Greek Lyric Poetry Far Nell

HANDBOUND
AT THE
UNIVERSITY OF TORONTO PRESS
93/1
GREEK LYRIC POETRY
PLATE
I.
[See Alcacus xi.,
Sappho
x.,
and Additional Nole A.]
;reek lyric poetry

A COMPLETE COLLECTION OF THE
SURVIVING PASSAGES FROM THE
GREEK SONG-WRITERS
ARRANGED WITH PREFATORY ARTICLES, INTRODUCTORY MATTER, AND COMMENTARY
BY
GEORGE
S.
FARNELL,
M.A.
ASSISTANT MASTER AT ST. PAUL'S SCHOOL
LATE SCHOLAR OF WADHAM COLLEGE, OXFORD
LONDON LONGMANS, GREEN, AND

AND NEW YORK:
15
EAST
i6th
CO. STREET
1891
{All rights reseri'ed.
PR
<l*~
PREFACE
AMPLE
as are the remains of
is
have been preserved, there
Greek poetic literature that one important branch of it
which has all but perished. The student usually forms a close and valuable acquaintance with Greek Drama and Greek Epic, but of the Lyric poetry proper he reads
little
or nothing.
I
It
is
true
that
is
the
more
fortunate,
though
fear
their
number
small, read
;
Pindar, the
greatest perhaps of the
Greek Lyric poets
and, furtherlyric
more,
all
of
us
become acquainted with choral
poetry one viving complete poems, the Epinician odes, represents in the Plays branch alone of the subject and similarly
;
in the
Drama.
Pindar, however, in his only sur-
practically choral Lyric only, and that, too, under such conditions as are best adapted to the preponderating
we have
interest of the
these
Of Greek Lyric Poetry then, with important exceptions, we are profoundly ignorant
Drama.
;
and our knowledge of Greek poetry ^
in general is accord-
ingly almost as limited, as if in our own language we /read Milton and the Elizabethan Dramatists, but knew
^nothing, or almost nothing, of the great song-writers contemporary with them, or of the lyrics of Shelley, Keats,
and Tennyson
,
if
in our own century. The loss of these Greek song-writers is irreparable but we could imagine the connected works of any great
;
modern
poet, or series of poets, entirely lost,
many
valu-
able fragments might yet be recovered

for quotations
I
by
a patient search
from them
in
surviving literature.
This
is
viii
PREFACE
Greek
lyrics
precisely the task so successfully accomplished in connection with the lost
three centuries, who,
by
a laborious
gation of
all
ancient writers
by scholars during the last and discerning investior critics on style, metre, and
grammar, have been able to recover for us fragments scanty and mutilated indeed, but yet of a nature to repay
fully the study of all those
who
life.
are interested alike in
Greek
literature
and
in
Greek
in
'
My
object in this
'
volume has been
to present to readers
all
of Greek a collection
an accessible form of
the
fragments of the Melic poetry, omitting from the text instances of single words or half lines cited in illustration of some special point in grammar or metre, and also
passages which are hopelessly corrupt. My task then has been not to select the best only, for the fragments are too scanty to admit of any such selection, but to include
everything that can fairly be regarded as readable, adding in the Introduction and elsewhere such information as I
have deemed necessary for a fuller comprehension of the poems, and of Greek Lyric Poetry in general. To make
have added
the collection complete for purposes of reference, etc., I in an Appendix all the passages excluded
from the text proper. These latter I have taken from the last edition of Bergk's Poetae Lyrici, without commentary or alteration of the text.
I
deal only with
'
Melic
'
poetry, or the poetry adapt\\
for music, to the exclusion of Elegiac

in early
poems, which, though times at least not without musical accompaniment,
were recited or intoned rather than sung. The distinction] is far from being one of form alone for, since the Greeks
;
excelled
else,
the perfect adaptation, in poetry as in alP of form to matter, it follows that poetry which was
in
of delivery, and also in traditional page 75 seg.), was widely distinct also in subin treatment of subject, and in its whole spirit. ject,
distinct in metre,
mode
dialect (see
PREFACE
I
'
ix
must add that the Epinician odes of Pindar, though

Melic
'
essentially
poetry, or Song-poetry proper, are not
much has by great as to survived necessitate fortune entirely separate good I have however inserted some of the chief treatment.
included in this edition, because so
fragments from Pindar, for reasons explained elsewhere

(p. 281).
I
have to thank several of
my friends
work
;
for their assistance

I
in different portions of
my
and
am
particularly
indebted to Dr. Abbott, my former Headmaster, for his kindness in revising a considerable part of my commentary, to
which he has added some valuable suggestions.
Mr.
MURRAY, Keeper
Museum,
British
of the Classical Antiquities at the and other gentlemen connected with
that Department, have also given
me much
useful infor-
mation.
G. S. F.
St. Paul's
School,
February 1891.
CONTENTS
Prefatory Articles
I.
PAGE
Revival of Melic or Song-poetry, Distinctive Features of Greek Lyric Poetry III. Choral and Single or Personal Melic Poetry
II.
I-I4
Some
I5-20
Dorian and Lesbian Schools, IV. Dance as an accompaniment of Greek Song, V. Musical accompaniment of Greek Song,
. .
20-24 25-33 34-44
VI. Metre in Lyric Poetry, VII. Dialect in the Lyric Poets

Sec. Sec.
Sec.
I.
.
. .
45-74
2.
3.
General Characteristics, Lesbian Dialect,
75-80
80-91
Dorian Dialect,
91-96
97
Addendum,
VIII. General view of the history of Greek Melic Poetry
98-108
Text, with Biographical and Introductory Matter

Archilochus,
.
. . .
m-121
1
Melic Poetry at Sparta
22
Tyrtaeus,
Xll
CONTENTS
Banquet Songs
Popular Songs,
The Scolia,
.
PACE
232 t 246
247-250
251-262
Miscellaneous and Anonymous,
Dithyrambic Poets,
263-280
Pindar,
Some Fragments from

Commentary,
Additional Notes
281-295
299-424
424
A. Sappho and Alcaeus,

B. Eros in the Lyric poets,
426
in the Text,
Appendix Fragments not included

I.
Subject Index,
II.
Greek Index,
.... ....
Pupils,
429-469
471-481
482-490
LIST OF ILLUSTRATIONS
Plate
,,
I.
Alcaeus and Sappho,
II.
Sappho and her
III.
Eros as described
in the Lyric Poets,
IV. Blind Man's Buff,
.....
.
.... ....
. . .
.
F7-ontispiece
xiii
xiv
xv
V. Boeotian Cup,
xv
-!
w
\
a*
w X o < o X
en Ph
<
O U
OS
(J
<
< Z
Si
a "
en
w
Ph
H W O
CM
u 2 >
w a H
Q H
i
o W o
en
O
w
PLATE
IV
BLIND MAN'S BUFF See
Popular Songs
vi.
and Note.
PLATE
V.
BOEOTIAN CUP.
See Bacchylides xiu.
2,
and Note.
CORRIGENDA
PAGE
1
20,
Arch.
xiv. 1,
for rXauy' read rXaux'
124, line
5,/cr Harting rar^ Hartung

i.
127, Ale. 128,
10, for oatvrjv

1 3,
and
aL
Eâtvr^v
read
y<xbzv
and
iraxivev
,,
for
ais
read
131,
31, for apj'vou

xii.
read
a.[L\lva.i
,,
3,y2?r aaaa'p.w râ^Z aaaa[a.w te

v.
142,
Alcaeus
iii.
2,y#r xao' read *oZ
158, Sap.
x
3,
for
0-r.a.Tot.
read omzoxa
av^Toio
Kud-ipri'
59>
)i
vii. 2,_/2?r 'vrjxoio ;vfl?
163,
,,
xxi.
for Ku&ipri read

2,
225, Bacchyl.
ii.
delete
comma
after
-9-ujj.ov
230,
1.
3,
for Ku^ptoo? read

scheme,
Kuxpiooc,
xvi. (Metrical
for ^
^ read u ^
read
line 1) in 5th Cretic
262, Miscel. xxx. I, for xoipav7J'ov

.,
xoipavf[ov
10,
for
xokiixe,
read
r.oliSz
274, line 2,ybr
excpo9-rj<jiaav
2,
rm^f
Exôprj-S-staav
279, Dith. Poet. xiv.

286, Pind.
i.
for Nixa read
Nv/.a
4, for izoXkoic,
I.,
read ôXXoi;
2,
327, 333,
Note on Sappho
Note on Sappho
par.
1.
line i,for
-zr^kvi
read
mrjXuc
X.
3, rtfe/^te
For
o[j.fj.axa
ARTICLE
REVIVAL OF MELIC OR SONG-POETRY ANCIENT FORMS OF LYRIC AGAIN CULTIVATED
ALTHOUGH
in the history of surviving Greek literature Epic poetry precedes Lyric, of course, as a matter of fact, poetical emotions found their utterance in song long before professional poets produced lengthy and elaborate Epic
:
Lyric properly
Orpheus, according to the myth, preceded ^^fbut overit shadowed Homer. Epic, r ' however, owing to certain obvious causes during the by to be looked for in the social conditions of the day, 'Feudal' attained a popularity among the influential classes which peno
compositions
' .
"
to its service all men of ambition in the sphere of poetry, and Melic composition was for the time cast into the shade. Songs were doubtless written and sung all through the Epic period, and indeed we find
attracted
frequent reference thereto

special
cultivation
'/Xiy.
was given
position
celebrate
avSptov or
Homer, but evidently no to poems which did not similar subjects, and the songs
in
remained
in
the
of
monotonous and stereotyped
religious
Volkslieder, or chants.
else
of
When,
1
however, the 'feudal' state of society in the Greek world with the decay (if such an expression may be used) sank gradually to powe'nEptcif decay, and with it its favourite and appropriate form of supplanted by
poetry, the Epic, poetical genius was forced to adapt itself The glories of the past had now, in to its surroundings.
a period of revolution, become discredited, while the life of the present, which for long had been unvarying and
monotonous, underwent such a change as intensified its It feelings and heightened the interest of its actions. was to actual life that the poets now directed their attention, and Epic narrative was thus supplanted by Lyric poetry of a subjective and personal character.
GREEK LYRIC POETS

First
came
verse,
Elegiac and
Iambic
The wide gulf, however, between Epic and Melic, or the poetry of song, was bridged over by Elegiac and Iambic poetry, both of which, like Epic, were recited or intoned rather than sung.
Elegy broke the dignified flow of the hexameter, so well suited for an elevated narrative style, by alternating with it the so-called Pentameter, which, as metricians
is merely a varied form of the hexameter. In on the other broke subject, hand, Elegiac poetry boldly away from the traditions of Epic, and we find it employed by a Tyrtaeus, a Callinus, or a Solon as a powerful factor
point out,
in the
The Iambic
warfare or the politics of the day. trimeter, again, the invention of which
still
is
ascribed to Archilochus, introduced

tions both in form
the metre
and in subject. The altered from the ysvo? I'cov, where, as in the hexameter, the arsis and thesis of each foot are equal, to the ysvo? St7rlao-iov, where, as in the Iamb and the Trochee,
is
I
greater innovawhole nature of
they are as be personal
to
2,
or 2 to
while the subject
we
find to
chiefly
in the
most pronounced degree, being
invective or satire of the bitterest kind, not against principles or public enemies, but against private foes.
then Lyric poetry proper, or Melic.
But neither Elegy nor Iambic verse w as suited by metre or by subject to satisfy the craving for a more noble and elevated poetry which was strong among the Greeks and the poets betook themselves to what must always be the
r
;
truest source of fresh poetic inspiration to the songs which, hitherto uncultivated and little heeded, yet touched the
deepest sympathies of the people

secular
life.
We
their religious or in. find accordingly that with rapidly pro-
gressive innovations, which will be duly noticed, in metre, in music, and in the choral dance, Melic poetry soon
Rapid develop- attained to its maturity. ment of Melic.
Causes.
The
swiftness of this advance
is
indeed astonishing, and is only intelligible when we reflect how many were the occasions for song in the life of a
Greek
city,
and that
in this period of social
revolution, the powerful poetical genius of the
and literary Greeks was

;
nor concentrated almost entirely upon such occasions must we forget that it was not one country alone that was
REVIVAL OF MELIC POETRY

developing
its
poetical powers, but a

parallel
rest.
number of
States,
more
or
less
and independent, each of which,

in-
owing to easy and constant communication, readily

fluenced
all
the
What then were the most important and inspiring occa- Early forms oi c lch sions for song in early Greek life, and what was the nature n^" a g^ attracted its of the early song-poetry so long overshadowed by poetical genius. t% i-t younger sister Epic ? tor it is to this source that we must
.
a.
trace the characteristics of later
and cultivated Melic. On Distinct allon than quote a well-known classlf better cannot do one this subject passage from Colonel Mure's History of Greek Literature From Olympus down to the wandering mendicant every rank and degree of the Greek community, divine or human, had its own proper allotment of poetical celebration. The gods had their hymns, nomes, paeans, dithyrambs great men their encomia and epinicia the votaries of pleasure the mourner his threnodia their erotica and symposiaca and elegies the vine-dresser his epilenici the herdsmen their bucolica even the beggar his eiresione and cheli: ' ; ; ; ;
;
The number of titles amounts to upwards of and Colonel Mure justly remarks that 'the number, variety, and methodical distinction of these modes of lyric performance supply one of the most striking illustrations of the fertile genius and discriminating taste of the Greek
donisma.'
fifty
;
It is to be noticed that these distinct classes of '.* were not the creation of cultivated lyric, but were song We may follow handed down from primitive times. the Proclus in grouping them in two main divisions the and Secular. Religious Of religions or sacred lyric the chief forms are the Hymn, ^
nation
Religious
-
the Paean, the Hyporchem, the Nomos, the Dithyramb, the L y nc Comus, and the Prosodion and these I will proceed to
;
discuss briefly in their order.
The Hymn
1
(up.vo?)
dates
Hellenic ages, and
may
far back into remote ante- Hymn. be regarded as the original stock
Hist, of Language and Liter, of Anc. Greece, Bk. III. c. ii. Mure's remarks are based upon a long passage from Proclus' Xprjaronadta, quoted in Photius' Biblioth. pp. 521 seq.
4
of
in
all
GREEK LYRIC POETS

many
the religious songs, the others being specialised and cases later forms of the Hymn (w? e'wfoj wpo? But the Hymn also constitutes a special ysvo?, Proclus). type of religious poetry, though its only peculiar features
mentioned by our chief authority, Proclus, are that it was 6 Si suing standing, and accompanied by the cithara jtupio?
u[j.vo? Trpo? juO-aoav vj'Ssto ectwtwv.
Burnouf l suggests that the word ujj.vo? is identical with sumna good thought, and he adds that the custom of accompanying a sacrifice at the altar with a song to the gods, or hymn, was common to all the Aryan races. It is in fact in this in its more general sense u[/.vo?
the Sanscrit
' ',
that
Close connection of poetry
,
and
religion in ancient times,
we may, perhaps, with Hartung, look for the earliest development of poetry and song among the Greeks since ,. solemn prayer naturally tends to become rhythmical, and harmonious musical sounds have a special value on such
1,1,.,
;
occasions, both in elevating the
mind of the worshipper
discordant and inauspicious noises. Tha.t the earliest mythical poets, at any rate, were connected with religion is illustrated by the examples of
in
and
drowning
all
Orpjheus and
Eumolpas, both of
whom
belong to the
primitive age, when, as in their cases, the characters of heacll of the family, priest, and poet-singer were combined
in
Tfjie
1
the same person. majority of the hymns, until the re-awakening of
lyric inspiration, were probably traditional and monotonous dirges chanted rather than sung, as seems to follow from the very limited range of the music of these early
times (see page 35). They admitted, however, of variety, according to the deity that was invoked, according to
the periods of the
day or the changing seasons of the
year
.3
Among
the early poets of the Lyric age
we
find
Alcman
find
and Stesichorus cultivating this branch of Melic. Passing on to more special forms of the up.vo?, we
1
Hist, de la Litt. G?'ecque,
p. 40.
2 3
See Burnouf, p. 51. See Burnouf's remarks on the Vedic Hymns,
pp. 48, 56.

that the Paean, the Hyporchem,
5
all
and the Nomos were

least, to the worship
consecrated,
in
early times at
loc. at.).
of
Apollo
(v.
Proclus,
The Paean is twice mentioned in Homer. In //. 473 Paean. sung by the Greeks to Apollo, in order that he may take away from them the plague that he has sent
i.
it is
KaXov
M sXtcovts;
Similarly
aiSovT; xaivjova, /.oupoi 'Aâtcov, ' Exaspyov, 6 Ss <ppsva fsp-ST obcoucov.
we
are told that
it
was sung
is
at an expiatory
festival in the first
month of
in
1 spring, called Bucio;, at Delphi.
The second
Achilles calls
occasion
the Iliad
upon
his
comrades to
:
391, where as they Paean sing the

xxii.
carry off the slain Hector NCv o" ay' aeiSovrs; TOxi-yjova, etc. It took then the double form of earnest prayer for the removal of plague, or for the bestowal of victory, and also
of thanksgiving for favour granted, especially for military

success.
Further reference
tion with the
find that
will
be
made
to the
;
Dance
(pp.
27 and 29)
Paean in connecand we shall there

Thaletas,
,
one of the early masters

efforts to the
in lyric poetry,
devoted his
improvement of
this species of
religious song.
In the Hyporchem the leading feature was that the song

to Apollo was accompanied by a dance of a distinctly 2 to have been It is said by Muller imitative character.
Hyporchem.
of Cretan origin, and to have passed from Crete to Delos. The subject dealt with, he adds, was originally the history of Latona, and was then extended to a wider range, as we
Hymn to Apollo, 162. There is a passage in is said to refer to the Hyporchem. A which //. xviii. 590 bard is playing on the harp (cpopi/i^wv), and a band of youths and maidens .-dancing, 'sometimes in rows, somefind in Horn.
times in quick circles, easily as a potter might turn his the maidens carry wheel, trying how readily it will run the swords (sE youths golden garlands, apyup<ov TsXaôvtov)
'
Miiller's
Dorians,
vol.
i.
c. viii.
Ibid. vol.
i.
p.
371.
GREEK LYRIC POETS

and the passage, as also a similar description in Odyss. iv. 1 8, concludes by adding that two tumblers rolled about
in the
midst
Soito
Ss
jcupii7T7jT*Jjps
xar auTOu?
it
s&vsuov
/.ara
[/.scrcrou?.
If this
be an account of a Hyporchem,
would appear
that the chorus intended their dance to represent action in a general way, while the tumblers exhibited
definite
some more
and vehement pantomimic gestures. Such at any was the nature of the Hyporchem in later times, as we see from Lucian's account of one at Delos ol j/iv sôpsuov, 1 Ss ol auTtov. That the s utcwpôuvto aptcToi, 7rpox.pi&svTe; performance of oi apwrot was expressly mimetic we learn
rate
from
A then.
xiv.
628
the dance) an^Lzioiq TOiauTa qydpsuov.

Thaletas.
(v.dvov
s^pcovTO to% ayrâi (the figures of rtov aSoyiviov oQsv y.y.i u7ropy/j|./.aTa
It was Thaletas, again, who in connection partly with the Hyporchem, developed the complete union of dance and song which we find in later Greek choral lyric
I must add that often (see p. 28, seq.). distinction appears to have been drawn
Hyporchem and
Pindariy
Nome.
p. 201.
the
Paean.
See
no very close between the Boeckh, De Metris
is applied in early religious vd[/.o? Melic chiefly to chants or tunes of a fixed type, sung (Tsray>tal not by a chorus, but by the (xevto; [/.syaXo7rps7K3s, Proclus), priest, to the accompaniment of the lyre, at the altar of
The Nome.
The term
In its earnest supplicatory tone it is regarded by Apollo. Proclus as very similar to the Paean. The Nome was on the one hand of great antiquity, and on the other survived
beyond almost
all
other forms of
lyric.
We
hear of
it
in
Terpander.
2 very ancient poetical contests at Delphi, but it comes chiefly into prominence as the branch of lyric cultivated by Terpander, who is generally regarded as the earliest
Melic poet. Further remarks on the Nome will be necesit is sufficient for the present sary elsewhere (see p. 36) to say that the use of the term was considerably extended
;
De
Saltat.
c. 16.
Paus.
x. 7. 2.

metre and monodic, yet
subsequently, and that though usually connected with the worship of Apollo, accompanied by the lyre, in hexametric
it
times, dispensed with any one or
occasionally, especially in later all of these characteristics.
The Dithyramb. We come now to a species of hymn connected with the worship, not of Apollo, but of Bacchus. Its invention is ascribed to Arion, but, as it existed long before his day, this is only one of the many instances where tradition has described as the inventor one who in reality was but the first to cultivate and elaborate an
The Dithyramb.
Arion not the
That we find no ancient style of composition or the like. mention of the Dithyramb in the earliest Greek literature
is
perhaps owing to the fact that
it
was consecrated
to the
service of Bacchus,
whose
late,
rites
were introduced to the
Greeks comparatively
(cf.
and amid much opposition
The hymn, however, to Eurip. Bacchae). the god of wine probably dates back to the earliest Aryan 1 times, and traces of it are to be found in the Veda.
especially
unpolished character, is preserved in Plutarch, Quaest. Graec. 36 (see Popular Songs, XII.) but the first mention of the Dithyramb in Greek literature proper meets us in Archilochus, a generation or two before the time of Arion
;
:
very ancient invocation to
Bacchus, of
an
lc, Aigwjgoi avay.To; xaôv eâpât \xzkoc, oiSa Sixhj pap.fi ov, oivw cuyxepauvwOêii; <ppsva.
The word
to
sap?;o
is
said
by
Miiller {Greek Lit.
c.
xiv.)
the early Dithyramb was not choral, as we find it to be ever since the time of Arion, but monodic. This does not strike one as a necessary infer- Dithyramb perence from the words of Archilochus, but it is likely chorals nwa),s
indicate
that
'j
later times enough that in the time of that poet the Dithyramb still retained what was perhaps the primitive form of all early
the
hymns, that of being sung by one man only, originally The improvements made by priest at the altar. Arion will be touched upon subsequently (see p. 102), and
1
Burnouf,
p. 227.
8
for
its
GREEK LYRIC POETS
subsequent history see Introduction to the last I will now Lyric period, page 263. only add that this species of religious song, when once it had gained its ground, enjoyed the greatest popularity, and, as I need
hardly mention, gave birth to that noblest of offsprings, the Greek Drama. It continued, however, to survive side
by side with its more famous progeny matre pulcra filia pukriorand to attract to its services some of the finest
Some
characteristics.
literary, and especially musical, talent. Being connected with the worship of Bacchus, it assumed an enthusiastic 1 character, with rich and often inflated language, and a musical accompaniment, the elaborations of which called
from the admirers of the simpler of the most magnificent fragments from Pindar (Pind. Frag. No. vi.) affords the best example of the rich and glowing character of Dithyrambic
style of the antique.
forth bitter remonstrances
One
poetry at
Counts.
its
prime.
Akin to the Dithyramb is the Cowus-song, also connected originally with the worship of Bacchus, and partakThe* Comus is associated ing in its general character. by Hesychius and Suidas with dancing and drunkenness, and the term is especially applied to the boisterous
song
of the revellers as they issued forth from the banquet, and escorted one of their party home, or serenaded a with
2 hear of the practice in Hesiod, music, dance, and song. Scut. 281 >cw|7.aCov u7r' auXw hiz and opp^to xai
: .
We
lady
aotSyj
later in
Alcaeus
&sai
jjls
y.wfj.oôvxa, etc.
(Text No.
12),
where the Comus takes the form of the serenade. Cf. The term became extended Aristoph. Platus 1039 seq. to any songs for festal occasions, and hence it is to this
branch of lyric that
Lastly,
Processional
I
many of Pindar's Odes belong ('Eyxtopa).
will
sun g to the
*"
flute
mention Prosodia, or Processional hymns, by the band of worshippers when
Sgfeature'in"
a PP roachi ng the altar or temple of a deity. 3

1
Many
of the
Greek
religion.
xexiv][i.e'vos xoti
tcoXO to EvSouauoos?
[jletcc
xP Et a ?
'
|J-9aivwv,
Proclus.
The Comus is a favourite subject on Greek vases, etc. See Panofka, Manners and Customs of the Ancient Greeks, Plate xvn. 1.
3
rcpoatovn; vaot?
rj
(3wij.ot; 7Tpo;
auXov
fjSov,
Proclus.
REVIVAL OF ME LIC POETRY

;
other classes of song might come under the heading of the Prosodion in a more general sense for the Paean, the the are all more or less conComus, Wedding-song, etc.,
nected with processional singing. Indeed it is worth while dwelling upon the popularity of the custom in Greek religious ritual, and to consider what a spirit of grace and cheerfulness must have been imparted to worship by these processions of picked dancers and vocalists.
Not the least interesting of these Prosodia are the Parthenia or processional choruses of maidens in honour of some deity. hear of this custom, apparently, in II. xvi.
Partheiia.
We
180, ev jopu 'ApTE^tSo?, etc., and at the beautiful festival of the Daphnephoria at Thebes, 1 the scene at which has been
made
But
it
familiar to us in Sir F. Leighton's well-known picture. was at Sparta that Parthenia attained to the greatest
popularity, for it was at Sparta that the maidens by their generous culture were best qualified to adorn the service
of religion. In this city one of the earliest Melic poets, Alcman, found his genius powerfully attracted by these Parthenia and a very quaint and interesting specimen of his talent in
;
in this
(Alcman No.
kind of composition has been recently recovered In later times the best of the lyric poets, I.).
such as Simonides, Bacchylides, and Pindar followed the example of Alcman.
Having described the
chief
forms of religious lyric
_>.
Secular
-
existing both before and during
what we may
call
the Lync
Melic period in Greece, I will pass on to certain species of secular lyric. I propose to touch only upon the following the Dirge (ftp'/jvex;) or funeral song, the Wedding-song (upivato;, or sTaO-aâpov), the important class falling under
the heading of Convivial songs (cu|X7ioctaxa), and lastly certain popular songs or Volkslieder which do not come
under any precise category. The Dirge and the Wedding-song are probably secularised forms of a lyric once sacred. It is true that such as J
1
Dirge and wedding-song probably once of a sacred nature.
Paus.
ix.
10. 4.
io
GREEK LYRIC POETS
survive are entirely secular, but Burnouf reasonably maintains that occasions of such import as the wedding and
the funeral must have been accompanied by a sacerdotal hymn such as we actually find in the Veda in connection
with the Dirge. 1
He
surmises that this sacerdotal chant
was followed up by another of a more secular nature out of which was developed the Wedding-song, or the Dirge as we know them and in the case of the Wedding-song
;
the refrain u u.rjv upivats, unintelligible even to the Greeks themselves, was probably a relic of the priestly chant or formula dating back to remote ages. Be this as it may,
t
what
is certain and sufficient for our present purpose is that before the beginning of the Melic period, and indeed as far back as the time of Homer, we find dirges and wedding-songs recognised as definite branches of lyric.
Dirge
The Dirge.
at the burial
The
Threnos.
example of a
&p-?jvo?
in
Homer
occurs
of Hector, //. xxiv. 720 seq., and deserves The bearers bring the hero's body to special attention. the palace and place it on a couch
:
TOxpa o sierav aoiSou?

pTjvcov eâpyou;,
01
ts CTOvoeccav aoiSyjv
Oi
Professional
[/iv ap' eQ-p^veov,
em
Ss crrevayovTO yuvaTx.s;.
From
this
we
mourners.
class of professional dirge-singers,
learn that at this period there existed a whose strains of mourn-
ing were accompanied by the lamentations of the women around. When these men had finished their songs, which
were probably of a formal and set description (perhaps connected with the old sacerdotal hymns of Burnoufs conjecture), they were succeeded in Homer by the spontaneous and exquisitely touching lamentations of Andro-
mache the wife, Hecuba the mother, and Helen the grateful kinswoman of the chivalrous warrior. At the commencement and at the conclusion of the lamentations of each of
1 For the very solemn and important ritual connected with the Greek marriage, see De Coulanges, La Cite Antique, Bk. n. ch. i. adfin., and ch. ii.
these three the poet employs similar expressions ttjgiv and 761) and S' 'AvSpof/.a/vj XeuxwXsvo? vjp^s ydoto (cf. 747, at the conclusion
:
(Cf.
1.
760 and
1.
775.)
yuvofas;
In addition then to the female relatives, it would appear that not only the aoioVt. #-pvjvo)v sapjroi but also these played a definite part in the formal ceremony.
were, so to speak, the chorus whose lamentations first by the professional dirge-singers, and more
They
were led
especially
by the female members of the
afflicted family.
Notice finally that, with the exception of the aoioVi, none women appear to take part in the lamentations, and also that Andromache, Hecuba, and Helen give utterance to their -frpTjvoi in the order of the closeness of their relabut
tionship to the dead.
It is
most interesting to read,
in Fauriel's Preface to his comparison of

'
Chants Popnlaires de la Grece Moderne, that nearly all the S^MîF distinctive features of the funeral dirge in the time of lo gues of
Homer
body
or funeral-songs of
are preserved to the present day Mynologues Modern Greece. Shortly before the
...,-.., in the
modern Greece.
is taken from the house for burial, and after a certain time has been spent in indiscriminate lamentation, the chief women rise, generally in order of their relationship, and
give utterance to improvised dirges, called Myriologues. These are continued until the body is removed, and are
the
renewed when the burial is effected. Just as in Homer, men take no active part in these laments they are The propresent, but express their adieux in brief words. fessional aotSoi have disappeared, but their place is occa;
sionally taken
by professional female myriologue-singers. the great lyric poets Simonides was the most famous for his Dirges, a touching example of which remains
Among
for
us in the famous Danae poem (Simonides, No. II.). But we must remember that such compositions, being
1
This
ill. p.
may perhaps
some
24.
partly account
0-prJvoi
:
for
the choral
quently taken by
Art.
see note, Simonides, No.
form subsecf. II., and
12
GREEK LYRIC POETS
8-pyjvot
and not OTOojSsTa, were not necessarily delivered on the occasion of the funeral, but at any time subsequently. 1
Weddhig-song.
The
It
reference to the
Wedding-song
in
Homer
is
briefer.
occurs in the description of the Shield {II. xviii. 490 seq.), and tells us how the bride is led through the streets to the
S'
bridegroom's house amid loud hymenaeal strains -xokuc, while young men dance to the music of uf/ivato? opcopsi flutes and harps, and the women stand at their doors admir;
Here we see that the Hymenaeus was ing the scene. sung during the procession, and thus before the completion
of
all
have been of a more or
It appears, however, to the religious ceremonies. less secular character and still
;
more was
with the Epithalamion, the song or of the bride-chamber. To door window before the sung this latter class are usually referred the wedding-songs of
this the case
Sappho, who devoted much of her talent to

lyric.
I must again Comparison with modern where we preface, ureek wedding- tr
>
this
form of
make
reference to Fauriel's interesting
songs.
read that the ceremony of marriage in Modern Greece extends over two or three days, and that each part of the ceremony has its regular and appropriate
song, the ancient uf/ivaio? being paralleled closely enough by the special song sung during the procession which conducts the bride from her house to the church.
I
jo
Whether
Convivial'
songs.
come now
to the
'
Convivial
'
songs, auôcuc/toc,
among
or not
which the Scolia are the most prominent.
these Scolia existed before the Melic period, it is certain that the custom of singing at banquets, constantly referred
Also perhaps of to in
sacred origin.
Homer, was of great antiquity. This species of lyric a j so a pp ears to have been once of a religious nature.
Compare
Oi
//.
i.
472
N(j)(/.7](7av
apa xaaiv
(brap?;a|/.svoi SeTraeaaiv,
Hk
TOXV7)[/.spioi [/.o7w7"?j
iSiov IXaffjiovTO.
III. c. vii.,
De
1
Coulanges,
La
Citi Ant. Bk.
forcibly points
Spfjvas ou 7tEpiypcpsTai ypovw.
Proclus.
13
out the religious character of the common banquet among the Greeks, and remarks that it was accompanied by hymns of a set form. These hymns, which formed, as Colonel Mure puts it, a kind of grace to the entertainment,
were often called Paeans, as we learn, among other sources, from a Fragment of Alcman's (Alcman, No. xi.).
<l>oivat; 5s >cai sv {kaaoiaiv
avSpsiwv
TzozTzzi
= gugg mtov in Sparta) Trapi oxituu.ovzggl ( Traiava x.y.Tap/siv.
From these sacred songs may naturally have arisen the custom of singing others of a more secular description, and we shall see that a large portion of Greek single or nonchoral melic may be classed under the heading of conFurther remarks on the Scolia in the vivial poetry.
'
' '
'
Melic period
viving Scolia.
It
will
be found
in
the Introduction to the sur-
remains
still
for
me
to notice certain songs, fragments of

Voiksiieder.
which
remain, of the nature of Volkslieder, but referable to no distinct class of lyric.
The Linos-song
to have derived
us,'
its
is
name from
said to be of Phoenician origin, and the words at le nn, woe is

'
Linos-sono.
which probably formed part of the refrain of the song. Greeks, misunderstanding this, came to regard Linus as the name of a youth whose untimely fate at the hands of Apollo is bewailed, 1 or sometimes as the inventor of the mournful dirge bearing what was supposed to be his name. 2 Be the origin of the term however what it may, the Linussong was evidently of a plaintive and mournful character, and it appears to have been popular with agricultural
The
people,
employed
especially at vintage -time, being, as some say, as a lament for the decay of summer. It is
referred to in the Shield passage (//. xviii. 570 seq.). youths, and maidens are gathering in the harvest
:
Men,
Toitiv
SV \j.zggqigi
izorlc (Dopu.iyyt.
XlVSfol
Ip.sposv -/aD-api^s, Aivov o
U7C0 x.y.Aov astoev.
Hesiod also mentions the Linos-song as habitually sung

1
V. Miiller's
Dorians,
vol.
i.
p.
346.
Plut. de
Musica,
c.
iii.
14
at feasts
GREEK LYRIC POETS

;
and banquets {Frag. I.) and neither in Homer nor Hesiod are the occasions, regarded as suitable for the Linus-song, of a melancholy nature but Bergk's remark
;
Similar 'nature
perhaps pertinent, that the people are always fond of A fragment from a Linus-song will sweet, plaintive airs. be found in the text, Popular Songs, I. Just as the Linos was applied, or is supposed to be
is
applied, to the decay of summer, so the song of Adonis, also perhaps of Semitic origin, 1 and of Hyacinthus were connected with the disappearance of spring. Besides these
we
find the Lityerses song in Phrygia at reaping-time, the Scephros at Tegea in the full heat of the summer, and
others of a similar description, all having this in common, that they direct the imagination to the world of nature, and render it susceptible to its influence.
Cheiidonisma.
Similar in this respect
is
the famous
Chelidonisma or
Swallow-song {Popular Songs, II.), sung by minstrels begging for alms at the doors of the well-to-do, and celebrating the return of the swallow and the spring-time, the ceremony in fact corresponding in some degree to the old English
observance of the return of May-day. The actual song preserved to us by Athenaeus is not apparently of very ancient date (see note ad loc), but the custom of singing such a song from house to house at this season may well
Modem
Greek
.
'Swallow-song
have been of the greatest antiquity, and appears to have taken such a hold upon the popular taste, that, if Fauriel be right, it has endured in Greece down to the present day. At any rate, whether or not there be a gap in the descent, fa e fac t remains that children still go round singing a modern Greek Swallow-song, which, with its accompanying
2 circumstances, closely resembles the ancient Chelidonisma. I will conclude this article by calling attention to the
Flower-song.
Flower-song {Carm. Pop.
V.),
displaying
that
love
of
flowers which, conspicuous in nearly all the Lyric poets, rises almost to a passion in the greatest of them, Sappho.
1
See Renan, Marc-Awrle, pp.

