versely, Ol. xi. 30, δοκεύσαις ὑπὸ Κλεωνᾶν, "under" (genitive for dative); Pyth. iii. 60, γνόντα τὸ πὰρ ποδός, "aware what lies before him," not strictly equivalent to the common παρὰ πόδα (by the foot), but rather denoting that which will be met at the next step forward. Pyth. v. 54, περὶ δείματι φύγον, "for terror," prae timore (so Aeschylus, Cho. 32, περὶ τάρβει). Ol. iii. 31, πνοιαῖς ὄπιθεν, "behind the blasts": Ol. vii. 18, πέλας ἐμβόλῳ. Pyth. ii. 11, ἐν ἅρματα, Aeolic for εἰς, and elsewhere. (6) κεν with future infinitive: Ol. i. 109, γλυκυτέραν κεν ἔλπομαι κλεΐξειν. (7) Optative without ἄν in abstract supposition: Ol. iii. 45, οὔ μιν διώξω· κεινὸς εἴην. Pyth. iv, 118, οὐ ξείναν ἱκοίμαν γαῖαν. Ol. x. 20, ἐμφυὲς οὔτ' αἴθων ἀλώπηξ οὔτ' ἐρίβρομοι λέοντες διαλλάξαιντο ἦμος. (8) The active sense of the epithet may be noted in καθαρὸς λέβης, "vessel of cleansing" (Ol. i. 26), φρίσσοντες ὄμβροι, "chilling rains" (Pyth. iv. 81), μαινὰς ὄρνις (216), "bird that maddens."
The number of words peculiar to Pindar is large in proportion to the volume of his extant work. In several, as ἀλεξίμβροτος, ἐναρίμβροτος μελησίμβροτος ὀπισθόμβροτος, πλειστόμβροτος, ἀλιτόξενος, ἀρχεδικᾶν, καταφυλλοροεῖν, we can see how dactylic metre (especially in its Pindaric combinations) stimulated the formation of new compounds.
§ 22. The spirit of art, in every form, is represented for Pindar by χάρις—"the source of all delights to mortals" (ἅπερ ἅπαντα τεύχει τὰ μείλιχα θνατοῖς, Ol. i. 30)—or by the personified Charites. While Sparta knew only two Graces (Κλήτα and
