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 in the massive framework of the ode. Such a picture is the birth of Iamos (Ol. vi.); the vision of Bellerophon (Ol. xiii.); the rape of Cyrene (Pyth. ix.); the infant Heracles (Nem. i.); the death of Castor (Nem. x.); Heracles predicting the birth of Ajax (Isthm. v.). This mode of treatment I should conceive to have been one marked trait of Pindar's originality,—exhibiting his wide and complete command of epic material in a form shared by no other Greek lyrist. In saying this, I do not forget the exquisite Danae of Simonides; but that, apparently, was a piece complete in itself, not a gem adorning a larger piece on another subject. Pindar is fond of the phrase : the image might well express his own manner of inlaying his odes with these mythical subjects.

The fourth Pythian ode is the largest and most brilliant example; it also illustrates with peculiar clearness Pindar's art of rapid transition from theme to myth, and from myth back to theme. The Muse is invoked to sing the victory of Arcesilas, king of Cyrene, at Delphi; where (, v. 4) that oracle was given which sent Battus, the founder of the dynasty, from Thera to colonise Cyrene: and (, v. 9) thus to fulfil the prophecy of Medea. "Now she spake thus to the heroes who sailed with the warrior Jason"; and then the story of her prophecy is related (vv. 11—58). "Such were Medea's prophetic strains; with bowed heads, mute and motionless, the godlike heroes stood, as they hearkened to the rede of her wisdom." Here