still she herself is said to have contended with him five times, and on each occasion to have gained the prize. Pausanias indeed does not speak (ix. 22. § 3) of more than one victory, and mentions a picture which he saw at Tanagra, in which Corinna was represented binding her hair with a fillet in token of her victory, which he attributes as much to her beauty and to the circumstance that she wrote in the Aeolic dialect as to her poetical talents.

in Thebes. It was sprung from the ancient race of the Aegids, who claimed descent fronf the Cadmids, who settled at Thebes and Sparta, whence part emigrated to Thera and Cyrene at the command of Apollo. (Pind. Pyth. v. 72, &c.) We also learn from the biography by Eustathius, that Pindar wrote the δαφνηφορικὸν ᾆσμα for his son Daiphantus, when he was elected daphnephorus to conduct the festival of the daphnephoria; a fact which proves the dignity of the family, since only youths of the most distinguished families at Thebes Pindar commenced his professional career as a were eligible to this office. (Paus. ix. 10. § 4.) poet at an early age, and acquired so great a reThe family seems to have been celebrated for its putation, that he was soon employed by different skill in music; though there is no authority for states and princes in all parts of the Hellenic world stating, as Böckh and Müller have done, that they to compose for them choral songs for special occawere hereditary flute-players, and exercised their sions. He received money and presents for his profession regularly at certain great religious fes- works; but he never degenerated into a common tivals. The ancient biographies relate that the mercenary poet, and he continued to preserve to father or uncle of Pindar was a flute-player, and his latest days the respect of all parts of Greece. we are told that Pindar at an early age received His earliest poem which has come down to us (the instruction in the art from the flute-player Scope- 10th Pythian) he composed at the age of twenty. linus. But the youth soon gave indications of a It is an Epinican ode in honour of Hippocles, a genius for poetry, which induced his father to Thessalian youth belonging to the powerful Aleuad send him to Athens to receive more perfect in- family, who had gained the prize at the Pythian struction in the art; for it must be recollected that games. Supposing Pindar to have been born in lyric poetry among the Greeks was so intimately B. C. 522, this ode was composed in B. c. 502. The connected with music, dancing, and the whole next ode of Pindar in point of time is the 6th training of the chorus that the lyric poet required Pythian, which he wrote in his twenty-seventh no small amount of education to fit him for the year, B. c. 494, in honour of Xenocrates of Agriexercise of his profession. Later writers tell us gentum, who had gained the prize at the chariotthat his future glory as a poet was miraculously race at the Pythian' games, by means of his son foreshadowed by a swarm of bees which rested Thrasybulus. It would be tedious to relate at upon his lips while he was asleep, and that this length the different occasions on which he composed miracle first led him to compose poetry. (Comp. his other odes. It may suffice to mention that he Paus. ix. 23. § 2; Aelian, V. H. xii. 45.) At composed poems for Hieron, tyrant of Syracuse, Athens Pindar became the pupil of Lasus of Her- Alexander, son of Amyntas, king of Macedonia, mione, the founder of the Athenian school of dithy- Theron, tyrant of Agrigentum, Arcesilaus, king of rambic poetry, and who was at that time residing Cyrene, as well as for many other free states and at Athens under the patronage of Hipparchus. private persons. He was courted especially by AlexLasus was well skilled in the different kinds of ander, king of Macedonia, and Hieron, tyrant of Symusic, and from him Pindar probably gained con- racuse; and the praises which he bestowed upon the siderable knowledge in the theory of his art. former are said to have been the chief reason which Pindar also received instruction at Athens from led his descendant, Alexander, the son of Philip, to Agathocles and Apollodorus, and one of them spare the house of the poet, when he destroyed the allowed him to instruct the cyclic choruses, though rest of Thebes (Dion Chrysost. Orat. de Regno, ii. he was still a mere youth. He returned to Thebes p. 25). About B. c. 473, Pindar visited the court before he had completed his twentieth year, and is of Hieron, in consequence of the pressing invitation said to have received instruction there from Myrtis of the monarch; but it appears that he did not reand Corinna of Tanagra, two poetesses, who then main more than four years at Syracuse, as he loved enjoyed great celebrity in Boeotia. Corinna ap- an independent life, and did not care to cultivate pears to have exercised considerable influence upon the courtly arts which rendered his contemporary, the youthful poet, and he was not a little in- Simonides, a more welcome guest at the table of debted to her example and precepts. It is related their patron. But the estimation in which Pindar by Plutarch (De Glor. Athen. 14), that she re- was held by his contemporaries is still more strikcommended Pindar to introduce mythical narra-ingly shown by the honours conferred upon him by tions into his poems, and that when in accordance with her advice he composed a hymn (part of which is still extant), in which he interwove almost all the Theban mythology, she smiled and said, "We ought to sow with the hand, and not with the whole sack" (Tη xeipì deiv σñeiрeш, àλλà μn öλy tý Dvλáky). With both these poetesses Pindar contended for the prize in the musical contests at Thebes. Although Corinna found fault with Myrtis for entering into the contest with Pindar, saying, "I blame the clear-toned Myrtis, that she, a woman born, should enter the lists with Pindar,"

