Franklin, John Curtis. 2016. Kinyras: The Divine Lyre. Hellenic Studies Series 70. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_FranklinJ.Kinyras.2016.
10. Praising Kinyras
Pindar and the Example of Kinyras
Cypriots’ songs (phâmai Kypríōn) often resound around
Kinyras—whom golden-haired Apollo gladly loved, the
Cherished (ktílon  ) priest of Aphrodite—driven no doubt by awe-filled gratitude (kháris) for one of his friendly deeds,
You, Deinomenes’ son, the maids of Western Locri
Sing (apúei) before the temple (prò dómōn), looking out secure from helpless
Toils of war, because of your great power. 
The passage has been closely analyzed for linguistic nuance and historical context in a recent study by B. Currie.  Two main questions arise. What did Hieron do to earn Kinyras-like gratitude? And why has Kinyras, of all possible mythical figures, been chosen to mirror the tyrant?
Song is being sent beyond the dusky sea.
Inspect with open mind this Kastor-song on Aeolian strings—
Greeting with favor this gratitude-gift (khárin)
From my seven-toned lyre. 
Poet as navigator and poem as voyage are again conventional ideas.  But the ethnographic detail stands out. For Bowra, who considered the work a “poetic letter” rather than a proper choral ode, “Phoenician merchandise” effectively means “on approval.”  I suggest rather that it takes its point from the earlier Kinyras exemplum, given the Cypriot king’s treatment as a virtual Phoenician in some strands of tradition.  The poet, in singing of Hieron, does so like the Cypriots who praise Kinyras in a “well-sounding hymn” (euakhéa hýmnon). The parallel nature of their activity, resulting logically from the exemplum itself,  is emphasized by the poet through well-placed verbal echoes. Pindar’s description of his poem as a kháris-gift (70) recalls the kháris that motivates the Cypriots in their celebration of Kinyras.  And since Pindar’s own musical kháris-gift was a product of “the seven-toned lyre,” he implies that the Cypriots also venerated their ancient king through choral lyric. Now in Pindar’s later statement “I shall embark on a well-flowered naval-expedition, resounding about your virtue,” the phrase amph’ aretâi / keladéōn clearly echoes the earlier keladéonti … amphì Kinýran, of the Cypriot singers’ own praise-songs.  Yet, whereas they can praise their king in their own territory, Pindar’s song must be shipped to Syracuse: the “Phoenician merchandise” is thus a virtual Cypriot song dispatched by Pindar—temporarily assuming the guise of a Cypriot lyre-singer—to Hieron, that new Kinyras. The poet’s maritime metaphor, reinforced by reference to the “Kastor-song,” equally recalls Pindar’s treatment of Kinyras in Nemean 8, where the king grew wealthy from seafaring: Hieron will be enriched by Pindar’s musical ‘merchandise’. 
The Love of Apollo
Singing ‘about’ Kinyras
Muses’ joint possession—whom the dance-step heeds, the beginning of festivity,
And singers obey your signs
When thrumming you fashion beginnings of chorus-leading preludes. 
Only change phórminx to kinýra and one arrives at a fundamental aspect of the Cypriot celebrations “about Kinyras” to which Pindar alludes.
Caught in the Act: Two Model Shrines
It was left to Mlynarczyk to connect these shrines with Kinyras and the Paphian kings in their role of “High Priest of the Queen.”  But we must not forget Boardman’s intuition about the lyrist’s own divinity.