;
131, 575, 576,011 the Semitic aspect

i.
of Adonis-worship, and Midler's Dorians, vol. 2 and see Pop. Songs, V. Fauriel's Preface
c. ix.
II.
note, for the
modern
Swallow-song.
ARTICLE
II
SOME DISTINCTIVE FEATURES OF GREEK LYRIC POETRY

In the previous Article I have endeavoured to point out what were the chief materials for the exercise of poetic genius, which the Greek muse found worthy of her closer
attention on deserting the now exhausted region of Epic. have seen that the service of the gods had given rise
We
to various types of religious song, such as the Paean or song of triumph, the joyous Hyporchem, the enthusiastic
Dithyramb, and the Processional Ode, characteristic of a and that the more important events of human life, such as the funeral and the wedding, with their
cheerful religion
;
singer.
imposing ceremonial, afforded powerful inspiration to the Furthermore, we have observed how universally song pervaded alike the social life of the convivial citizen, and the outdoor life of the simple country folk, the one
regarding
song as the
natural
accompaniment of
his
festivity, the other of his toil. Carrying ourselves back to this starting-point, and bearing in mind certain further
sider
influences shortly to be mentioned, we have now to conwhat are likely to be some of the main features
-n
assumed by Greek lyric poetry. The most prominent external characteristic is its classifi- a Distinct I U " in cation into clearly marked species. As Mr. Jevons says, in ass Q fL r his History of Greek Literature, a Greek poet 'did not sit down to compose an Ode to a Skylark, or to a Cloud'. He wrote, if he was to serve the Gods, a Hymn, a Dithyramb,
(
a Hyporchem, or the like or if for men, an Epinicion, a Threnos, or a Wedding-song or again, he gave utterance to his emotions on love, on politics, or on wine in a Scolion;
; ;
15
16
GREEK LYRIC POETS

in
each case he knew that a certain conformity to It is plain customary treatment was expected of him. that under such circumstances there might therein have been a danger of lyric poetry losing its freedom by becoming tied down to certain stereotyped forms, had not the
and
Results.
period been far too vigorous and On the contrary, these forms served, like the reins in the hands of a skilful horseman, to exercise a salutary guidance and control
Greek genius
at this
creative to admit of
any such calamity.
over the poetic imagination, but not to impede its energy. H. N. Coleridge 1 points out that, whereas Hebrew lyric is satisfied with an intensity of enthusiastic emotion, too
often at the sacrifice of intelligibility, Greek lyric on the other hjmxLc ompens at.es for a co mparati ve deficiency in depth of feeling by~~ffie atlnurable tact with which it
assigns to form and to thought each its proper province, and never neglects to provide for the artistic symmetry of
In a later period, however, when the whole composition. originality of thought declined, the balance was destroyed,
and the excessive importance which became attached to the mere form was probably one of the causes leading to the extinction of Greek lyrical production.
(6)
'
Greek Lyric
'
occasional
Again, if we consider the distinctive element in the various types of lyric poetry, we find it to consist in the special nature of the occasion for which the poem was
designed.
sional
'.
Hence Greek
It is
lyric is rightly called 'occatrue that one class of these occasions con'
',
vivial meetings, to
which were appropriated the species of or Scolia (see p. 12), admitted of called Paroenia lyric a very wide range in the choice of subject, and the songs of this description are those that most resemble the lyric 2 But from causes shortly to be poetry of modern times. of examined, this branch lyric, with some very brilliant assume not nearly so important a place in exceptions, did cultivated Greek poetry as was taken by choral Melic, whose range was somewhat more confined to subjects
1
In an Article in the Quarterly Review, See Introduction to Scolia, page 232.
xlix. 349.
DISTINCTIVE FEATURES
17
appropriate to the special ceremony or festival for which the services of the poet were required. Thus the skill of the poet was exercised, and in the bloom of Greek lyric
successfully exercised, in avoiding, on the one hand, too great limitation and monotony, and, on the other, in re-
straining his imagination within the bounds necessary for the unity strictly required by a lyrical composition. Variety of submust here remember that a polytheistic religion, rich in so^^fo^reiiious or similar mythology, afforded to the poetry -devoted to its service s occasions by r opportunity lor very great variety of treatment in recount- mythology.
We
ing the qualities or adventures of the Deity addressed while the intimate and simple nature of the relations supposed to exist in early times between gods and men
;
admitted of an introduction of secular subjects, which would be excluded from religious song by a people holding a more exalted and reverential notion of the Deity.
While, then, the fact of lyric poetry being occasional did not necessarily restrict the genius of the poet, a more rapid development was attained by the opportunity thus given for a modified form of division of labour among
It is
' '
Division of
no example of a lyric poet L yric poets." S poets. confining himself to one or even a few branches of his subject, but many of them seem to have devoted their chief energies to perfecting that species to which their
true that
we
find
Thus Alcaeus, though particular genius impelled them. a writer also of hymns, excelled in Scolia and similar
Simonides was unsurpassed alike in epicompositions grammatic poems and in the beauty of his Threnoi while Pindar brought the art of the Epinician ode to the summit
;
of
its
perfection.
' '
the other hand, the dangers that beset occasional poetry are obvious, and the avoidance of them is merely a matter of time. Poetry, written not at the
On
Natural tend-
SrpSy.
prompting
of the poet's own heart, but because a certain occasion requires a song for its adornment, cannot for long keep itself from frigidity and inanition. At first, indeed, this not be the while the may case, poet is still writing only
on subjects
closely connected with his capable of inspiring him with enthusiasm B
own
;
life,
and
in
and Greece
iS
GREEK LYRIC POETS
so powerful was the re-awakening to poetic life in the eighth and seventh centuries B.C., and so stirring was the aesthetic, intellectual, and political history of the Greek
world onwards till the fourth century, that lyric poetry maintained its excellence long after the poets had ceased to confine their talents to subjects in which they felt a personal interest, and even after they were ready to let themselves out for hire to the highest bidder. The corrupting influence, however, could not be resisted,
it was aided, as Bergk points out, by the multiplication of prize-contests for lyrical compositions, until in the end the poet was sapped of all his freshness and vitality,
and
and became a mere

Didactic tone
tool
in
the hands of the musician
(see p. 40 seg.). further characteristic alike of
(c)
Greek Lyric, and
its
in
Greek Lync.
the Drama, is the religious, or moralising, or This again is mainly didactic tone which widely prevails. due to the elements from which lyric in great part arose
;
ffS p r i n g
for the poet, once perhaps identical with the priest, reThis tained his function as the teacher of his hearers.
tendency shows
is
itself chiefly in
the
;
directly
didactic
in
character
dominating also in such subjects as Simonides and Pindar, both of whom gave poetical utterance to precepts in a manner which at times was hardly Doubtless these writers gratifying to their employer. were influenced by the importance now attaching to ethical
discussion
;
Gnomic poetry, which but we find it prethe Epinician Odes of
but their ready adoption of such subjects shows that they felt that the poet and philosopher were here at least on common ground.
is the strongly didactic or moralising the Scolia tone throughout (see p. 232), showing that even
Even more marked
here,
the singer
teacher.
(</)
where lighter themes might have been looked for, was expected to remember that he was also a
'
Greek Lyric
jj
As
Greek
being
occasional
',
and connected mainly with pub-
objective".
we naturally find more of a character than is be to objective lyric branch of in this to be Poets, like poetry. expected usually
c festivals, religious or semi-religious,
DISTINCTIVE FEATURES
19
the majority of the Greek song- writers, whose compositions were not merely in honour of some event or ceremonies of
public interest, but destined also to be sung in public by a chorus of perhaps fifty singers, would naturally refrain
from giving vent to such purely personal emotions as are Another so often portrayed to us in modern lyric poetry. cause tended to impress this character of objectivity yet more strongly upon Greek lyric. I refer to the still active
influence of Epic upon all poetic composition, not only Prevalence of with regard to the dialect (see p. j6) and the form of Gi-eeic Lyric Hi tlv t0 e p ic but also to the treatment of subject. It is to P a expression, I J r influence. we in of that must this influence Epic great part attribute the remarkable prevalence of objective narrative in Greek
In religious lyric singing the praises of a god or demigod readily enough took the form of a narrative of
lyric.
their adventures or achievements,
to take a striking instance,
and we find Stesichorus, whose poems were perhaps in
the form of
entirely to
'
hymns
(see p. 169), devoting himself almost
mythical or epic subjects treated in lyric manner. Stesichorus sustained the weight of Epic poetry with the lyre (Quintilian). Again, as is well known, the mythical element plays a most important part in the Epinician Odes of Pindar, whose treatment of incidents, always in some manner connected with his main subject, stands, as Professor Jebb points out, midway between Epic and the Drama. But even in such a subject as a Threnos, Epic influence made itself felt, as is seen in the famous passage of Simonides (No. II.), where
'
the woes of
Danae and her hopes of

its
introduced for consolation to those for

Epic, indeed, with
whom
aid are probably he wrote.
stores of mythology, afforded to the a boundless supply of ideal incidents whereby to illustrate and adorn the present and this for the applies not to poetry alone but to works of art
Greeks of
later times
combats between Gods and Giants, Hero and Centaur, Greek and Amazon, are said to be sculptural allegories which typify recent victories of Greeks over Asiatic barbarians.
Even
in
the less
prominent branch of Lyric, that of
20
Litiie scif-reflec-
GREEK LYRIC POETS

find,
monodic and personal song, we

1
with a few brilliant
monodta"
songs.
own life and exceptions, emotions than might be expected. Such poems of which Scolia form the chief part were usually composed for the
far less reflection
of the poet's
benefit of the author's
own
circle
of acquaintances and
partisans, and his object would naturally be to give utterance to sentiments, personal indeed, but appealing hardly
'1
less strongly to his hearers than to himself. This may be seen in the political odes of Alcaeus, in the so-called Attic Scolia (i.-ix.), or in the drinking-songs of Alcaeus and
Anacreon.
And
dominance of
social or
indeed, when we consider the great preclub life in Greek cities, and the
conspicuous absence of anything like solitary, or even home interests, we are not surprised to find that both in choral and single Melic the poet's individual feelings gave
precedence to subjects appealing either to the whole body

of his fellow-citizens, or to his
panions.
own
friends or
boon-com-
Such are, I consider, some of the distinguishing features of Greek Lyric, in contrast especially with that of modern times. It is obvious also that the fact of all songs being
composed for music, and the greater part for an elaborate dance-accompaniment as well, must have had great influence on the character of the poetry itself; and this
subject will be touched upon in the articles appropriated to the dance and the music of Greek Lyric.
1 I
am
referring- especially to
ii.
Sappho's immortal description of her
passion, in Od.
ARTICLE
III
CHORAL, AND SINGLE OR PERSONAL MELIC POETRY DORIAN AND LESBIAN SCHOOLS
I
HAVE had
refer several
occasion, mainly in the preceding article, to times to the predominance of choral over
monodic or personal Melic poetry with the former of which is associated the Dorian school of lyric poetry, with
the latter the Lesbian.
I
propose
in this article to con-
sider briefly the causes leading to this. First of all, we must bear in mind that the chief occa- Causes sions which called for the exercise of lyric were
leading
poetry connected with religion, and that religion tends to foster choral rather than solo singing, this being certainly the case
in Greece,
n an over monodic
^ SSSJi
class,
where, in the absence of a distinct sacerdotal the worshippers would naturally take each an active part in the ceremony. Again, we must remember the allimportant part that public life as a citizen played in the
existence of a Greek, so that far greater attention was likely to be bestowed on choral poetry, intended as it was
composed rather
for public delivery, than upon monodic song, for the poet's own circle.
which was
Furthermore, in a world ignorant of publishers or readers, a poet who courted notoriety must needs have written for occasions which secured for his works the largest audiences
and
song.
these with the Greeks were occasions for choral

' '
Finally, recollecting that the term choral as applied to Greek song, denotes not merely, or primarily, song delivered by a choir or body of singers, but song accompanied
by dance, we naturally expect
to
find
this
agreeable
21
22
GREEK LYRIC POETS
so devoted to graceful as were the Greeks.
custom attain to the greatest popularity among a people movements and gymnastic training
Such considerations by themselves would lead us to expect that choral song would play a very important part in Greek lyric poetry but when, in addition, we find that it was the Dorians, and especially under Spartan among
;
patronage, that lyric developed in its early bloom, we are not surprised that the reign, brilliant as it was, of personal
single Melic was, comparatively speaking, of brief duration, and that before long nearly all great lyric poems were composed for choral delivery. For all the features
or
influence of the
andpartkuiariy
of the Spartans,
in
encouraging
choral poetry,
Greek life that I have been mentioning were emphasised a marked degree among the Dorians. Religion, I have said, naturally encouraged choral poetry. Especially was this the case with the Dorians, the main supporters, as 1 they are said to have been, of the great Hellenic worship of Apollo, with whose name choral singing, or the union of song and dance, was connected from the earliest times. 2 Again, it was remarked that public life as a citizen fostered choral or public displays of poetic talent and at Sparta, the bulwark of Dorian influence, we know that private life among the citizens was of the smallest importance. Lastly, we saw that the predominance of choral poetry was in a great measure attributable to the love and practice of
<-,
. ;
among the Greeks. Now with the Spartans, of the Greeks, gymnastics, including rhythmical military evolutions, were nothing less than a solemn if also agreeable duty, the omission of which would have endangered
gymnastics
all
her
Hence it is naturally position in Greece. find under Spartan auspices that we developed that perfect, of union realisable and to us hardly music, dance, and song, Hellenic world. 3 entire the was soon which adopted by
commanding
2 See p. 5. See Muller's Dorians, Bk. II. cc. i. ii. iii. Socrates, ap. Athen. 628, referring to the Spartans, declares that the 'bravest of the Greeks make the finest chorus'; and Pratinas See I.e. 633, speaks of the 'Spartan Cicada ready for the chorus'. also the account of the numerous Spartan dances in Muller's Dorians,
1
vol.
ii.
p.
351 seq.
DORIAN AND LESBIAN SCHOOLS

On
torical
23
the other hand, the comparatively insignificant hisimportance of Lesbos, the home of Aeolic song, and the fact that Lesbian life and Lesbian thought were
not such as were destined to appeal most strongly to the sympathies of the main body of the Greek race, caused
the outburst of the Aeolic style of lyric poetry,
i.e.
the
monodic and strongly subjective style, to be as brief as it was dazzling. It would appear that the Lesbians, Terpander and Arion, who were the first to teach their art to A
Greece r to a school of lyric poetry, if we proper, belonged r *> ,. may use such an expression, early established at Lesbos, which reached its perfection in the time of Alcaeus and Sappho and from the proud words of Sappho herself
. ,
sc h 00 i of
ri c
,
P '7 , early established

1
>'
et
at Lesbos.
we
Ilsppoyo; to?
6Y
aoiSo? 6 Ascjito; aXXooV.Trowi
gather that the ascendency of the school was uni
Soon after this period, however, as the States challenged. of Greece proper came more and more to the front, while
mp 0rtance
Asiatic Greeks
recedes before
the importance of the Asiatic-Greek cities began rapidly that of Greece to wane, the scene of lyric activity was transferred to propen
Dorian ground. Yet though the Lesbian school ceased to it is hard to over-estimate the influence which it exist, 11 r* continued to exercise on all subsequent Greek lyric poetry, this influence most directly Naturally, J J affected the Greeks of Asia Minor or of the adjacent islands and it is a noticeable fact that besides the Lesbians, Terpander and Arion, no less than six of the nine chief lyric poets
>
,
..
Nevertheless
i_
an enduring influence was exercised upon

11
f-
Sllbse q ue " t
'
lyric poetry
by
Asiatic Greece.
Alcman, Alcaeus, Sappho, Anacreon, Stesichorus, Ibycus, Simonides, Bacchylides, and Pindar are of Asiatic-Greek descent. Of the rest, Ibycus, a Dorian who attached him-
with the Lesbian
passionate glow of his Pindar, who alone belongs to language and thought Greece proper, is of Aeolic race while StesicJioms of Himera, a colony half Ionic, half Dorian, is supposed to be
; ;
self to the court of Polycrates at poets in the
Samos,
identifies himself
connected
in origin with a line of Locrian Epic poets who followed in the footsteps of the Boeotian Hesiod. 1 Finally,
1
remember
See Mailer's Hist, of Gr. Lit. p. 198. We must nevertheless that however freely we may admit the existence of innate
24
it
GREEK LYRIC POETS

is
Alcman
Dorian stamp P POn cho raTsong
to be noticed that nearly all the lyric poets from to Pindar acknowledged their debt of gratitude to
Lesbos by the partial employment of its dialect 1 Nevertheless, although its inspiration was mainly drawn from the Lesbians or Asiatic Greeks, lyric poetry accomform, under which I include subject, a considerable extent, and style of delivery, mainly to the predominant Dorian taste, and it is in Dorian guise that it meets us in the choruses of the Attic drama. So powerful, indeed, did the attraction
itself in
modated
metre, dialect
to
Extension of
the choral form.
of choral
classes of
t Mehc
-n 1
poetry become, that
we
,-
find eventually
song that were properly only monodic adapted This appears to be the case in the famous Threnos of Simonides (No. II.), and it is so even with Scolia in Pindar, 2 and with the Nomos in later times. 3 It must not, however, be forgotten that the Lesbian or monodic style lived on in the lighter, though hardly less important, form of lyric the convivial songs which played
to choral delivery.
so intimate a part in the social
life
of the Greeks. 4
poetical ability in the Lesbian branch of the Aeolic race, it is by no means safe to extend our conclusions to any other branch such as the
Boeotian.
Witness the proverbial expression,

2
'
The Boeotian
pig ',
IX.
quoted by Pindar himself. 1 See, however, p. 97. 3 See Bergk's Gr. Lit. vol. ii. p. 530. 4 See Introd. to Scolia, p. 232.
s ee on Pind. Frag.
ARTICLE
IV
DANCE AS AN ACCOMPANIMENT OF GREEK SONG

IN the previous Article I have endeavoured to point out the reason of the predominance in Greek poetry of choral song, in which the dance formed one of the chief accomI now wish to dwell more in detail paniments. upon this connection of dance and song at the different periods, and
to consider, so far as circumstances allow, what was the function and the nature of the dance in Lyric poetry. Epic, the earliest form of Greek poetry with which we are
acquainted, was of course unaccompanied by the dance.
S however, supplied by Epic with passages pointing fhou^f ing to a very early, not to say primitive, union of dance and intimate nature song, which was but revived and developed at the period of times!" the great Renaissance of Lyric. In the passages I am about
We
Early union of
1
'
are,
we shall see that whereas in classical Lyric the were identical with the dancers, their steps followsingers with ing precision the rhythm alike of the poetry and of the melody, on the other hand in these early times the
to quote,
connection was of a far less intimate character. We have indeed few, if any, cases in Homer of dance unaccom1 panied by song, and not many of song without some form of measured movement to enhance its effect but usually
;
the dancers
move
in silence, while the minstrel

;
both plays
is
(on the lute) and sings
or again,
if
the chorus
also
represented as singing, we find their movement to be not that of a set dance, but of a procession, and it would
1 In Od. viii. 370 two men dance in the palace of Alcinous without any mention being made of vocal or even of musical accompaniment. Yet in 11. 379, 380 we find the words x.oupoi 8' ir.zkrf.sov aXXoi, and r.olus
o 07:0
y.6[i.Tzoi
opwpsi.
25
26
GREEK LYRIC POETS

in
appear
Passages
(a)
some cases
that they join not so
much
in
the
actual song as in the refrain.

in
where
the
but
ule nopai t
590 seq., a passage already referred to in connection with the Hyporchem, p. 5, we have a detailed anc beautiful description of youths and maidens dancing
In
//.
xviii.
in the song.
while a minstrel sings to them and plays his lute
Ms-ra
<)
crîv
i^kiz&vo &slo<; aotSo?

all
<S>op|/.ia>v,
and
this
passage
if
it
is
the
more
suited to our present
purpose
period
Hyporchem,
rightly regarded as a description of a since in this branch of lyric poetry at a later

is
the union of choral dance and choral song
was
most intimate.
Again, in Od. viii. 261 seq., a famous minstrel, Demodocus, plays his clear-toned lute (<p6ppyya >.iyeiav), and sings the a story of Ares and Aphrodite, while he is surrounded by
band of young men

in their art,
(7r77>7]yov
in the flower of their youth, 'well skilled
who
strike with their feet the
dance divine
their feet
'
Ss
xP v
&&ov
ôofo),
while Odysseus gazes in

o*s
wonderment on the
flashing
movements of
1
[/.apâpuya; <9i}Sito uoStov, -O-aup.a'Cs Lastly, in Od. xxiii. 143 the
S-UfAto.
following
expressions
occur
'O
clPoptv.iyya ylacpupvjv,
o"
siXsto
Q-zXoc,
aoiSo;
sv Se
jcoi
ccptcriv ij/.spov topcrev
Mok^?
Toiaiv
o*s
ts
y>.i>/tep7js
a[/.u(JM>vo?
dp/yjôio.
xsptcrrsva^STO Tiorjcriv ts yuvaix.cov. jto&X&ovwv xaiôvTtov 'AvSpwv

p.sya
Scotxa
In this passage we find men and women dancing, while the bard plays the lute but we may also reasonably conclude from the very fact that he was an aoiSo? that he also
;
sang.
only to the dance,

1
Moreover, although the word p>.7r/j<; may indeed refer and not necessarily imply singing, 2 the
In this passage Hartung regards the dance as a prelude to the
Even if this be the case, we may still lay of Ares and Aphrodite. conclude that the dance was an accompaniment to song, namely, to which served as a prelude to an Epic recital. See Midler's the
Hist.
song ofGr.
Lit. p. 72.
tiller, loc. cit.
p. 20.
DANCE ACCOMPANIMENT
We
27
,
mention of opy;/]9|>.d ? epithet yXuxspTJs, and the immediate almost compel us to regard the word in this passage as must not, however, conclude that the signifying 'song'. chorus take part in the singing rather they feel a desire
'
to hear sweet song, and to take part in the noble dance.' In the passages that I will now mention we find a slight
-
(6)
Where
distinction
from
part,
take some
those just quoted, in that the chorus do dancing takes a 1 * in the though a small one, in the singing.
, 1
,1
chorus while
JFJjJgJ
According to a description in //. xviii. 569, a boy, standing in the middle of the band, plays a sweet melody on the voice lute, and sings the lovely song of Linus with sweet
:
Aivov
AsTCTa^ST]
CptOVT)
S' utto x.aXov asiSev
TO! & p7]CC0VT? a[7,apT7}
MoXtt/J
iuyi-uo
ts
7TOg!
cxaipovxe; stvovto.
The words [v.oX~?j t iuy;xco ts x.tX evidently imply not that the song was choral, but that the dancers joined in a refrain such as the mournful cry of odlivov. The case is somewhat similar apparently with the passage
in II. xviii.
;
492 seq., already cited (see p. 12). We are not told who sang the hymeneal song but we may surmise that while some duly appointed singer, or possibly band joined in singers, sang the chant, the whole revelling
Hymen Hymenaee,' or the like. Compare on the Threnos, p. 1 1. A still more active part in the singing is taken by the (c) Where chorus in chanting the Paean, for example in //. xxii. 391 JheenUreông, his men to carry off to his but is less where Achilles calls upon sea., x 1 r occupied with of the dance, ships the slain Hector, and to sing with him the song k.t.1 That Nov victory as they go ay' astSovTS? xaivjova, their song was not unaccompanied by rhythmic movements, if not by actual dance, we may infer from the
the refrain of
'
'
ft'
analogy of a passage in the Homeric hymn to Apollo, 514 seq., where the god celebrates his victory over the Python, playing on the lyre, while the Cretans follow him with measured steps singing the Paean. Similarly, in Hesiod, Proem. Thcog., the Muses are represented as first dancing, and then singing as they
1.
move along
in procession, a
passage closely imitated
in
28
GREEK LYRIC POETS

fin.
the well-known song of Callicles in M. Arnold's Empedocles
on Aetna, ad
(d)
Where
the
chorus sings but does not dance

at a11 -
Lastly,
it
will
r t an y reference at
all
notice a case of choral singing without 11 j j to dancing or movement, and where

;
seems implied that the banqueters join in the Paean as This occurs //. 471 they 'lie beside their nectar
'.
i.
Ntofr/jTav <T cL^y. 7caiv s~apEa|j.svot oS7ras<j<Jtv, Oi Ss TCavy^/ipioi [jsj)\77r -9-eov iôcgjcovto,
t
KaXov
asi&ovrs; 7ranova, xoOpoi 'Ayatojv

'
Ms>;7rovT?
Exaspvov.
Identity of singers and
dancers not found in early

period
passages
'
conclusion, then, that we may draw from these is that in these early times there was but little orchestic singing ', implying by that term song delivered
The
by a band of
own melody.
'
singers, who at the same time dance to their either find that the dancers are prac-
We
tically silent while a poet sings and plays, or that if the singing is choral in the modern sense of the word, it is
'
at the
expense of the dance, which either disappears, or

'
'
more usually takes the form of mere rhythmical processional movement. Of the stages by which pure orchestic
singing, such
First noticeable
in the
as
we
find
in
classical
Lyric,
or
in
the
time of
choruses of the Drama, was brought to perfection, we have but little knowledge. The chief development is ascribed
Thaletas.
whose influence we appear to find the union of dance and song suddenly accomplished, the facts probably being that he systematised and brought to artistic completion a process already at work. Thaletas belongs, in common with Alcman, to what Plutarch calls the secondto Thaletas, under
Development
'
'
orchestic
epoch (SsuTspa xaTaaraaic) in the progress of lyrical poetry The first epoch takes its character from the at Sparta. innovations of Terpander, which were mainly in connection with monodic song unaccompanied by the dance (see p. of 36) and as it had been Terpander's task to enrich poetry
;
singing by Thaletas,
in connection
by musical accompaniment, so
it
was
left for
Thaletas to
bring into intimate connection with choral lyric the further
accompaniment of elaborate dance movements.

seen
that
in
We have
with the Paean,
Homer mention
of choral
singing occurs
DANCE ACCOMPANIMENT
mainly
this
in
29
connection with the Paean.
Consistently with
find Thaletas directing his attention chiefly to the cultivation of this form of religious song. Again, in
we
Homer we
find that the Cretans
tion in the art of dancing, Thaletas came to Sparta.
and
it
enjoyed a great reputawas from Crete that
Lastly, we notice that one of the occasions for choral and the Gymnopaediasong, to which he particularly devoted himself, was that G f the Gymnopaedia, at which he glorified mere gymnastic
by bringing them into harmony with the rhythm of lyric poetry and its proper melody. In Athen. xv. 678 we read that choruses of boys and of men at the Gymnoevolutions
paedia sang and danced simultaneously, the song being one cither of Alcman or of Thaletas seal aSo'vTwv
:
dp/ouf/ivcav
OaXvjTOu In this passage we have first direct testimony to the union of song and dance in the time of Thaletas, and
seal
'AV/.âvo? XGU.axx.
secondly indirect
for
Alcman
from its from the close connection
to have written in the antistrophic style, nature implies orchestic singing proper
' '
from existing fragments we know which and

;
in this
Alcman, taking Further deinnovations"^ THafetas, of oSeSingwhom we can form any judgment from surviving; frag- ng Stesi. chorus and the r .. c ments, was tar from having attained its full completion. Epode. In the first place, it yet remained for Stesichorus, accord- Its object
that of Thaletas, we may employed a similar form of composition. Orchestic lyric, however, in the time of
as the
first
passage of his name with conclude that the latter also
him
poet, after the

1
"
ing to the
strain
common
account,
to relieve the continuous
which must have taxed alike the endurance of the performers and the attention of the spectators, by introducing after each antistrophe the Epode during which
the song continued, though with change of metre, and necessarily of melody, while the dance was temporarily
must bear in mind that the Epode introstopped. duced a greater innovation into choral lyric at this period than it would have done into choral delivery as found in
1
We
See, however,
p.
170.
30
Greater variety
GREEK LYRIC POETS

v.,
For in the latter, as I have mentioned in each strophe and its antistrophe usually differs StiSDramafas compared with from the r preceding pair in metre, and therefore in melody those of Lyric. , ,.,.-,. and dance measure, while in lyric proper, not only in the early time of Alcman, but of its latest great representative,
the Drama.
Article
,
, .
Pindar, we find the same succession of strophe and antiIt was the desire strophe continued throughout the poem. to break the monotony of this system, which would be keenly felt in the long choral poems of Stesichorus that
naturally led to the invention of the Epode. Lastly, not merely in form but also in the treatment of
the personality of the chorus and of the poet respectively, the lyric of an Alcman is markedly distinct from that of a In the latter we find that the Simonides or a Pindar.
chorus serves merely as the mouthpiece of the poet,

as
it
who
Early choral singing exhibits less united or collective action
were lends his own personality entirely to this collective body, the constituent members of which are in complete unison in voice and in movements. I n Alcma n, on the other hand, this is far from being the case. The
1 poet, himself taking part in the chorus, retains his own chorus to retain and allows the theirs also, personality
....
thVcomponent members.
Often the poet addresses the chorus collectively or individually, as in the beautiful line where he laments the advance of old age
:
Ou
stl
[/,'
7tap9-svucai [/.sXiyapus; Lv.spocpG)voi
yuia
cpspetv
Suvaxai, x.-'X.
Often (No. II.) or in the newly discovered Parthenion. in turn do the choruses address or speak of their leader the poet as in No. IV., ou/. si; <xv7jp aypouco;, etc. (cf. Alcman,
No.
v.,
oca i Se
Trat'Ss;,
etc.).
Nor must
it
be thought
that this last characteristic of early chorus as exemplified by Alcman is not to be connected with our present subject
the dance for I imagine that where the personality of the choral performers was so far from being brought to a collective unity in idea, in the dance also there must
;
have been
far less united action.
It is therefore
not un-
important to bear such considerations as these in

1
mind
in
See Alcm.
i.
ii.
iv. v.
DANCE ACCOMPANIMENT
endeavouring to
performance.
realise the full nature of a
31
Greek Lyrical
If Greek music be an art which, whatever its merit may Thecharacter have been, has left but little appreciable record of itself, still of the dance more is this the case with the Greek dance. Nevertheless be partially b of that branch at any rate which was so closely connected fromthe charwith Lvric we are able to form some conjectures not un- acterofthe dance-songs. worthy of our attention lor little as we may be in a position to realise the actual steps and figures accompanying the song, yet one most important detail of the dance, its First, in metre, time and the different succession of its movements, is not
. , . ;
beyond our knowledge, being preserved to us in such For portions of the Greek Lyric poetry as still survives. as the dance must follow the time of the melody, and the melody in Greek that of the words (see pp. 34, 41), the phases in the rhythm and metre of the poetry represent
If then we exactly corresponding phases in the dance. wish to consider what was the predominating style of Lyric dance, we must consider what was the predominat-
Let it not be thought ing metrical style of Lyric poetry. mean I some set form of an d although that by predominating style n e s most in fashion for the Greek * was dance which public ^; "? new
;
GQUirCQ
3.
demanded
metre
in every choral poem originality as much in the metrical system and dancer , 1 1 as in the language itselt, each strophical system measure,
,
.
being (with minute exceptions) without parallel in the surviving literature so that it follows necessarily that a new dance-figure also had to be designed for every fresh In spite, however, of the constant variety, there occasion.
;
are naturally found
classes of metrical systems which certain a unity in general character. We have display noticed the great influence of the Dorian race yet we find prealready on the development of Greek choral Lyric and it was eandteteiy therefore natural that the Dorian metrical system should movementofthe
;
predominate.
liant
1
rrî
The most
striking feature of this, a brilin the
-1
-i
Dorian
style.
example of which may be seen
famous Ode of
style
Plato, Laches 188 D, speaks of the
Dorian musical
(apuWa)
as the only genuine Hellenic one. Considering the essential connection between the metre and the music, he would doubtless have extended the remark to Dorian metre also.
32
GREEK LYRIC POETS

IV., is majestic, and regular movement by an even flow of trochees and dactyls, with but
Pindar, PytJi.
effected
little
resolution of the syllables.
Corresponding to
this
metrical style must have been the character of the dance in the greater part of Greek Lyric, displaying a stateliness of movement in which, just as in Greek sculpture, the
expression subdued.
Secondly, in
even of
keen emotion was chastened
and
Greek dance was

for the
Again, the Greek dance was dependent on the language, not only for the direction of its movements and rhythm but also for its whole meaning. For the dance in Lyric was a display of graceful action not for its own poetry x *
mimetic.
language in the expression of thought, and it bore to poetry the same relation, though in a more intimate degree, as gesticulation to the art of
sake
alone,
but
aided
-T
That man therefore would be best qualified to oratory. reconstruct for us the Greek dance, in accompaniment to
any given specimen of Greek choral song, who, being of course a master of the art of rhythmical movement, could also identify himself most nearly with the emotions expressed by the words of the poet. Bearing in mind this mimetic character of Greek dance, whereby it served as a fitting and welcome accompaniment to the expression even of the most elevated thought and emotions, we shall not allow our modern prejudices to cause us surprise at the fact that dancing was with the Dance an importan't factor in Q ree k s an ritual. and constant form of religious important * Greek religious ritual, We are apt to connect the dance either with frivolity in
a civilised state of society, or with serious occasions only among barbarians but when we study Greek Lyric with all its accessories we observe that frivolity or childish;
ness are but accidental and

acteristics
by no means
art, and that it has shown
essential charin
of the orchestic
civilisation
highly advanced
fulfilling
itself
a period of capable of
a lofty function in connection alike with religion
and even
Christian church.
in that
13
'
and with elevated poetry. Many illustrations, indeed, of the religious dance may be gathered from the Old Testament or from Mohammedan practices, and furthermore those who care to consult an article in Folk-Lore (Oct. to Dec.
DANCE ACCOMPANIMENT
33
1887) may be surprised and interested to find how considerable a part dancing once played, and in a few places even at this day still plays in the ritual of the Christian
1
religion. in many
It is
other
not unnatural to conjecture that in this as matters the early Christians impressed
ancient pagan customs with the service of the

