Pindar is to be conceived, then, as standing within the circle of those families for whom the heroic myths were domestic records. He had a personal link with the memories which everywhere were most cherished by Dorians, no less than with those which appealed to men of “Cadmean” or of Achaean stock. And the wide ramifications of the Aegidae throughout Hellas rendered it peculiarly fitting that a member of that illustrious clan should celebrate the glories of many cities in verse which was truly Panhellenic[?].
Pindar is said to have received lessons in flute-playing from one Scopelinus at Thebes, and afterwards to have studied at Athens under the musicians Apollodorus (or Agathocles) and Lasus of Hermione. Several passages in Pindar’s extant odes glance at the long technical development of Greek lyric poetry before his time, and at the various elements of art which the lyrist was required to temper into a harmonious whole. The facts that stand out from these meagre traditions are that Pindar was precocious and laborious. Preparatory labour of a somewhat severe and complex kind was, indeed, indispensable for the Greek lyric poet of that age.
Pindar's wife’s name was Megacleia, and he had a son named Daiphantus and two daughters, Eumetis and Protomache. He is said to have died at Argos, at the age of seventy-nine, in 443 B.C.
External link: Odes of Pindar (http://classics.mit.edu/Browse/browse-Pindar)
extracted and wikified from a certain encyclopedia