not further defined, has been regarded as a later invention .l Better attested, at least, is the similar clemency of Alexander the Great, when he sacked Thebes one See also:

• HUNDRED

hundred and eight years after the traditional date of Pindar's See also:

• DEATH

death (335 B.c.) . He spared only (I) the Cadmeia, or citadel, of Thebes (thenceforth to be occupied by a Macedonian See also:

• GARRISON
• GARRISON, WILLIAM LLOYD (1805-1879)

garrison); (2) the temples and See also:

• HOLY

holy places; and (3) Pindar's house . While the inhabitants were sold into See also:

• SLAVERY

slavery, exception was made only of (I) priests and priestesses; (2) persons who had been connected by private Eevia with See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip or Alexander, or by public evla with the Macedonians; (3) Pindar's descendants . It is probable enough, as Dio See also:

• CHRYSOSTOM

Chrysostom suggests (ii . 33), that Alexander was partly moved by personal gratitude to a poet who had celebrated his ancestor Alexander I. of Macedon . But he must have been also, or chiefly, influenced by the sacredness which in the eyes of all Hellenes surrounded Pindar's memory, not only as that of a great See also:

• NATIONAL

national poet, but also as that of a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man who had stood in a specially See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close relation to the gods, and, above all, to the Delphian Apollo ? Upwards of six hundred years after Pindar's death the traveller Pausanias saw an See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair which was preserved among the most See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious treasures of the temple in the See also:

• SANCTUARY (from the late Lat. sanctuarium, a sacred place)

sanctuary at Delphi . It was the chair, he was told, " in which Pindar used to sit, whenever he came to Delphi, and to See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant those of his songs which pertain to Apollo " (x . 24, 5) .

During the second See also:

• HALF

half of Pindar's See also:

• LIFE

life, Athens was rising to that supremacy in literature and art which was to prove more lasting than her See also:

• POLITICAL

political primacy . Pindar did not live to see the See also:

• PARTHENON (HapOevwv)

Parthenon, or to See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness the mature triumphs of See also:

• SOPHOCLES (495-406 B.c.)

Sophocles; but he knew the See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture of Calamis, and he may have known the masterpieces of See also:

• AESCHYLUS (525–456 B.c.)

Aeschylus . It is interesting to See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note the feeling of this great Theban poet, who stands midway between Homeric epos and Athenian See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, towards the Athens of which Thebes was so often the bitterest foe, but with which he himself had so large a measure of spiritual kinship . A few words remain from a dithyramb in which he paid a glowing See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

tribute to those " sons of Athens " who " laid the shining See also:

• FOUNDATIONS

foundations of See also:

• FREE

free- dom " (raises 'AOavaicav 13hXov-ro 4asvvav Kprtrit' EXeveepias, fr . 55, Bergk4, 77), while Athens itself is thus invoked: ca red Acrapai Kai toorErbavoc Kal aot&got, 'EAXhSos Epecoµa, KAetrai 'ABavac, See also:

• SAC

Sacµovtov rroMeOpov (fr . 54, Bergk4, 76) . Isocrates, See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in 353 B.C., states that the phrase 'EXXttSos Epecoaa, stay of Hellas," so greatly gratified the Athenians that they conferred on Pindar the high distinction of rpoEevia (i.e. appointed him honorary See also:

• CONSUL
• CONSUL (in Gr. generally ihraros,ashortened form of errpavgybs 8hraeos, i.e. praetor maximus)

consul, as it were—for Athens at Thebes), besides presenting him with a large sum of See also:

• MONEY

money (Antidosis, 166) . One of the letters of the pseudo-See also:

• AESCHINES (389-314 B.C.)
• AESCHINES (5th century B.C.)

Aeschines (Ep. iv.) gives an improbable turn to the story by saying that the Thebans had fined Pindar for his praise of Athene, and that the Athenians repaid him twice the sum .3 The See also:

• NOTICE

notice preserved by Isocrates —less than one hundred years after Pindar's death—is See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• WARRANT (Med. Lat. warantum; O. Fr. garant, warant, derived from O.H.G. root represented in modern German bygewdhren)

warrant for the belief that Pindar had received some exceptional honours from Athens . Pausanias saw a statue of Pindar at Athens, near the temple of See also:

• ARES

Ares (i . 8, 4) . Besides the fragment just mentioned, several passages in Pindar's extant odes bespeak his love for Athens . Its name is almost always joined by him with some epithet of praise or reverence .