Μέμφομη δὲ κὴ λιγούραν Μούρτιδ ̓ ἱώνγα ὅτι βάνα φοῦσ ̓ ἔβα Πινδάροιό ποτ ̓ ἔριν :

the free states of Greece. Although a Theban, he was always a great favourite with the Athenians, whom he frequently praised in his poems, and whose city he often visited. In one of his dithyrambs (Dithyr. fr. 4) he called it "the support (épeioμa) of Greece, glorious Athens, the divine city." The Athenians testified their gratitude by making him their public guest (πpóževos), and giving to him ten thousand drachmas (Isocr. #epl avτid. p. 304, ed. Dind.); and at a later period they erected a statue to his honour (Paus. i. 8. § 4), but this was not done in his lifetime, as the pseudo-Aeschines states (Epist. 4). The inhabitants of Ceos employed Pindar to compose for them a poσódov or processional song, although they had two celebrated poets of their own, Bacchylides and

Simonides. The Rhodians had his seventh Olympian ode written in letters of gold in the temple of the Lindian Athena.

Seu deos (hymns and paeans) regesve (encomia)
canit, deorum
Sanguinem:

Sive quos Elea domum reducit
Palma caelestes (the Epinicia):-
Flebili sponsae juvenemve raptum
Plorat" (the dirges).

In all of these varieties Pindar equally excelled, as
we see from the numerous quotations made from
them by the ancient writers, though they are gene-
rally of too fragmentary a kind to allow us to form
a judgment respecting them. Our estimate of
Pindar as a poet must be formed almost exclusively
from his Epinicia, which were all composed in com-
memoration of some victory in the public games, with
the exception of the eleventh Nemean, which was
written for the installation of Aristagoras in the

Pindar's stated residence was at Thebes (Tas épaтeшvòv vdwp níoμai, Ol. vi. 85), though he frequently left home in order to witness the great public games, and to visit the states and distinguished men who courted his friendship and employed his services. In the public events of the time he appears to have taken no share. Polybius (iv. 31. § 5) quotes some lines of Pindar to prove that the poet recommended his countrymen to remain quiet and abstain from uniting with the other Greeks in opposition to the Persians; but there can be little doubt that Pindar in these lines exhorts his fellow-citizens to maintain peace and concord, and to abstain from the internal dissensions which threatened to ruin the city. It is true that he did not make the unavailing effort to win over his fel-office of Prytanis at Tenedos. The Epinicia are low-citizens to the cause of Greek independence; but his heart was with the free party, and after the conclusion of the war he openly expressed his admiration for the victors. Indeed the praises which he bestowed upon Athens, the ancient rival of Thebes, displeased his fellow-citizens, who are said even to have fined him in consequence. It is further stated that the Athenians paid the fine (Eustath. Vit. Pind.; Pseudo-Aeschin. Ep. 4); but the tale does not deserve much credit.

The poems of Pindar show that he was penetrated with a strong religious feeling. He had not imbibed any of the scepticism which began to take root at Athens after the close of the Persian war. The old myths were for the most part realities to him, and he accepted them with implicit credence, except when they exhibited the gods in a point of view which was repugnant to his moral feelings. For, in consequence of the strong ethical sense which Pindar possessed, he was unwilling to believe the myths which represented the gods and heroes as guilty of immoral acts; and he accordingly frequently rejects some tales and changes others, because they are inconsistent with his conceptions of the gods (comp. Grote, Hist. of Greece, vol. i. p. 507, &c.). Pindar was a strict observer of the worship of the gods. He dedicated a shrine to the mother of the gods near his own house at Thebes (Paus. ix. 25. § 3; Philostr. Sen. Imag. ii. 12; comp. Pind. Pyth. iii. 77). He also dedicated to Zeus Ammon, in Libya, a statue made by Calamis (Paus. ix. 16. § 1), and likewise a statue in Thebes to Hermes of the Agora (Paus. ix. 17. § 1). He was in the habit of frequently visiting Delphi; and there seated on an iron chair, which was reserved for him, he used to sing hymns in honour of Apollo. (Paus. x. 24. § 4.)