I
new
Faith.
this Article,
must touch upon one more subject before concluding and point out the influence which the dance must have exercised not only upon Lyrical melodies, but,
influence of the 6
meJrfcaUtructure of
Greek
as
we can
better appreciate,
upon Lyrical metrical
struc-
poems.
ture.
also the predominating form of music

(cf.
The music which accompanied Lyric and which was among the Greeks
Plato,
dance-music
Laws, 669 e) must have belonged to the class of and similarly the metrical structure of choral
;
poetry may be classified, as indeed its name implies, as dance-metre. No subtle complications of melody would have suggested to the poet the elaborate, at times almost labyrinthine paths taken by strophe, antistrophe, and epode.
It is plain then that for this feature of Greek Lyric which often renders mere reading so tantalising, the refinements
of the orchestic art are in no small degree responsible. 2
Thus Scaliger says that many early churches were constructed suitably for dances ; and that bishops were called Praesules, because as if the word were to be derived from salio. they led the dance
1
!
still said to be performed by the choristers before the high altar in the cathedral of Seville. Lastly the jumpingis
religious dance
saints {Springende Heiligen) at Luxemburg deserve notice. 1 I have been unable to hear of any representations on vases of the
connection with any of the branches of lyric however, there are many. See, for example, in the British Museum, Vase E. 783, where girls are appaThere is also a fine rently imitating the flight of birds, and E. 200. illustration of the op[xog, or circular dance of men and women, in
in
Greek choral dance
poetry.
Of dancing
itself,
Panofka's Manners
and Customs of the Ancient
Greeks, Plate ix.
5.
ARTICLE
It
is far
MUSICAL ACCOMPANIMENT OF GREEK SONG

from being
my object
in this Article to
endeavour
to deal with the unsatisfactory question of the real nature
of Greek music.
Those who wish
for information herein

i.,
should consult
Boeckh De
It is
Chappell's History of Music, vol. Metris Pindari.

e.g.
or
necessary for
me
to refer to the subject only so far
as to enable us to realise
more clearly the whole effect of a Greek song, and to detect the cause of certain characteristics of its structure.
Since music and
retained
its
Advance in Greek music

closely connected with
SS yl C
'
lyric
poetry,
so
long as the latter

'
poefry,
and
6
vigour, proceeded hand in hand, the developr & r ment of the one follows closely upon that of the other. But be it remembered that the two arts were not of
die rrTtre of
surviving pas-
P ara-U e l importance, poetry from primitive times till the end of the classical period employing music as an accom1 paniment, subordinate, though essential.
Since, again, the musical notes exactly matched the syllables of the poetry, no trills or runs being admitted, we are able to trace, in the increasing elaboration of metrical
structure, a corresponding advance in the musical accompaniment, and even to re-construct at least the rhythm of
the melody.
I will begin by giving an outline of the development of Greek vocal music, clouded though the facts be in
uncertainty.
1
to [jiXo? xat 6 pu^j-o; warcep o'iov E7U

cf.
xw Xdyw.
Plut. Symp.
vii.
8.
Plat. Rep.
34
398
B.
MUSICAL ACCOMPANIMENT
for
35
Primitive nature ll the music in [ omeric times,
In the early times, into which Homer gives us some insight, the melodies must have been of a simplicity which
is difficult to realise. An instrument of four each capable of producing one note only, appears to have sufficed and though the wind-instrument was
us
it
strings,
probably of a more extensive compass, we may conclude, from the far less frequent mention of it, that its use was very limited and critics point out that it is never mentioned in Homer as employed by Greeks, but only by The simplicity of the music was a natural result Trojans. c ]. .',... ., i-i of a corresponding simplicity in the songs which were and which were as ' as a accompanied, yet wholly r J neglected o So far as we can surmise, cultivated branch of poetry.
;
.
'
in
agreement
with the simple metrical stmcture of the early

songs.
monotonous repetition of which seem to be taken together 1 in pairs. Or again, the four-line stanza must have existed before it became, in the hands of the Lesbian long poets,
these songs often consisted of a
metrically similar lines,
so perfect a vehicle for the expression of passionate feeland it would appear that in olden times the four ings
;
lines of the
other in their metre.
stanza differed scarcely if at all from each It is obvious that this simple
recurrence of metrically similar lines, whether grouped in couplets or in four-line stanzas, required very short
and simple tunes, which would be repeated with each

fresh couplet or stanza. Furthermore, Epic, at that Little process m ade in music cultivated branch of poetry, ~ was unsuited until time the only ' J Epic shows for melody. that it was chanted poetry was Evidence, indeed, but for this purpose a lyre of four strings Lyric, or intoned would be amply sufficient to give the proper modula'
.
tions to the voice.
It is not, then, till the decay of Epic and the dawn of Lyric that we hear of advance in Greek
music.
The
first
innovation
it
ander, and
is
is connected with the name of Terpsometimes described as consisting in the
Terpander and
ep ' a
chord.
extension of the old tetrachord to a heptachord, by the addition of a second tetrachord to the first. Seven strings only were employed, as the two tetrachords had one string
See notes on Pop. Songs,
1.
n.
36
in
GREEK LYRIC POETS
common. A more probable account, however, as given by Boeckh De Metris Pindari, is that Terpander added one more string to the hexachord which was already in use among the Dorians, amidst whom his work lay, and that his highest string stood in the same relation to the lowest
as the highest to the lowest note of an octave, while one of the intermediate notes was for some reason omitted.
on the contrary, maintains that Terpander's heptachord was merely a discordant minor seventh, and that, since it thus fell too far short of the octave system to admit of real melody, it can only have been suited for an improved form of the recitative of the Epic rhapsodists. Such a view is certainly not in accordance with the tesChappell,
timony of the ancients as to the entirely new character assumed by musical accompaniment in the time of Terpander.
c. iii.
The
expression, for instance, in Plutarch, de Musica,

xepiSTi&STO, could
\jkt\
ztzzgi
hardly be applied merely
to a
Musical importance of the
more elaborate
style of rhapsodising.
Nome.
improved musical system, whatever its exact may have been, was applied by Terpander mainly to that branch of religious lyric called the Nome. 1 The
nature
This
Nome
seven
previously consisted of four parts,
ap/vj, 3caTaTpo7r/j,
o^cpaXo?, (T<ppayi;.
These were extended by Terpander

scaxaxpotj,
'
to
apjpj,
[/.sxappj,
2
fv.sxax.axaxpo7r*j,
6|x<pal6?,
So that Miiller {Hist. Greek Lit. p. 155) 7uXoyo?. is justified in remarking that The nomes of Terpander
<7<ppayi<;,
were finished compositions, in which a certain musical idea
was systematically worked out.' Terpander confined his improvements to the lyre, associated as it was with the Nome. Another important branch of his work lay, as we have seen, in the passage above quoted from Plutarch, in setting Epical subjects to melody for this purpose, too, the subdued music of the lyre was fitting rather than the shrill and exciting notes
;
Clonas and
of the
in
flute.
Olympus Improvements
Flute-music.
In Terpander's footsteps, however, followed
Olympus and Clonas of Tegea, who in their 'Aulodic' Nomes, applied to the wind instrument improvements
1
See Art.
I.
p.
6.
Pollux,
iv. 9,
66.
similar in kind to those confined
It
37
by Terpander to the lyre. was Olympus who is said to have given the chief development to Auletic or flute music among the Greeks. He was of Phrygian origin, and seems to have flourished
in
Greece a
little
later
than Terpander (Plut. de Musica,
'
So great was the importance attached to his work that Plutarch calls him rather than Terpander ap^yjyo? r/j; and even in Plutarch's own EXTajvuc/js xai xaTaj; |/.ou<jwmjs xal of some his Nomes were employed at day ((sti vuv))
c. 7).
;
sacred festivals. As being a flute-player, there is no poetry attributed to him but he is said to have been the inventor of an entirely new class of rhythm, which had
;
This was the -rîokiov to great influence on Greek poetry. which class belongs the Cretic foot --.- and the paeons -ww^, www- etc. (see Art. vi. pp. 70, 7 1 ).
Just as the lyre was appropriated mainly to the service Apollo and the of Apollo, so in turn was the flute to that of Bacchus mudc"Stendcd and it was not without much reluctance on the part of the to P oe try de;
iormer deity that his patronage was extended to wind

instruments.
lyric
It
that Apollo, for
was fortunate for the progress of choral whose service so much of Greek
;
signed for the worship of that go '
poetry was destined, at length appears to have been parsince it is hard to conceive tially reconciled to the flute
that the intricate
accompaniment implied
in the intricate
metrical structure of the later choral odes, could have been adequately rendered, amid the beat of the dancers' rapid
footsteps, merely by stringed instruments unaided by the bow, the pedal, or even wire strings. It would appear that Olympus was among the first to bring the
flute
into
connection with
the cult of Apollo
for
we
him playing a dirge over the slaughtered Python, 1 We find probably at the Pythian games at Delphi. also that a flute contest was established early in the 6th
find
century
Delphi.
2
B.C.,
under the direct patronage of Apollo at
we have poets, e.g. Alcaeus, attributing the invention of the flute to Apollo. very Herein, however,
Furthermore,
1
Plut. de
Mus. c
15.
Paus.
vi.
14.
10
x. 7. 4.
38
GREEK LYRIC POETS
the bard's desire to praise a favourite instrument probably led him to transgress orthodox tradition. For the recog-
by Apollo of Auletic as a high art was after all of a half-hearted character. The contest at Delphi was ere long abolished (Pausan. x. 7. 5), and the lyre, or rather
nition
the Cithara, retained its position as the genuine Hellenic instrument. Thus the abuse heaped upon the 'spittle'
wasting
rise to
flute
by Pratinas
in
the
fifth
century,
is
but a
revival of the sentiment
the stories
which many centuries before gave of the fate of Marsyas and other atovjTHcoi
Thaletas and
flute-music.
hands of Apollo. Returning to the age of Olympus and Clonas, we come next to Thaletas, the most prominent figure in the second 2 This epoch was marked by the literary epoch at Sparta. rapid advance of choral lyric and Thaletas, whose special work has been noticed in the Article on the Dance, p. 28,
at the
;
availed himself of the musical improvements, not of TerpIt is the flute that ander, but of Olympus and Clonas.
we now
find as the chief
accompaniment
at the
Gymno;
paedia, even though that festival was in honour of Apollo and it was to the sound of the flute that the Spartans
practised their to the charge
military evolutions, and advanced one account would have it, that their too impetuous courage might be duly restrained, but simply because the piercing notes of the flute made themselves heard above the trampling of the warriors' feet and
'
orchestic
not, as
'
the clashing of their weapons.

Improvements
in
music
indi-
cated by the poetry of this

age.
Sappho
as a musician.
poetry gain in freedom and scope, as we can discern for ourselves in the metrical structure of the choruses of Alcman and Stesichorus, or of the monodic songs of the Lesbian school. Sappho, indeed, is directly
lyric
Profiting by movements of
this
steady advance of the musical
art,
the
connected with the progress of music
for
not only
is
the
invention of the Mixo-Lydian style ascribed to her, but
See the passage from Pratinas,

v
:
p.' 272,
severe epigram
epucrijv
'Av3p
(j.ev
au^rjxfjpt Q-sol vdov
and compare the rather oux evs'ouaav, 'AkX t(o

a.[>.ct
yu> voo; Ez-i'taxat,
Athen. viii. 337 E. See Art. iv. p. 28.
she
is
39
also said to have attracted
round herself a number

to teach the art of
of disciples of her
own
sex.
Now,
of the most cunning poetry itself, would baffle the skill that pedagogue, so that we may fairly assume with Bergk music of arts in the was the instruction given by Sappho
and rhythm as employed by poetry. In spite, however, of the advance in music effected by Great simplicity the reformers I have mentioned, the choral strophes of the choral systems as elaborate succeeding period are far from exhibiting the =p^ Jjj* construction found in the Pindaric ode or in the Lyrical and the Dra. matists, which / A j a Art. vi. were subsequent passages of Tragedy (compare Art. iv. p. 30, and For before this later period comes another epoch p. 56). in the history of Greek music, associated with the najhc practice and _ n theory of music
.
.
^"^Kf
about the time
of Pythagoras.
Of Pythagoras.
have stated, According considers that Terpander's heptachord was not on the octave-system, the octave was introduced 'to the Greeks
to Chappell
indeed, who, as
from Egypt by Pythagoras. Now as the earliest date for his birth is fixed at 608 B.C., and more usually at 570 B.C., it follows, if Chappell be right in his surmise, that the Greeks were satisfied with the inferior system until the middle or latter part of the sixth century. Thus not only the finest monodic poetry produced by the Greeks, the odes of Sappho, herself renowned as a musician, but also the choral odes of Alcman, Stesichorus, and even of Ibycus must have been accompanied by melody which Chappell himSuch self (p. 37) describes as hardly worthy of the name.
a reductio ad absurdum militates,
his
I think, overpoweringly introduced the that Pythagoras assumption against Nevertheless it is certain that much was done by octave. Pythagoras for the development of music he first appears
;
to
have studied
it
as a theoretical science, urging that to
discern the real

intellect rather
nature of music
ear.
1
we must employ
the
than the
Music now assumed a more important place among the arts, and presented more difficulties to the ambitious lyric
1
See
Arist. Quint,
iii.
p.
116
Plut. de
Mus.
c.
37
and compare
especially Plato's Republic, p. 531.
40
poet.
GREEK LYRIC POETS

Thus
career,
Repetition of the same

strophical system as found in the lyric poets avoided by the
Pindar, before he embarked on his poetical went to Athens to study the principles of music under Lasus of Hermione, the leading musician of the day, who was also the first to write a treatise on the subject. Furthermore, great as was the advance exhibited in the
choral systems of a Pindar, as compared with those of a Stesichorus or an Alcman, still further progress in an im-
Dramatists.
portant respect is indicated in the lyrical passages of the No longer is each group of Strophe, AntiDramatists. and strophe, Epode succeeded by another of a precisely
similar metrical arrangement etc., to the end of the song
thus A A B, A A B, A A B,
;
new strophe a new

Nature of the
change.
metrical
on the contrary, with each and musical system was
usually introduced thus
A A B, C C D, E E F, etc. It has been remarked by critics as a characteristic excellence of Schubert's song- music that he realised that an exact recurrence of the melody to match the recurring strophes of the poetry was not always desirable that a change in the remained spirit of the poetry, although its metrical form unaltered, required a change also in the nature of the
melody, care being however taken that the lyric unity of the poem should be preserved, in spite of variety, in the whole effect of the music. 1 It would seem that a similar
reform was effected in the system of the Greek Dramatic choruses, though, of course, not only the music was varied, but also the metre of the poetry. From this period onwards music assumes a position less
Growing importance of
music at the expense of

poetry.
and
less
dependent on poetry,
until
with the decay of lyric
of the admirers of inspiration, poetry, much to the disgust the old school, became as entirely subordinate as it is in
Thus we find Plato condemning the the Italian opera. predominance of mere ^tXyj xifrapiGi? or instrumental music,
and
at
an
bitterly
complains
earlier period Pratinas, Miscell. and Anon. Frag, i., of the inverted relation of music and
poetry.
his
Similarly whereas formerly the poet composed entire master of his chorus, and was the recipient of all the glory won by the performance, it is
own melody, was
good instance
'
is
Der Leiermann
'.
now
the AuXtjttJ;, the bandmaster
41
1
who
is
all-important,
while the poet is a mere verse-writer who receives his orders from the musician as from a superior.
Such is a brief sketch of the progress of Greek vocal music throughout the course of the Lyric period. If we try to realise the musical effect of a Greek melody we find I will content ourselves on very hazardous ground. myself with pointing out two main features of a Greek song
'
First, that at any rate in the Classical period the members chorus sang in of the chorus sang in unison only, and part-songs were "hesameremlrk 2 The musical accompaniment how- does not a PP y practically unknown.
ever did not necessarily go with the voice note by note, paniment Thus Archilochus is said to have invented the jcpoOdi; utto cases
'
...
.,
t0 tne
accom-
in ail
rqv wtfyv, which however probably indicates merely that the accompaniment, though in unison with the voice, was in a lower octave, and Plato, Lazvs vii. p. 812, while urging
that the notes of the lyre should be at one with those of the voice (7tpoG%opSa tx <p9iyp.aT<x to?; <p9iy(/.a(ji), implies
that the contrary
& TOO TVjV
was a common practice

aXkcc piv
[7,sX>j
xocl TTOixiXCav T/js ^.upa?,

[/.sXtoOtOCV
t^v eTpo<pcoviav tcSv ôpotov isurcSv, aXXa

JC.T.X.
QjVtrVT05 7TOWJT0U,
already mentioned, the rule was one Words were to be treated not as the One syllable syllable one note. one note servants but as the masters of the melody, and therefore
Secondly, as
"
trills
any
and runs on one syllable were out of the question, at rate so long as poetry maintained its dignified position.
the first syllable of the word Alleluia six or seven some over notes, as is done in a well-known modern hymn, or to have made each syllable of the names Robin Adair do duty for two, would have been treated
'
'
To have extended
with the ridicule which the practice from the Greek standpoint would have deserved. At the present day lyric poems
are written primarily for reading or recitation, and when set to music they are often invested with quite a different
rhythmical character
1
in
the hands of the musical com-
See Bergk, Griech. Lit. ii. p. 504, note 20. It is perhaps worth observing that at the present day hymns the Greek churches are, I believe, sung in unison only.
2
in
42
poser.
GREEK LYRIC POETS

With
the Greeks the words were written expressly and the poet in most cases simultaneously created Hence the metre the accompanying melody. Thus the rhythm of the words the rhythm and indicates exactly that of the music, and according as the metre is simple or involved, regular and stately or abrupt acteTofthe^" music. and impetuous, such must have been the character of the Advantage of melody. In an instructive article on Song in Grove's 8 it is pointed out that the power of such comhiTovmûsTc! Dictionary, and training his of as Schubert and Schumann is shown posers song-music * own chorus. above all in their careful attention to every detail of the poetry their music not only interpreting the true spirit of the words but closely following the metrical accent or other emphasis. Schumann was in fact the poet's counterpart or reflector.' In Greece the lyric poets enjoyed an advantage yet greater than that of finding an exact musical
for song,
'
their words, for they united in their own persons the functions of poet and composer. Nay more, in most cases they themselves trained the chorus that was to
exponent of
Importance attached by Greeks to the

influence of music, in spite of its elementary
c aracter,
and thus was assured a perfect between the poetry, the music, and the delivery sympathy The important to be hardly paralleled in modern times. on the metre influence exercised reactionary by its close connection with melody is obvious, and will be further dwelt upon in the next article. There is one constantly recurring question in connection with Greek music which must not be passed over here without allusion. Granting, as we seem forced to do, the great inferiority of the musical art among the Greeks
deliver their composition,
. . .
1/-1
^.
^ at
Qf
moc erri times

[
how
its
are
we
to account for the
vast importance attached to
influence
by the
ancients,
an importance greater and more widely extended than in these days would be claimed for music even by its most Professor Mahaffy furnishes us perardent admirers ? clue a to the difficulty by arguing that with haps partial in an elementary stage, before melody becomes, to untrained ears at least, lost in the elaboration of harmony, music exercises upon the average susceptibility an influence
bearing a more distinctly marked ethical character. This is perhaps reasonable, but I believe we must go further
than
this,
43
and further
also than an eulogy
on the delicate
susceptibilities of the Greeks, for an explanation of such words as the well-known passage of Plato ouSajAou juvouv-
TOCL
[/.OUGlKol TpOTTOt
(ZVEU
TZOklTl'/MV
VOJXtOV TG)V [XSyiGTCOV, Rep.
424
c.
must look for it rather in the very close connection which at any rate down to Plato's time music bore to poetry and to thought for Plato and others like him were not thinking of ^tXvj xi&apicri? or auXijcn;, mere instrumental effects, which he almost declines to recognise as a legitimate form of [/.ouctjo], but rather of melic music and such was the Greek sense of fitness that any change in the character of the music was necessarily associated with a similar change in the whole tone of the poetry. It is not then mere sound of which Plato is speaking, but of sound which, partly from the more distinct meaning attaching to pure melody, and chiefly from its being united with definite
;
We
due mainly
to
association with
P etr y-
'
'
thought expressed in language, belongs directly to the world of ethical ideas. Thus Plato's words are as intelligible as if one should say that the character of a nation may be clearly read in the monuments of its literature or
its art, and that corruption in these is always associated with corruption in national morals. It may be objected that Plato in his discourse on the The Modescharacter of the different Modes of Greek music, the JJjJjfa JJM
of
Dorian, Lydian, and Phrygian, etc., appears to be dealing with music proper entirely apart from that which it accom-
musical charstyle of the
com-
consideration, however, of the real nature of ^yappropri^" panies. the distinctions between these modes that were borne in ated to them
-
mind by Plato
will furnish
us also with an answer to the
objection, particularly if we accept the view taken by Chappell in his Hist, of Mus. vol. i. ch. v. In opposition to Bockh and others, who assert that the modes assumed
from differences in the arrangeChappell maintains that the only essential musical difference in the modes, was that of pitch, all their further distinctive traits being due to associations more or less accidental hence the frequently conviews taken of the of any particular mode character flicting
their several characters
ment of
their intervals,
44
GREEK LYRIC POETS

I.e.
(see Chappell,
of course there
is
In the main however, although p. 99). room under the same pitch for an infinite
variety of musical styles, the wise discrimination of the Greeks led them in course of time to associate with the
several
ject,
modes compositions which in music, metre, suband language exhibited a clearly marked character
and naturally the modes lying at either extremity with regard to pitch, were most readily invested with a certain for example the Dorian mode, uniformity of character which was in the lowest pitch, was always associated with that calm stateliness and self-control which was the leading trait in the whole of Dorian art. Such, briefly, is the position taken up by Chappell on this subject, and whether or not we accept his view with
;
regard to the question of intervals, it must, I think, be admitted that in distinguishing and criticising the character of the various musical styles, Plato has before his
else,
Subordinate
mind, not the mere music, standing abstracted from all but rather the tout ensemble of a lyrical performance with one harmonious character overspreading thought, Neither need our deprecialanguage, music, and dance. of cause us any longer musical art the Greeks of the tion the attached at wonder to importance by them to a 'musical' training, implying, as it did, a liberal education in poetry and the secrets of poetical style, as much, or even Indeed, the subordinate more, than in music proper.
is clearly expressed in the words of Plutarch, to the effect that of music the poet is the proper judge, and of poetry the philosopher words which, apart
signed^music
proper.
character of the latter
from
all
else that
sufficiently its
we may know of Greek music, indicate incomplete character.
ARTICLE
METRE
In
this Article
VI
POETRY
IN LYRIC
I propose to give a short sketch of the of the lyrical metres, and to add some development remarks on the general principles on which they are regu-
lated in accordance with the views of certain metricians
whom
have followed.
shall
then conclude with a
description of the chief types of metrical style with which we are concerned.
In the
we
rapid transition from Epic to Lyric poetry, notice a revolution effected in metre as in all other
Revival of
J^"
metrical
The stately flow of the dactylic hexameter on without break or pause for some 500 lines, was admirably suited for recitative, but very poorly for
respects.
rolling
song.
Consequently, we find the invention of many new metrical forms attributed to various poets at the period of the Lyric Renaissance, though it would be
'
'
nearer the truth to say that they betook themselves, as in subject and style, so also in metre, not to the creation, but to the revival and development of forms already in use
Unfortunately, the traces that metrical forms, which must have existed before the hexameter, are very scanty, and we
among
are
the uncultivated.
left
of these
old
must
rely rather
upon conjecture than upon
fact.
It is
was afterwards developed into that of Epic Traces of and Usener 1 ingeniously that distinct traces c f anc ei" ballad & J conjectures J metre to be seen it are still to be seen in the hexameter itself. Thus a large in Epic.
;
'
Songs, metre, which
commonly I.), we have
believed that in the Linus song {Pop. a specimen of the old ballad or song-
See Classical Rev.,
vol.
i.
p. 162.
46
GREEK LYRIC POETS

in
is
number of the stock phrases, the naive repetition of which so marked a feature in Homer, exhibit the metrical form
the Linus song
-,
:
of the verses
or
^w
for
example
'
avac; avSpiov
Ayaj/i'-ivtov,
ps/ftiv
jts
v/} to? syvio,
and it seems reasonable to conclude that they had alreadyacquired the force of set formulae in the old ballads which
were subsequently merged in Epic. The Epic hexameter, on this theory, was formed by uniting two of these short rhythmic sentences into one period or verse, and the union was all the more easy and natural since in the early poems these short lines appear to have been taken not separately,
but in distiches or couplets. 1
Four-line stanza
probably of
great antiquity.
four-line stanza was a Greek prehistoric lyric ' This is the form taken subsequently by most of poetry. the Lesbian poetry, and indeed it is exceptionally suitable for monodic song. 2 Finding it also, as we do, almost univer-
We may
also
.
assume that the

-
in favourite vehicle of expression 1
sally
we may not unreasonably surmise
the ballad poetry of medieval times, that it was equally popular in the Greek Volkslieder before it was brought to perfection by the skilled hands of an Alcaeus or a
employed
in
Sappho.
Short loâoedic
or trochaic lines
earliest
form of
it may, the primitive metre of the Greeks to have consisted mainly of short logacedic or appears trochaic lines, such as are employed also in the primitive
Be
this as
poetry of
1
many
other
Aryan
races. 3
This simple metre,
See notes on Pop. Songs, I. n. By such grouping, symmetry could be attained along with and thus the whole made a satisfactory impression, while variety the melody still possessed in itself enough variety not to be tiresome by continued repetition.' Schmidt, Rhythmic and Metric of
2
'
the Classical Languages, p. 96.

3
See
Class. Rev. vol.
i.
p. 92,
and
162.
METRE
IN
LYRIC POETRY
47
though overshadowed by the hexameter, survived throughout the Epic period as the metre in which the lyrics of the time were sung, until in its turn it became, in more fully developed and beautiful forms, the vehicle for the highest
poetic utterance.
Mention
is
elsewhere
made
(pp. 41, 115, 116) of the im- Archiiochus the
portance to be attached to the services rendered to lyric poetry, near the commencement of its revival, by Archilochus.
^ d ^f^
trochaic
sl
and
these services, Plutarch, de Mus. c/'xxviii. rhythm! of a new metrical type, the ysvo; St. In this the relation of arsis to y='v0; avtaov. or Xaoriov. avwov, ysvo; thesis 1 is no longer one of equality, as it is in the dactyl or spondee, but is in the ratio of 2 to 1, as in the trochee or iamb, the two kinds of feet mainly employed by Archi-
Among
'
reckons the
invention
'
iochus.
Archiiochus
'
is
'
also described
verse.
inventor of
is
Logacedic
case
by Plutarch as the That the term inventor

'
'
in
neither
directly applied
is
indicated
;
by the
remarks already made on the primitive metre but it is from the time of Archiiochus that we may date the birth of that perfect command attained by the Greeks over trochaic and logacedic rhythm, whereby they produced in many of their songs such wonderful effects that merely a
glance at the bare metrical scheme
fills
us with a sense of
exquisite melody. The subject of logacedic metre calls for our closer atten-
forms the most characteristic and beautiful feature in the construction of the Melic poems. Logacedic lines are those in which trochees and dactyls stand side by
tion, since
'
in tre
it
^ sidered.
Logacedic on "
?
The name is usually described side in close connection. as arising from a feeling of inequality in the measure which W. Christ, however caused it to resemble prose (Xoyo?).
(Metrik, p. 221), offers an opposite and perhaps more reasonable explanation, to the effect that the term implies singing language,' the arrangement of the syllables
'
Origin of name,
have thought
it
more convenient
to retain the
customary
sig-
nification of these
terms, and not to invert their application as is done, no doubt correctly, by Schmidt, Verses Rhythmic and Metric,
etc., p. 22.
48
GREEK LYRIC POETS

The
being suggestive of song rather than of mere speech or

recitative.
Essential nature
is
me
re.
essential nature of logacedics consists not in the ' for the dactyl being cyclic l inequality of their movement
'
principles of exactly the same rhythmical value as the choree -^, but rather in the variety which it affords in the midst of rhythmic uniformity, and which imparts to this metre not only a wonderful aesthetic charm,
-vîson musical
but also a power of expressing the ebb and flow of passionate emotions, which is of infinite value in lyric poetry. For example, in an ordinary Sapphic line, e.g.,
TrotJttXd&pov
i
a&ocvaT
i'
Acppdo^/ra
the dactyl in the third foot, succeeding to the slower movement of the first two trochees, is strongly suggestive
of highly-wrought feeling, of which this metre
is
so perfect
Perhaps nowhere can be found more forcible of the inimitable power of logacedics than in the examples of poems Shelley, himself almost as mighty an innovator in English rhythm as Archilochus of old in the Greek.
a vehicle.
One
of the finest instances that occurs to
to Night,
which begins as follows
me
is
the
poem
Swiftly walk over the western wave, Spirit of night
Out of the misty eastern cave, Where all the long and lone daylight, Thou wovest dreams of joy and fear, Which make thee terrible and dear,
Swift be thy flight
!
Wrap
thy form in a mantle grey, Star-inwrought Blind with thine hair the eyes of day, Kiss her until she be wearied out,
!
Then wander
Touching
all
o'er city,
and
sea,
and
with thine opiate
wand
land,
Come, long-sought.
Returning to our subject, we

1
find, in
addition to the ysvo;
See below,
p. 53.
METRE
&Kt>4<Tiov,
IN
LYRIC POETRY
49
aviffov, to which both the trochaic and the metre belong, a third class, called the ysvoc Third type logacedic of met e V yiv-ioliov, or quinquepartite measure, in which the relation of
or
arsis to thesis is as 2
3.
To
this belongs the cretic foot developed by

etc.
1
-^-, and the various Paeons --^^^,
The
introduction
Thaletas
of this rhythm is attributed to Thaletas, who, as we know, is connected not with the music of the lyre or monodic
now find song, but with the flute and choral poetry. ourselves in a metrical region which is foreign to us but I will reserve further comment on this subject until
;
We
we have glanced
ments effected
poetry.
in
at the
the
metrical
remaining changes or improvesystem of Greek lyric
After Thaletas the next

of
name
to be mentioned
is
that choral
strophe
Alcman with whom
the choral strophe.

respect
his
associated the development of the Until recently his reputation in this

is
êma^
by
was hardly supported by any extant passages from

;
but in the fragment discovered in 1870, part inserted in the text, No. I., we find wellorganised strophes, each of fourteen lines, continued throughout the piece. It is true that, as a glance at the fragment will show, the lines are individually of great
poems
of which
is
metrical simplicity, and present but little variety as we pass from verse to verse, thereby contrasting strongly with the intricate structure of a Pindaric ode but the fact
;
remains that by the time of Alcman choral poetry had far transcended the bounds of the short stanza, and had adopted in its completeness, though as yet without elaboration, the antistrophical system with which finished melody and artistic dance were inseparably connected.
One more
metrical
step
style remains to
only in the development of Lyrical The Epode be here noticed namely, the chorals" stem
introduction of the Epode,
commonly
attributed to Stesi-
chorus, for which see p. 170. Lyric poetry in the entire stock of her metrical materials,
had now laid and progress
henceforth took the direction no longer of innovation, but of a more skilful manipulation of existing resources.
1
See
p. 38.
50
Some
e.g.
GREEK LYRIC POETS

I
.
types of
;
Greek metre
rj[jitoXtov lwdiy inteiii-
the yevo? are
gible to ears,
modern
have mentioned that with the introduction of the to which Cretics and Paeons belong, ' we find ourselves introduced to a rhythm which is strange to us. Trochaic metre is thoroughly J familiar to modern ears;
y-.j, t
o>_tov ysvo;, ' ~ .
'
Logacedics, though not so common, are readily appreciated while, although English hexameters cannot be
;
called successful, such poetry as, for example, the stanzas

in
Swinburne's Atalanta beginning
Meleager. Let your hands meet Round the weight of my
head,
etc.
shows us what wonderful effects can be produced in skilled hands by the dactyl or the anapaest, which is but a But Cretics, the simplest example dactyl with anacrusis. of the yevo? -qpoXtov, sound to us strange and unnatural, although indeed the rhythm is still intelligible to us and when we come to Paeons, and still more to Paeons or Cretics with the long syllable resolved into two short syllables, we seem to be outside the domain of rhythm entirely, and are tempted to imagine that the mechanism of the Greek ear must have been on a different system from that of our own. When, for example, we read such lines as those of
;
Pratinas, p. 272, beginning
we take it on trust indeed that it we had come across it printed

and are
to
is
a line of poetry, but if as a prose sentence we
be
th^facTthat'
they were in-
should hardly have detected the error. F r the explanation of this kind of rhythm we must constantly bear in mind that while monodic poems, such as those of the Lesbian school, however suitable for recita-
oniynot
recitation.
for
were adapted and intended for melody, compositions in connection with which the ysvo; or Quinquepartite measure was developed, were TjfxioTaov, adapted for nothing else. In early times when song was delivered to a simple lyre-accompaniment which subordinated itself to the rhythm of the words, the obvious nature
tion or reading,
choral
of the metre rendered

recitation.
it perfectly suitable even for mere But when poetry was written to match, not
METRE
IN
LYRIC POETRY
51
only the complications of a more elaborated musical system, Hence it is on such as was introduced by the flute, but also the move- ^p^tha" ments of an intricate dance, the word-rhythm passes out of ^r^'j]g tre the sphere of mere language into that of music and it is studied.
11
;
from the standpoint of music that the chief authorities on the subject, of recent date, have dealt with Greek metre. We have seen in the previous article how Greek music was We have affected by its close connection with poetry. now to observe how music in its turn, together with the dance, reacted upon the metre or rhythm of the words, and invested it with a new character. Remembering that the Greek principle was one syllable -ii -I to each note, it is obvious that to keep pace with the rapid advance of melody, and also of the movements of the choral dance, the metre was forced to become increasingly complir cated and that thus in the specimens ol choral lyric which
,
....
Since each
s ) "able represents a note of
1
'
i-i
-i
are left to us, the metrical arrangement of the syllables jJSj^ lhe notes, represents up to a certain point exactly the rhythm and Now if we take the cannot be done phrasing of an elaborate melody. 1" notes of any modern song where, as is usually the case, the
p^stoie'to' recognise certa n details of the melody, and the