In alluding to the great battles of the See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian See also:

• WARS

wars, while he gives the See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory of See also:

• PLATAEA, or PLATAEAE

Plataea to the Spartans, he assigns that of See also:

• SALAMIS

Salamis to the Athenians (Pyth. i . 76) . In celebrating (Pyth. vii.) the Pythian A . Schafer, See also:

• DEMOSTHENES

Demosthenes and See also:

• SEINE
• SEINE (Lat. Sequana)
• SEINE, or SEAN (O. Fr. seigne, mod. seine, Lat. sagena, Gr. vaytivrl, a draw-net)

seine Zeit. iii . 119 . 2 It wilt be remarked that See also:

• HISTORY

history requires us to modify the statement in See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton's famous lines: " The great Emathian conqueror bade spare The house of Pindarus, when temple and See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

tower Went to the ground." Indeed, the point of the incident depends much on the fact that the temples and Pindar's house were classed together for exemption . 3 Compare See also:

• JEBB, JOHN (1736–1786)
• JEBB, SIR RICHARD CLAVERHOTJSE (1841–1905)

Jebb, See also:

• ATTIC (i.e. "in the Attic style ")

Attic Orators, ii . 143 . of Corinth, in honour of See also:

• POSEIDON

Poseidon, once in two years, the first and third of each Olympiad . The Greek way of citing an ode is by the nomin. plug. followed by the See also:

• NUMERAL (from Lat. numerus, a number)

numeral, e.g . " the ninth Olympian " is ' OXvµ rwvv7Kat 8' . The See also:

• CHRONOLOGICAL

chronological range of the collection (so far as ascertainable) is from 502 B.C .

(Pyth.x.) to 452 B.C . (01 . V.) . With respect to the native places of the victors, the See also:

• GEOGRAPHICAL

geographical See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution is as follows: for the mainland of Greece proper, 13 odes; for See also:

• AEGINA
• AEGINA (EGINA or ENGIA)

Aegina, for See also:

• SICILY (Ital. Sicilia)

Sicily, 15; for the Epizephyrian Locrians (See also:

• SOUTHERN

southern See also:

• ITALY
• ITALY (Italia)

Italy), 2; for Cyrene (Africa), 3 . The See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general characteristics of the odes may be briefly considered under the following heads: (r) See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language; (2) treatment of theme; (3) sentiment—religious, moral and political; (4) relation to contemporary art . i . The diction of Pindar is distinct in character from that of every other Greek poet, being almost everywhere marked by the greatest imaginative boldness . Thus (a) See also:

• METAPHOR

metaphor is used even for the expression of See also:

• COMMON

common ideas, or the See also:

• TRANSLATION

translation of See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar phrases, as when a cloak is called (01. ix . 97) " a warm remedy for winds." (b) Images for the highest excellence are See also:

• DRAWN

drawn from the farthest limits of travel or See also:

• NAVIGATION (from Lat. navis, ship, and agere, to move)

navigation, or from the fairest of natural See also:

• OBJECTS

objects; as when the superlative hospitality of a man who kept open house all the year See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round is described by saying, " far as to Phasis was his voyage in summer days, and in See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter to the shores of See also:

• NILE
• NILE, BATTLE OF THE
• NILE, SOBAT

Nile " (Isthm. ii . 41); or when Olympia, the " See also:

• CROWN

crown " or " See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

flower " of festivals, is said to be excellent as See also:

• WATER

water, See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright as See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold, brilliant as the noonday sun (01. i. ad init.) . This trait might be called the Pindaric imagery of the superlative . (c) Poetical See also:

• INVERSION (Lat. invertere, to turn about)

inversion of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary phrase is frequent; as, instead of, " he struck fear into the beasts," " he gave the beasts to fear " (Pyth. v .

