was brought from Asia Minor into Greece; its Phrygian origin may perhaps be indicated by the fact that Pindar had in his house at Thebes a small temple of the Mother of the gods and Pan, the Phrygian deities, to whom the first hymns to the flute were supposed to have been sung[1]. The music of the flute had moreover been introduced into Bœotia at a very early period; the Copaic lake produced excellent reeds for flutes, and the worship of Dionysus, which was supposed to have originated at Thebes, required the varied and loud music of the flute. Accordingly the Bœotians were early celebrated for their skill in flute-playing; whilst at Athens the music of the flute did not become common till after the Persian war, when the desire for novelty in art had greatly increased[2].
§ 2. But Pindar very early in his life soared far beyond the sphere of a flute-player at festivals, or even a lyric poet of merely local celebrity. He placed himself under the tuition of Lasus of Hermione, a distinguished poet, already mentioned, but probably better versed in the theory than the practice of poetry and music. Since Pindar made these arts the whole business of his life[3], and was nothing but a poet and a musician, he soon extended the boundaries of his art to the whole Greek nation, and composed poems of the choral lyric kind for persons in all parts of Greece. At the age of twenty he composed a song of victory in honour of a Thessalian youth belonging to the gens of the Aleuads[4]. We find him employed soon afterwards for the Sicilian rulers, Hiero of Syracuse, and Thero of Agrigentum; for Arcesilaus, king of Cyrene, and Amyntas, king of Macedonia, as well as for the free cities of Greece. He made no distinction according to the race of the persons whom he celebrated: he was honoured and loved by the Ionian states, for himself as well as for his art; the Athenians made him their public guest (πρόξενος); and the inhabitants of Ceos employed him to compose a processional song (προσόδιον), although they had their own poets, Simonides and Bacchylides. Pindar, however, was not a common mercenary poet, always ready to sing the praises of him whose bread he ate. He received indeed money and presents for his poems, according to the general usage previously introduced by Simonides; yet his poems are the genuine expression of his thoughts and feelings. In his praises of virtue and good fortune, the colours which he employs are not too vivid; nor does he avoid the darker shades of his subject; he often suggests topics of consolation for past and present evil, and sometimes warns and exhorts to avoid future calamity. Thus he ventures to speak freely to the powerful Hiero, whose many great and noble qualities were alloyed by insatiable cupidity and
