The songmaking of Pindar pictures Homeric poetry at N.7.21 as a kind of logos ‘wording’ that is relative, not absolute, so that the pathā ‘experiencing’ of experiences by Odysseus at N.7.21 cannot be matched neatly by the words that are used in Homeric poetry to tell about these experiences. There are more words and fewer experiences to match the words. To put it another way, there are far too many more words that tell about the experiences of Odysseus than there are real experiences to be actually told. Thus, the excess wording cannot be matched by real experiences. To highlight the excessiveness of the wording, both logos ‘wording’ and the contrasting pathā ‘experiencing’ are presented here in the singular, not in the plural, and this singularization accentuates the force of πλέον’ (pléona) ‘more’ at N.7.20 as applied to λόγον (lógon) ‘word’ at N.7.21 by contrast with πάθαν (páthān) at N.7.21. The ‘moreness’ is accentuated by a one-on-one contrast that shows how the first ‘one’ is far more than the second ‘one’. The use of the word pathā ‘experiencing’ here can best be appreciated in the context of O.01.005: polla … pathen algea ‘he [= Odysseus] experienced [paskhein] many pains’. So, in the Homeric Odyssey, the multitude of experiences is being highlighted. In the song of Pindar, by contrast, it is the multitude of words about the experiences. The problem with these words in Homeric poetry is that they convey mūthoi ‘myths’, N.7.23, which are multiple and relative. See again the general comment at N.7.1–90. There is an outer zone of pseudea ‘falsehoods’, N.7.22, which envelop the inner core of a poetic truth that the songmaking of Pindar claims for itself.