56) . (d) The efforts of the poet's See also:

• GENIUS (from Lat. genere, gignere)

genius are represented under an extraordinary number of similitudes, borrowed from See also:

• JAVELIN

javelin-throwing, See also:

• CHARIOT (derived from an O. Fr. word, formed from char, a car)

chariot-driving, leaping, See also:

• ROWING (O. Eng. rowan, to row, cf. Lat. remus, Gr. perµbr, oar)

rowing, sailing, ploughing, See also:

• BUILDING

building, See also:

• SHOOTING

shooting with the See also:

• BOW (pronounced " bo ")

bow, sharpening a See also:

• KNIFE (0. E. cuff, a word appearing in different forms in many Teutonic languages, cf. Du. knijf, Ger. Kneif, a shoe-maker's knife, Swed. knif; the ultimate origin is unknown; Skeat finds the origin in the root of " nip," formerly " knip "; Fr. canif is a

knife on a See also:

• WHETSTONE, GEORGE (1544?-1587?)

whetstone, mixing See also:

• WINE (Lat. vinum, Gr. oivos)

wine in a bowl, and many more . (e) Homely images, from common life, are not rare; as from account-keeping, See also:

• USURY

usury, sending merchandise over See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea, the oKUTPAr/ or See also:

• SECRET (Lat. secretum, hidden, concealed)

secret See also:

• DISPATCH, or DESPATCH

dispatch, &c . And we have such homely See also:

• PROVERBS, BOOK OF (Heb. Mishle Slzelomoh, " Proverbs of Solomon," abridged by the later Jews to Mishle; Septuagint, irapotpiai or II. EaX.; Lat. Vulg. Parabolae sal. and Liber proverbiorum)

proverbs as, " he hath his See also:

• FOOT

foot in this See also:

• SHOE (a word appearing in the Teutonic languages in various forms, as Ger. Schuh, Swed. and Dan. sko, sometimes supposed to come from an unknown root ska or sku, cover)

shoe," i.e. stands in this See also:

• CASE
• CASE, JOHN (d. 1600)

case (01. vi . 8) . (f) The natural See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of words in a See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence is often boldly deranged, while, on the other hand, the syntax is seldom difficult . (g) Words not found except in Pindar are numerous, many of these being compounds which (like Evapi.y0poros, KarackMXXopodv, &c.) suited the dactylic metres in their Pindaric combinations . Horace was right in speaking of Pindar's " nova verba," though they were not confined to the " audaces dithyrambs." 2 . The actual victory which gave occasion for the ode is seldom treated at length or in detail—which, indeed, only exceptional incidents could justify . Pindar's method is to take some heroic myth, or See also:

• GROUP

group of myths, connected with the victor's See also:

• CITY (through Fr. cite, from Lat. civitas)

city or family, and, after a brief prelude, to enter on this, returning at the close, as a See also:

• RULE

rule, to the subject of the victor's merit or good fortune, and interspersing the whole with moral comment . Thus the fourth Pythian is for See also:

• ARCESILAUS (316–241 B.c.)

Arcesilaus, king of Cyrene, which was said to have been founded by men of Thera, descendants of one of See also:

• JASON ('Iaacov)

Jason's comrades . Using this link, Pindar introduces his splendid narrative of the See also:

• ARGONAUTS ('Apyovavrat, the sailors of the "Argo ")

Argonauts .

Many odes, again, contain shorter mythical episodes—as the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth of Iamus (01. vi.), or the See also:

• VISION (from Lat. videre, to see), or SIGHT

vision of See also:

• BELLEROPHON, or BELLEROPHONTES

Bellerophon (01. xiii.) —which form small pictures of masterly finish and beauty . Particular notice is due to the skill with which Pindar often manages the return from a mythical digression to his immediate theme . It is bold and See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

swift, yet is not See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt as harshly abrupt—justifying his own phrase at one such turn—Kai See also:

• RUM
• RUM (according to Skeat, a corruption of Malay brum or bram; the adjective " rum," i.e. " queer," being a distinct word, in Gipsy rem)

rum oiµov %craµi 1paxbv (Pyth. iv . 247) . It has been thought that, in the See also:

• PARENTHESIS (from Gr. 1rapev,rdAvat, put in alongside)

parenthesis about the See also:

• AMAZONS

Amazons' See also:

• SHIELDS, JAMES (181b-1879)

shields (quibus Mos unde deductus . . . quaerere distuli, Odes, iv . 4, 18), Horace was imitating a Pindaric transition; if so, he has illustrated his own observation as to the peril of imitating the Theban poet . 3. a . The religious feeling of Pindar is strongly marked in the odes . " From the gods are all means of human excellence." He will not believe that the gods, when they dined with Tantaluss See also:

• ATE

ate his son See also:

• PELOPS

Pelops; rather Poseidon carried off the .youth to See also:

• OLYMPUS

Olympus . That is, his See also:

• REASON (Lat. ratio, through French raison)

reason for rejecting a scandalous story about the gods is purely religious, as distinct from moral; it shocks his conception of the divine dignity . With regard to oracles, he inculcates precisely such a view as would have been most acceptable to the Delphic priesthood, viz. that the gods do illumine their prophets, but that human wit can foresee nothing which' the gods do not choose to reveal .

