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70 employed to adorn it. It is conceivable that a fuller knowledge than is now possible of the antiquities of Greece, the genealogies of the great families in various cities, and the legends attaching to them, would enable us to prove in every case the assertion of A. Boeckh, the prince of Pindaric scholars, that Pindar never introduces a myth without the direct intention of complimenting his patron. And as we have seen, it is nearly always through his family, or his nation, that the patron is complimented. Yet there are cases in which a legend, connected though it be especially with the conqueror's family history or with that of his state, is yet clearly introduced with other more obvious objects than the gratification of family or national pride. At times we find mythology employed to point a moral lesson, or to illustrate vicissitudes in the career of a victor, to soften the memory of old defeats, to encourage him to fresh exertions, and generally to exhibit in an attractive form those various precepts, warnings, and maxims, which the poet—in his capacity of philosopher and moralist—pours, from time to time into the ears of his audience. Sometimes, again, it is the locale of a contest, rather than the family or country of the victor, with which the mythical matter of an Ode seems most obviously connected. No doubt it may be said that here, too, if we only knew how, a connection might be shown between the victor's personal surroundings and the myth. But, inasmuch as this phenomenon appears mainly in Odes addressed to conquerors of comparatively undistinguished origin—or at least whose family