novelty in the handling of contemporary topics. The fourth Pythian ode forcibly exemplifies the δύναμις ἀμφιλαφής (Ol. ix. 80), the "power of ample grasp," to which, as we saw, he aspires; and also the meaning of ἀναγεῖσθαι ἐν Μοισᾶν δίφρῳ (ib.)—"to hold the onward course" of a continuous epic recital.
§ 15. Pindar's language has a character distinct from that of every other Greek poet known to us. A comparison with the lyric parts of tragedy serves only to bring out this distinction more clearly. The modern reader finds this language, for the most part, exceedingly difficult and obscure; even when he is familiar with it, it still taxes the attention. The ultimate source of this difficulty is the continual demand on the imagination; and I believe that ease in reading Pindar can in large measure be attained by a clear perception of certain general forms in which his thought tends to clothe itself. It is with the view of illustrating these forms that I give the following notes—as contributions to the outline of an analysis which the student can develop for himself.
Metaphor is not reserved for occasional ornament, but is habitually used for the translation of common thoughts or phrases. "Having passed out of the ranks of youths," ἐξελθὼν ἐφήβων, becomes with Pindar, συλαθεὶς ἀγενείων (Ol. ix. 89), "reft from the beardless company." "He is deprived of joy," ἀπεστέρηται εὐφροσύνης, becomes "he is in banishment from joy," εὐφροσύνας ἀλᾶται (Ol. i. 58).