A mystical See also:

• DOCTRINE

doctrine of the soul's destiny after death appears in some passages (as 01. ii . 66 sq.) . Pindar was familiar with the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of See also:

• METEMPSYCHOSIS (Gr. µF El.4/1Xco rts)

metempsychosis (cf. ibid . 68), but the See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to trace Pythagoreanism in some phrases (Pyth. ii . 34, iii . 74) appears unsafe . The belief in a fully conscious existence for the soul in a future See also:

• STATE
• STATE, GREAT OFFICERS OF

state, determined by the character of the earthly life, entered into the teaching of the Eleusinian and other mysteries . Comparing the fragment of the Opijvos (See also:

• I14

i14, Bergk4, 137), we may probably regard the mystic or See also:

• ESOTERIC

esoteric element in Pindar's See also:

• THEOLOGY

theology as due to such a source . b . The moral sentiment pervading Pindar's odes rests on a See also:

• CONSTANT, BENJAMIN (1845-1902)

constant recognition of the limits imposed by the divine will on human effort, combined with strenuous exhortation that each man should strive to reach the limit allowed in his own case . Native temperament (¢1717) is the See also:

• GRAND

grand source of all human excellence (aperi7), while such excellences as can be acquired by study (Maki- al aperai, 01. ix. roo) are of relatively small See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope—the sentiment, we may remark, of one whose thoughts were habitually conversant with the native qualities of a poet on the one hand and of an athlete on the other . The elements of iryiets 6X(3os—" sane happiness," such as has least reason to dread the See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy of the gods—are substance sufficing for daily wants and good repute (ebXoyia) .

He who has these should not " seek to be a god." " See also:

• WEALTH

Wealth set with virtues " (aXoiiros aperais SehaLSaXµEVos), as gold with precious gems, is the most fortunate See also:

• LOT
• LOT (Lat. Oltis)

lot, because it affords the amplest opportunities for See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable activity . Pindar does not rise above the ethical See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of an age which said, " love thy friend and hate thy foe " (cf . Pyth. ii . 83; Isthm. iii . 65) . But in one sense he has a moral See also:

• ELEVATION

elevation which is distinctively his own; he is the glowing See also:

• PROPHET (Irpo4i ri7s)

prophet of generous emulation and of reverent self-See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control . c . The political sentiments of the Theban poet are suggested by Pyth. xi . 52; " In polities I find the See also:

• MIDDLE

middle state crowned with more enduring good; therefore praise I not the despot's portion; those virtues move my zeal which serve the folk." If in Pyth. ii . 87, a See also:

• DEMOCRACY (Gr. 3np.oKparia, from S)µos, the people, i.e. the commons, and Kparos, rule)

democracy is described as o Xhi3pos c rparbs, " the raging See also:

• CROWD, CROUTH, CROWTH

crowd," it is to be noted that the ode is for Hiero of Syracuse, and that the phrase clearly refers to the violence of those democratic revolutions which, in the early See also:

• PART

part of the 5th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century B.C., more than once convulsed Sicilian cities . At Thebes, after the Persian wars, a " constitutional See also:

• OLIGARCHY (Gr. oXiyot, few, apxil, rule)

oligarchy " (6X yapxia ivb)oµos, Thuc. iii . 62) had replaced the narrower and less temperate oligarchy of former days (bvvacreia ob µera vbµcov); and in this we may probably recognize the phase of Greek political life most congenial to Pindar .

