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80 dramas in which the old mythology was varied with the utmost freedom for poetical purposes, and occasionally criticised from a point of view scarcely distinguishable from that of the most pronounced sceptic. Against this innovating movement Greek conservatism protested loudly. Poets of the ancient school denounced the speculation which had produced such results—"the yelping cur that barked against its master." Did Pindar share the new ideas, or did he protest against them? Or did he, like Aristophanes in a later age, while protesting against them, exhibit in his own writings signs of their influence?

It might seem, at first sight, as if this last were the true answer to our question. For while in Pindar's earliest Ode we find him assuming an attitude of unquestioning belief towards the myths—

Mine be it, ne'er at feats that heavenly Powers achieve

To marvel, but believe!"

—in his later compositions he more than once expresses disapproval of some myth on which he has touched, and either remodels it openly, according to his sense of right, or hastens to quit the unwelcome subject. So, in the First Olympian, he is shocked at an incident in the myth of Pelops,—the story that he was boiled and eaten by the gods. "I will not repeat such a scandal," he cries—"I dare not! Tax the blessed gods with gluttony? oh, horrible!" And then, attributing the horrid tale to some "envious gossip's dark hints," he goes on to give a new version