The only poems of Pindar which have come down to us entire are his Epinicia, or triumphal odes. But these were only a small portion of his works. Besides his triumphal odes he wrote hymns to the gods, paeans, dithyrambs, odes for processions (pooódia), songs of maidens (Taрlévelα), mimic dancing songs (ÚTоруýμаTα), drinking-songs (σkoAlá), dirges (pñvo), and encomia (èykwuα), or panegyrics on princes. Of these we have numerous fragments. Most of them are mentioned in the well-known lines of Horace (Carm. iv. 2):

66 Seu per audaces nova dithyrambos
Verba devolvit numerisque fertur
Lege solutis :

VOL. III.

divided into four books, celebrating respectively the victories gained in the Olympian, Pythian, Nemean, and Isthmian games. In order to understand them properly we must bear in mind the nature of the occasion for which they were composed, and the object which the poet had in view. A victory gained in one of the four great national festivals conferred honour not only upon the conqueror and his family, but also upon the city to which he belonged. It was accordingly celebrated with great pomp and ceremony. Such a celebration began with a procession to a temple, where a sacritice was offered, and it ended with a banquet and the joyous revelry, called by the Greeks Kuos. For this celebration a poem was expressly composed, which was sung by a chorus, trained for the purpose, either by the poet himself, or some one acting on his behalf. The poems were sung either during the procession to the temple or at the comus at the close of the banquet. Those of Pindar's Epinician odes which consist of strophes without epodes were sung during the procession, but the majority of them appear to have been sung at the comus. For this reason they partake to some extent of the joyous nature of the occasion, and accordingly contain at times jocularities which are hardly in accordance with the modern notions of lyric poetry. In these odes Pindar rarely describes the victory itself, as the scene was familiar to all the spectators, but he dwells upon the glory of the victor, and celebrates chiefly either his wealth (ŏA60s) or his skill (dperŃ),—his wealth, if he had gained the victory in the chariot-race, since it was only the wealthy that could contend for the prize in this contest; his skill, if he had been exposed to peril in the contest. He frequently celebrates also the piety and goodness of the victor; for with the deep religious feeling, which pre-eminently characterizes Pindar, he believed that the moral and religious character of the conqueror conciliated the favour of the gods, and gained for him their support and assistance in the contest. For the same reason he dwells at great length upon the mythical origin of the person whose victory he extols, and connects his exploits with the similar exploits of the heroic ancestors of the race or nation to which he belongs. These mythical narratives occupy a very prominent feature in almost all of Pindar's odes; they are not introduced for the sake of ornament, but have a close and intimate connection with the whole object and purpose of each poem, as is clearly pointed out by

BB

Dissen, in his admirable essay," De Ratione Poe- | tica Carminum Pindaricorum, &c." prefixed to his edition of Pindar, an essay which deserves, and will well repay the attentive perusal of the student. The metres of Pindar are too extensive and difficult a subject to admit of explanation in the present work. No two odes possess the same metrical structure. The Doric rhythm chiefly prevails, but he also makes frequent use of the Aeolian and Lydian as well.

4to.

The Editio Princeps of Pindar was printed at the Aldine press at Venice in 1513, 8vo., without the Scholia, but the same volume contained likewise the poems of Callimachus, Dionysius, and Lycophron. The second edition was published at Rome by Zacharias Calliergi, with the Scholia, in 1515, 4to. These two editions, which were taken from different families of manuscripts, are still of considerable value for the formation of the text. The other editions of Pindar published in the course of the sixteenth century were little more than reprints of the two above named, and therefore require no further notice here. The first edition, containing a new recension of the text, with explanatory notes, a Latin version, &c. was that published by Erasmus Schmidius, Vitembergae, 1616, 4to. Next ap- | peared the edition of Joannes Benedictus, Salmurii, 1620, 4to., and then the one published at Oxford, 1697, fol. From this time Pindar appears to have been little studied, till Heyne published his celebrated edition of the poet at Göttingen in 1773, A second and much improved edition was published at Göttingen in 1798-1799, 3 vols. 8vo., containing a valuable treatise on the metres of Pindar by Godofred Hermann. Heyne's third edition was published after his death by G. H. Schäfer, Leipzig, 1817, 3 vols. 8vo. But the best edition of Pindar is that by A. Böckh, Leipzig, 1811-1821, 2 vols. 4to., which contains a most valuable commentary and dissertations, and is indispensable to the student who wishes to obtain a thorough insight into the musical system of the Greeks, and the artistic construction of their lyric poetry. The commentary on the Nemean and Isthmian odes in this edition was written by Dissen. Dissen also published in the Bibliotheca Graeca a smaller edition of the poet, Gotha, 1830, 2 vols. 8vo., taken from the text of Böckh, with a most valuable explanatory commentary. This edition is the most useful to the student from its size, though it does not supersede that of Böckh. A second edition of Dissen's is now in course of publication under the care of Schneidewin: the first volume has already appeared, Gotha, 1843. There is also a valuable edition of Pindar by Fr. Thiersch, Leipzig, 1820, 2 vols. 8vo., with a German translation, and an important introduction. The text of the poet is given with great accuracy by Th. Bergk in his Poetae Lyrici Graeci, Leipzig, 1843. The translations of Pindar into English are not numerous. The most recent is by the Rev. H. F. Cary, London, 1833, which is superior to the older translations by West and Moore.