He speaks of a king's lot as unique in its opportunities (01. i . 113); he sketches the character of an ideal king (Pyth. iii . 71); but nothing in his poetry implies liking for the 'rupavvis as a form of See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government . Towards the Greek princes of Sicily and Cyrene his See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone is ever one of manly See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence; he speaks as a Greek See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen whose lineage places him on a level with the proudest of the Dorian race, and whose See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office invests him with an almost sacred dignity . In regard to the politics of Hellas at large, Pindar makes us feel the new sense of leisure for quiet pursuits and civilizing arts which came after the Persian wars . He honours " Tranquillity, the friend of cities " (`Ao-vxia 6/nMaoXcs, 01. iv . 16) . The epic poet sang of wars; Pindar celebrates the " rivalries of. See also:

• PEACE
• PEACE, BREACH OF THE

peace." 4 . Pindar's genius was boldly See also:

• ORIGINAL

original; at the same time he was an exquisite artist . " Mine be it to invent new strains, mine the skill to hold my course in the chariot of the See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

Muses; and may courage go with me, and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of ample grasp " (01 . ix . 8o) .

Here we see the exulting sense of inborn strength; in many other places we perceive the feeling of conscious art —as in the phrase Sal&aXXeww, so See also:

• APT

apt for his method of See also:

• INLAYING

inlaying an ode with mythical subjects, or when he compares the opening of a song to the front of a stately building (01. vi . 3) . Pindar's sympathy with See also:

• EXTERNAL

external nature was deeper and keener than is often discernible in the poetry of his age . It appears, for example, in his welcome of the See also:

• SEASON (0. Fr. seson, seison, mod. saison, Lat. satio, sowing time, the spring, from serere, to sow; in Late Lat. the word is found with its present meaning, the spring being considered as particularly the season of the year)

season when " the chamber of the See also:

• HOURS, CANONICAL

hours is opened, and delicate See also:

• PLANTS

plants perceive the fragrant See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring" (fr . J3, Bergk 4, 75); in the passage where Jason invokes " the rushing strength of waves and winds, and the nights, and the paths of the deep " (Pyth. iv . 195); in the lines on the eclipse of the sun (fr . 84, Bergk,4 107); and in the picture of the eruption, when See also:

• ETNA
• ETNA (Gr. AZ-rvn, from aZOw, burn; Lat. Aetna)

Etna, " See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar of the See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky, See also:

• NURSE (a shortened form of the earlier " nourice," adapted through the French from Lat. nutrix, nu/rite, to nourish)

nurse of keen See also:

• SNOW (in O. Eng. sndw; a common Indo-European word; cf. in Teutonic languages, Ger. Schnee, Du. sneeuw; in Slavonic snieg', Lith. snegas; Gr. vi4a, Lat. nix, nivis, whence the Romanic forms, Ital. neve, Fr. neige, &c.; Ir. and Gael. sneachd; the original

snow all the year," sends forth " pure springs of See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire unapproachable " (Pyth . 20) . The poet's feeling for See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour is often noticeable --as in the oeautiful story of the birth of lamus—when Evadne See also:

• LAYS

lays aside her See also:

• SILVER

silver See also:

• PITCHER

pitcher and her See also:

• GIRDLE (O. Eng. gyrdel, from gyrdan, to gird; cf. Ger. Gurtel, Dutch gordel, from giirten and gorden; "gird" and its doublet " girth " together with the other Teutonic cognates have been referred by some to the root ghar—to seize, enclose, seen in Gr. )(s

girdle of See also:

• SCARLET

scarlet See also:

• WEB (a word common to Teutonic languages, cf. Du. webbe, Dan. vaev, Ger. Gewebe, all from the Teutonic wabh—to weave)

web; the babe is found, " its delicate See also:

• BODY

body steeped in the See also:

• GOLDEN

golden and deep See also:

• PURPLE

purple rays of pansies " (01. vi . 55) . The spirit of art, in every form, is represented for Pindar by xapts—" the source of all delights to mortals " (01. i . 30)—or by the personified Charites (See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

Graces) .

The Charites were often represented as See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young maidens, decking themselves with early See also:

• FLOWERS, ARTIFICIAL

flowers—the See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose, in particular, being sacred to them as well as to Aphrodite . In Pindar's mind, as in the old Greek conception from which the See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of the Charites sprang, the See also:

• INSTINCT

instinct of beautiful art was inseparable from the sense of natural Sculpture, beauty . The See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period from 500 to 460 B.C., to which most of Pindar's extant odes belong, marke