'
does not closely follow the rhythm of the words, and write down so far as can be done a scheme of the vocal sounds which the notes represent, substituting for a crotchet the sign - and for a quaver the sign ^, perhaps
air
cupiefof'scan-' sion
-
employing certain other signs for minims, semi-quavers, etc., we shall often get results which are startling enough, and as remote as possible from the poetical metre. Yet in Greek lyric poetry, we are led by many considerations to conclude that from the metrical value of the syllables we
can replace the time-value of the notes
in
the forgotten
and as we are usually brought up to believe that every syllable in Greek had one or other of only two possible values, namely - or ^, the natural inference would
melody
seem to be that the music consisted of nothing but a monotonous succession of crotchets and quavers. Thus in a Sapphic line we should obtain the following scheme of
notes
:
is
52
GREEK LYRIC POETS
and to represent a pentameter, have
if
ever
it
was sung, we should
n \000\0 n n j n 0001000101000
i I
i
so that in the
first
instance a bar in f-time stands side
by
side with others in f-time, while in the second case bars in f-time correspond to others in f, combinations which
the most elementary knowledge of music declares to be

impossible.
Accordingly, writers on Greek Metric such as Schmidt, Christ, and others, following in the wake of Apel and Boeckh in his De Metris Pindari, endeavour to base the
W.
rhythm of
bles
lyric
poetry on sounder principles, and oppose
the old doctrine that
the sign
all long syllables and all short syllahave an invariable value, represented respectively by - and the ^. of ordinIndeed, the
sign
practice
ary recitation would have made the point for which they contend plain enough, were we not so carefully drilled in the opposite unnatural view, the deficiencies of which only
become grossly patent when we leave the regular or iambic metre and come to lyric poetry.
Equality of
dactylic
essential incipieofmetreas in music,

of music.
,
So, then, the new metricians, intent on exhibiting in the metrical systems that equality of times which is essential
,
,
maintain that a long syllable, usually equal in time-value to a crotchet, and represented by the sign -, may often be equivalent to a dotted crotchet or note,
in
ill*
),
Varieties of
which case
value
it is
represented
by-( = -^
'
or even to a
long andshSrt
lively.
minim, when
its
metrical sign
is L-J
(=-o^,
or
'
lastly,
syllables respec- its
may be depreciated, as in the cyclic dactyl to be shortly mentioned, to that of a dotted quaver, while not
unfrequently, especially in the last syllable of trochaic 1 dipodies, the ong syllable answers to the quaver only.
Similarly, a short syllable, usually equivalent to a quaver
1 See below, p. 66. In such cases, the metrical sign adopted by Schmidt is >. To avoid a multiplication of new metrical symbols, I have not employed this in my metrical schemes, but have simply
used the familiar - or -, indicating that while the lower sign should strictly be expected, the other does or may occur.
METRE
tyls,
IN
LYRIC POETRY
' ' '
'
53
or |th note, can also have a less value, and be equal to a semi-quaver or j^th note, as in cyclic and choreic dacI which are equivalent in time- value to trochees. is by a few examples. The long syllable increased to twice its usual value, and corresponds to a minim in the pentameter, which may be represented thus
Examples:
Ordinary timef '
will illustrate
ng
.-
synabie doubled, sign
in musical notes
1
n n a j \0am\m**\ n inu c' 99o\amm\

1
and metrically
The long
,
syllable
is
increased
by one
e.g.
half,
valent to a dotted crotchet in
described below
line in Pind. 01.
(p. 64).
iii.
Thus the
metrical
the Epitrit, which is scheme of the
and ...
is
equi-
incr eased
by
one-half, sign
tcsSiXco Atopiio cpiovav svap[/.6âi
which occurs
in a dactylic
Ode,
is
as follows
i.e.
>\ III
M M
! I
IN
syllable,
For an example of the diminished value of the long diminished in dactyls we may take the Sapphic line T'!?
:
'
Iloi/a'Xo'&pov'
a&avaT 'A<pp6fWa.
This
thus
is
in this case
:
an instance of f-time, and the line with its dactyl, termed 'cyclic,' 1 must be represented musically
N

!
J.N
J^JN J.N
J#
the metrical equivalent being
v_>
This
last
example
also illustrates in the third foot the short
syllable
possibility of a short syllable being
reduced to half
its
5SSn
'
MUal
'
choreic dactyls
See below, pp.
63, 64.
54
value.
GREEK LYRIC POETS

A
better
in
example
is
afforded
;
n by 'choreic
dactyls,
such as occur
the line of Praxilla
the metrical scheme being
*JJ3I J/31
J J=3
J.N J/
The
rest 'in
masic
?.3VQO explains the possibility of a short syllable at the end of a
line
On a similar principle, an apparent Paeon -wv,^ may stand side by side with dactyls, as is the case in Soph. Oed. Col. 216 seq.y for which see W. Christ, Metrik, p. 225 seq. Again, why may a short vowel stand at the end of a verse
wnere
,
, .
,
(yp^vo,
fo e strict accordance with the metrical scheme, ^ a long vowel would be required? Simply because the additional time is made up by the rest in music, XP 0V0 ?
'
.
place of
xsvc
the fact that a

ripxi meter
1
also the
Hence being the corresponding metrical expression. hexameter cannot close with a dactyl, because
by the
is
annot conclude
the time occupied
with a dactyl,
ê
last syllable, corresponding to already supplied by the unavoidable quaver, and the rest at the end of the long rhythmic sentence last foot of a pentameter is equivalent to a bar of music
final
;
The
free treatmetre'^"
even though there be but one short syllable in because the deficiency is made up by a corre2 spondingly long rest of the value of |. Musical considerations then explain away the apparent
in f-time,
itself
= I,
LTg reek
inequalities in
due to its intiin mate connection ,

with music,
-ti-al'ned
is
within
limits.
at first sight, discerning harmony ,. the impression is rather one 01 discordant variety. Bear*n tnen tne influence of ind the musical accompani, .
,
...
'
many specimens
in
of Greek metre, and aid us
some cases where, _
mm
comparativeiy
narrow
ment on the metrical structure in giving a varying value to long and to short syllables, in supplying deficiencies in the
syllables by empty times or musical rests, and above all in the licence it affords of resolving any ordinary long
1
'
Below,
It
loc. cit.
noticed that in Latin hexameters and pentameters (which were in most cases aided by no sort of musical accompaniment) the trochaic ending in the hexameter, and the final short vowel in the pentameter, are much rarer than is the case with Homer and
may be
the Greek elegiac poets.
METRE
IN
LYRIC POETRY
55
syllable, equivalent to a crotchet, into two short syllables two quavers, the only matter for surprise is that the metre
of the surviving lyric passages
is
not more complex and
That it is not unintelligible than we actually find it to be. so is due to the proper appreciation among the Greeks of
the relative importance in song of the language to the For all the licences described were exercised, music. the period at least of Classical lyric poetry, with a during
laudable moderation.
long syllable was given more circumstances commonly only at the end of a word, addfuJnaWalue which is invariably the case with the imitations of Greek is given to long svllables. metre by Horace, e.g. in his Choriambic Odes. In cases where in Greek the emphatic long syllable falls within a word, it is usually upon the first syllable, naturally the
than
its
usual value,
most accentuated, and W. Christ suggests that, as the poet was also his own musical composer, he would choose for this purpose such syllables only as from their vowel1 sound, or other causes, were exceptionally long in quantity. Similarly, short syllables were given less than their usual
in fixed places, and with Again, musical rests, or yjtovoi >tsvoi, were ypdvot xevof confined to the end of a line or the corresponding musical ofamie heend phrase, and were not, as in modern music, permissible else-
value very sparingly

set purpose.
usually
where
also.
Lastly, the
power of resolving a long

r
ing number
of
short notes,
is,
in the first place, consider- sparingly em-
a 1
into a correspond. 1
>
Resolution of long syllables

the
ably restricted
when
language, since it is of syllables, each having the time-value of TVth, with any pretence to intelligibility and in Greek vocal music still
;
applied to song by the very nature of fates^meHc impossible to pronounce a succession period.
further limits were
by custom imposed upon the

'
'
practice
of
resolution.
The
syllable
in
arsi
scarcely
ever
is
1 For instance, in Pindar's line Awpuo owvav the scansion is
ivapp-dijai tseoiXw,
where
there
is
good reason
:
for dwelling
on each of the three underlined
the word Awptw is emphatic, and the stress is naturally syllables laid on its first syllable, in tpwvocv the a^-sound is easily prolonged, and the same remark applies to the final diphthong in Evap|7.di;ai.
56
GREEK LYRIC POETS

:
resolved in early Lyric poetry, and only sparingly even in the time of Pindar. 1 Such a line is that of Pratinas
Ti;
u(3pi?
tj.okzv
{
77i
AiovucwcoV. TraXuTOXTaya -k)[/iXav
which consists of resolved anapaests, with scarcely any long syllables, is a mark of the decay of Lyric poetry, now becoming subordinated to the musical accompaniment and is probably employed by Pratinas in his protest against this growing evil, to show by an example its disastrous results 2 and perhaps to an Alcman the line would have presented almost as strange a rhythmical appearance as it
; ;
does to ourselves.
ities in
Great inequallength of
strophe, signify-
chanjresTn the dance and the
music
to which I must allude, There is one other respect r wherein Greek choral poetry does not fall in with our own rhythmical notions. Hitherto I have been dealing with îe r hy tnm f lines taken singly I now refer to the inequalities often found between lines in the same strophe. This inequality is confined within very reasonable limits in most of the passages in the text, and in the Dorian odes of Pindar, while, however, it is a marked feature in the
;
i ' '
'
Aeolic,'
and
in
possess.
It testifies to
the specimens of later lyric which we a variety in the movements of the
dance and in the phrasing of the music which must have been very effective, and inclines us the more to agree with the view expressed by Professor Mahaffy, that whatever may have been the deficiencies of the Greeks in the knowledge of harmony, their melody was cultivated to a degree considerably beyond that usually attained in modern
music. Our impression of their power of metrical and musical composition will be still further enhanced if we direct our attention to the skilful grouping of the metrical and on this subject, which periods within each strophe
;
exceeds the limits of

Bk.
V.
'
this article,
to refer the reader to Dr. Schmidt's

etc.,
cannot do better than Rhythmic and Metric
Eurhythmy.'
in the 'Aeolic' odes,
It is
rare in the
2
indeed common enough Doric'

'
but exceedingly
lyrics in
We may
compare Aeschylus' parody of Euripides'
Ar. Frogs, 1353, etc.
METRE
When
Greek
IN
LYRIC POETRY
57
metres were imitated by Roman Latin imitations for their models the metres of meSto'be^ chose poets they naturally monodic song, as being not unadapted for mere recitation elsewhere exbut even here, now that metre was divorced from music,
lyrical
1
;
certain changes, unconscious or otherwise, were effected and since most of us obtain our knowledge of Alcaics,
Sapphics, and the like at second hand from Horace and Catullus, it is important to note the main distinctions be-
tween the imitations and the

in the introductions to
original.
This
will
be done
Sappho, Alcaeus, and Anacreon. I will now proceed to give a short account of the chief metrical types which meet us in the text, noticing first four terms which concern the manner in which the verse
is
introduced or concluded.
Anacrusis
Anacrusis
(avocxpouci?)
which
of the
in
many
full
first
denotes the syllable or syllables precede the ictus or commencement rhythmical foot, and which may be comlines
Anacrusis.
pared with the latter portion of a bar that frequently The rule is precedes the first complete bar in a melody. that this Anacrusis should not exceed in length the thesis of the regular feet thus a dactyl may be preceded by an
' '
Rule,
anacrusis not exceeding ^ ^ or and a trochee, strictly one short by speaking, only syllable. The Anacrusis, howirrational ever, may consist of an syllable, viz., a long
,
'
'
Hence the syllable, with the apparent time-value of a short. varying quantity of the first syllable in Greek Alcaic lines, whereas Horace, forgetting its merely introductory character, seldom employs any but a long quantity. 1 It is obvious that the neglect of Anacrusis in scansion leads to metrical
schemes which are on entirely wrong
principles, and which flagrantly violate the rule of equality of measures.
The literal meaning of the term is backing-water,' and the metrical usage is thus compared with a ship retiring slightly to enable herself to dash to the charge with the
'
See on Alcaeus,
p. 139.
58
General
effect,
GREEK LYRIC POETS
Anacrusis is accordingly regarded as impetus. a character of energy to, for instance, Alcaics, which giving is less suited to the lines of the poetess Sappho, whose pregreater
vailing metre
commences with the

where
it is
full
measure.
Compare
remarked that Alcaeus, in xi., the line 'IoirXox ayva X.T.X., addressed by him to Sappho herself, while paying her the graceful compliment of abandoning his favourite metre for her own, considers that
on Alcaeus,
to be
it
requires, in his masculine hands, the slight addition of
Anacrusis.
Basis
Basis.
is
Basis refers to a portion of the line which, like Anacrusis, to a certain extent preliminary, though far less separable from what follows. To the term Basis the epithet Her'
'
'
mannic
'
is
often added,
since
Hermann
it
first
remarked
praeludium quodupon Dr. dam, et tentamentum numeri deinceps secuturi \ Schmidt {RJiyth. and Metr., p. 90) appears to explain it as due to the fact that in certain rhythmical sentences the chief ictus falls not on the first but on the second foot.
Thus,
in a
its
metrical nature, defining
as
'
Sapphic
line
such as
IIoi>uX6irpov' a-9-avaT 'AcppoSrra,
the strong rhythmical emphasis on the second foot imparts an introductory character to the first, and this is all the
Forms of
the
more the case in certain choriambic lines, where the choriambics do not begin until the second foot. Hence the Basis may assume any one of at least four distinct - ^, ^ - or even ^ ^, in which latter case it forms, viz.,
is
not always distinguishable from Anacrusis.

is
It
occurs
most frequently, and

metre, as in
most unmistakable in choriambic the passage from Sappho (No. VI.) beginning
y.sicsai ouS' sti Tt? [/.vau-ocuva a9-sv,
Kaxxravofaa Ss
or in Alcaeus, No. xxiv., beginning

HX9-SS
in
ex.
TCsparcov
ya eXe<pavTivav,
varieties
which poem each of the four
may
Similarly in other metres the presence of the basis
be seen. may be
METRE
detected
Ale.,
IN
LYRIC POETRY
first foot.
59
by the
x.,
variable nature of the

first line
Thus
in
No.
taking the
alone,
tov âpievToc Keôj7.ai Tiva

it
Msvtova
xaXecrooa,
first
as anacrusis
would be quite possible to regard the two but when we go on to read

;
syllables
it
is
basis.
obvious that in both lines we have an example of Compare also the second line in Sappho, VIII. a
Y"Xux,u7U*pov aij.ayavov opTCTOv
with the
first
"Epo?
&'
auTS
6
{/.'
Xucif/iXvjs
&ovsi.
It is to be noticed that when lyric poetry was no longer since it is written for song, r j o' the basis was not employed, obvious that metre without the aid of melody must display - .. ... ,., 11 greater strictness in the quantity of its syllables to main*
.
,
The
basis was e c ' ose connection be-
due to
tween poetry
and music, and was abandoned
tain the requisite equality of

basis, therefore, in
movements
.
,
in the
same
line.
e " ly
t
Greek poetry must be regarded as The one of those features due to the close union ol the metre and the melody. It is a doubtful point how far it formed
,
...
ê
...
If
written for
recitation onlv.
connection of
s s
j}
j
construction of the line. part of the rhythmic j r such a form as the Pyrrhic did then to so, ably
it
invari- b
_
with
.
rest
^^ the music
of the line doubtful,
must have given a

sion, to equalise
fictitious value, if
it
dactyl, thus
I may use the expreswith the ensuing trochee or cyclic
or
a-
W.
Christ, however,
is
which alone admitted of such
of opinion that in Aeolic lyrics, varieties, the true rhythm

;
did not begin till after the basis while in the lyric poetry of the drama, which always exhibits the basis in its fuller
and more regular form, it is to be reckoned as an integral portion of the rhythmic period. Finally, in Horace'" imitations of Greek metres, especially in his choriambics, the basis in its proper character disappears, and is invariably represented by a spondee.
60
GREEK LYRIC POETS

by the
:
In the metrical schemes, the basis is denoted sign x placed over the first syllable, thus
for the line
KaarO-vac/isi Ku&Epyj' appo; "Ao\ovi?,
t'i y.s
flstp.ev;
Catalectic and Acatalectic Lines

Cataiexis and Acataiexis.
These terms apply to the conclusion of a line. A line ending incompletely, i.e. having the arsis of the last foot without the thesis, is called Catalectic one which ends with the full measure is Acatalectic. Thus in the couplet of Anacreon (No. V.)
"Isih toi JcaX<3?

vp/iy.c,
f/xv
av toi tov yoikwbv

a'
{/.{3aXoi[/.i,
5'
sytov
<TTps<poi[7.i
ap.l Tep[/.aTa Spoixou,
the
ending with the trochee is acatalectic, while the second, ending with the single long syllable, is catalectic. The practice of cataiexis at the end of a line is of course due to the pause which fills up the place of the missing
first line
syllable
in the
and
it is
especially
common
in all languages, as
from Anacreon, to mark the close Thus in English of a couplet or stanza. Pale and breathless came the hunters,
above
illustration
:
On
God
!
the turf lies dead the boar.
the
Duke
lies
stretched before
him
1 Senseless, weltering in his gore.
Succession of
acatalectic lines rare but effective.
j-,
succession of acatalectic lines is rare in lyric poetry, u t often very effective, expressing a fervour of sentiment which instinctively avoids the incisive character of catalec-
.....
lines
......
stanza, in
,.
tic lines.
The Sapphic
which
all
the lines are

;
acatalectic, affords us a
good example of this whereas, in the favourite metre of Alcaeus, the cataiexis in the first
two
of the stanza
is
general tone of the poem.
far more appropriate to the Similarly in the lines of Burns

:
never loved sae kindly, never loved sae blindly, Never met or never parted, We had ne'er been broken-hearted,
1
Had we Had we
M. Arnold, 'The Church of
Brou.'
METRE
well as in the
IN
LYRIC POETRY
61
the absence of catalexis in the second and fourth lines as

first and third greatly enhances the intense of the words. pathos Two other terms are employed by the old metricians
Both expressions Brachycatalectic and Hypercatalectic. relate to the conclusions of lines which are supposed to be scanned in dipodies. By Hypercatalectic is meant a line Hypercatalectic in which the last complete dipody is followed by a single cataiecUîmes long syllable. Such cases are of rare occurrence, and need no special remark. 1 Brachycatalectic lines are far more frequent, and impart a very distinct character to the rhythm. They are described as cases where the last complete dipody is followed by what is apparently a single foot, but the proper explanation of them is that they have an ordinary catalectic conclusion, and that the penultimate
syllable
is
syncopated.
Thus the
line in
Sappho
XIV.
"Ecu
y.'xkcf. izoCic, [/.oi
j^pudCotatv av9i;v.ou7tv,
should be scanned
v^
^ \J W W
its
'
'
Such a type of rhythm has

of Greek
lyric poetry with paralleled in modern lyrics.
origin in the connection
Brachycataiexis
music, and
example of this is quoted by Dr. Schmidt in his Rhythmic and Metric, p. 37, from the Agamemnon, 192-197, and illustrates, as he
fine
can hardly be
fluenceofmusic
says, the
of verses in the
melancholy character imparted by a succession falling rhythm, as he calls it. It is obvious that the pause implied by catalexis, in- The different 6 eluding its varieties of hypercatalexis and brachycataiexis, cauicTtlc must vary in time- value, according to the circumstances of pauses, with their siTis. the case, and certain appropriate signs are employed to
'
'
mark the
distinctions.
Thus
in
ordinary trochaic metre
the pause is equivalent to an eighth note, and is reprewhile in a dactylic or epitritic line the sented thus A
;
pause
of the value of a fourth note, and is represented Instances of longer pauses than these by the sign aIn a hypercatalectic line, the hardly occur in the text.
is
1
Sappho
vi.
may be
taken as an instance,
if
at least
such lines are
to
be scanned
in dipodies.
62
GREEK LYRIC POETS

half,
pause would be one of four eighths or a

sign ^.
and the
Such being the

the end of the
line,
chief features of the beginning and of we may now briefly consider the most
important metrical feet as employed in lyric poetry.

The Dactyl
lyric poetry.
in
T IIE DACTYL
The most
from
song.
in
its
The hexameter.
regular and
celebrated dactylic metre, the hexameter, is stately nature scarcely suited for
It is not, however, entirely excluded from lyric Witness the beautiful lines poetry, at least in early times.
Alcman, (No.
ou
[/.'
II.)
ti 7ra.p9evix.al jxeXtya'pus? iixepocpwvoi, x.t.1

:
and
in
Sappho, (No. xxxiii.)
Olov to
Rarity of soondees.
Y'Xux.'Jij.a'Xov epsufreTat,
obepw
eV uaow,
x-.t.'X.
It
the spondee
should be noticed, however, that in the first example used at all, and in the verses of is not
1
Sappho very
The
Prosodiac.
sparingly.
Shorter dactylic lines are very common, a familiar 2 species being the Prosodiac, so called from its being
employed specially in Prosodia or processional hymns, for which it was indeed eminently suited. Its form is generally either
:
\j \J
\J
v./
The verses in the Linus-song, p. 247, which have anacrusis, may be taken as an example of the latter, and Miscell. Frag.
xix.
:
tov 'EXXaSo; aya9ia?,

as an instance of the former.
K.r.~k.
are
combined
into
Usually two prosodiac Cola one complete line, eg. Ibycus No. vin.
:
Oux. semv axocpihiASvoK;

It is also
Co>aJ; eti <pap[/.ax,ov sup$tv.

:
common
in proverbial sayings
"Ecpuyov
1 2
x.ax.ov,
eupov
aj/.eivov.
Compare
See
also Sap.
xxxiv, and Alcman, xxvi.
W.
Christ, pp. 214-216.
METRE
A
third form
is
,
IN
LYRIC POETRY
p.
63
seen in the Swallow-song,

ks kj
247:
(_)I
w ^.
y\;
'HX8', -qh&z yzkiSoiv

'Acckoi^ topa<;
~/.<xko\)Q
ayouaa,
/..x.'k.
vtauTOu<;,
The shortest dactylic sentence is commonly employed as a clausula

familiar
the
Adonius, - ^ w - The Adonius.

,
to a stanza, the
most
example being
cpaTVT],
in
also, like the Prosodiac,
common
the case of Sapphics. It is in proverbs or yvcup.oa, e.g.

Dactyls not em-
Bod? i~\
I
Fvto-Jh csauTOv.
need not say more on other combinations of dactyls, except to call attention to the rule that an independent verse, namely a verse not forming part of a larger system, must not conclude with a true dactyl. We are familiar with this in
the case of the hexameter, and
it
S^SSkS
applies equally to
all
other dactylic verses. Thus the three lines of Alcman, No. VIII.
Mc3g' ays KaTAidxa, O-uyaxsp Awe, x.t,1
-w^-^w-^^/-^^,
dactyls are
'
must probably be scanned not as a dactylic tetrapody but as a catalectic pentapody in which
choreic
',
thus
on the model of Soph.

however, in the
Phil. 827
"Txv' oSova? aoV^?, uttve

If,
S'
aXyscov.
complete poem of Alcman the three except when the es re art of verses were finished off by a line with some change of a" s s e mp y metre at its conclusion, the final dactyls might stand, the
.
verses then being in themselves.

It is in
members of a system
'
l
',
and incomplete
union with feet of another class that dactyls most Dactyls in union 6 This we already noticed frequently occur in lyric poetry. ^jf^Jf în logaoedic metre where the dactyl is side by side with or/ Cyclic'. the trochee, and assumes a different value which gives it tween'these two
its
name
has a
1
of the Cyclic Dactyl. similar time -value, f, and

p. 73.
The
is
'
Choreic
Dactyl
kinds
not always easily
See below,
64
GREEK LYRIC POETS
The distinguished from the cyclic or logaoedic dactyl. real difference is one of ictus, there being in the case of the
latter
of the
a secondary ictus on the third syllable, at the expense 1 Dactyls first, which is to be hastily pronounced. as choreic rather be treated of are to time in a passage |than cylic when they are not in close juxtaposition with
Thus any succession of f dactyls implies that are choreic, and the nature of the ictus as distinct they from that of the logaoedic dactyls in e.g. Sapphics or Alcaics
trochees.
will
be at once
felt
on reading such a
-9-upiStov
line as Praxilla's
'II Sta tc3v
xaôv
e[/.f&S7i;oiaa.
The
dactyl in
lines.
Epitrmc
There troc h eeS)
and is, however, another kind of union of dactyls in which the dactyl retains its full value of a
I | measure, and does not become cyclic or choreic. refer to cases where it comes side by side with the
which ), Epitrit, or slow -moving trochaic dipody ("-^ In this case the time- value of will be referred to below.
the trochee
increased from to f-, thus -<- or J. J\ thereby securing that equality of time which in logaoedics was obtained by reducing the value of the dactyl. The
is
following lines from Pindar, 01.
xi.
will
serve as an
example
"Egtiv av9-pw ot; avstAtov ots

ypvjcri;,
ttXsicttoc
EGTtv S' oupavitov uSoctwv.
^j
\j \y
\J
s~*
The Anapaest.
Akin
to the dactylic
originally
rhythm is the anapaestic, which was simply a dactylic measure with anacrusis
the earliest form of
it being the Prosodiac, described above. Anapaestic rhythm was specially appropriate for spirited movement, and hence is the march-measure par excellence, This is exhibited for us in the two fragments from Tyrtaeus
was employed for the entrance song of the In later as they marched on to the stage. chorus dramatic times the anapaest often assumed a new character by the resolution of the long syllable, resulting in the what is
and similarly
it
1
See Dr. Schmidt, Rhyth. and Metr. pp. 49-50.
METRE
example
in the
IN
LYRIC POETRY
65
called the Proceleusmatic foot
w^^^, of which we have an Pratinas from already alluded to passage

:
Ti? 6 -Oopupo? ooSj y-.T.X
need not dwell further on anapaestic rhythm, since the subject has more importance for the lyrical passages of the drama than for the melic fragments, among which its occurs but seldom.
We
The Trochee
Trochaic may be regarded as the predominating metre importance of throughout Greek lyric poetry, and indeed Greek poetry ^^[êfres" in general, for it not only prevails in trochaic lines proper, but gives the character to logaoedics, and even to iambic senarii, or trimeters, which are nothing but trochaic feet with anacrusis. For song the trochee is specially adapted,
to the rapid recurrence of the arsis, imparting to a succession of trochees a stirring and emotional character.
owing
In
trochaics proper, the metre is usually reckoned by Thus the tetrameter so common in Archilochus dipodies.
Dipodies.
and
sists
in spirited
passages in the chorus of the Drama, con;
of eight trochaic feet taken in four pairs and trimeters, the iambic senarii, consist of six trochees, the last catalectic, taken in three pairs, with anacrusis. The reason for this
practice
is
of the arsis
that in this species of the ysvo; aWov, the return is too rapid to readily allow each foot a distinct
The stress then is laid on the arsis or equal beat or ictus. of the first foot, and recurs on that of the third, fifth, Thus the rhythm of the line seventh, etc.
uf/i,
-frup..'
ay//] /avoid
/ojoeaiv y.u/.to|/.svs
should be represented
\j
It
^/\
n n \j v/ w wi
r
ft
\*/
'
/\ x
the sign
thesis,
denoting the ictus of arsis as compared with the main ictus of the dipody. This arrangement has important results on the further irrational lab S in metrical structure for in the second or unemphatic foot of J r Dipodies. each dipody, a long syllable is admissible which is described
'
and
"
; '
66
Their expianallon
-
GREEK LYRIC POETS

'
because it apparently has the value only of The reason for this slight change in the rhythm, a short. however at once commends itself to the ear as which for, since the perfectly harmonious, is not far to seek
as
irrational
;
'
dipody is imposed upon the first arsis, the value of the second is so far weakened that room is left for a succeeding syllable of a value greater than would otherwise be admissible. Thus we may, perhaps, represent
stress of the
main
* which the second foot musically by the dotted quavers of the notes to the have the total value appropriate J J^,
first foot.
The employment
;
of irrational syllables has a
very important bearing upon the variety and emphasis of any rhythm and while in many cases they are introduced
with the design of slackening the
movement
as in Pope's
well-known
That
Often explicable h
line,
like
a wounded snake drags
its
slow length along,
po^ry by compensation.
they are often also to be explained as above by compensaThis may be distinctly seen in the following ilon examples from Shelley's Adonais:
-
And
It
the
wild winds flew round, sobbing
in their
dismay.
eclipse.
flashed through his pale limbs,
and past
to
its
In both cases the spondee, as it may be called, is preceded by a foot composed of very unemphatic syllables and in
;
the trochaic line
The pale
the compensation
to
is
purple even,
in the actual foot, which 1 an iamb. The effect is proportionally approximates bold, and could be produced without discord only by a
found
master-hand.
Nature of the
'
There
long.
its
is
Epitrit
'.
thesis of the
another class of trochaic dipody in which the second foot not only may be, but regularly is
is
The
syllable in this case
full
value,
= the
crotchet
<
not irrational, but has This kind of dipody is
1 In reality the first syllable is almost ignored, and the second prolonged almost to the value of a trochee, thus i
.
METRE
IN
LYRIC POETRY
67
have already made some reference connexion in the same line with dactylic feet, and its frequent occurrence in poetry such as the Doric odes of Pindar, which have much of the metrical
called the Epitrit, 1 and I to it. It is its constant
character of Epic, that leads to the conclusion that instead of the dactyls being reduced to f-time, the trochees are raised to the f -time of the ordinary dactyl.
We
I.
which
ment.
have then three main classes of trochaic rhythm, I mention in order of the rapidity of their movetrochees, or as they are often
Three
classes
^podies?'
A succession of pure
chorees, taken
for
called
in
dipodies.
This
is
obviously
adapted admirably expressing any great
easy lively movement in songs not depth of feeling. The most brilliant
v.,
example
ning
is
the delightful song of Anacreon, No.
begin-
IltoXs pvj/uvj, t(
Svj
[J.t
Xoov
6[j.[j.y.fj\.v
[&S7COU<7a,
which exhibits only two irrational syllables throughout the poem. Trochaic dipodies with frequent irrational syllables, II. but without admixture of dactyls. These have the same
time-value as choreic dipodies, but apparently express a slower tempo Andante as compared with Allegro.
III.
The
Epitritic
dipody which has not so much a

.
slower tempo as a different time, instead of f

I
pass on
now
to
two other well-known
w^. The dipodies, the Choriambic -w-, and the Ionic Choriambic, so called because ancient metricians imagined choriambic
classes of
two such impossible yoke-fellows as a choree -w and an iamb ^-, is much employed in Greek songs, but 2 The immediate appears very unsuited for modern poetry.
it
to consist of
ipo
unsuited for any but song-poetry.
For the mistaken principles which have given
rise to the mis-
nomer, see
2
W.
Christ, pp. 67, 577, or Schmidt, p. 41.

this
Comic operas have almost a monopoly of
instance only occurs to
me
in
ordinary English poetry
metre.
One
Rattle his bones over the stones, etc.
and
it
can hardly be said to invite imitation.
68
GREEK LYRIC POETS
juxtaposition of emphatic long syllables, which a succession of choriambs involves, would have a strange effect in
recited verses, especially if the long syllables occurred in the same word as is frequently the case in Sappho, e.g.
Asuts vuv
a(3pai Xapixs?,
x.tX
Consequently we find this carefully avoided in the choriambic odes of Horace, in which each choriamb closes with
a
final syllable.
|
Compare
|
Nullam Vare sacra
vite prius
sevens arborem,
with the line of Alcaeus which Horace appears to have

copied
MvjOiv
a>JXo <puTu|<r/); upoTSpov
SsvSpeov xpisekv).
Considerable
limitations upon the employment
of choriambs
poetry.
Choriambic metre, then, though in this way it can be sometimes successfully employed in merely recited poetry, at any rate in a language where the metre is regulated not by accent but by quantity, is above all intended for But even in true melic poetry its peculiar character. song. w hich expresses an unrestful and excited feeling r too intense to be long sustained, 1 is such that we find it only used with a considerable limitation for there are few if any cases of a line consisting from start to finish of
;
Usually intro-
duced by basis
or anacrusis.
nothing but choriambs.
In the
movement
in the
is
very
commonly
first place the choriambic introduced by the basis as

'
',
examples just quoted from Horace and Alcaeus.

is
With Horace,
the basis
indeed, his odes being for recitation only, In Lesbian poetry, on the the invariable rule.
other hand, we have not a
choriamb,
e.g.
few examples of an
initial
or with anacrusis
Ae'jte vuv afipou Xaptrs?,
Y..T.7..
6 ttXouto? avEu (toc?) apsTa;, x..tX,
Kpyjccat vu
1
7tot' toS' [/.[/sXeb>; 7c6fW<7tv,
Sap. No. XXVII. (3. Sap. No. XIX.
W.
Christ points out that

e.g.
it is
specially appropriate for songs of
a Bacchic nature,
Alcaeus,
II,
V.
METRE
IN
LYRIC POETRY
is
69
always, No
Secondly, the conclusion of a choriambic line

at least in the melic fragments, 1 in a different
rhythm
^j
ments.
final chori
he
ag
the vehemence of the choriamb subsiding into the quieter favourite movement of trochaic or logaoedic measures.
conclusion
is
-w^-*>in
as in the lines from

e.g.
Alcaeus, and
Horace's Asclepiads,
Maecenas
Horace and
atavis edite regibus
Another is -^w-^-- as above from Sappho.
in
more than one of the examples

is thus matched and it should be and a syncopated
The
time-value of the choriamb, which
Time-value.
by trochaic or logaoedic dipodies, is f, regarded as composed of a cyclic dactyl

long syllable thus -^^<.
Ionics are supposed to be so called from the metre being regarded as owning an effeminate and voluptuous character
Ionic Dipodies.
such as was attributed to the Ionian race.

kinds
:
There are two
Ionics a majore (arco [/.siôvos) Ionics a minore (dtaro dXaacovo?)
^^ ^^
ionics a majore
distinguish from
succession of the latter being simply a succession of
Ionics a majore with two short syllables as anacrusis. Ionics a majore are often hardly distinguishable from
choriambics with one long (irrational) syllable as anacrusis, Thus we should not be certain that the Ionic lines
:
choriambic
metre.
Kpyjcrcat
vu tcot' coS' xo'cWcjiv ep.jviXeio;

a[x<p'
top^suvr' aTO&oi?
epoevxa
pto;/.ov,
were not choriambic, were they not succeeded by a

with a short syllable for anacrusis
770 a?
:
line
Tspev avOo; p.aXaxov [xaTSiffat.
Instances to the contrary may, however, be seen in
W.
Christ,
S 53o,S3i-
70
GREEK LYRIC POETS
Like the choriamb an Ionic dipody is of the same timevalue as the trochaic, which often answers to it, e.g.
rEX^flV)?
[>.kv
iyy.ivs.T
a ssXavva,
1
at o" to; Tcepi pw;xov
IffTa^cav.
Similarly in Anacreon No. XVI. after a series of brachycatalectic trochaic dimeters with anacrusis :
"Ays Seure
[j.r^z^ outco,
/..t.'X.
we
find a
dimeter composed of two Ionics a minors
ionics a minore.
Ionics a majors are unadapted for recited poetry, probably because after two consecutive long syllables a rest is reThe minore. quired which is only afforded by Ionics a 12 iii. Od. is metre latter effectively employed by Horace,
:
Miserarum
in imitation
est
neque amori,
etc.
perhaps of Alcaeus, No. xiv.

