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 to the common life of the city and of Hellas. If it could be shown that Pindar, a loyal Theban, was a disloyal Greek, then we might well marvel if that profound discord with the very soul of Greek art did not utter itself in some jarring notes which even a modern ear could not fail to catch. A great scholar has said:—"Such a man as Pindar could take no part in the enthusiasm of the Wars of Liberation, and could shortly after the battle of Marathon sing the glories of an Athenian without giving one word to that great day." The reference is to Pythian vii., of 22 lines only, for Megacles the Alcmaeonid, who won the four-horse-chariot race at Delphi in 490 B.C. Granting—what is not certain—that this slight ode was written after the battle, the absence of allusion to it would be sufficiently explained by the fact that such an allusion would have been singularly infelicitous. Athenian gossip accused the Alcmaeonidae of having signalled from Athens to the Persians, by raising a bright shield, immediately after the battle. Turn to other odes, and we shall see how entirely Pindar rejoiced in the great national victory. Salamis, he says, is the glory of the Athenians, Plataea of the Spartans —those fights "whereby the Medes with curved bows were overthrown." "Some god has turned aside from us the stone that hung over our heads,