Again, if we consider the nature of a Choral Ode, and the manner of its production, it is a priori improbable that such works could have been composed on the spur of the moment. The mere necessity of writing with a view to the musical and spectacular effects of the composition would demand care and reflection,—unless, indeed, the poem was to be a mere libretto, which—as has been pointed out in the first chapter—was certainly not the case.
Or if we examine such occasional evidence as is contained in Pindar's actual Odes, there is little to support the theory of rapid production. The Odes were generally composed for celebrations held long after the victories which they commemorated. Sometimes the poet speaks, in one Ode, of another which he has temporarily laid aside, or which he has begun to plan, but which will not for some time be ready; and we gather, on the whole, that it was his practice to ponder over a theme, and to wait for inspiration, rather than to force it. One Ode was apparently produced on very short notice, and Pindar makes a merit of this, which he would hardly have done had it been his practice. Once at least, also, we find him designing and promising a particular Ode; and then, long after, sending the Ode promised with an apology for the delay. True, his apology at first sight bears out the view which is here questioned. "I forgot," he says; and it may doubtless be urged that a poet who spent much previous thought upon his poems would hardly forget in such a case. But it is not impossible that the excuse was a mere poetical artifice,