SsiXav,
/.
"Eas
xaaav y.ax.OTaTav 77o/owav.
Horace, however, appears to have found it somewhat too remarkable in its effect for anything more than an experi-
ment
Odes.
in metre, since this is
the only instance of
it
in his
Paeons and Cretics

Tevo? ^toXiov.
the third yvo; the ylvo; âio>.iov or Quinqueparmeasure, I will dwell as briefly as possible since it In the rhythm to which occurs but rarely in the text. I have already referred we have a f time, which is very
tite
On
modern music but not unknown to it. It was designed specially as a dance-measure, and it was from Crete that it was introduced into Greek poetry, an island
rare in
famous as we have seen

ancient times.
best
for its
dancing from the most
known
Crete too comes the name of the form of the Paeon, namely the Cretic -^-, of
From
which we have a good example

1
in
Alcman, No.
XVII.
Sap. xx.
is
See however note ad
loc.
pointing out that perhaps the
metre
of a different kind.
METRE
it is
IN
LYRIC POETRY
71
For much the same reasons as in the case of the Chori- The Cretic amb, the Cretic is unsuited for any but melic poetry, and song-poetry.
also apparently always in connection with the dance.
'
The Paeon proper consists of a long and three short syllables, and is named according to their relative positions,
thus
:
ws
>/
First Paeon.
w-^v^
uw-u
w^-
Second Paeon. Third Paeon. Fourth Paeon.
Lastly in the same class we have the Bacchius in Aesch. Prom. 115, with anacrusis
:
^, e.g.
Tt? a^ca ti;
6&[/.<x
v^;
\j\
xpocsTUTa [/.' ^/ ^
a<psyy>]<;
yy.
All these rhythms, and especially the Bacchius, are said to 1 denote excited feelings, or extreme uncertainty or surprise.
Finally comes the difficult measure of the Dochmius the oblique rhythm) which is said to take no less (o/jv.io?,
The Dock mi us
than thirty-two forms, the most common being -. w-, or is difficult to of this -ww-w-. The real nature rhythm I but need not comprehend and variously explained,
touch upon the subject since the Dochmius, so common in the lyric poetry of the Drama, is not found among the because lyric poets with whom we are concerned, probably its complicated and apparently irregular nature belongs to
a later period
when
the early simplicity of

2
movement was
becoming corrupted.
Colon, Verse, System

I
will
employed
of a
conclude by explaining a few terms, which will be in the notes, concerning the rhythmical divisions
Colon, or short The
Colon.
poem and the grouping of the lines. The smallest of these divisions is the
rhythmical sentence, which

1
may by
itself
form an entire
2
Schmidt, Rhyth. and Metr. pp. 33-4.
See
lb. p. II.
GREEK LYRIC POETS

as is more often the case, be one of two or more members welded together into a single verse. Thus in the Linus-song each verse is composed of a single colon the line is composed of only whereas in the hexameter two of these cola, dove-tailed together by means of the
line, or,
;
Similarly in English Alexandrines, such as those which conclude each stanza of Shelley's Skylark, e.g.,
caesura.
Our sweetest songs

the line
are those which
tell
of saddest thought.
is composed of two short iambic cola, three feet in stand as entire lines in the previous part of which length,
the stanza,
e.g.,
We
Separate cola
in the
pine for what
is
not.
same marked by caesura and

diaeresis.
Cola then
or
line
may be compared to short grammatical sentences clauses, which may stand alone or may be compounded
;
and just as in the sentence together to form one long latter case a pause or stop of some kind must come between the separate clauses, so in a compound verse a pause in of the caesura or diaeresis must separate the cola the
shape
and allow each to exhibit

It is
its
main
ictus or accent.
by mistaking the Sapphic pentapody, which is a or colon, for a compound verse, single rhythmic sentence that Horace is led, in his earlier Sapphics at least, to introduce an invariable caesura. On the other hand, in the
line,
In profuse strains of unpremeditated

it
art.
Distinguishing marks of the
complete verse.
is the absence of the diaeresis which produces some sense of strangeness in the rhythm. Next comes the Complete Line or Verse (ctiô?), which as as we have just seen may be composed of a single colon or It is important to bear in mind the of more than one.
distinguishing marks of the complete verse as compared with a mere colon, since upon this depends the arrangement of the lines, which in some cases admits of doubt.
The
following then are the chief signs which indicate the the syllaba anceps, or syllable of neutral of hiatus before the next word, admission quantity,
end of a verse
absence of elision or of the shortening of a long vowel
METRE
'
IN
'
LYRIC POETRY
73
or diphthong before a succeeding vowel, and lastly and chiefly the Wortschluss as the Germans call it, i.e. the conclusion of the line by a final syllable only. The rule
that a line must conclude with a complete word is practically without any exception, and Bockh uses it as a sure
guide so
Pindar.
far as
it
goes
in
We
see then that the
the separation of the verses of Adonius -v,^-- which con-
cludes the Sapphic stanza is often if not always treated not as a separate line but as a clausula to the third for
;
we by no means unfrequently both portions, e.g. Sappho II.

aSu
cp(.ovi|croc<;
find
one word
common
to
u77axo'JSi
eTrippoy-IPstcrt
&'
axouai,
and
in several other instances. Similarly such a division of the lines of Anacreon No. XX. as is made by Hartung
s|xs
yap Xoywv
cocpcov si-
is
misleading, and the words should be written in one line

is
as
done by Bergk.
other
The
requirements
little
at
the
end of a
line
are
regularity when each line is entirely independent metrically of the others, as is the case with hexameters or with the trimeters of the Drama,
observed
with
less
etc.
but in lyric poetry the verses are sometimes related such a manner that, though they cannot be regarded as mere Cola, they are yet not complete when taken separately but form parts of one harmonious rhythmical group, described as a System'.
;
in
'
The System is composed of a number of Cola, for they Verses only can hardly be called lines, which taken together would cnUnthe Pend form far too long a period for a single verse. They admit System, of elision, and the shortening of a final long vowel or
diphthong before a succeeding vowel,
a "Ituv
aiiv "Ituv
e.g.
Soph. El. 148
6Xo<p'JpsTat
opvi? aTuo;/iva
Ato; ayveXo?.
They avoid
hiatus and the Syllaba Anceps, but vindicate
74
GREEK LYRIC POETS

'
the semi-independence of the lines by nearly always reAmong melic fragments the taining the Wortschluss.' best illustrations of the 'system' may be seen in the
poems of Anacreon,
I
e.g.
No.
III.
a close, and I am aware undue almost an that it occupies space in the Introis so important for of metre the but duction subject Greek lyric poetry, and yet so commonly neglected, that I have thought it worth while to dwell upon it at some
can
now
bring this article to
length.
subjoin a list of certain metrical signs employed which to many readers may be unfamiliar - where one long syllable is equivalent to -w or a dotted
I
:
crotchet
>j
I.
See
p. 52-3.
is
-w -^
'
or J Ibid. equivalent to v the Cyclic Dactyl, equal to the trochee, thus j J^J^ See p. 53 and pp. 63-4. the Choreic Dactyl, J ^x placed over a foot in the metrical scheme denotes the
where one syllable
-^
Basis, pp. 58-9.
denotes the occurrence of the
ictus, e.g.
on the
first
foot
of each trochaic dipody.
The
(p. 61.)
following
mark the time-value of
the verse-pause
:-
A the
eighth-pause, equivalent to 1 or one short syllable. ^ the quarter-pause, equivalent to P or one long syllable. a" the four-eighth pause, equivalent to
.
ARTICLE
SECTION
VII
DIALECT IN THE LYRIC POETS 1

I
GENERAL CHARACTERISTICS
In the transition from Epic to Lyric poetry we naturally Native dialect 7 changes in dialect as in metre. When poetry manyofthe became personal and subjective, it tended to assume a early lyric poets his hearers. style of diction familiar to the singer and
find great
Hence a
characteristic feature of the poetry of several of

is
the earlier Melic writers
the
abandonment of the time-
honoured epic forms, and the employment of the peculiarities of their own dialect. Sappho and Alcaeus wrote in their native Lesbian, Archilochus and Anacreon in Ionic,
and Corinna
of Burns,
part
in Boeotian.
We may
compare the instance
poetry plays a taken by a Sappho or an Alcaeus among the Greeks. In his case as in theirs the charm of the songs is inseparably connected with the and when he abandons it for the connative dialect ventional English diction the result is anything but
in the revival of British lyric
who
somewhat
parallel to that
satisfactory.
But the employment of the local dialect was far from but not by c being so universal as might be expected from the nature of p e ts
the case
in
the
with the single exception of Corinna, it is found In choral poetry, which, as we only. have seen, came to predominate greatly over monodic, an admixture of dialectic forms was adopted, presenting to us
;
for,
monodic poetry
an
which can only be called lyric, since it cannot be attached to any particular locality or certainly any branch of the Greek race. Nor is this unnatural. An
artificial dialect
1
Reasons
this
:
for
See
Addendum
at the conclusion of this article, p. 97.
;6
GREEK LYRIC POETS

1
'
i. choral poetry not persona.
Alcaeus or a Sappho, in the words of Pindar, lightly shot forth their honey-voiced songs of love.' Though fragments for t jie r son g S have won an immortality, they wrote their own circle or boon companions, and the subjects of their poems were drawn from the deeds or the In such pleasures or the passions of their own life. as one so win favour could no readily language poetry
which, though indeed exalted above the region of commonplace by the genius of the poets, was yet familiar to the But in hearers and free from poetic conventionalities. The far different. choral poetry the circumstances were
personal element, always incomparably less than in monodic song, tended to disappear entirely in later choral poems,
2.
Choral poetry
consequently the subject did not call for the language of ordinary life. Again choral poetry at first was mainly
conservative
or narrative
nected with religious, and religious diction is notoriously religi n Furthermore the mythical of ancient style. L S admitted -.. J J and
,
3.
mythical narra-
element entered largely into this branch of lyric poetry, and for this the Epic dialect was best fitted by the influence of association. Lastly, choral poetry tended to detach itself from local ties, and rather to assume a Hellenic character.
After
4 Hellenic
.
Alcman none
,
rather than local character of choral poetry.
of the great choral poets worked for

.
;
on the contrary they exercised tneir their native city alone ta j ents for the most part j n ot iier Greek states, wherever
they were likely to enjoy the most encouraging patronage. Under such circumstances, it was absolutely necessary for them to adopt some uniform style of diction, which, while
Artificial
confining itself to no dialect in the proper sense, would be understood by all educated Greeks. The result was the
adopted
adoption of a composite artificial dialectic style, which was handed down with comparatively few changes from generation to generation of choral poets, Naturally the Epic dialect was taken as the foundation
composed
mainly of Epic
Qr
ma n e ement f the whole and therefore, just as in the most important choral metres, such as those of Stesichorus odes of Pindar, the old dactylic and of the Dorian
j
'
'
rhythm of Epic poetry

1
still
made
manifest
its
influence,
Isth.
ii.
-\.
DIALECT
.,
.
77
so also in the language the forms of Epic were widelyBut besides this a considerable admixture of retained.
.
.
Little as of Lesbian (a) Lesbian and (o) Doric forms was introduced. Don; the Lesbian poets were directly connected with the development of choral song, I have already commented on the widespread influence they exercised on all subsequent Greek lyric poetry, and not a few of the most striking Lesbian
-
T-1
with a consider able admixture
and
forms found their way into the choral dialect.' Again it was amid the Dorian race, however unproductive of original
talent, that choral
'
hence
it
exhibits conspicuously
poetry was fostered and developed, and many of the Doric dialectic
These, however, are not so prominent as might have been expected, since the Doric from which lyric poetry borrowed was of the kind described by Alcaeus as mitior which, as will be mentioned below, exhibited far fewer distinctive features than strict Doric states. ('severior'), and probably was intelligible in all Hellenic into Doric enters or Lesbian in which The proportion
peculiarities.
'
',
the language naturally varies with the different poets, or the (as in Pindar's odes) with the different portions of
same poet's writings. But speaking summarily, Hermann's remark upon the language of Pindar applies equally to Est enim Pindari that of the choral poets in general
'
:
Hermann on
Pindar
-
interdum epica, sed colorem habens Doricae, etiam Aeolicae {i.e., Lesbiae) linguae. Aliis verbis fundamentum hujus dialecti est lingua epica, sed e Dorica
dialectus
dialecto
tantum
et
splendorem
videretur,
adscivit Pindarus, quantum et ad dictionis ad universorum commoditatem idoneum

essent,
repudians ilia quae aut interioris vulgaris aut certis in locis usitati Dorismi.
aut
Nee primus
hoc
fuit
I
As
Pindarus, sed secutus alios,' etc. have described in some detail the forms in the
Lesbian and Doric dialects which appear in lyric poetry, readers can estimate for themselves how far these elements
would also refer I enter into the surviving fragments. them to E. Mucke's Dissertation on the dialects of the 1 chief choral poets compared with Pindar, where a careful
De
Dialectis Stesichori, Ibyci, Simonidis, Bacchylidis.
yS)
analysis
is
GREEK LYRIC POETS

given of the Doric, Lesbian, and Epic forms in Pindar and the other choral
which are to be found

poets.
Dialectic forms
Most of the melic fragments being quoted
Meik fragments
uncertain.
who employ
forms used
a very different dialect, by the poet must in
it
is
Greek authors obvious that the

in
many
;
instances have
a process attended with considerable uncertainty and considering the free eclecticism exercised by the choral writers in their diction, the only principle upon which in most cases we
lost their restoration is
become corrupted.
Once
can proceed
tion that
I
is
am
that of analogy. Accordingly, the enumeraabout to give of the instances of Doric and
Lesbian forms, which are of most frequent occurrence in the poets, will serve a further purpose in aiding us to understand the reasons for the commonest emendations
effected
Chief Dorian
I.
forms
in
:
Melic
seem nearly always to have followed the Doric and Lesbian dialects in employing a in
Firstly, the choral parts
by
editors.
poetry of ri, when the latter has originated from an a-sound. place r '' I. a retained where weakened Consequently editors are in most cases justified in restorin Ionic to
r).
Exceptions.
ing 9 j n p]ace of an Ionk Qr Att c ^ Mucke, however, maintains that there is not sufficient reason for altering 75 in certain cases, for instance in certain
words borrowed apparently from Homer, Again in certain passages vyj, vvjugiv, Ztjvi, p7)i.'iuo$, etc. of Bacchylides, viz. XIII. and XXI., we find an Ionic or Attic 7] freely used, and Neue and Bergk regard it as
poetical forms or
natural, since these passages are not in choral but in simple trochaic rhythm, not necessarily intended for song. Finally in the 'Attic' scolia, 73 as well as other Attic forms are frequently employed and should not be emended.
Similarly in Bacchylides No. scolion, it seems best not to

aiyTivjevTa
II.,
which appears to be a
altering
follow Bergk, in
and
v?je
these are in
harmony with the

of which
is left
Attic
forms
ayou<jt, p.ap[/.aipou(7i,
the
first
unchanged
by Bergk.
11.
-avfor-wv
II.
Secondly,
the
Doric and Lesbian contraction

is
in
lne genitive plural of a-wv into av piurirstdcdcnsion.
constantly adhered to
DIALECT
in
;
79
Melic poetry and it occurs so frequently that in the few cases where the MSS. give c3v, editors are fully
justified in restoring av.
Doubtless the suitability of the a-sound for song weighed with the poets as much as, or more than, a mere desire to imitate Doric or Lesbian forms, since in verbs in a-stems,
where
strict
a, e.g.
Doric contracts as into

Gujarat, vcop.arat.
tj,
the choral poets
employ
III.
The Epic and Attic terminations

1 ;
-ouera,
and
-ouert(v),
m.
Lesb.
" feminine participle, and the 3d plural present indica- 0llja or Don -waa in parti-ii-titixtor the cipie for ion. tive respectively, are avoided in Melic poetry, and in the case _0UCTa first we usually have the Lesbian -owa of the word Mouca (Attic), in reality a participle (*Movua),
in the
the Doric form Mtoca
is
often employed, though the Les-
Exceptions.
MoOcra occurs in the bian Mdfcra is common enough. and jtXeiouua and trochaics of Bacchylides, No. XIII.
;
Exouca
Stesichorus, In the in his poetry.
in
who employs no Lesbian forms

weak
aorist
in
participle active the

is
Lesbian form
in
-at? is
common
Pindar, but
not found
the other choral poets, except, perhaps, in Simonides,

IX.
I.
No.
12, Tupaâi; (see
Note ad
is
loc).
it is again the but the Dorian
In the 3d plural in -oust (Epic and Attic)
Lesb. third
in -otat > or
_ ou
piur.
Lesbian form
termination in
verbs,
is
in -own
which whether -vn,

e.g.
preferred
Dor
not uncommon,
Hybrias,
svxt
thematic or non-thematic No. XX., 9-pooiovTt, Simonides,

in
cpcovsov-u
Timocreon, and
many
instances in
Exceptions.
termination -ouct occurs twice, as I have already mentioned, in a scolion of Bacchylides, No. II., and in the ode attributed to Arion, where the form is one indication of the late origin of that poem. In other
Pindar's odes.
cases the commentators reasonably emend to -owit. It is to be noticed that the Lesbian accusative plural in
-ot? -at;
The
in
(Att. -o'j; -a?) is never employed, except, perhaps, one doubtful instance 1 and the same is true of the Lesbian dative plural of the 3d declension in -otct.
j
Ibycus, vi.
/.
1,
see Note.
80
iv. Contraction often avoided.
GREEK LYRIC POETS

IV.
poetry follows Doric or Epic (the latter in opinion) in very frequently avoiding contraction, especially where the first vowel is s e.g. oceo, <popsovTa
Melic
M uc k e s
(Stesich.),
^n
cpiêco, |aij/.eo
(Simonid.)
also SivaevToc (Simonid.).

for
<ptovasvTa, syêa, i<psa (Bacchyl.), etc.

Synizesis
these
non-contracted
is
forms
e.g.
synizesis
metri-
common.
ca ]
purposes
etc.
very common,
Stvocevra, Tt[/mpTovTa,
cptXeto,
v. Lesb. forms
V.
In
the pronouns
etc.
r^.zXq, up.stc, etc.
(Attic), the choral
2d
pTrs^pron.
po ets
fy.iv,
appear to have always

is
P lur
a[/.|/.ss, cr.{j.[j.w, \j[j.[j.iv,
employed the Lesbian forms In Simonides IX., 1. 18, the MSS. give
which
unmetrical, and
are
all
emended
to
u(A[/.tv.
The above
the Lesbian and Dorian forms which the choral poets.

in
are regularly or
commonly employed by
a bare enumeration, but nevertheless owing to the frequency with which they occur they are amply sufficient to establish a very distinct poetic
They appear scanty enough
which would be intelligible to all Greek hearers, but commonplace to none. Other instances of Lesbian or Doric forms less frequently occurring will be referred to I will now proceed to give a in the course of the notes.
diction,
more detailed account of the Lesbian and Doric

so far as
is
Dialects,
in
sufficient to illustrate the
forms occurring
Alcaeus and Sappho on the one hand, and on the other in Alcman, and certain poems where the Doric dialect is
freely
employed.
SECTION
II
THE LESBIAN DIALECT IN THE LYRIC POETS

I propose here to summarise the chief dialectic forms found in the Lesbian poets with whom we are concerned.
vCkom;.
most prominent characteristics of the dialect deserve notice are theîXtoct; and the BapuTOvyjct?. WiXoiciq, the avoidance of the Spiritus Asper, appears,
of the
Two
that
first
DIALECT
81
according to the testimony of the grammarians, to have been the universal practice of the Lesbians. Ahrens, it is true, formulates a rule that the aspirate, rejected in all
other cases, was employed when taking the place of an Thus he retains the aspirate in the original s or j.
Article 6, a, etc. (Sanskrit sa, sa), and in ayvo. and <pa(3o?, which he connects, though probably erroneously, with janctus and /uvenis. Meister {die Griechischen Dialekte) follows Bergk {note on Sap. I. 9) in condemning these He adds forms, and admits of no exception to îXoxri?. that Ahrens himself was inclined subsequently to give up I have therefore his view. throughout the text adopted
universal
'
ipCXoaffi?,
reading
'
6, a,
avva, etc.
Barytonesis.
meant the practice of casting back By Barytonesis the (acute) accent from the last syllable when a word is not monosyllabic, so that, with few exceptions, no oxytones remained in the dialect. For us, who ignore the accent in
is
our pronunciation of Greek, this has but little significance, but we ought to bear in mind how great a distinction between Lesbian and other Greek dialects must have been effected by such a diversity of intonation.
Here, as in
many
other respects, the Lesbian happens to

;
have been
'PtOLtatoii
T/j;
at
one with Latin

Ai.oTvS??
cf.
TOXvra to'j?
Lup.ou[/.evot
Athenaeus, x. 425. Ol Jtai xaia tguc tovouc

Illustrations
<pcovv]c.
(Quoted by Ahrens.)
of this
Barytonesis are aoyoc,

auTap, aXXa, etc. (see
Suvoctoc, y.aloc, auTOc, etc.
Exceptions
and conjunctions, e.g. ava, &a, however Bergk on Sap. I. 25). In the case of monosyllables Aeolic is said to have changed an oxytone to a perispomenon, e.g. ZsOc, yvjv, for Zs'ic, yvjv
are dissyllabic prepositions
;
and, since the circumflex consists of an acute accent, the word is thus rendered barytone.
a grave
gram-
marian,
Choeroboscus,
however,
quoted
by
Professor
Chandler {Greek Accentuation, p. 570), declares that monoa syllables keep the acute accent ;/.ei; being apparently bond fide example. The Digamma, as the metre often clearly shows, was Digamma.
it
frequently employed in Lesbian, from ancient usage, and not, as
being, of course, retained

state,
some grammarians
82
GREEK LYRIC POETS

in certain cases.
added
Foi,
We
find
it
in the
Fi, etc., in
(u-6 f spyov),
Fsfanjv (DiXto rt /-efonjv, and in the reduplication
pronoun fs&ev Alcaeus), in fspyov
FzFy.yz (yX<3<j<ia FzFy.yz,
Sappho)
etc.
Before p, A" becomes (3, ^. ppaStvo?, (SpdSov (Sappho), though not in Fpr hc, as Alcaeus is said to have written. Between two vowels F appears as u, e.g. autoc = qtoc, Att.
t
ktoc,
Doric
a~to?.
Double
liquids
Another distinctive feature of Lesbian is the employment of double liquids or nasals, where in other dialects we
usually find a single liquid preceded by a lengthened vowel or a diphthong. The reason of this is that in Les-
every spirant is assimilated to a contiguous X, p, ;x, v (Curtius, Greek Et. 665), whereas in most dialects the
spirant
'
bian
'
'
is
rejected
and the preceding vowel lengthened by
compensation.' Lesb. y.u.u.zz, Dor.
Thus
aij.sc,
Lesb.
;x
1\k\h.
;
(for ec-jxi), Att.

\j[j.u.zc,
z\\)X
Att.
all
r^-sic
Lesb.
Att.
''J'J.zl;,
Sanskrit showing in
*3tTSvto)
three cases that assimilation has

;
taken place between a and

*cp9-sp!,w,
Lesb.
<p8ippto, jctsvvio
;
from
(Att.
<p8sipco, jctsivw)
Lesb. yd woe from
*yovfa, Ionic youva. It should be noticed that the double liquid or nasal is never employed after a in Lesbian, the diphthong at being-
found as
It
in
other
dialects,
e.g.
yviooi
(yapito)
jjiXaiva
(*{/.s'Xavta), jj.ax.aipa (*|xax.apta),
etc.
should also be noticed that in not a few cases the single liquid or nasal only is employed, without compensatory lengthening of the vowel, e.g. [idvo? (Ionic [/.ouvoc, Doric [xtovos), y.aXoc (Ionic jtaXd?), and in the fern. gen. sing.
Tspeva?
(
= Tspstv/jc), which
is
probably influenced by the
analogy of the masculine repevoc. Double mutes are found in the pronominal forms otti
(oti),
oTTiva?
(ou's
Tivac) o-~qtol (q7tots), for
which see below

it is
on
a<7<
'
Pronouns.'
Again, we find an retained where in other dialects

usually
weakened
to
a,
e.g.
y.d'kzaay.i,
TsXsatyai,
s<7Tat,
where the
Att. scxai.
stem
is
xaXsff-, tsXsg-,
Ic-gstou for Ion.
Here
again, as with the
Digamma and
the double liquids
DIALECT
and
nasals, Lesbian poets, in man)- cases, reserved for selves freedom of choice between gt and rr.
a[/.77Ta<jOv,
83
vsXaffsia?, etc., TzkzG<iy.i
and
tsXscttj,
themhave y.tcaoz and
We
u.s<jo?, crT'^&icrrrt
in Lesbian, unless tt existed in the early form, or n with another consonant subsequently assimilated to it e.g. i-/r/.y.*?oy. is from *s-ux.y.'V
;
and G-nj-9-sfft. In no case was gt employed
Ta,
't/7<7o;
(teo?)
from
*'iijFoz.
One
treatment of an original
other Greek
retain vs) reject
v,
of the most noticeable peculiarities of Lesbian is its vr> after a short vowel. Whereas
dialects (except
_
otSi
-ais=
Attic -ous, :;.
Cretan and Argive, which and give compensatory lengthening to for v produces an the vowel, Lesbian by substituting
t,
diphthongises
1
^y
lemênfne
Cretic tovc, Att. xo'j;, Doric tojc, Lesb. Lesb. Doric tv.c. 1 The foltoic -uy.i;, Attic and similarly, chief cases to which are the the rule applies lowing
t-diphthong
;
e.g.
ace. plur. of the 1st decl. ends in tx.it; for y.c, of (a.) the 2d in 01; for -o'jc (Attic), e.g. /jjkiyyy.ic, -zoic. (b.) Aor. partic. in -y.ic (Attic y.c), e.g. wrpy.ic; also the
The
adject. [/iXaig (*[xsXav-?).

(c.)
3rd pers. plural in -vu, in which the r perhaps first passed into cr, thus exposing v to the usual Lesbian
change.
becomes
St(|;a-vTt,
Thus, /tp'j-TO-vri, preserved in Doric, Lesbian /.puTCTOKTi, in Att. x.p'jtgugi on Contracted s7appd|/.|3e-VTi (see below,
in
;
'
'
Verbs),
I
become
Si<J/awii, S7iripp6f/.(3eKi.
will refer to a
few other consonantal
peculiarities,
and
then pass on to the vowels.
We
e.g.
(
find
in certain cases
where most dialects use t

xiaaocoe^
foi
= t-zjXots) the
v)
7ce{jwrs,
TOcroups?
for
vts,
~fi.m
it
for
tvjX'j'.
fact
being that the 'Velar' k (Lat. qu) ber,
fore s or
becomes
where
#
in
cpvjp
other dialects
becomes -
We
1
also find 9 for

fact that xov?
in
= -8-qp), (
<poivat (
= 9oumc),
._
to
The
became
v
either tou; or roi? certainly supports
the view that the Greek
vowels, e.g. on. the v, and finally ousted
was often sounded like the French n after For the /-sound, which in Lesbian crept in before
it,
we may compare
the vulgar British pro-
nunciation of Boulogne.
84
GREEK LYRIC POETS

is
but this change

t.vj.-z, etc.
sporadic,
and not
parallel to that
for the
1
'C
in
co for
r.
In Lesbian gS
is
not
uncommonly found
of
other dialects,
e.g.
Tpa-scSa
= Tponcea
povTiattajv
= <ppovusiv, (
;
from
povriS-),
from
Tpa7reS-ia)
on the other hand, we

as usual.
have
[/.et^wv ((/.eyiov), :rXa(to (TrXayito)
In short
Si,
'
when
When
is
medial, becomes in Lesbian gS, while yt becomes initial, Si in some instances became Z, where
in
Si
found
other dialects,
e.g.
âfJocTOV,
(aSTjAov
= SiafiaTov,
oiy.oihkov.
We
a
for r
t
come now
to the vowels.
the long vowels, a is retained, for the Ionic 73, in all however is, of cases where the a-sound is original 73
;
Of
course, used an s-sound.
in Lesbian, as in Ionic,
whenever derived from
ist Declension, e.g. in verbs the Imperfect ayov [/.a$, ptiXaCvag, from a-stems, gtxiH, uTToSsSpoixaxsv in. the termination But 73 remains in yjpeo, ^pajAav, and in the -a.av, .-. ^pap,av.
-y.c,
We
have then a kept throughout the

etc.
;
in
forms
-/.aAr.y.i,
Ooniu, etc.,
e.
lengthened from
We
because in even find 73

;
all
these cases
it
is
in opvjai,
and
xpjp.a,
afroma-o.a-co.
might have expected a instances of this kind, however, will be commented on as they occur in the text. The strength of the a-sound in Lesbian, as also in Doric,
where
we.
is
further
shown by
its
predominance over
;
or
to
in
cases
of contraction, ao and ato both resulting in a thus KpovtSa in the genitive singular, yyj.z-y.v, f/.spif/.vav, etc., in the genitive plural.
7).
for a. ou.
n certain cases of contraction
we
find
si
73
we
are accustomed to the diphthongs Thus contracts into 73 in tively.
and to, where and ou respec(
73/s?
= ziyzc),
in
the infinitives
ayTjv,
cpspvjv,
etc.,
from *ays-ev,
*<psps-sv.
12
stands for 00 notably in the genitive sing, of the second declension avftpto-to, etc., and for o in t<om.ov.
Diphthongs.
Passing on to the diphthongs
the
employment of
at,
1 The variance, however, may be one of orthography rather than of actual sound. See Meister Gr. Dial. p. 130, and Meyer, Gr. Gr.
I 284.
DIALECT
01
85
from original
e.g.
above.
-0,
has been dealt with followed by for the contracted forms of stands Eu occasionally
av, ov
r>
eu
from
E-
^zksoq (for [iilzoc)

etc.
si,
and the
participles
oivoyosGffa,
(;.o/i>s'jvts;,
The
use of
ou in Lesbian,
is
when
these are not genuine
or original
diphthongs,
considerably restricted, owing
(among other reasons)
to the preference for rt>
in cases
short syllables
f01 dl P hthon
'
In many of contraction, and to the doubling of liquids. other instances also Lesbian either does not employ a diphthong, or does not give an apparent diphthong its
g^
usual value.
This
is
due to the
fact that the
semi-vowel
frequently failed to coalesce with a

value, however,
preceding short vowel, and was treated rather as a consonant its consonantal
;
slight that the letter often disappeared altogether, at any rate in writing, for in speech the sound was probably retained involuntarily to avoid hiatus.
was so
We
have
izoxq
(Doric
7701a
grass),
layovjv,
STravjGav,
toocutoc, etc.,
as
Ahrens and
;
in
s
some
for
zi
for XayotTjv, eov/jTav, etc.
instances Bergk read in ala-9-ea = a ri&TJ&eta,
for at in 'TfV/jvaov.
Among
local
short vowels, we have a for z, in temporal and adverbs especially, such as aXXora, svspfta, ~6~y., etc.
in u'-a
short vowels. a fo1 h

"
a for
being that they
(wro) the explanation in these instances employ different case-endings and far
;
more commonly
occurs for
a.
This
last
change takes
for S.
place usually either before a liquid or nasal, e.g. y6ly.ini 1 (= yoXfoci), ovioaci (= y.viy.iai), ov = av for ava, or where
po
=a
'
sonant'
r, e.g.
ppoyito;
= ppa/stoc).
I (i) is
employed by Lesbian instead of

/a'Xx.'-at,
s in
the termina;
X for
3.
tion (originally -sio?) of adjectives expressive of material

..
TTopcpuptav,
j^puciov,
for
Attic
7rop<pupsav,
etc.
of opinion that the old termination -sioe; (metrically -stoc) should be retained, being treated not as a vowel, but as a spirant {Die Griech. Dial. p. 91).
Meister, however,
is
>.
Examples of
'
u for
0,
and
for
>j
will
be remarked upon
and the French
Cf.
our pronunciation of a
in all, altar,
warp,
etc.,
in an, etc.
86
GREEK LYRIC POETS

now
and
to further
in
I as they occur in the text. pass on dialectic peculiarities in the Declensions
the Pro-
Declensions
I.,
nouns, Adverbs, Prepositions, and the Verbs. Declensions I. and II

First be
it
IT.
dual
its
is
found
noticed that throughout the declensions no in Lesbian, which herein does not exhibit
character.
usually
I
somewhat conservative
have already referred to the predominance of a throughout Declension I., and to the accusative plural in -cat, and I. and II. respectively. The two -ot in Declensions
declensions agree further in the employment of -aw7t(v), -ow7t(v) in the Dative Plural, in preference to the shorter
form
in -at;
-oic.
The
latter, according to Ahrens, are only found Before a vowel, e.g. Jtopucpai sv airraid (a) At the end of a verse, e.g. tocSs vuv STaipaic (b)
etc.
raic
|
z'j.xiai,
(c)
In the case of an adjective, whose noun shows the
fuller
form, e.g. ocu.epiotc Sdotoici, spaTocic oSawrt. (d) In the Article, which never has the longer form. The prevalence in most cases of -aici(v) -oiai(y) was per-
haps due to the endeavour, conscious or unconscious, to avoid confusion with the Lesbian accusatives in -an; and oic. 1
In the
first
declension a in the vocative

to
is
said
by the
grammarians
be short
(cf.
the
|
Homeric
vuf/.qpa.)
(
We
;
find this in 1 Sbta, a dactyl, in to and Ahrens corrects 'AcppoSira,
'pavva /sTaSov
= spavva)
and similar instances of
the vocative to 'AcppoSnra, etc. In the second declension, the genitive singular in to has been already noticed. The following is a scheme of the declension of yctkzKoc.
DIALECT
No
Dual.
87
Plural
N. and V.
G.
Masculine.
Feminine.
Neuter.
yyXzr.y.
yyXzr.oi
ya"X~tov
yxk'KOini(y)
yalz-y.i
yykz~ av
yyXzT.yx^
y<xXs7FG>v
D. A.
Declension III.
In this
yaXs7raw7i(v) yykz7:oiai(y)
yyXi~0'4
yyXz-y.
Declension III.
declension
ancient forms
are,
in
many
cases
Lesbian than, for example, and others seldom contract, by e.g. c&cess, ot^-8-s-o? (from *<mj-9-sff-os), suav&sa, etc., an exception being (SsXsu? for fizkzoq in Alcaeus the vocative usually retains the short vowel of the stem, e.g. yzkitiov and nouns
faithfully preserved by Attic. Thus vowel stems
;
more
in
But in the (Attic gen. -zo^) retain 1, e.g. tzoIioq. in of the accusative v frequent employment sing. Lesbian is less careful of the ancient form, and is probably in-t;
;
we
fluenced by the analogy of the second declension thus find as in Attic an alterStoxpar/jv ajISajajv, s^spvjv (cf.
native form of
Sto/.py.TTj),
and
in
a'iv = ( -aiSa), though we also have, e.g. jcaxoTrocTpitJa. Words in -su? form their genitive in -730?, which
&- stems,
jôcj/.uv, atppayiv,
is
of
course more ancient than the Attic -zuq, where a transposition of the respective quantities of the vowels has taken
place.
Words
in
-lc,
-i&o; (Attic)
-to;
Feminine nouns in Topyto?, 2a-cpto$, and

Avjrtov
or
have I, e.g. JtvapSe?. -to have their genitive

-tov,
in -to?,
their accus. sing, in
e.g.
"Hotov,
{cf. iy.ozpr^, etc.,
above).
Pronouns,
Pronouns. The following appears to be the declension of the Personal Pronouns :
No
Dual.
DIALECT
the authenticity of the lines
is
89
not quite certain
which Ahrens corrects to
stappssi (cf.
and jcaxappsi, Note on Sappho IV.).

