addressed to Herodotus of Thebes, the poet introduces an allusion to the technical name of sundry musical rhythms which he is employing, and plunges off on this excuse into the legends of Castor and Iolaus, the mythical heroes from whom the names of these measures were derived. But let it not be supposed that the introduction of these heroes, and the description of their friendly rivalry in feats of arms—Castor in Sparta on the banks of Eurotas, and Iolaus by the waters of his native Theban Dirce—is really due to so absurd a cause. Pindar's true object is at once to honour his countryman, Herodotus, by suggesting a comparisonbetween him and the local hero Iolaus, and to shadow forth, in the legendary brotherhood-in-arms of Iolaus and the Spartan hero Castor, a close alliance now in process of formation between Thebes and Sparta, from which great things were expected, and of which Herodotus may not improbably have been a prominent adviser.
Again, in the Ninth Pythian, the poet affects to check himself in a too exuberant flow of myth and compliment, with a quotation of the somewhat hackneyed maxim, that "measure in all things is best." And thereupon he begins a story of Iolaus, apparently with no further justification than his opening remark, that "Iolaus knew the importance of measure." But, in truth, he wished to dwell upon the ties connecting Cyrene (the victor's native state) with Thebes (the home of Iolaus); and it is this, and not the shaky bridge by which he pretends to cross to his new topic, that really leads him to the legend of Iolaus.
