distinctions were of comparatively recent date—it seems more probable that, in these cases, the poet purposely avoided the futile flattery of dwelling on imaginary heroic glories of a parvenu house or state, and deliberately fixed the attention of his audience on its real though recent achievements, summoning for the adornment of these achievements all the old heroic associations of the locality in which the triumphs had been won. And this is probably the reason why the local legends of Olympia figure so much more prominently in Pindar's poetry than those of Pytho, Nemea, or the Isthmus. For a large proportion of the Olympian Odes are dedicated to members of Sicilian royal houses, whose position had been won merely by force of arms at a comparatively recent date, and whose family traditions, whatever they may have been, were totally insignificant when compared with their subsequently acquired greatness. Whereas the successes of Æginetans (let us say) at Nemea and the Isthmus, or of the ancient Cyrenaic princely houses at Pytho, glorious as in themselves they were esteemed to be, formed simply an episode in the splendid annals of Ægina and Cyrenè. So that it was to these latter, and not to the associations of the contests themselves, that the poet directed the attention of his audience.
Speaking generally, it may be said that Pindar's introductions of mythology serve four most obvious purposes: (1) The glorification of a victor's nation or family; (2) The illustration of special points in his personal surroundings, or career, or character; (3), The direction of special attention to the glories of a victory,