;
= 77pi{>scr.}s), 7:sp
Syncope
also occurs frequently with Trspt, as in xsp&sa&s avrXo: l<7toto&xv z/zi (Alcaeus, [j.iv yap
No. XVII.). In the last instance, as also in -sppo/o? (Sap. No. xxvill. note), and in pi ya; (/.sXaiva? (Sap. No. I.), rcspl 1 For [j.zto. Lesbian is said to be used in the sense of u-ip. as Ahrens points out, is not a dialecused TTsSa, which, tical variety for (/.era, but connected with -06c, in the sense of following after,' hence accompanying.'
' '
following peculiarities are verbs in Lesbian

Verbs.
:
The
common
to all Verbs.
The augment, as in Homer, is generally omitted. The termination -tOx, which is really a double inflexion,
instances employed in the second person ow8a, v^ftx, and in Homer Trivj-cfra, {iyJkoi-vdv.. (See Bergk's note on Sap. XXII. and Meyer, 450.) The infinitive active generally ends in -r v, not only in
is
in
several
cf.
singular,
infin. in -rjv.
the present or second aorist, where -tjv is contracted from -sv, e.g. avsv, zirsrp, but also in the perfect, Tsftva/.'/jv.
We
we
s d piur. -oi,
"a
''
must probably with Curtius attribute

influence of the present tense,
83, for ysyaxsvai. find [j.SikiGibjV for
cf.
this latter
Similarly even
[/.s&uG-iHjvai.
in ysyajcsiv in the aorist passive
form to the Pindar O. vi.
The
-{/.av,
third person plural in

-oiacc,
-oigi,
and
-aieri
(Siâwi), the
feminine participle in
In
the use of a in the termination

to.
CIt "
have already been referred

the
to- conjugation
further
peculiarities
are
the
double form for the optative in Thematic verbs, e.g. oV.uoi;, but Xayobjv the double ctt in the aorist of certain verbs above noticed the reduplicated aorist '/S),zly.dzc>&y.i, as in Homer and non-contraction in the second person singular
; ;
;
middle,
-si?, -si
vjpso,
<paiv2o, puoxo.
Bergk
is
of opinion that for
?-tj S)
-
-^ for
eis,
~ Lesbian employed, though a perhaps not invariably, the forms -vj; and -vj. The question, however, is involved in much uncertainty, and inscriptions afford little assistance. (See Bergk on Alcaeus, No. v.)
in the indicative active
Vide note ad Alcaeus,
loc. (it.
(?) jSuwxo.
go
'Contracted'
GREEK LYRIC POETS

It is in the
'contracted
'
verbs, usually in
sto, ato, oto,
that
Lesbian stands furthest apart from other
dialects.
in
In
-co,
most
have
ciples
cases, these verbs
employ not the conjugation

in
-u.i
;
but forms resembling those of the verbs

cptA7)u,i,
thus
we
jcaXmt,
o'ktsic,
fW.iu.tou.i, ys"Aau.i
(or vsAaiu,i), the parti-
<pXsi?,
etc.
In the infinitive active, however,
the termination of the to-conjugation is used sroxCvrv (from -s-sv, according to the usual Lesbian contraction), while
in
certain forms,
in the
e.g.
the
first
plural
etc.,
<pXiju,sv, <pop-qu,s9-a, etc.,
and
participle
is
affiu.evoi;, is
a long vowel
in the
-u.i
is
em-
ployed where a short vowel
found
(probable) scheme Lesbian forms in the three classes of verbs

following
The
conjugation. of the chief
Attic
Pres. Indie. Active
U-(v>.
(pD.sic
<pi>.7]u.i,
(or q>iXsMj&oc),
cpDvEi.
No
dual.
<pDoij[/.sv, cpiAvjrs,
Plural.
iasici(v).
In the Pres. Indie. Passive, in this as in the a- and overbs, the long vowel is employed throughout, e.g.
ôpvju.s&a, sparai.
Imperative Active,
-smtoc, -sv.
cpCXvj.
Infin.
cptXvjv.
Partic. Act.
(piXst;,
Partic. Pass. ^piXmevo;.
Attic 7]Ao-co.
Present Indie. Act.

Plural
&fjXti>u,t, &7jXot,
SrAoi,.
(^vJAwtxEv, S-nXtOTS, SvjXot<7i(v).

SyjXto.
Imperat.
Partic.
Infinit.
Stjacov.
-ov. OTjXot? -otca,
Part. Pass. &vjAtou.svo.
Attic. Ttaa-o>.
Pres. Indie. Tiu.au.t
(? Tiu.aiu.0, Ttu.aic, tvj.xi.

TlU,ai(Jl(v).
Plur. TlU.aU.SV, TIU.OTS,
Imperat.
Ti[/.av.
Tijxa.
Infin.
rty.av.
Partic.
Tiu,aL,
Tiu,aiGa,
Part. Pass. Ttu.au.svo;.
of
-u,i we have an instance in Sappho moreover a scholiast gives SirJotut, as an Aeolic (Lesbian) form. Ahrcns regards this as an error,
For the form
in
oo3ciu,otu,i -oi[/.i,
DIALECT
arising from a false
91
analogy with the second and third
persons in
-ot?, -ot.
He
accordingly corrects to
-aiat,
&oz.iau;/.i,
though Bergk defends
$oxiu.oum.
not -y.[u-, as the present the terminations of the of verbs with a-stem, following The only instance, however, that occurs -[u conjugation. and Ahrens, while admitting is in the poets ocjai (not cpafjju), the possibility of -aw.t, or even of -oip, due to the influence
Again grammarians give
of the ancient
reject
-v.vja
or
y (Sanskrit aydmi),
is
from the analogy of both

'
-vj[/.t
yet disposed to and -cojju in the

verbs,
ordinary -p conjugation. Besides these forms in the
contracted
'
borrowed
from the
in
-co.
-y.i
conjugation,
we
find others belonging to verbs

copêuvTO,
Thus we have the Imperfect

&tvsuvTe;,
(cf.
and several
All of these
participles such as contracted from so
;/.o/j) o'jvts?,
[/.apTupsuvTS^, etc.,
(3Xsu
from
(iSsXsoc).
Ahrens
etc.
and wishes to correct to Sivsvts?, top/vjvTO, retained by Bergk and by Meister. are however They
discredits,
More
noticeable are the forms in
-vjto, e.g.
770-9^0, a&r/.vjco,
The origin the correctness of which cannot be impugned. of the yj Meister looks for in the desire to obtain uniformity
in this respect
others, fut. acW/;<7io, perf. 7^fot7jxa, etc., or the analogy of the alternative form -vjjai.
between the present tense and the it may be due to
SECTION
III
DORIAN DIALECT
glance at passages from any of the Melic poets will show that far fewer peculiarities will require dealing with
. .
of Done
paucity forms in
poetry.
lyric
This is not the Doric than in the Lesbian dialect. because the more pronounced form of Doric differed much less than Lesbian from Attic, but because it is very little employed in lyric poetry, and in no instance, not even in that of Alcman, is Doric made use of exclusively, as is practically the case with the Lesbian dialect in Alcacus
in
and Sappho.
The
dialect of the
Dorian race
is
divided into Do ic '- .^ t /v '"' usually ' and mi tier.

'
!'
'
two main branches, called
by Ahrens
'
'
severicr
and
92
'
GREEK LYRIC POETS

'
mitior respectively. The former or stricter Doric, spoken by the Laconians, Tarentines, Heracleans, and other Italiots, and by the Cretans and the Cyreneans, is supposed
Predominance
of the
latter.
employed where Dorian blood or at any rate Dorian predominance was more pronounced; 1 while the latter is thought to be due to the large intermixture of other branches of the Greek race in states usually called
to have been
Dorian.
Owing
to the comparatively small
numbers of
'
the Dorians, 2 who usually formed not the bulk of the nation but rather a powerful aristocracy, we naturally find mitior' Doric more widely spread than the severior* or
'
stricter
form
(if
such
in
latter are
mainly
it be), and as its divergencies from the the direction of Attic *)r Ionic, we meet
with comparatively few forms with which we are not well It is this species of Doric which is mainly acquainted.
employed in the choral poets, with the exception of Alcman, many of whose Dorisms belong to the Laconian
branch
It
of*'
severior
'
Doric.
if
I
will
then be sufficient
mention summarily the
chief dialectic peculiarities of Doric which are likely to occur in the text. With not a few of them students of
Greek are already acquainted

In
its
in
the choruses of the drama.

all
general features Doric of
kinds seems to adhere
in several respects closer to antiquity e.g. in retaining F in many cases, and
than Ionic or Attic a (so often weakened
and in the preservation of the old termination the third person plural. Ahrens, however, warns us that forms preserved in a majority of the branches of
to
7]
by
Ionic),
-vti in
Doric would naturally be those which are most ancient. cautions us further against connecting any such tendency with the conservative character often attributed to the Dorian race for at Sparta, usually considered the most
He
conservative of
as far
Vowels.
Hellenic States, the dialect became quite removed from its ancient character as was Attic. The most conspicuous characteristics that concern us
all
are in connection with the vowels.

1
Ahrens, however
features
1
distinctive
(p. 427), suspects a non-Dorian origin for the of 'severior'' Doric, rather than for those of
-
'mitior Doric.
See
Miiller's
Dorians,
vol.
i.
p. 84.
DIALECT
In
'
93
('
the
employment of a Doric
initio)','
;
as well
as
for it not only ') agrees closely with Lesbian retains a, where modified by Ionic to 73, but also employs it in cases of contraction from ao, aw, e.g. in the genitive
severior
Original chan ed
a never
a
S
+ o,
+ w=a
h
plural
'
and the genitive singular x d similarly 'AXxy.Sv from (Att. ou), xo;j.av, Arpsiâ * xoc. Xkvjj.y.ww, 'Al/jjJ.on, x; (Pindar, etc., for stoc) from We find, however, no examples in the Melic fragments of
feminine -xv for
-tov,
'
ge
SesinV
plural.
such as
such forms as 6-txvts; (Epichar. 82),

AcJiar. 751), ttsivxvti (Theocr. xv. 148).
cW.7vstva17.se
(Arist.
1 the other hand, x. s becomes in Dorian not a but vj a + s=rj. and although, as I have mentioned above, the choral poets
On
in general
eg.
employ a in such cases, and also xrv = >ta(l) sv. uoTTjTat,

{'severior,'
s
is
vj
found
in
Alcman,
Doric
in
not 'mitior') resembles Lesbian further

into
yj
r,.
contracting
(Ion.
si),
and
-j-
into to +
j =w-
(Ion. ou).
in
Thus we have the Laconian

-/j/ov
(from xi&apfoS-e-sv),
co, e.g. vjxi'ootopto.
for d%ov,
and
infinitive jaS-apw&rjv the gen. sing. 2d decl.
more commonly the Doric 73 and to, where Ionic ^ and to for e" s T and ou, are due to compensatory lengthening (Les- ^fh n j| bian si and 01, if v has been lost, double liquids in other * Examples of vj are Xa pfy? from /apisvT-; (Ion. and cases). * * Att. /aptsi:), r [ji, vjui? from sV;7.sc (Att. si[/i, sw.sv, sg-{/.i, of to are the accus. plur. 2d Lesb. sjj.iu, su.jj.sv). Examples decl. in -toe, e.g. tco; (Att. touc, Lesb. toic), and the femin.
Still
si
has
participle in
-to<ra, e.g.
* Mo'vaa. Moftra) from
Lesb. aytoca, cf. Mcorra, (Att. Moucra, Just as Dorian does not suffer a to instance the short vowels there are certain
a for
-
of
become
TpaTcco,
vj,
so
among
instances of a where Attic, etc., have s e.g. "xrspos, Ta;/.vio, and similar cases Doric of these most In cppxci.
appears to be employing a collateral stem in a, seen also in the Attic "xrspo; {in crasi from 6 xrspo?), s-rajx-ov, We also find a final (Att. -s) in sytovyx, s-ToaTT-ov, eucppatvto.
oxa (Att.
1
ots), etc., as in
Lesbian. 2
Though not in aXio; from aeXios. See above, p. 85 and see G. Meyer Gr. Gram. 20 on on xa[j.vw, 24 on -ya -/.a, 32 and 397 on axspo;.
2
;
cppaai,
22
94
Shortening of
final syllables.
GREEK LYRIC POETS

In
many
final syllables
ending
in v
or
c,
long vowel or diphthong a short vowel, thus
in other dialects,
preceded by a Doric employs
-zpx. Traya? axeipova? (Stesich.
I.
fi').
zaAa; topa; ayoutra [Pop. Songs, II.). s<tXo? aivetv (Pind. Nem. iii. 28, for st9'Xo'j;).
These are
loss of a
zakoc,
all
consonant from * sc9>.ov?.

is
cases where the usual compensation for the * is not given, as in topa? from 10'pav;
The same fondness
for a short final

-siv,
syllable
shown
in
the Dorian Infinitive in -sv (Att.
t for
ex.
(Alcman). Among the consonants I need only refer to a few diaDoric preserves t in many cases where it is lectic usages. weakened in other dialects to a. This peculiarity is common to all kinds of Doric, and is said to be one of the disIt occurs especially tinguishing features of that dialect. before the semivowel 1 in the 3d pers. sing, of verbs in -[u
Lesb. and Lacon.
stojcivsv -vjv), e.g. 9<xivsv,
<P<xti,
SiSctm, etc., in the
3d plural active -ovu (Att.

(Att.
sici)
-o\>ai,
Lesb.
-oici), e.g. ti-9svti, svtl
in
Alcman
also in
u in
IIoTiSav (otherwise TloTZ'J)y.v)
and before the semivowel

i)
i for Q- in Laconian.
to (hence in ts, tso, toQ. The substitution of a
for
seems to be peculiar to
Laconian,
e.g. Trapasvotc,
gioz, in
Alcman
for
7:ap9ivoic, 9soc.
As
the change is not found in the Laconian colonies Tarentum, Heraclea, it must have been of late introduction, and we find in Alcman the ordinary forms as well, e.g.
7rap9-vix-ai,
flsofoiv
(see Ahrens, sect. 7).
The employment of \ for a in certain futures and aorists will be noticed when we come to the verbs. I pass on now to further changes requiring attention in
Declensions
I.
the Declensions and in the different parts of speech. In Declensions I. and II. I have already had occasion to
and
II.
mention the essential peculiarities, viz. the employment of a throughout all forms of the 1st declension, that of to and co? for ou and ou; in the 2nd, and the occasional shortening
See G. Meyer 211, who is of opinion that the usage is of much than Ahrens supposes, and that it has been wrongly introduced into the fragments of Alcman.
1
later date
DIALECT
been affected
Ahrens,
95
of the accusative plural in both to a; and o; respectively. In the last instance the accent does not appear to have
-y.^xc,
copy.:
rather than
-y.aac,
copy.;
(see
sect. 3 (5)).
Dec/ensiou
;
III.
The
nomin.
sing,
sometimes retains
Declension in,
where
;
piv)
lost in other dialects, e.g. y.x/.ap-;, [j.zic, or pj; (Att. the final syllable is sometimes short where usually
;
long,
e.g. KpoLCJxc,
is
the dat. plur. has -znai or
-ai
the accus.
never long as in Att. (SacTiXsa; (see Ahrens, sect. plur. in Lesbian, stems in retain the vowel unchanged, As 30.)
t,
-okic, nokioq, etc., ij.zyyXo-o'kizc, in -0;, --j; (genit. -so;) do

-v]c,
Pind. P.
vii.
I,
and nouns
the nomin.
not contract
in
and accus. plural. Feminine nouns

(Att. -oO;),
e.g.
in -co;
'AyrJko;,
and -co form Alcman.
their genitive in -co;
Pronouns.In the
is
1st
;
Personal Pronoun, the old form

'
Pronouns,
the nomin. plur. is a;xs;, where the very sycov a is due to compensation for a lost a (Lesb. y.[j.[j.zz), gen. plur. ajvicov (Alcman), dative ajuv and a;/Iv (both being
common
found
in
Alcman).
In the 2d personal pronoun Dorian preserves t in tu, xi gen. sing, tso, dat. sing, rot and tiv (tv or tiv), accus. plur.
\j\i.i
(Alcman).
"E and
viv
are used for the accusative of
the 3d personal pronoun. For the Relative, Dorian, like Lesbian, often uses the
form with
initial t.
Prepositions.
ing,
Dorian again resembles Lesbian

'
in reject- Prepositions,
though by no means invariably, the final syllable of deva, >caTa, TOxpa, and also of ttoti (Att. 7rpd$), e.g. jtafrav, and a still further apocope takes TroT-av (in inscriptions) place in /.afiaivcov (Alcman), and kootstov (Pindar), which
'
may
indicate that
the 1st pers. plur. active Dorian ('initior' as well as severior') employs the form -;xe; (Att. -(/.sv) throughVerbs.
'
In
yjx.-id. is
a compound.
chief dialectic
out,
Sanskrit -masi or -mas). e.g., ms?, y~ioi>j.z<i (cf. Lat. -mus, In the 3d plural of the primary tenses Dorian again employs the ancient form in -vti (Latin -nf), e.g., 8-pocuovTi
96
GREEK LYRIC POETS

This termination never ad'
(Simonides), svti (Alcman). mits of v a>eXxu<mxdv.
singular termination in -rpi, called the Schema Ibyceum,' and attributed by some to the Rhegine branch of Dorian, will be discussed where it occurs in the text. 1
The 3d
and in -vjv, and the feminine parhave been noticed above. In the future and weak aorist a noticeable feature in Dorian is the employment of E for the a of other dialects in the case of verbs in -'(co, whatever the stem, e.g., x-toIt is likely that this is due to the analogy of [/.aEorre. in verbs -*( whose stem is guttural (see G. Meyer 531.)
infinitives in -sv
ticiple in -torra,
The
Contracted Verbs.
that a
is,
have mentioned above This + usually contract into a. in the no means the case verbs, and however, by always
I.
In a-w.
co
o non-final,
or x +
indeed scarcely any example of A + s, and a + yj contract into 75.
it
occurs in lyric poetry. 2
The
following, then,
!
is
the scheme of the present tense:

|
vty.to, VIX.YJC, vv/s?i
vi/.TJrov, vix.-/}tqv
vf/.coy.s?
(or -xjxsc)
vi/OjTS,
vt/.wvTi (or -avri).

.
'
E + o, s-f to are often II. In t-oi. E-fs, and z + r = r but lyric poetry not unfrequently follows uncontracted Doric mitior' Doric in contracting s + o into ou or eu. sometimes changes so into to (cf. gi6c = 8zoc), but no examples
l
, l
of this in the verbs are found in poetry. for the present tense
:
Thus we have
or -zuyzc
<piX-<o,
(pikzi:
or
cptXco
otAsoy.sc, -o'j^.s^,
(pLA^TOV
plAYjTOV
o-co, all
to,
<plA'/JT
cpiXsT
ot7iovTt, -oO'vTt, or suvti.
III. o
In the verbs in
that need be noticed

as
is
that
and
contract into
mentioned above.
(svti in
v.
Present tense
Sing.
Plur.
v.
Ety.t,
vjf/.i,
to be.
sect,
is
in-z'i
the Chelido-
nisma
r^j.zc
doubtful,
zvj.zc
ad foe.)
or
(mitior), scts, svti.
See on Ibycus
An
instance occurs in Alcman, XIX. A. yjyXwasajjivov.
DIALECT
97
etc.
Sing. Subjunctive 3d
Imperfect
Plur.
Infinitive
vjy.sv
t;v,
in vjaS-a (r q
t
Alcman),
vjixs;,
etc.
plur. bgjvti.
si;7,sv
(severior),
{initior)
participle, sa>v.
Addendum
Since
my
work has been

of
iiber
in
the press
article
have had an
Fiihrer
opportunity
{JahresbericJit
reading das
an
by
Dr. A.
KoniglicJie
Paulinisdie
Gym-
nasium zu Miinster, 1885) on the dialect employed in Greek Lyric Poetry, in which he argues with no little force against the time-honoured theory, which I have here
It is too followed, of the composite nature of the dialect. late for me to do more than to recommend my readers to
consult the article, the essential conclusion of which
is
that,
while the Epic dialect, as is on all hands admitted, was the foundation of the language of the (choral) lyric poets,
they borrowed from no other sources, but employed with I do not regard as this exception their own local dialect.
very cogent Dr. Fiihrer's a priori arguments against the composite dialect,' to the effect that a race of such exquisite
(
taste as the
Greeks could never have employed so

;
artificial
a style in their song-poetry for he himself admits the non-local element in the shape of Epic forms, and he also hardly lays sufficient stress on the fact that scarcely any
of the great choral poets could be called local poets at all. Pindar, for instance, found favour at cities so diverse as
this to
Cyrene, Syracuse, and Athens, and it is hard to imagine have been the case had he employed such forms as
in the Theban poetess Corinna. On the other Dr. remarks on the Fiihrer's hand, insufficiency of the evidence on which the ordinary theory is based deserve
we
find
considerable attention
and he certainly makes it appear that such forms as -ou<n, -ouâ, which are Epic probable as well as Attic, are too freely rejected in favour of Lesbian or Doric forms by Schneidewin, Bergk, etc., whose example,
;
however,
have
for the
most part already followed.
ARTICLE
VIII
GENERAL VIEW OF THE HISTORY OF GREEK MELIC POETRY

In the previous
nearly
all
articles
have had occasion to mention

active in
the
names of those who were most
furthering the early development of Melic poetry and its accompaniments, while of the chief poets, any part of whose
Object.
Four periods of
10
beônsldered
works have survived, an account will be found in connecI purpose in this article to tion with the text. give a brief connected sketch of the course followed by Melic poetry, noticing especially the influence exerted upon its progress by the historical circumstances of the chief parts of Greece in which it was fostered. Melic poetry at its different stages flourished under the Peonage, first, of Lesbos, Sparta, and Sicily secondly,
;
of the Tyrants in various Hellenic states
thirdly, as
costly commodity demanded by rich men, Tyrants or otherand lastly, under the unhealthy wise, or by entire states
;
I will therefore deal with stimulus of prize competition. our subject in the order of these several stages.
I
that
begin with Lesbos, because, although it is at Sparta we first hear distinctly of rapid progress in this branch
in Article
of poetry, the original inspiration appears, as I have said It is not easy III., to have come from Lesbos.
to give reasons why any particular nation or age happens to be gifted with poetical genius but certainly among the
;
Circumstances
favourable to Melic poetry at Lesbos.
7th century many circumstances tended to The Aeolic race are a the love of song. quicken generally described as especially devoted to poetry, and they are by
Lesbians
-
in the
GENERAL VIEW OF MELIC POETRY

many
regarded as having played a very important part
99
in Race-characteristics>
Greek Epic poetry. 1

Aeolic race
in
Lesbos was the centre of the or adjacent to Asia Minor, and thus na-
Now
turally took the lead in that vigorous renaissance of poetic life which took place in the 8th and 7U1 centuries B.C.,
chiefly
.
among
the Asiatic Greeks.
The
delightful climate Geographical

feat es
and scenery of the island 2 tended to inspire the inhabitants ' r with a sense of beauty and a sympathy with nature strongly reflected in the poems of Sappho and Alcaeus
;
and
position.
.f
while the favourable position of Lesbos, with
its
magni-
ficent harbourage and its ready communication alike with the Hellespont and Black Sea, with the southern coasts and islands of Asia Minor, and with Greece itself, imparted
to the inhabitants just that energy of mind which the age Comrequired for the creations of new forms of poetry.
Active maritime
lifc
-
accompaniments of maritime adventure, was fast becoming the important feature in Lesbian life. Thus Sappho's brother was a wine-merchant, and Pittacus was essentially a leader of the middle classes, and had a
its
merce, with
keen eye to business. But this commercial life was far from fostering material or prosaic sentiments in the nation, for the imagination
was fired by the stories of the sea, and of the new lands and peoples that were met with, and by contact with the great kingdoms of Asia Minor with their ancient traditions and civilisation. Lastly, a certain romance and refinement was imparted by the influence still exercised upon society by the aristocratic families, among whom something of the old feudal hospitality and love of song still
survived. 3
influence of old
no:>1 lty
'
In
a word,
although such comparisons arc

comparison
"
often misleading,
we cannot help being reminded of our own Elizabethan age, when on the one hand the influence
the Ehza of the middle classes was becoming & more and more marked, J"* bethan age. and the intellect quickened by the development of com-
merce which led men to the wonders of a new world, while

1
E.g. by Fick in his Introd. to the Odyssey. Insula nobilis et amcena. Cf. Tacit. An. vi. 3.
Ath. xiv. 624.
IOO
GREEK LYRIC POETS

still
on the other hand the

chivalry
cast
a poetic
active influence of the age of glamour over the whole scene.
was from the

inspiration.
Finally, in Lesbian poetry as in the Elizabethan drama, it life of the times that poetry now sought its
It was among such circumstances then, and such surroundings that the school of Lesbian poetry was developed, which must have already secured its reputation by the time when Sparta applied to Lesbos for a poet Terpander about the beginning of the seventh century. Within a
century, which brings us to the age of
Lesbian monodic song

intensity of
its
not
only
Sappho and Alcaeus, by the energy and
style in all respects,
thought, but also by the perfect finish of its had attained to an excellence hardly
to be surpassed.
all
Interesting part
played bySparta in the history of Melic

poetry.
Of the influence of Lesbian poetry upon Greek lyric poetry I have already spoken, 1 and will pass on to Melic poetry at Sparta. The part played by Sparta in the history of lyric poetryis a remarkable one, and tends to correct our notions, gathered from a later age, and mainly from Attic writers,
with regard to the entire absence of culture among the Spartan warriors. It was at Sparta that Melic music and Melic dance received their development, and Sparta was
the scene of the labours of the distinguished poets Tyrtaeus,
Her
liberal
Terpander, Alcman, Polymnastus, Sakadas, and others. The noticeable feature, however, in this progress of Melic
poetry and its accompaniments at Sparta, is that it was due not to Spartans themselves, but to foreigners, who were
patronage of men of genius
from other Greek states.
and treated with conspicuof being the strangerinstead Sparta, then, of later times, appears state banishing, culture-despising at this early period to be a centre to which was attracted
in
most cases invited
to Sparta
ous honour.
Position of
much
Sparta at
time.
this
fact at the
of the best poetical talent of the day. Sparta in end of the eighth or the beginning of the seventh century was fast advancing to the position, which after-
wards she long held unchallenged, of the leading or representative state of the Greek world. The effects of the
1
See pp.
22, 29, 38, etc.
101
Lycurgean system had now had time to make themselves Internal order was secured, and her rivals in the fully felt. Peloponnese were rapidly yielding to the prowess of her arms for the Messenians had been for the time crushed in the first war (743-724 B.C.), and as far back as 748 B.C. Sparta had successfully contended with Pheidon the great
;
king of Argos.
Among
her warrior-citizens a
demand
naturally arose for music and song, both as an inspiriting and useful accompaniment to their constant drill and
gymnastics, and as a relaxation in the intervals of their hard discipline. In their own ranks, where individualitywas constantly suppressed, conspicuous talent could hardly
and moreover, as inhabitants of an inland without commercial or maritime experiences, less sources of inspiration were open to them than to the Greeks of Asia Minor or elsewhere. Consequently men of genius
be looked for
;
state
from other parts of the world found at this time a ready welcome at Sparta and they were naturally eager to avail themselves of such a compliment from so powerful and so
;
well-ordered a state.
In addition to
this,
the survival of
Monarchical
royal power, as Professor Mahaffy points out, was favourable to a liberal culture, for the strictly conservative
active.
dominion of the Ephoralty was not yet fully established, and the kings, like the tyrants in other states, would be glad to enhance their somewhat scanty glory by the patronage of genius. Therefore the praise was well-merited that was bestowed upon Sparta by Terpander and Alcman in such words as
:
sv&'
x.al
cdyjj.y.
ts vscov fiyXkzi
/..t.'X.
Afota sijpuayuta,
Terp. Frag.
x.al
Mwcx
Xiyeia
I.
or
Alcman's
spreei
yap avra
-rto
cioapw to
xacXcog Ki&aptcoev.
Sparta's reputa-
Nor was her

for
,
.
,
Pindar sings
reputation for song and dance short-lived, how at Sparta the counsels of the old and
the spears of the

AyXafoc {Frag.
youn^ excel
;
>tai
yopoi 'i
xal Mofcra xai
XV.)
Socrates speaks of the Spartans as
poetry and'its accessories survived until late times.
102
GREEK LYRIC POETS
finest chorus, 1 and Aristotle attributes to them a true appreciation of music, in spite of their deficiency in creative power.
forming the
</
Arion and the

Dithyramb.
With this development of Melic poetry at Sparta are connected the names of Tyrtaeus, who was not solely an As I Elegiac poet, Terpander, Thaletas, and Alcman. have spoken of these elsewhere at some length, I need not dwell further on this l Before leaving part of my subject. J J t> the Peloponnese, however, mention must be made of Arion, the scene of whose labours lay chiefly at Corinth, during the rule of Periander (B.C. 625-585). Like Terpander he came from Lesbos and he is not unaptly called a disciple of Alcman since he devoted himself to extending still
;
further the choral branch of Melic poetry. It is with the Dithyramb that his name is associated in the history of
literature, and he applied to it a systematic choral delivery which had hitherto not been extended to the worship of Bacchus. From a wild ecstatic song sung by
Greek
Dithyramb, with its cyclic because a chorus of (yjr/Skioi >'opot), in a circle round danced the sacrificial altar, worshippers became an important branch of Melic poetry, and with the Nome survived when all the rest had fallen into neglect. Its well-known connection with dramatic literature need not be dealt with here and its subsequent history as a form of Lyric poetry will be referred to later on. 2
wine-flushed
revellers,
the
choruses
so
called
Lyric poetry in
Sicily
and
Italy.
Almost contemporaneously with the development of p 0e try in the Peloponnese, we find a corresponding advance made among the Sicilian and Italian Greeks. It was now above a century since Greek colonisation had begun to take root in these regions, and it had met with The progress of the arts rapid and conspicuous success. was a natural result, and while the splendid ruins at Paestum in Italy and Selinus in Sicily, whose probable date falls about 600 B.C., testify to the progress of archiTy[ e ij c
tecture, that of Lyric poetry
is
associated chiefly with the
Athen. xiv. 628 cf. See Introduction to

;
p. 22, n. 3.
'
Dithyrambic Poets.

name
of Stesichorus, whose lifetime
103
falls approximately stesichorus. of Arion returning fable The and B.C. between 632 556 from Italy and Sicily laden with wealth bears witness to the liberal appreciation of his art by the western Greeks but in Stesichorus, and later in Ibycus, they showed that they could themselves produce original poets, one of whom, Xenocritus, had already been received at Sparta. Stesichorus, like the other poets who wrote for Dorian states, devoted himself to choral song, and the great
;
addition
attributed
of the
to
Epode
1
to
the
him, spoken account of him will be found on p. 168 seq. at present I will only add that while he chiefly devoted himself to sub;
is
choral system, of elsewhere.
usually further
jects of
and legends
an Epical character, the influence of Sicilian life is clearly seen in his Bucolic poems, the first
of the kind, and in his love-stories or poetical novelettes. Ibycus, at any rate in the early part of his career, appears
2 to have followed closely in the footsteps of Stesichorus, so closely, indeed, that we are told that authorities were
often in doubt whether to refer certain
poems to one or to He belongs, however, more properly to the the other. next period of Lyric poetry, when it was under the patronage of the Tyrants.
The encouragement given
to poetry
is
and the other
arts Lyric poetry

the Tyrants.
by the much-abused Tyrants From the time of Ibycus onward, every further comment. one of the great lyric poets came into connection more or
too well
less close
known
to require peonage of
with one or other of the despots. Ibycus and Anacreon can perhaps alone be called courtpoets by profession, for from the time of Simonides begins
the period
ibycus and A mrrpon
when Lyric poetry became a marketable com-
command not only of Tyrants but of all who modity had the means to pay for it. But Simonides and Bacchylides certainly found their chief employment in the courts of princes and though Pindar refused, it is said, to give up his freedom by becoming a courtier, he was at one
at the
;
See
p. 170.
See, however,
Welcker Kl.
Schrift, vol.
i.
on Ibycus.
104
GREEK LYRIC POETS

;
time a rival of Simonides and Bacchylides for the favour of Hiero and a large number of his Epinician Odes are
in
honour of that Tyrant or of
others.
No
distinct
characteristics traceable.
Confining ourselves, however, for the present to Ibycus
and Anacreon as the only representatives of court poetry whose works survive, it is not easy to form any accurate estimate of the influence exercised upon Greek Lyric poetry by princely patronage. The change from the boisterously
independent
life
of an Alcaeus to the luxurious surround-
ings of the poets at the would-be oriental court of Polycrates is striking enough, and it is easy to theorise as to its probable results upon the genius of the poet. Such
inferences, however, as
we draw meet with no very
satis-
It is all factory support in the actual poems that survive. very well to say that the absence of any depth of feeling
in
Anacreon or of the glowing imagery so conspicuous in is due to the fact of his writing for those who required to be amused with graceful verses on love and wine, but not to be troubled with any intensity of emotion the same is not true of Ibycus, also Polycrates' courtier, who in ardour of sentiment and expression vividly
the Lesbian poets
;
recalls the verses of
Sappho. Nor should we necessarily conclude from the poems of Anacreon that they reflected the life of a despot's court rather than of any Ionic state
of the time.
The
What
think
adulatory tone not yet
we may
notice
more con-
exhibited.
spicuously in the songs written by any of the great Lyric poets in praise of despots, is the absence of anything like
the gross sycophancy and adulation that might have been expected, but which the freedom of thought and good Thus Simonides. taste of the Greeks would not admit of.
in singing the praises of a Scopad of infamous character did it in so half-hearted a manner that he is said to have
x and Pindar's received but half his stipulated payment admonitions to Hiero and Arcesilaus were, no doubt,
;
more deserved than

flattery in the
agreeable.
Nothing
(Miscell.
like the
ode to Demetrius
nauseous No. XX.) is to be
found
1
till
long after the Lyric age proper.
See post, Biographical Notice of Simonides.
105
In the period to which we next approach, the period in third which poems were written to order and for a fixed price, Poems bitten i0 order for a the influence exercised on the character of the songs by
nxed
the circumstances under which they were composed
price.
is
Lyric poetry now approached distinctly marked. nearer to the position of a mere trade nor did the poet,
more
g^s
*es
s so
as in
modern
times,
first
whatever subjects his vour to find a satisfactory purchaser for every occasion and for every poem he had to strike a bargain with his employer. To this period, as I have said, belong Simon;
volume of poems on genius suggested, and then endea-
compose
his
ides
felt the restraint of their position very grievously is made clear in many ways, but nowhere so plainly as in the well-known words of Pindar, Isthm. ii.,The men of old who entered the chariot of
and his successors. That the men of genius
'
the golden- filleted muses voiced hymns of love.
forth their honeyFor the muse was then not nor were sweet yet greedy of gain nor an hireling soft- voiced songs, with silvered faces, sold from Terpsi;
lightly shot
We
Restraint
felt
"
by
5 see too how the poets avoidedby chore of honeyed utterance.' from digressions endeavoured to cast off the bonds imposed upon them by proper subiect. r in which they systematic digressions from the proper subject,
. .
often
felt little
or no personal interest.
ill -
Thus Simonides
on on
deserved eulogy skilfully avoids bestowing an his patron by giving vent to philosophical reflections
'
Frag. IX. and Pindar, as indeed to a less degree his contemporaries, almost invariably passes rapidly over his proper topic, the particular athletic victory, to mythological
ApstTj,
;
subjects which possessed special attraction for his genius. Under such artificial circumstances it is remarkable that Unfavourable
Lyric poetry should have displayed such high merit as we un der which the n wrote discern in the remaining poems of Simonides, Bacchylides, p h ^ and above all of Pindar. That it did so is in great part counterbalanced
01 1*011 in st*-! ncps
due to the fact we are now concerned with the most stir- history penod ring and inspiring period of all Greek history, the first half of the fifth century. But when the mighty impetus given to Greek thought and Greek art by the removal of the Tantalus-stone of barbarian invasion was checked by
4
'
1-11
by the
stirring
of the
io6
GREEK LYRIC POETS
Rapid decay of lyric poetry.
the narrow and internecine warfare, and when too the chief patrons and employers of lyric poets, wealthy aristocrats and tyrants, gave place before the advance of democracy, the course of Melic poetry came to an abrupt conclusion, and it ceased to attract men of poetical genius. The Nome and the Dithyramb alone retained their prestige,
Final period Poems written

for public petition.
and with the mention of these we come
to
what
com-
noticed as the final period of Lyric poetry, when compositions were not written spontaneously or for any definite
Early origin of the custom.
employer but for public competition. Contests in music and poetry date back indeed to the earliest times in Greece for many of the great innovators in lyric poetry, and Clonas, are mentioned as prize-winners e.g. Terpander and the legends about Apollo and Marsyas and others
;
In Athens, by the time when point to the same custom. that city had become the centre of Hellenic culture, nearly
all
Drama
great literary or musical productions, of which the is a conspicuous instance, were destined for occa-
sions of public competition, mainly at the great religious festivals in honour of Bacchus or Apollo, such as the
All classes of
Lyric poetry tended now to

into disuse, with the exception of the
fall
Dithyramb and
the
Nome.
and thus the poet in no found his patronage wealthy and powerful longer in a democratic but individuals public. Epinicia, Encomia, and even Threnoi were no longer in demand Parthenia were inconsistent with the oriental Prosodia or processeclusion of the Athenian women while sional songs were unsuited for prize-competition could evoke a the Paeans to and hardly gods Hymns when an the strain at popular religion age high poetic had completely lost its hold upon all but the ignorant or So one by one the time-honoured the superstitious.
Dionysia, the Thargelia and the like
; ; ;
x until only the poetry fell into disuse Dithyramb and the Nome, from their connection with the great public festivals, retained a position of any im-
classes of Lyric
yj
portance. ts T(3v
1
Hence
Aristotle, Poet,
7roi7)ffi
i.,
otS-upa{/,[3oiv
)tal
yj
tcov
uses the expression vo'^cov, or even v\

all
Cf.
Plat.
Laws, 700-701, where
it
is
complained that
the old
distinctions are
now
ignored.
The whole passage should

this period of
certainly
be consulted as a striking criticism on
Melic poetry.

