The other causes of Pindar's unpopularity to which reference was made above, the obscurity of his thought and the monotony of his subjects, will in great measure disappear by means of attentive study of the poems themselves, and of other sources from which may be gathered an understanding of the region of thought and feeling in which they move. In proportion to our familiarity not only with Hellenic mythology and history, but with Hellenic life and habits of thought generally, will be our readiness and facility in seizing the drift and import of what Pindar says, in divining what has passed through his mind: and in his case perhaps even more than in the case of other poets, this facility will increase indefinitely with our increasing acquaintance with his works and with the light thrown on each part of them by the rest[1].
The monotony of the odes, though to some extent unquestionably and unavoidably real, is to some extent also superficial and in appearance only. The family of the victor, or his country, some incident of his past, some possibility of his future life, suggest in each case some different legendary matter, some different way of treating it, some different application of it, general or particular, or both. Out of such resources Pindar is inexhaustible in building up in subtly varying forms the splendid structure of his song.
Yet doubtless the drawbacks in reading Pindar, though they may be largely reduced, will always in some degree exist: we shall always wish that he was easier to construe, that his allusions to things unfamiliar and sometimes undiscoverable to us were less frequent, that family pride had not made it customary for him to spend so many lines on an enumeration of prizes won elsewhere and at other times by the victor of the occasion or by his kin. Such drawbacks can only fall into insignificance when eclipsed by consideration of the far more than counterbalancing attractions of the poems, of their unique and surpassing interest, poetical, historical, and moral.
- ↑ The importance and interest to a student in Hellenic literature of a collateral study of whatever remains to us of Hellenic plastic art—statues, vases, gems, and coins—can hardly be too strongly insisted on.
