His stylePindar was classed by the ancient rhetoricians as an exemplar of the αὐστηρὰ ἁρμονία, as belonging to the same class with Aischylos in tragedy, with Thukydides in history, Antiphon in oratory.1 This classification is
-- emphasizes the opulence of Pindar, the wealth and movement of his poetry. But in
Pindar's own estimate.
Of Jove, thy magic lulls the feather'd king
With ruffled plumes and flagging wing:
Quench'd in dark clouds of slumber lie,
The terror of his beak, and lightnings of his eye.
” Matthew Arnold's is not unfamiliar: “ And the eagle at the beck
Of the appeasing, gracious harmony
Droops all his sheeny, brown, deep-feather'd neck,
Nestling nearer to Jove's feet,
While o'er his sovereign eye
The curtains of the blue films slowly meet.
” But to begin to cite is never to stop. Of the various elements that go to make up this total impression of opulence and elevation, some will be considered hereafter. Something will be said of the effect of the rhythms, something of the opalescent variety of the dialect, of the high relief of the syntax, of the cunning workmanship that manifests itself in the order of the words. Let us now turn to a closer consideration of that which first attracts attention in an author, the vocabulary. Much might be said of
Vivid use of vocabulary.
Plan of the Epinikion.
Symmetry in Pindar.
Symmetry of form.
|I. 3.2.3||II. 442.44||III. 220.127.116.11||4. epod.|
|I. 323||II. 424||III. 44.43 ἐπ.||IV. 33.33||V. 44|
|A 6446=20.||B 4444=16.||A' 66 44=20|
Symmetry of contents.
Mezger's recurrent word.
|I. § 1-2||II. § 3-4||III. § 5-6||IV. § 7-8|
|3.2 | 2.3 | 3.3||4.4 | 3.5 | 5.3||2.4 | 4 | 4 | 4.2||18.104.22.168 | 22.214.171.124|
|= 16||= 24||= 24||= 8 | 8, = 16|
|One triad||O. 4, 11 (10), 12; P 7||4|
|Three triads||O. 3, 5; N. 5, 6, 8, 11; I. 2, 4, 5, 6||10|
|Four triads||O. 1, 8, 9; P. 2, 5, 10, 11; N. 1, 3; I. 1||10|
|Five triads||O. 2, 6, 7, 10 (11), 13; P. 1, 3, 8, 9; N. 7, 10; I. 3||12|
|Thirteen triads||P. 4||1|