&&upaf/,(3o7ronjTur
107
as an equivalent of Lyric poetry in general. natural results of this system of public competition are obvious enough. The composer was forced to consult the
The
Results of the
petition,
predominant taste of the period, and to aim rather at thus producing striking effects than at genuine merit we find in Plut. de Mus. c. 12, the complaint made that
;
writers seek tov <piâv8-pco-ov Tpo7rov alone, i.e. the manner Poetry becomes more and pleasing to the multitude.
more subordinate to the music, 1 it being perhaps easier to form an immediate and superficial judgment on the
latter
than on the comparative merits of a series of poems.
Lastly, the composer sought to attract the attention and enlist the sympathy of the audience who sat in judgment
upon him by introducing

foreign to
it.
into Lyric poetry practices really
Thus dialogue between some individual and the chorus was often employed while members of
;
the chorus, dressed in appropriate costumes, represented dramatically characters which formed the chief subject of
Myth, instead of forming an ornato the main subjective subordinated artistically interest of the lyric poem, now became again, as it had
the
poem
lastly the
ment
been apparently
topic, as
is
in
shown by the
Philoxenus
etc.
the
the hands of Stesichorus, the main titles of poems of Melanippides or
Danaids, Marsyas, PersepJione, Artemis,
As I am speaking elsewhere of this final period of Lyric poetry Melic poetry, 3 I need not now dwell further on the subTothôlS^ From this time forward, in spite of isolated Paeans j* ^ ad occupied ject.
.,,. and other Melic passages that survive, we may with safety say that Lyric poetry was no longer cultivated by the To affirm that songs were no longer written literary. and sung would be absurd, especially in connection with
.
,,,,..
before the eighth century b.c.
Cf. p. 40.
speaks of Dithyrambic performers as [-upjSee also Bergk's Gricch. Lit. vol. ii. p. 534, note 30, where he refers especially to Aristoph. Pint. 298, and to Athen. ix. 374 A, and points out that we have practically a return to the Tpayixo; yopd?
-v/.'A.
Arist. Prob. xix. 15.
of
Anon.
3
See Introduction
to
'
Dithyrambic Poets.'
108
GREEK LYRIC POETS

to return to the
But song-poetry tended more humble position it had held before the 8th century B.C., when lyric poems were written for and by simple people, and in honour of the particular occasion rather than to win a literary immortality. Neversuch a race as the Greeks.
and more
enough that among the uncultivated song-poetry played as intimate and important a part as
theless
it
is
likely
In spite of the fact that literary artists, lives. to Plato's testimony above mentioned, no longer according maintained the proper distinctions between the various
ever in their
Greek race
types of Melic poetry, we can hardly doubt that the in general did not abandon the peculiar and
agreeable practice of employing special kinds of song for all the interesting occasions of life and indeed, as I have intimated on pages and 12, it is not improbable that
;
two of these types, the Wedding-Song and the Dirge, have survived to the present day.
at least
GREEK LYRIC POETS
ARCHILOCHUS
Fl.
687 B.C.
SOME
explanation
is
perhaps required
for including in a
collection of
Greek Melic poetry proper any of the
frag-
ments of Archilochus. In the first place it is quite certain that Archilochus was a composer not only of Iambic and Elegiac but also of Melic poetry proper. He himself speaks of his Dithyrambs and Paeans, Frag. XXI. a' and (i\ and the ancients undoubtedly regarded him as a lyric poet in the ordinary sense. Thus Horace places him side by side with Sappho and Alcaeus in the lines
Temperat Archilochi Musam pede mascula Sappho, Temperat Alcaeus, etc.
and in several passages such expressions as ûpixo? tto^t^c and 77po?7ojpav aet&siv are used of him. 1 Secondly, although no passages from Archilochus survive which we can regard in quite the same light as the Odes of Sappho, Alcaeus,
or Anacreon, yet
'
we cannot
altogether deny the
title
of
any These poems alike in form and midway between poetry suited
Melic
'
at
rate to his Tetrameters
in spirit
for
Epodes. it were recitation on the one

stand as
and
his
hand, such as Archilochus' Iambics, and poetry accompanied by melody on the other. Some passages, such as
the tetrameters describing the ideal general, and to a less degree the fable-epodes, are in the plainest and most unimpassioned style; in others, as in the tetrameters in which
he boldly faces his troubles, No. IX., and still more in the erotic fragments, an ardent passion breathes in the lines
1
gram
See Niccphor. in Schol. ad Sy?ies. de hisom. of Theocritus on Archilochus.
p. 427,
and an Epi-
ii2
GREEK LYRIC POETS

is
which
these reasons
For essentially characteristic of Melic poetry. I have had little hesitation in including the
in this collection.
fragments of the Tetrameters and Epodes
Archilochus was a native of the Ionian island of Paros, and was apparently of noble descent on the side of his father Telesicles, 1 though his mother Enipo was a slave, His father led a colony to Thasos, in which Archilochus
took part, with a view to improving his fortunes. 2 The date at which this took place was probably 708 B.C., which is in agreement with the statement that the poet flourished
3 687 B.C., and was contemporary with the reign of Gyges (716-679 B.C.), whom he mentions in an Iambic line. He was thus contemporary also with Terpander and ranks Dissatisfied with his among the earliest lyric poets. expectations of gold at Thasos, which he abuses roundly in his Iambics, he appears from his fragments to have joined with the inhabitants in their attempts upon the neighbouring coast of Thrace, whither the gold-mines again He obtained little beyond hard fighting, attracted him. in the course of which he incurred the disgrace, if such it was, of casting away his shield, the loss of which he recounts with but little regret, and with characteristic
frankness
'Ac lot
aura;
S'
p.sv Sal'cov ti;

a|/.(0{/.vjTOv
svto?
ayaX'XeToa, vjv TOxpa Sa^vcp kocXXwtov 00/. eSiXwv

xzknc; acrcls
sx.evyj
ss<puyov
Savarou
SppSTW SâUTl?
JCT7JffO{/.ai
OU
KOOCUi).
It is conjectured that he returned from Thasos to his native island Paros, since he fell in a war between the Parians and Naxians. His life was an active one, and
Bergk, on the strength of Pausanias x. 28. 3, thinks that Telesicles belonged to one of the priestly families of Paros. Archilochus indicates that he was of wealthy parentage in the line Ou yap jjloi tovwj
zaTGioVo? x.x.X.
2 3
See Bergk 149 and Aelian Hdt. i. 12.
V.
H.
x. 13.
ARCHILOCHUS
115
which place, be it remembered, was at this period not alone a centre of literary influence, but a strong fortress of We can trace his nobler nature in not Hellenic morality.
a few of the surviving fragments.
The passage beginning

x.ux.ci){/.ev
up.!, &u[/ ayz/jyavowTi xôcatv
(No. IX.)
in
is admirable in its firm and dignified resolution Frag. XVI. the words are those of a warrior who is calm
coming struggle
ou yap
and unflinching, though keenly alive to the danger of the and in the line
;
iaifXof.
JtaT&avoQffi jcspTOf/ietv
all
it
77'
av&paaiv,
he shows that
But, whatever
calls
for
his
bitter
chivalrous to continue
after the
animosity he is too death of his adversary.
most
for
may be the nature of his sentiments, what our admiration is their entire sincerity and
clear incisive
heart,
the earnestness with which they are enforced. In every word he lays bare the eager thoughts in his
whether his mood be one of love or of hatred. His reputation as a poet was extraordinarily high. He is constantly placed on a level with Homer, not on account of any particular similarity in their poetry, as was the case with Stesichorus, but simply from their common l and as Homer quality of great and original poetic power was the father of Epic poetry, so also was Archilochus of Iambic and even of Lyric, for he was the first to abandon the traditions of ideal heroic poetry, and to find in the
;
realities
of his
own
life
a fitting subject
35.
11,
for his
great
genius.
Dio Chrysostom,
'
says:
o\o
yap
:
ttoitjtcov
cuu.(3a^.s'tv
'
ysyovortov s a~avTo; too aitovoc;, ot ouftsva tcov aXT^cov ' and Velleius, I. 5 ociov, Opjpou ts y.al Apyiko/ou
;
Neque
quemquam
mus.'
alium, cujus operis primus fuerit auctor in eo
perfectissimum praeter
Cicero,
Homerum
et
Archilochum
reperie-
Orat.
i.,
ranks Archilochus with Homer,

imitated
;
Archilochus, however,
Homer
it
'
in
dialect,
and more
directly in not a few passages
and indeed
was on
this score that
Longinus, c. 13. 3, gave him the title of Oij.rjpix.wTaxoc. Yet, of course, on the whole the points of contrast between the two poets far outweigh any similarities in detail.
n6
Pindar,
'
GREEK LYRIC POETS

;
and Sophocles and Quintilian, who speaks of his powerful and terse throbbing phrases, full of blood and nerves,' declares that he was inferior to none, apparently
not even to Homer, except only in his choice of subject. 1 Not only in the spirit of his poetry did Archilochus
exhibit the originality of his genius, but also in many innovations connected with the mechanical side of his art.
I
only point out that the fact of the Iambic metre and of dimeters and tetrameters being attributed to him, but also that of Trochaics, Choriambics, and even of the Alcaic stanza, points to the important influence that he must have exerwill
'
them elsewhere 2 Greek metre. I
need not dwell upon these now, as I have mentioned in connection with Greek music and
invention,' not only of
'
'
cised on the
development of Greek Melic poetry proper.
x. i. 60 Validae turn breves vibrantesque sententiae, plurimum sanguinis atque nervorum, adeo ut videatur quibusdam, quod quoquam minor est, materiae esse non ingenii vitium. Cf. Plut. T. vi. p. 163
:
'
[A(Jn|aito o' 2
av
xis
[Jisv
xr^v
ApyiXoyou
U7Co9effiv.
See pp.
41, 47.
ARCHILOCHUS
EPODES
I
IBergk,
X^/
\
S4
i]
v>
^y
v^
s^W
\J
'.
\*w ^ w v->v^
W
N-*
7TCTCap[/ivo
Si'
OGTStoV.
II
[103]
^
;
V^J
WS^
^w
'
^
' *
t"~~
^ w v^ ^ v> - 3 O "" V-A^ ^\-*
Toioc yap cptXoTVjTO? pto? utt6
jcapSivjv eTvucO-si?
noKkrv
xêâ?
'acct
ex.
ayluv
o;x[j.aTtov sêusv,
cr/jDiiov obtocAag cppsva?.

Ill
[85]
V^/V^ tÂ-*
^W
to
>^ "~
'
'ATâoc
p.'
6 XufftfAeXi]?
'xaips, SafAvarai
tto&oc
IV
TO LYCAMBES
[94)
(a)
ITaTsp
Au'/caiy.pa, ttoiov dcppacto too^s
tC?
/]<;
ca? 7tapr ip cppsva?

(
to
vuv Ss Trpiv yjp^pSMJ&a acTOiii oatvsat vlXw.

;
ft-/]
ttoatj;
The
references throughout the text are to

iv.
Bergk's Poet. Lyr.
Graea, Ed.
1882.
n8
GREEK LYRIC POETS

[Bergk, 96]
aAa; ts xal Tpa7csâv.
(to neobule)
^_y
-.
\^^t ^v_/ ^ ^ ^ \j
\^/
v^
'
^*
^
.A
Oti/4&' 6[7xoc 9-aAASi?, dbrocAov j^poa'
y.apcpsxat,
yap
vj^vj'
"Oyu.o; Jtoutwv Ss yvjpao;
Jca-S-atpeT.
VI
THE FOX AND THE EAGLE

[36]
(a)
Aivo;
tic,
av9-pto77tov
ofts
w?
jmustoc uvg>vwjv ap' aXwxif]^

[7.tav.
[87,
no]
([i)
Op^s
SV
iv
IW
sksTvos u^tjao? rcayo;
Tpvj/u; ts >cal TraXiyxoTo;"
TW
*
KOC'&TJp.ai STjV Xa<ppi'CtOV [7.0C/7JV.
*
t'j
Mr
(y)
[/.SAajjwniiyou t'J/oi;.
[38]
'fi ZsO, TfotTep

cru
f>'
ZsGj
crov
[j.ev
oupavou
opa?
jcpa-ro;,
spy
dV
av8-poi7T<j)v
AEWpya Jta&SfMGTa,
u(3pi;
go! Se
{Vyjpiwv
seal
Siy.yj [/iXsi.
VII
v ~ Jw w
\j,
[89]
J.
~-
'
\j
\j
x A
'
'
s-/ s-^
^/ W
/\
co
\io(u rtv'
U[vlv aivov
KvjpU/tiSvj
ayvuj/ivY] cratuTOAT}'
IlUhj/CO;
Y)c
Dvjpicov aroJcpi-S-ei; av'
[7.0'JVO?
<7yXTl*/jV
ARCHILOCHUS
Tto S'
ap'
119
aiktamrfe x.pSa7iv] guvtjvxsxo
TCUJCVOV Z/OUGV. VOOV.
VIII
[Bergk, 119]
HYMN TO HERCULES
TvjvsXXa
x.aXXivix.s"
f
(oi) X.0OOJ.VIKS /atp'
ava Hpax.Xssc'
x^vsXla 3caXX(vuts' auxo; xs x.' 'IoXtjo?, ai/y//jTai ouo* xrvsXXa x.allivix.s.

(to)
koXTuvixs /atp' kvq 'HpajtXss?.
TETRAMETERS
IX
[66]
u[/,s,
$-u|/.'
jcroecriv xjjx.oj|/.oV, aivz/jyavowt.

S'
avsys, ou<jp.svt3v
o&i^su 7cpoG(3aXo)v svavxiov
v oo/totatv s/Dptov tcXyjciov JtaxaGxa-S-si? trrepvov,
ac<palsto;* x.al
jjwqxs
|/.7vxs
vtxwv
a|/,q>ao7]V
avaXXso,
5
vdmq&si; sv
ol'/Cto
)taT7TSfftov
oqupso"
alii yaproictv xs
[/.-/)
ppctps,
x.al x.ax.olmv
aayala
s/2',.
X171V yiYvtdocs &' oio? puc;xo? a.v&pto ou?
X
[56]
Tot?
-8-eot? Tifrei
(xa) 7ravxa" xoXXaxa?
;xsv
sx. x.ax.tov
avSpa? Gp#-o>j<7iv {/.sXaivr jceiuivou; exl y9ovi 7;o'XXax.i; 5' avaxps7T0Uffi x.al {/.aV su [jsfiTjx.oxa; u7rxiou? x-Iivout'" 67rstxa TroXXa vtyvsxai x.ax.a',
x.al
pioo ypW-'ft 7rXavaxat xal voou Trapv-opo;.
XI
[74]
Xpvjfzaxtov asXrcxov ouosv <ttiv ouS'
a touoxov,
ouSs
X.
&at>[/.a<7iov, sttsi^v]
sO'/JX.S
Zsu;
rV
axr
p 'OX'j[v.~itov
[JE.S(77]p.(3pi7]
VUX.t'
OOTOJCpUâ? (pao?
'/jltou la[7.7:ovTo;'
ex.
Se to'j
x.al
7^8' ~' av8pto7iO<j; oso;. wtffxa wavxa x-aislTa vivveTai
uypov
120
GREEK LYRIC POETS

avSpasiv'
;xtjS'
jxvjfJslc
&'
Uf/.c3v
U7op<3v &au|/.a'(T<o,
oxav
Ss^cpTut &7]p? avTa|7.si^covTai vo;xov
svaXtov
<pD/rp'
/.at
cpiv fl-aXaffCTi? ^/sevxa jcufwtTa

S'
vpsipou yivvjTat, toigi
fôu r,v opo;.
XII
[Bergk, 70]
Toto; avO-pioTrourt
>cai
frujAOC,
Tâuxs, As7ruvso)
Zeus
7:a'i,
yiyvfirai -O-v/jtoi? oxoitjv

cppovsuci
toi' 0/.0101C
sV
vjîpyjv ayfii,
EyxupsciXJiv Epyfxacriv.
XIII
[58]
Ou
iXso) Ltsyav GTpaT"/}ydv ouos oia7tE7cXiy[j.Evov, 0'J($ yaOpoV OuS' U7i^'jp7]|XV0V,

jSciGTpuÔKjt
[j.oi
vXkv.
<j[xix.po?
ti
Jtal
s'itj
7rspi
jtv^â? iosiv
oo'./dc, a<7<paXco; (3Ef3vpcco<; ttoggi, x,apStv); ifkioc.
XIV
[54: 55]
rXauy', opa, pct&ix; yap

ttovto?,
C7j[/.a
aj/.<pl
Vj'S7j
3c,uf/.aatv
TapacaETa:
*****
S'
axpa Tuplcov
jayavEt
S'
opfrov IVraTat, vscpoc,

<pd(3o?.
/ia(ovo;"
C keX7FT17js
scat
vsouc S-apcuvs" vijoj?
S'
ev ftsoYTt 7iipa.Ta.
XV
[63]
Ou
Tt? aiSoioc [XEt' acrxtov x.at~p 'i<p{)mo; -9-avwv

j(apiv
yiyvsTaf
^ f-aXXov too oou (W/COfASv.
XVI
[641
Ou
yap Ti>Xa
xaT-8-avouffi
/tEproy-EEtv
etc'
av<W.ffiv.
XVII
t6 5 ]
sv o
~ [aTv.[j.y.i
p.ya,
tov xaxcoc
((/.s)
SpwvTa
Setvot? avTa{Ae{3s<7'9-ai /.a*oi?.
ARCHILOCHUS
XVIII
[Bergk, 75]
121
KX0&'
t'Xsto?
avxc; 'Hcpatars f/.ot G'Jaixaô? youvouuivco ysvsu, /api'Ceu &' oia-ep yaptêai.
/.at
XIX
[69]
NGv
Ss Astocpdo? jviv ap^si, Asio<piAoc &' imxpaTSi, AecocpDxo & reavTa Jtsvrai, Aewpt>.oi S' ax.ouTX'..
XX
[7']
Ei yap
to; iij.ol
ysvonro
ppz
Nsojiou^vjs Jhysfv.
XXI
[77]
(a) 'H<; AiwvuffOi' avattro? xaAov sEapEoa c/.eaoc 010a rkfhjpai^Sov, olvw cuyjcspauvw&sts <povac
[76]
(ft)
Auto? eEapy<ov
7rp6c
aulov Asapiov
7ratr<ova.
XXII
[59]
'Ettto:
yap vsxptov
7tcovTtov, ouc Ipâp^Lattsv ~o<7iv,
5tXlOl <pOV7jC EG[AV.
122
GREEK LYRIC POETS
MELIC POETRY AT SPARTA

TERPANDER
I
ON LACEDAEMON
[Bergk,
6]
"Ev8-'
x.al
amta
t vstov
S-ocaasi jcai lmSgcx. Aiysi*
m/.a stjpuayma, JcaAtov STCirappoft-o? spyiov.

II
[51
2ol
S'
vjfy.et;
TSTpayyjpuv a7uo<7TSpâvTSi; aoi&r'v

u'[j.vo'j;
ETTTaTovw
qpdpfjuyyt veou? jtsXaor.ao^sv
III
LIBATION HYMNS
[1]
(a) Zsu
7vavrtov
apya,
~avT<ov
ZSU,
ayr'jTcop,
(701 7tfX7TW
TaoTav
uiAVcov
apyav.
[3]
(fJ)
Sxsv&toêv toi?
Mvaâ;
wawlv Mc-jiai?
xai
tw Mtofiap/w
uiei.
AaroCic
IV
PROCEMION TO APOLLO
'Aacpi [j.ot aGri; avals' exarafioAov asto^Ttd cpprv.
SPARTAN SONGS
TYRTAEUS
'Ef/.paTvjpta
I
123
ij.il'q
[15]
V-"^
_-.
W^
'^'Vw'
"Aysr'
y.topot.
to
SâpTa? suavSptd
7:aTpcov TroTaafav,
Xau*! jviv I'tuv 7rpof3aXs<jfrs,
(7//j
<pstoo{/.evoi xa; Cwa;* ou yap roxrpiov Tac 2~ apra?.
II
[16]
\^/
v^
\^ ^1
ttotI
"Aysr'
to
Sapra;
svottôi
x.copoi
rav "Apsoc
vlvrpiv.
SPARTAN DANCE SONGS

I
Lp.
1303]
TEPONTE2. ANAPES.
ITAIAES.
'
A[j1c, -ox.'
'
r^j.zc,
-
aXxiôt vsavtai.
ai Ss
Api;
r
Se y' r^xs;
cte
X-^, auyaaSso.
r.oXkCi >caooovsc.
A[/i;
y'
e<7<7o';y.e<7)a
II
[/to/.]
IToppto yap,
to 7ratds?,
xdâ
[ASTajiaTS
(3sXtiov.
y.al
xtoy.aâTS
ALCMAN
Fl.
670 B.C.
OUR
information concerning the events of Alcman's 1
life is
scanty enough, as might be expected from his early date. He came from Sardis, as we learn from Frag. IV., in which he playfully boasts of his connection with the centre of
Lydian civilisation. Harting, it is true, declines to accept the poet's plain testimony, believing him to have spoken
in jest
but this strange view and Bergk's assumption, from the name of Alcman's father, Damas or Titarus, 2 that he was at any rate the son of a Greek residing in Sardis, seem to be due to a jealous reluctance to admit
;
poet was not of genuine Hellenic describes Suidas him, according to one authority, origin. as AuSo$ kx. SapSscov, according to others as Aa*(ov arco MeGffda? but the statements are reconcileable by supposing that when he became an adopted Lacedaemonian,
that
the celebrated
to poetical notoriety, Suidas tells us, by the 27th Olympiad, or 671 B.C., a date which Muller regards as inherently improbable, its remoteness being, he thinks,
Messoa was the He had attained
district
with which he was connected.
hardly consistent with the comparative maturity displayed by his muse.

Midler's argument is not, I think, a strong one for Melic poetry must have received considerable attention, especially at Lesbos, long before the close of the seventh century, when it displays itself to perfection in the poems of Alcaeus and Sappho. Alcman lived, Suidas adds, of the during reign Ardys, king of Lydia (652-615 B.C.)
;
'AX/.[j.av
or
'A)./.;jia<ov,
latter.
the former being a Doric contraction of the 2 Suidas.
ALCMAN
and Eusebius assigns the
in his
125
B.C.,
42c!
Olympiad, or 612
as one-
He somehow became a long poetical career. period slave of the Spartan Agesidas, but his talents won him his freedom, and quite contrary to the later practice at Sparta
he was received as an adopted citizen. 1 He seems to have flung himself vigorously into the life and language of his new country and the position he took as leader of the
;
choral performances, which played so important a part in Spartan life, must have made him a prominent member of
the state.
Besides the passage
in
Eusebius, Frag.
11.
indi-
cates that he lived to an
advanced age.
He died, according
2 from the same offensive disease as Sulla, and at Sparta. 3 buried was he have already dwelt upon Alcman's relation to the I on the part he played in &suTSpa xaaracTarri? at Sparta, and the development of Choral Melic. and of the dance that 4 It has also been remarked that life at accompanied it. in his scanty fragments by no means reflected as Sparta
to Plutarch,
accords with our preconceived notions on the subject. 5 Instead of being a species of barracks both for males and
females, the
town seems
to be alive with
bands of dancing
maidens, engaged
now
;
in earnest supplication to the gods,
now
in mirthful poetic intercourse

'
with each other or with

'
instead of the traditional black broth their leader the poet the tables are heavy with cakes and ale in abundance and
while around the town and its pleasant life there variety extends the beautiful scenery of the mountains which for so many centuries secured to Sparta that peace which to the poet's eyes they typified in their outward form. I mentioned that Alcman adopted the language, or rather This statement requires limithe dialect, of his new city. He employs Doric forms freely, 7 and not a few tation.
;
Laconisms (.. cruov = &eiov, -apcrsvoic, caXXst), 8 but his can in no way be called a popular or local one
1
dialect
in
c.
the
Hercul. Pont. Polit.
ii.,
Pausan.
iii.
15.
8'
and see p. 100. 4 See pp. 29, 38.

Aay.soai|J.ovio;.
Sulla,
36.
Pp. 100, 101.
Frag.
T R
III.
euoouatv
ops'wv xopuooa xs xai cpapayyeg x.t.X.
xs'/p/jxat Atopioi oiaXc'/.-o>,
y.aOx-sp See, however, p. 94, note 1.
126
GREEK LYRIC POETS
same way as we speak of the Lesbian of Sappho and Alcaeus. As with the majority of the Lyric poets, the fundamental part of Alcman's dialect was Epic and, besides
;
the Dorisms, he introduces several Lesbian forms, Pausanias, stXsvva, and the diphthong oi for the Ionic 60.
xv.
2, is
e.g.
III.
( Alyjj.y.vi) izovrpc/.vxi ou&sv sc vjSovvjv auTtov sX'jp.yjva.TO xtov Aa/xovcov ^ yXtoccx y.G[J.XTX That is to say, Alcman, jnuara xapeôpivvj to eu<po>vov.
:
nearer the
mark than Suidas
while appealing to his auditors by a flavour of Laconisms, avoided all the harsher forms of that dialect.
Suidas
songs, as
tells
if
us that
Alcman was
the
'
inventor' of love
people had not
fallen in love
and committed
their sentiments to poetry before the 7th century B.C. may, however, have been among the earliest Melic poets proper who cultivated this time-honoured branch of the
art.
He
How much
he was indebted herein to the influence of
a possible Lesbian school, subsequently the headquarters of erotic poetry, we are not in a position to determine though
;
his
employment of Lesbian
dialectical
forms
is
to a certain
have a fine erotic couplet in Frag. and another graceful passage in Frag. XVII., 'AcppoSira yiv oux. <m /..t."X. In his Parthenia also a. sentiment of romantic admiration for his beautiful maiden-choristers is prominent and Aristides calls him
extent significant.
XVI. "Epo;
()'
We
[j.z
ocuts y..tX,
'
the praiser of
women \
The extant fragments

them
;
are scanty enough,
and many of
are merely quotations in illustration of some kind of food or wine but in addition to the interesting, newly-
found Parthenion, there are two short passages of the highest poetical merit I refer to Frag. III. suSougw S' opstov
:
ts xal 97.py.yys; x.tX, xopu<pai
which for its loving sympathy with nature is almost unique in Greek poetry and to the beautiful melic hexameters in Frag. II., ou eti xap&svtxal
;
[/.'
[j.sTayapus; iaepocptovoi
-/./evX.,
charming
in their
rhythm and
in
the plaintive tenderness of the language. Such gems as these assure us that in losing the works of Alcman we have lost those of a great poet.
1
(ov EptoTizo? :;avu cuprcr? ys'yovE tcov
epwcixwv
ja.eX(ov.
ALCMAN
[Bergk, 23]
parthenion (discovered
11.
in
Egypt 1855)
1-4.
\^
\^J
\^/
'
oi-ww-w^-A
^
\5'.
\*>
^
'
^ >^
v^
'
^
11.
11.
11.
5-8, repeat the metrical system of w^^^w^ 0,-14.
1-4.
ww ww ww WW
(also
ww ww WW
J.
WW WW -w
'
yJkv.fJTV. ()Z
<7T0.
spya
7:<x.gov
/.x/A
[/.7]<>a{/.evoi.
("E)<JTl TIC GllOV TLGi;"
TTp. O
6 &' (6'^)jS(t)oc, o<>Tt? su<ppo)v
(a)f/ipav (oi)a7cXe)tet,
(a)*eXy.u)<7To;
syuv
ovTOp
o' xeioco
'Avio<3? to
-p'
cpco;*
6pc5ay.tv
cot' aXto;,
'Ayiow [âpTupsTat o out Jlij/.e (paivvjv.

outs u.tot/.wi&ai
ouos
viv
stocivyv
xiXsvva yopa(y)o;
10
Awt
st,
do/cset vy.o hulsv
aura
128
GREEK LYRIC POETS

a! ti; ix.-ps-Tj? Tok, (o7rsp
(s)v
BOTOIC
oraffeisv (i)7C7TOv
1
Trayov (a)&&-'Xoq>opov jtavajjaxooa,

(t(3v) u()07TTpiSlt0V QVSiptOV.
'
oux
opvj;
f/iv jcsXij?
<7Tp.
'EvsTtx.6?,
rote, l(/.a?
a Ss /atTa
ave^ta? 'Ay/jTi/opa; av&si

(y)puco;
(to)?
20
ax^pxTO?,
to
apyupiov Trpocrtoxov ti TOt Txyto St,a<paSav
t'
'Ayyjci/opa, f/iv' a Si 'jTpa x^' 'AyiStov to u)o;

17C7TO?
auTa.
;
25
si^vw
JcdXal; ale? opa[/.svraf
Tal
7irsXetaoss
yap ajuv
'OpQix <papo; (pspoujat? vuxTa St' ajzppocriav octs

acTpov austpofAsvai
(j(si)ptov
\)Ayovzv.i.
30
TTO-
0'j't
yap
ti
770p<pupa;
toct(7o; xopoc, worr' ay.uvai,
out 7cotxiXo? SpaV.tov ou^ [j.iTpx Tayyp'jato?,
AuSia veaviocw ... wv ayaXjv.a

.
35
O'l/Si
Tal Navvto;
O'jS'
y.6[J.y.i
aXV
'EpaTa
aiziS-ffi
ouSe SuXa>ci? t
seal
K7.sin<Ti<7iqpa.
II
[Bergk, 26.]
Ou
[/.'
ti,
api)vcx.al [/.sXiyapusg iy.epo<pwvoi
yjia
<pptv
ouvaTaf
fiaXs Syj (3oXe y.yjpuXo;

<*[/.'
slijv,
0? t' 1 /.u^.aTO? avik>;
aXx.uo'vcrGi
7TOT7JTai
vêys?
r^Top iytov, a.Xt-o'pcpupoi; siapoc opvt?.
ALCMAN
in
[Bergk, 60]
V-/
129
\^/
\S
\-/l
^/
'
v^ ^/
\^/
<y
>^/
'
^7
V-/ V_/
\5
Euoo'jgiv
<r
opsov
jtai
/.opucpai
re xal <papayye;
xpcoovs; ts
yaparôai,
cpuXa ts FipKsfr' oca Tps<psi piâiva yaia,

tH;ps? t' dpsoaoot, jcal ysvo? f^sTaccav
xa& /Cvw&aV sv
(3sv&s<Jt Tropcpupsa?
aXo?
siioouciv o
6'iojvcov
cpuXa Tavu7TTepuyo>v.
IV
[24]
\yl
v^/
v^
v_y
<^<
w^ v^ w ^ / \ w ^> w w \^ w ^
\^
v_/
*
<_/
\-*
v_/
\/
Oux.
eis a.v/jp aypoi/co;, o>j&s
c/.aidc,
ouos Trap cocpowrtv,
ou&e scffaXo? ysvo;, o'jo' 'Epuciyalo; ouSe
Trotjr^v,
aXXa Sapoitov a~' axpav.
V
[66]
"Ocai ok
evti,
7ratos? txuitov
tov xid-apuxrav aivsovTi.
VI
[29]
Zs'j
area, ai
yap
hp.bc,
xo'ci; sir.
130
GREEK LYRIC POETS

VII
[Bergk,
i]
^ v^ ^1 ^ ^ W ^W
W V^
^.
V-
V^
/\
'
wwÔ
woXuji.fx.eXe?
MiZa' aye, M(3ca Tayeia

ai.evy.oiSs [J.eXo?
veoyu.ov apye irapcsvoi?
aeioev.
VIII
[45]
Muc'
u|j.vto
aye,
KaXXiorca 8-uyaxep A16?,

S'
i'[xepov
eVi ap^' paxtov STrewv,

jcai
yapievra
Ti&et,
/opov.
IX
[7]
'A Mcocra
jtsxXay a Xiysta Ssiprv.
X
[16]
TO HERE
Kal
tIv suyottat (pepoiera
tovS' eXiypucto 7TuXetova

x.TjpaTto xuTratpo).
B.
BANQUET
XI
[22]
SONGS.
\^ "^ \J <J ^ ^ \^
.
i^>
avSpeicov 7rapa oatTD[/.ovs<y<nv rasTCt 7ratava xaTapjjetv.
ALCMAN
XII
[Bergk, 74 B]
\s
131
^ ^ ^,1
^
/\
KXivai
j/iv
sVra
>cai
togou TpaTCcSai
[/.axcovukov aprtov Aivo) re
s7:i<rrs<poi<7<xi,
cracra[/.to >t^v izzkiyvv.ic,
TZZOZGGl
Xpi>GOX.67Jkx..
[75]
"Hotj
7rapsc;st, Truavto'v
ts tto'Xtov
t'
OTtto'pav.
yjopov ts ^su/cov jcqpivav
XIII
[33]
"
WW WW
~~
WW ~~ WW
Kai
to x.
7T03ca rot. &tocrto svi
w^^
rpi oô; xoto;,
aystpvK'
aXV Tt vuv y' a7rupo?, Taya 7rXso? etvso?, otov 6 :raf/.cpa'yo; 'AlxuAv r^pacB-Tj xîspov Trs&a t<x; tootcoV
outi
yap
iqu
TTuyuivov
saO-si,
G&Xa xa xcHva yap,

CaTsuet.
tocTvsp
Sap.o?,
XIV
[76]
w ^""W^W"- w
"Upas
x.v.1
'
fV
sotjjcs Tpsi?, -9ioo?
yjX[J-<y.
xtoTrtopav Tpirav,
t
TSTpa-rov to Fr p, o/.a sxXXst |7.ev scrOtsv S' arVv

x.al
OU5C SGTtV.
XV
[34]
noXXaxi
Oeoictiv
ft'
ev
>topu<paT? opscov,
oxa
aSvj 7i:oî;<pav.o? eopra.
132
GREEK LYRIC POETS

^pucriov
oia'
ayyo;
lyoiay. f/iyav C/Ojcpov,
ts
Troii/ivs;
avSps? syousiv,
J^spffi
Xsovtsiov
yaXa
Svjcao,
Tupov STupvjcra?
C.
[j.syav arpijcpov
apyu<psov ts.
MISCELLANEOUS
XVI
[Bergk, 36]
\j
'.
^ C7 ^ w w
S'
Epo?
|7.s
aurs Ku7rpiSo?
xapSiav
Fy.tx.n
ykuwjq
x.aTsi(3cov
laivst.
XVII
[38]
'AcppoSiTa
axp'
jasv
oux
scTt, p.apyo; S' "Epto; oia rcai? xaicSsi
sV
av9-7]
xapaivtov,
{/.yj
[/.ot
$tyvjs,
tco
>ci>7Wcip(<JXC0,
XVIII
[21]
Kuxpov iêprav
"kiTzoXatx.
xal IIa<pov TtspippuTav.
XIX
[37)
"~V-/
V^ ~~
^/
v^/
^>
v.'
\-/
^/
ToGa)-'
aSsav Mtocrav soeiêv
Scopov {/.ajtatpa 7rap9ivcov

a.
av-8a
MevaXooTpaTa.
XX
GNOMIC PASSAGES
[62]
FORTUNE
(a')
Euvo(/ia; (ts)
x.al
x.ai
IIsôu? aSsXcpa
IIpo[j.a&sia<; -9-uyaTTjp.
ALCMAN
[Bergk, 42
133
(^')
Tic, (S') av, ti?
uoxa pa aAAto
[63
vo'ov
avSpo? vigtok;
(y')
IleTpa toi [/.a&^crio; apâ.