ginus, put an end to his master's life at the request of the latter after the loss of the battle of Philippi. (Dion Cass. xlvii. 46; Appian, B. C. iv. 113; Plut. Ant. 22, Brut. 43; Val. Max. vi. 8. § 4.)

PINNA, CAECILIUS, one of the Roman commanders in the Social or Marsic war, is said to have defeated the Marsi in several battles, in conjunction with L. Murena (Liv. Epit. 76). As this Caecilius Pinna is not mentioned elsewhere, it is conjectured that we ought to read Caecilius Pius, since we know that Caecilius Metellus Pius played a distinguished part in this war.

PINNES, PINNEUS, or PINEUS, was the son of Agron, king of Illyria, by his first wife, Triteuta. At the death of Agron (B. c. 231), Pinnes, who was then a child, was left in the guardianship of his step-mother Teuta, whom Agron had married after divorcing Triteuta. When Teuta was defeated by the Romans, the care of Pinnes devolved upon Demetrius of Pharos, who had received from the Romans a great part of the dominions of Teuta, and had likewise married Triteuta, the mother of Pinnes. Demetrius was in his turn tempted to try his fortune against Rome, but was quickly crushed by the consul, L. Aemilius Paulus, B. c. 219, and was obliged to fly for refuge to Philip, king of Macedonia. The Romans placed Pinnes upon the throne, but imposed a tribute, which we read of their sending for in B. C. 216. (Dion Cass. xxxiv. 46, 151; Appian, Illyr. 7, 8; Flor. ii. 5; Liv. xxii. 33.) [AGRON; DEMETRIUS of PHAROS ; TEUTA.]

PINNES or PINNETES, one of the principal Pannonian chiefs in the reign of Augustus, was betrayed to the Romans by the Breucian Bato. (Dion Cass. lv. 34; Vell. Pat. ii. 114.)

PINNIUS, the name of two unimportant persons, Q. Pinnius, a friend of Varro (R. R. iii. 1), and T. Pinnius, a friend of Cicero (ad Fam. xiii. 61).

PINTHIA, M. LUTATIUS, a Roman eques, lived about a century before the downfal of the republic. (Cic. de Off. iii. 19).

PINUS, CORNELIUS, a Roman painter, who, with Attius Priscus, decorated with paintings the walls of the temple of Honos and Virtus, when it was restored by Vespasian. He therefore lived about A. D. 70. (Plin. II. N. xxxv. 10. s. 37.) [P.S.]

PI'NYTUS (ПUTós), an epigrammatic poet, the author of an epitaph on Sappho, consisting of a single distich, in the Greek Anthology. (Brunck, Anal. vol. ii. p. 288; Jacobs, Anth. Graec. vol. ii. p. 264.) Nothing more is known of him, unless he be the grammarian of Bithynium in Bithynia, who was the freedman of Nero's favourite, Epaphroditus, and who taught grammar at Rome. (Steph. Byz. s. v. Bilúvior; Reimar. ad Dion. Cass. Ixvii. 14, p. 1113.) [P.S.]

PIONIS (Пiovis), a descendant of Heracles, from whom the town of Pionia in Mysia was believed to have derived its name. (Strab. xiii. p. 610; Paus. ix. 18. § 3.) [L. S.] PIPA, the wife of Aeschrion of Syracuse, was the mistress of Verres in Sicily (Cic. Verr, iii. | 33, v. 31).

(The histories of Greek literature by Müller, Bernhardy, Bode, and Ulrici; J. G. Schneider, Versuch über Pindar's Leben und Schriften, Strasburg, 1774, 8vo; Mommsen, Pindaros. Zur Ges‐ chichte des Dichters, &c., Kiel, 1845, 8vo; Schneide- PIPA, or PIPARA, daughter of Attalus, king win's Life of Pindar, prefixed to the second of the Marcomanni, was passionately beloved by edition of Dissen's Pindar.) Gallienus. Trebellius Pollio confounds her with

PINDARUS, the freedman of C. Cassius Lon-Salonina, the lawful wife of that prince, and Gib