[50]
(')
Msya
ystTOvi ysirtov.
XXI
[25]
(a)
^
V^W
^
WW
v^
'^
'
'
\^W
"Eur] s ts
y.al
[/.sao?
'AX/âav
sups, yEyAcoccajvivov
/.ooocapiScov CTO[xa
Guv-9-f/.vo<;.
te 7 ]
((3)
Oioa
$'
opvfytov vop.to?
7TaVT(0V.
XXII
[48]
DEW
Ota
Aioc, fruyarTjp
p<ra Tp(pEi
xa\ SEAava^
Sia<;.
XXIII
[6]
A CALM SEA
XspGOvSe
X,(0<pOV
<pu>C<j(7l
7TITVEI.
XXIV
[35]
SPARTA
'
'
'
lL
A.
'EpTCi yap avra too criSapto to xaAai; ju&apicSev.
34
GREEK LYRIC POETS

XXV
[Bergk, 28]
w w w w ww
\
/\
Aucrav
5'
(Zgt a7rpa/.T<x vsavwfe;
opvet? ispaxo? U7csp7cra[/iv.
XXVI
[40]
Auorcapi?, aivowapis,
kooiov 'EXXaSt, pomavsipa.
XXVII
[87]
w w
.
*-
^
^ww
^-> ^->
w w w w w w
;
'
'Av/]p
S'
oDuTpo?
tjgt'
sv ap[/ivoyiv ftaxto
sm
xara rarpa?
o.
opewv
[jiv
ouSev So/icov
XXVIII
[58]
'Pircav opo? av&sov
uXa
Nu/tTo;
[/.sXalva? crepvov.
ALCAE
Fl.
US.
600
B.C.
Our scanty knowledge of the life of Alcaeus is connected almost entirely with the restless political history of Lesbos
which enters so largely into his poems. Of nothing, except that he belonged to some branch of the old Lesbian nobility, whose decadence was now in rapid process. The earliest contemporary
at the time,
his birth
we know
to the tyranny of Melanchrus, 612 B.C. by Pittacus. Since his two brothers Cicis and Antimenidas are mentioned as Pittacus' chief supporters, and nothing is said of Alcaeus, who was usually well to the front on such occasions, we may perhaps assume that he was then of immature age. Six years later, however, according to Eusebius, we hear of his playing a prominent part in the war between the Mityleneans, led by Pittacus, and the Athenians, with 1 It was regard to the possession of Sigeum in the Troad. in an engagement during this war that Alcaeus, after the fashion of Archilochus, Anacreon, and Horace, saved his life at the expense of his shield, an event to which he Some critics regard frankly alludes in Append. No. XIV. this as an indelible blot on his military character others, on the contrary, argue that if his reputation as a gallant warrior had not been firmly established, he would never have alluded to the event with such composure. We need
reference in his
poems
is
who was overthrown
in
much importance to the incident for the on a brave man not to take part in a general obligation rout is by no means universally recognised. However
not attach too
;
Sec Grote,
vol.
iii.
p.
155,
and 199
seq.,
and Hdt.
v. 95.
136
this
GREEK LYRIC POETS

may
;
be, the Athenians regarded the captured shield 1 worthy offering to Athene in her temple at Sigeum and this fact indicates that the poet had by this time Shortly after this Alcaeus appears acquired notoriety.
as a
champions of the Mitylenean constitution against the encroachments of Myrsilus and other shortand in Frag. XIX. he celelived demagogues and tyrants
among
the
With this brates the death of Myrsilus with heartfelt joy. career of his credit the ceases, and the political period
patriotic defender of the republic in his turn is engaged in in the words of intrigues for winning tyrannical power
auTO? xaB-apsuiiiv tcov toioutojv veotsof the struggle was that the poet and The upshot piG(Ao>v. his brother Antimenidas were driven into exile, Alcaeus
Strabo
xiii.
617, ouo"
2 himself, according to his own testimony, wandering as far as Egypt, while Antimenidas served with great distinction
in the
armies of the king of Babylon. 3 It was during this period that many of the so-called Stasiotica were written.
Alcaeus' odes
Compare Horace Od. ii. 13, speaking of the subjects of Dura navis dura fugae mala, dura belli'.
'
:
|
Eventually Alcaeus and his brother, with other exiled nobles, endeavoured to re-establish their position by force The people of Mitylene elected Pittacus as of arms. 4 or Dictator the nobles were defeated and Aicru^vTJTyj; His generous opponent, in spite taken Alcaeus prisoner. of the insolent abuse heaped upon him by the poet (see
;
Frag. XXI.), paid a tribute to his genius by restoring him to liberty, with the remark that mercy is better than
'
'
vengeance
Guyyvcoij.yj Ti[/xapia y.peicGtov.
Under
this wise
and moderate ruler Mitylene once more enjoyed repose, and it is probable that Alcaeus lived to enjoy a peaceful
old age (see
Append. No.
xvi.).
Hdt.
loc. at.,
and see Grote
iii.
p.
155 for the probable mistake

3
in the
2
4
Greek
i.
historian's chronology.
37.
iii.
Strabo
Arist. Pol.
14
Dion. Hal. Ant. Rom.
v.
73
See on Frag. xxv. see on Frag. XXI.

;
and xvi.
5
Diog.
i.
74. 3.
ALCAEUS
137
Such is a sketch of what we know or can conjecture of the circumstances of the poet's career. The story of his supposed romantic admiration for Sappho I have considered
life
in
the additional note on Frag.

clear
XL
Of
his
inward
in the
and character we have a
enough picture
Whether the subject be love, wine, politics, or in warfare, every word there breathes a fiery and restless is in keeping with what is known of his which energy,
fragments.
His emotions were always strong and genuine, and therefore always possess poetical interest. He was
history.
keenly alive to the influences of nature, a vigorous drinker
and boon-companion, a fiery warrior, and above all, an uncompromising hater of all his political opponents. If we hope to find exalted sentiments in a poet of such celebrity, we shall be disappointed. His opposition to the tyrants Melanchrus and Myrsilus was to his credit but his own subsequent intrigues and his disparagement of the noble Pittacus mark him as anything but the lofty patriot. Yet we need not, with Col. Mure, put on modern spectacles and condemn him as a more or less despicable profligate and debauchee. His morality, private and political, was that of the Greek of his age, not too scrupulous, but yet healthy-minded. Devotee as he may have been of Bacchus and Aphrodite, his surviving poems exhibit no trace of
;
In spite of his factious intrigues, sottishness or sensuality. it is hardly likely that the shrewd Pittacus would have
extended pardon to him so readily, had he not seen in him the making of a good citizen for the future and even
;
excesses of love, or wine, or party-feeling, there is a freshness and impetuosity as of the early Homeric Greek,
in his
or of Voltaire's Ulngenu. As a poet he enjoyed the highest reputation among ancient critics. He was placed among the nine great
works were deemed worthy of elabocommentary by the Alexandrines Aristophanes and Aristarchus. He was notoriously a favourite model of who to his renown in Od. ii. 13, where he testifies Horace, remarks that Alcaeus, partly owing to the nature of his
lyric poets,
and
his
rate
subjects,
enjoyed even greater popularity than Sappho.
138
Quintilian,
'
GREEK LYRIC POETS

:
Bk. x., has the following criticism on him In parte operis aureo plectro merito donatur (alluding to
I.e.),
qua tyrannos insectatur multum etiam moribus eloquendo quoque brevis et magnificus et diligens et plerumque oratori (v. Homero) similis sed in lusus et amores descendit, majoribus tamen aptior. 1 bestows still greater eulogy upon him Dionys. Hal.
Horace
confert
;
in
1.
'AXx.aiou
Se
ay.OTzzt.
to
(j.sya'Xocpus?
Jtal
fipy-jy
|j.ia
xal
vjSu
[/.stoc
oVvottqto;,
auTJj?
y.'q
srt,
os
ical
Too?
c^'/]|i.aTicr[xoug
cracp7]vsia;,
6'cov
T"/j
SiaAsx.Tto xi x.yax.tOToa, Jtai
too
a-jravTiov
to tc3v
7ro7itTtxo5v
the
xpayâTcov tj&o. He adds that in many passages style, but for the metre, is that of a rhetorician.
Modern readers, will, I think, fail to find in his fragments His faultless style and the poetry of the highest order. unflagging energy of his sentiments are worthy of the
greatest admiration
in great
'
but there
is
something we look
for
poetry which is wanting in Alcaeus. The poet's eye should move from heaven to earth, from earth to heaven,' but the gaze of Alcaeus remains fixed upon the earth, and he never transports us with him into an ideal
His descriptive passages, for all their vivid realism, up by any radiance of the imagination they have none of the glamour of Alcman's famous EuSouaiv
region. are not
lit
;
dpstov xopucpat ts xal <pacpayys; jc.tX or dithyramb in which Pindar celebrates

<)'
the rapture of the the approach of
poetry Hpo;
spring.
it the truest ring of high ~ aiov is but the preav&Sf/.osvros spyoyivoto lude to an invitation to the wine-cup. In fact, Alcaeus
Even
the line which has in
to us that poetry was the of his existence rather than its plaything Most of his poems may be ascribed to the oenia or Scolia, 2 and this alone would lead
makes manifest
ornament or
vital essence.
class of Par-
us to expect
that the writer
would aim rather
at appealing to the
sym-
pathies of his boon-companions than to an exalted poetic standard. Nevertheless, his poetry is admirable of its kind, and in variety and rhythmical power surpasses that of his else more gifted contemporary Sappho. It is
only
De
Vet. Scr. cens.
ii.
8.
See
i ntro d.
to Scolia.
ALCAEUS
when we look to find in Alcaeus a poets that we need be disappointed.
The Alcaic stanza
in Alcaeus
139
master-spirit
among
and Horace.
owe their acquaintance with Odes of Horace, it is important for me to point out in what particulars the Roman poet deviated from his Greek model. The proper metrical scheme of the stanza in Alcaeus is, strictly speaking, as
classical readers
As most
the Alcaic stanza to the
follows
v-
\^f
\J ^J \J \^ v ^ ^ v^
v-> <^/
'
'
^
^
'
v-*
This
is
varied
in certain
by admitting an irrational long syllabic places, so that the scheme becomes in practice
:
'
^/
C/ ^ ^ ^f
'
It will be noticed that whereas in the neutral places Alcaeus employs a long or short syllable more or less indifferently, Horace with rare exceptions employs a long
syllable only
so that his regular scheme becomes
In the anacrusis of the first three lines, Horace does indeed not infrequently employ a short syllable, there being some twenty instances in the Odes but in the case of the fifth
;
syllable,
we
find
one single example alone of a short

iii.
quantity, viz. Od.

'
5.
17
Si
non
perirct immiserabilis.'
not likely that these changes in the Alcaic stanza were made by Horace unconsciously. His Odes were
It is
140
GREEK LYRIC POETS

; '
'
written not for melody, as those of Alcaeus, but for recitation and the slower movement effected by the extensive
use of the
long syllables imparted a gravity and dignity to the rhythm admirably adapted in most
irrational
cases to the nature of the subject.
There
is
Alcaics,'
another novel and important feature in Horace's namely the employment in 11. 1-2 of diaeresis
after the fifth syllable or the
second trochee, thus

credidimus Jovem.
Caelo tonantem
||
In Alcaeus cases of such diaeresis are entirely accidental, but Horace admits of only four exceptions to the practice:
(1) (2) (3)
(4)
Od.
i.
16. 21.
Hostile aratrum exercitus insolens.
Od. Od. Od.
i. i.
3J.
27-
5.
J
Antehac nefas depromere Caecubum.
4-
Mentemque lymphatam Mareotico.

Spectandus
in
iv. 14. 17.
certamine Martio.
Of elision between the fifth and sixth syllables I find no more than eighteen instances throughout the Odes of
Horace.
Having slackened the natural movement of the rhythm by avoiding short quantities whenever it was possible to do so, he evidently found the line too long for a single colon. Indeed when we read the four examples above,
is no diaeresis, we feel that, in declamation, if not in melody, the pause after the second trochee falls best on a final syllable.
where there
ALCAEUS
A.
Si>[/.7TOTDca
and 'Epomxa.
DRINKING AND LOVE-SONGS

I
[Bergk, 45]
SPRING
'Hpo? *
av9'Sty.o'svTo; iizyliov spôf/ivoto'
sv os /cipvaxe toj fjteîa&eo? otti
TayicTa
xpaTTjpa.
II
[39]
SUMMER
X
v>J
I
1
w /\
Tsyys a o o"pa
a^^
S'
7rvuf/.ova Foivto"
yaCkitzy., tojcvtoc
to yap airrpov TCspiTsXXeTaf
u o xaupiaTO?, * TTTaXd)V farW. TTTc, 7TTpuyO)V S' U7TO

Ss Stâiff'
jcazyjeei
Tayupav
(tcujcvov)
'
aouW,*uw
^^^^*
oTnuora.
cpôytov jta&erav -v/w

avfrei xal
>.7TT0t
aC,ei.
-
^ yuvatjcs? (JLiaptoraTai, avop?, srcel jtal xsipaXav x.at yovu 5)eipios

cxo'Taiôi;
vuv
Ill
[34]
WINTER
Â Â
1 et
[-/xv
Zeus,
ex.
o opavto [/.eya;
S'
yeiy.tov,
TweTOzyamv
uoaTWV poat
*
142
GREEK LYRIC POETS

K.v.ffixk'ks.
tov
/eijj.tov'
&Vi [/iv tC9si?
op, v Se jupvai? oivov acpstosto?

[7.sXt,ypov,
auxap
aacpl
xopca
p-aXS ax.ov ap/pi ^ yvdcpxXXov.

IV
[Bergk, 35]
Oij ^pv] xaxoict,

Trpo/.dôfj-sv
co
9-u[/.ov
eTTiTpETrvjv
yap ouSsv
aaaj/xvot,
S'
Buxyt,
cpapfy.ax.ov
aptaxov
oivov svewcaj/ivoi?
f/.s&0'(Tib]v.
nCvtottsv* ti
x.aS' S'
Ta
"hvyy'
6[/.[aevo(J!.sv
Sax/TuXo;
a.t/ipa.
-
aeppe xuXiyvai; [/.syaXai;,* aiTa, TCOixiXai?

uio;
oivov
yap SsjAsXa? xal Aio?

eScox.'"
Xa&ocaosa
x.ai
avS-ptoTTOicriv
syyse xipvai? sva
Suo
jcuXi?;
7rXsai? xax, xscpaAac,
S'
STSpa
-rav
STSpav
VI
[36]
'AXV av^Tco j/iv Trepl raT; Sspaiaiv xsp Sifto T&ixToci? uTCO&up&a? ti?,
jcaS Se ^suaTco [/.upov
aSu xar tco
gtt^so;
a(/.(/.t.
VII
[49]
O w v^ \j \^ ^^ ^ o \5 ^
'
'
*fl?
yap
ev
07]7T0t'
'AptCToSajxdv
cpaic'
oux a.xa'Xay.vov
S7rapTa Xoyov
eur/jv ygr^cci-' avyjp, Ttsviypo; 5' ouoei? tcsXst'
ALCAEUS
VIII
[Bergk, 92]
43
'ApyoXsov Ilevia x.axov ac/Tov, a ttsya Sattvai? Xaov 'Atiayavtcjc gov a&sXcosa.
IX
[53]
,
v-/.
w w w v^
/
/
Oivo? yap av&pto-oi? SiOTrrpov.

[57]
vy
Oivo;,
co
cpiXs 7rai, >tai aXa-9-sa.
X
[46]
"~
^^~" u ^ v_/>^
>*-/
\/
V/
KsXoy.ai Ttva tov yapUvra Msviova xaXsccrai,

oci
yp'/]
cj|7.~o(jiK? eovacriv |xot ysysvvjafrat.
XI
[55]
v-/.
-/
w ^ w ^/
<-/
'IoxXox' ayva [/.sXXe^cp.sida SaTrcpot,

-9iXtO Tl
FtVK'tp,
OtXkdi
[/.
>CCt)Xut al'&tO?.
XII
[56]
v^
Ascat,
[as
. .
-'~
w
/ v_y
*^
^w^^
/
v.;
WÂ
/
'
xtoaaCovra, $sou,
XIII
[62]
Xi<J<70[/.a ce, Xiccof/.ai.
KcXxto
c'
eosâvr' ayvat XapiTS?, Kpivoi.
[44
GREEK LYRIC POETS

XIV
[Bergk, 59]
w^
"E;x SsiXav
;x
^>v^
^/ ^/
w ^y
/\
Tuataav jca3C0TaT<)v TrsSs/otcrav.
XV
[63]
.
'w'.
~
/
<^>
V-/
S-/
W ~~
\^
"Aeicjov
a[*|/.t
Tav iov,ok~ ov.
B.
STASIOTICA.
XVI
[15]
ALCAEUS' ARMOURY
^ <y \y !_ ^ ^ \j
!
v_/
\_/
v^
\s
v^
/\
'
Map|/.aipsi & yiya? of/.Q yak/.oy Kctiaa.
ft
"Ap7] )tsxa<7|/.>]Tat
TTsya
jcocttocv Xeuxoi jcaTU7rep9-v ?7C7ukh Ao'cpoi Xau.7rpawitv xuvCaun,
vsuotatv,
jtsflpocAaifftv
avoptov ayaXfxaTa"
A<xf/.7rpai
ytzkx.iy.i
xaccaAot?
ap/.o?
/.puTTTOKTiv
7rpr/.i[7.vat
xva|ups;,
tcûpto
PSASU?,
fra'paxi?
Trap
t voi
aivco >tdiA<xi Se x.a.T affTTt^s? P^SATjvivai"
5
x,al
Se
XaA/Uoixou
(jxa&at,
Trap
Se
to[7,aTa
ttoaaoc
x,u~accio?.
TtOV
O'JX.
SGTl Aa&-C9-'
77
SU)7]
TCptOTlffT'
U7TO /"SOyOV SffTattSV
T0&E.
XVII
[18]
'Aguvtv]|xi
Ttov avjxcov oraffiv"
to piv yap ev&ev xO'xa JtuXiv^srai, to o' sv-9sv a|j.jj.; S' ov to [jxctgov
vai <pop7j(/.s9a guv
(/.SAaivce,
ALCAEUS
/etjxtovt [j.oyQzuvzz; [/.syaAw {/.aAa*
145
~sp
yap avrAo; icto sâv Aa?<po; os xav a^7]Aov vj^vj

f/iv
syet3
?cai
XaxtSe? f/iyaXai x.ar auro*
yoXy.iai S' ayjoupat.
XVIII
[Bergk, 19J
To
0>]UTS
/CUf/.(X
TCOV 7TpOTS0OiV OVto
GTSfysi, TOXpS^Sl O 0Cf/.LU 7TOVOV 7TOAUV exei *s vao; sy.pa ocvtXtjv,
XIX
[20]
MYRSILUS
Nuv
ypv] [X9-uc9'7jv >cai
nva
Trpo; fiiav
7TOiV7]V, 7TSIC^ JC<XT&(XVS
MupCTtAO;.
XX
[25]
'
WW WW WW
_A
jcosto?
'
flv/jp
outo; 6
{/.aidfASvo;
to f/iya
6vxp']/i
Taâ
T<xv TToliv*
^'
iyzTy.i 66-xv.q.
XXI
[37
A]
PITTACUS
x
w w w ^ w w
'
www
/\
Tov
IIiTTa*ov 7roXio? ra?
v//o~kix>
jcaxoTwcTptSa xca papucViy.ovo?

Stoxivsovts? v.oXkzzc.
EGTaaavro Tupavvov
[j.sy'
XXII
[21]
MsAay/po?
al'Sco;
ato; si? ~oaiv.
146
GREEK LYRIC POETS

C.
HYMNS AND MISCELLANEOUS

XXIII
[Bergk,
5]
TO HERMES
cs yap u.01 XaTps KuAAava? [as^si;' tov -9-ufj.o? u[7-v/jv, xopucpat? sv aitpat?
Mata
ysvvaTO KpovtSoc
[/iysica.
XXIV
[13 B]
TO EROS
w-^ a
Asivorarov
'Ipi?
-frsoSv
eye wax' sutc&aao;

ypu<7o>co[/.
Zsûpw
(i-tystca.
XXV
[33]
TO HIS BROTHER ANTIMENIDAS

X
C/ ^ ^
'Ha$; ix
>.a(3av Tto i<po?
'
^-
v-
/\
7ipaTO)v ya?, X<pav-rivav
f/iyav
ypuco^Tav Xtov a$Aov BapuAcovioi;

sx.
>
*cu[j.;j.ayi?
TEAsaa?, pucrao t'
ttoviov,*
jctevvoci?
avSpa
[/.ayatrav, pacn.'Xyjuov
[j.iav
TcaXaicrrav a7roAsi7rovTa |j.ovov 7ta/C0V (XXU 7tE[7.7TCOV.
XXVI
[27]
"ExTaCov wst'
opvifts?
(03OJV
atSTOv SQa7c(va? <pavvra.
ALCAEUS
XXVII
[Bergk, 16]
147
BXvjypwv
avsy.cov
ays^.avTOi
Tvvo'ai.
XXVIII
[84]
"Opvifrs; Ttvs; ouV (oxsava)
ya;
t' aTOJ Trsooartov

;
v^Xfrov TtravsXoTis; Ttoi/oXo'Ssppot, TavuGiTrrepoi
XXIX
[23]
"Avopsi;
izok'/joc,
upyo;
apsu'ioi.
XXX
[40]
Ilivcofxev,
to yap acrpov TCpiT&XsTat.
SAPPHO
Fl.
c.
590 B.C.
The immense
both
in
reputation attaching to the poetry of Sappho ancient and modern times has caused whole volumes
to be written in the
knowledge of her
;
very satisfactory details with regard to the events of her life, her personal character has been the subject of an acrimonious discussion which is both profitless, and, as readers of Col. Mure's
History of Greek Literature will
agreeable.
testify,
endeavour to arrive at a more intimateand character. The results are not for while we can glean only the scantiest
life
decidedly dislikely to
re-
Nevertheless,
although we
as to
are
main
for ever ignorant
whether the poetess leapt
Leucadian rock, or as to the exact nature of her moral principles, we can perhaps gather from her own fragments, from our knowledge of the history of her age, and from a certain amount of authentic testimony, all, or
off the
nearly all, that it is important for us to know with any great writer of antiquity. For we
in
connection
closely
know
enough the period at which she lived, the nature of her surroundings and position at Lesbos, and the general
life above all, sufficiently typical fragments of her poetry remain to give us a clear impression of the particular direction and character of her surpassing genius.
tenour of her
Sappho was born
either at Eresos or Mytilene towards
the end of the seventh century B.C., and was thus contemHer father's name, porary with Alcaeus and Pittacus.
according to Herod, ii. 135, was Scamandronymus, and her mother's Clei's (Suidas). We know that her family was of
noble rank, since her brother Larichos was cup-bearer in the Mytilenean Prytaneum, and only youths of the highest
birth
1
were
x.
1 eligible to this office.
Not
later
than 592
B.C.
Athen.
424.
SAPPHO
lost,
1
149
is
according to the Parian marble, where the exact date
Sappho was forced by
exile to Sicily.
We
political troubles to retire in need not think this improbable for

;
degree unlikely that the poetess herself took part in politics, it is quite possible that her artistocratic male relations were concerned in the factions and seditions rife at this period, and that she may have accompanied members of her own family into banishment.
though
it is
in the highest
Her
return to her native land
is
implied in Anth. Pal.
vii.
14
and 17, and we may perhaps conjecture that Pittacus, when he had defeated and become reconciled in B.C. 590 with the aristocrats who were headed by Alcaeus, 2 extended his clemency to the exiles in Sicily also. If Suidas be rightly
informed in saying that she married a wealthy stranger from Andros, Cercylas by name, the event is likely to have taken place after her return to Lesbos, since otherwise she would hardly have fled so far as Sicily. To this Cercylas she bore a daughter Clei's; mentioned in Frag. XIV. The next landmark in Sappho's biography is the men-
made by Herodotus, Strabo, Athenaeus and others of her quarrel with her brother Charaxus for his frenzied devotion to the celebrated courtesan Rhodopis or Doricha. 3
tion
Charaxus came across this lady at Naucratis, to which he had sailed for the purpose of trading in Lesbian wine. Now this must have been not earlier than 569 B.C., for not only does Herodotus tell us that Rhodopis was at the height of her fame in the reign of King Amasis, who became king of Egypt in 569, but we also learn from the same authority, that it was Amasis who established Naucratis as a Greek commercial settlement. 4 Sappho then at the time of this last episode must have been upwards of forty or fifty years of age and this among other circumstances would militate against the authenticity of the well-known story of her leap from the Leucadian rock through despair at the loss of Phaon's love. The account is given by Strabo x. 452 it was
; ; ]
3
4
See Clinton's Fast. Hell. an. 559. See Hdt. ii. 135 Athen. xiii. 596. Hdt. ii. 134, 178 see Grote iii. pp. 327-8
; ;
See
p. 136.
for a contrary view.
150
current
in
GREEK LYRIC POETS

the time of Menander, and
recurs in
many
the question Readers will threshed out in Col. Mure's History of Greek Literature, where I think that too much importance is attached by that writer to such late authorities as Strabo and Ovid, or even Menander, and too little weight to the absence of real
ancient
authorities.
find
historical evidence in
likely to attach itself to
support of a story so romantic, so an amatory poetess, and yet prima
facie so highly improbable in the case of a lady of her age,
and no novice
in the
safer to accept the to the effect that
tender passion. It will I think be testimony of the epigram in Anthol. I.e.
Sappho died
in
her native land, and

irresistibly to the
Frag. XVII..
conclusion.
I
if it
be genuine, points
same
facts
to other more important and less dubious She connected with Sappho's life at Mytilene. appears to have formed the centre of some sort of literary circle among the ladies of her city she stood to the others partly in the relation of an intimate friend, partly in that of a teacher. Suidas mentions the name of three of her
must recur
pupils
who came from distant cities, Angora ([/.aibJTpiai) from Miletus, Gongyla from Colophon, and Euneika from Salamis. Her instruction was probably not so much in the hardly communicable art of poetry itself, as in music and all the difficult technique so closely connected with Greek lyric poetry. 1 These circumstances bring us into connection with a state of society at Lesbos which, so far as our knowledge extends, may be described as unique in the Greek world. We find a number of ladies, seemingly of high birth, banding themselves together to assert their right to a life in which they could gratify to the full their craving for the keenest sensuous and intellectual enjoyment a life removed both from the degradation of Ionic seclusion, and In fact the indefrom the rigour of Spartan discipline.
find ascribed to
Consistently with her character as a teacher in such subjects, we Sappho by Suidas the invention of the plectrum and
of the Mixo-Lydian mode. 2 See Plate n., and note, in connection with this subject.
SAPPHO
151
pendence they enjoyed was just such as, with the rarest exceptions, has in all ages been reserved for the male sex alone. Yet withal the life they lived was essentially that of a Greek woman, with none of that eager clamouring for masculine rights and activities which would so surely
characterise
times.
any
The
similar society of women in modern cultivation of music and- lyric poetry was, it
essential object of their union,
would seem, the
and from
such pursuits female talent has never been excluded. The poetry of their leader Sappho is full of delight in all the
objects of nature, and the glorious similes and expressions which flash upon her imagination from this source own a grace which is exquisitely feminine. The promi-
Lesbos is regarded by Miiller 1( asa survival of ancient Greek manners, such as we find them depicted in their epic poetry and mythology, where the women are represented as taking an active part not only and he in social domestic life, but in public amusements which over at Lesbos, Sappho compares the association
nence of the
women
at
'
presided, to a
somewhat similar system among the Dorians.' on the other hand, regards this trait in Lesbian Col. Mure,
;
customs, not as a survival but as a piece of notorious and, without indorsing his extreme views on depravity this subject, we may reasonably assume that the freedom of
an
earlier
lost
age had, with the increase of luxury and
refine-
ment,
much
of
its
simplicity and was apt
to border
upon licence. There is a curious circumstance, resulting apparently

from Sappho's position as the leading member of a female I coterie, which cannot be passed over without remark.
refer to the fact that in her
passion
is
aroused
Tyrannus, xxiv. 9, and others with that of Socrates to his disciples Alcibiades, Charmides, and Phaedrus. Of course such a circumstance offered a splendid handle to Athenian comedy, and has
1
most ardent love-poetry her Maxim. one of her own sex. by Atthis her relation towards compares
Hist. Lit. of Anc. Greece, p. 173.

Miiller's
Dorians,
vol.
ii.
pp. 316-17.
152
GREEK LYRIC POETS
given rise to a protracted discussion in modern times Welcker especially, with some excess of chivalry,
defending Sappho from all attacks made upon the purity of her character, while Colonel Mure takes the opportunity to enter into a detailed examination of the question, with
which we could have well dispensed. need not proseof a contemcute the subject further. even Biographies, in inaccurate the case of a poetess are porary, notoriously in the seventh or sixth century B.C., concerning whom our
;
We
direct
information
little
is
almost
is
nil,
inquiries
of this
kind
in
become
this
short of absurd.
and similar instances
What rather concerns us not so much the morality
of
the writer's sentiments as their poetic depth and value. On this score there can be but one opinion of Sappho's
when we read her portrayal of the passion of we can look for nothing nearer to perfection, or more intensely real. There is one more circumstance in Sappho's life with which we gain acquaintance, not, I believe, from any external testimony, but from her own poems. All was not harmony in the Lesbian coterie. From several of Sappho's fragments we glean the fact that at one time she
merits
love,
;
for
we
feel that
was engaged
bian ladies,
in painful hostilities
with certain other Lespupils.
some of them being her own
Max.
Tyrann. Diss. XXIV. speaks of Andromeda and Gorgo as being rivals to Sappho, so perhaps the dispute owed its
origin to professional jealousy.
She
scoffs at
Andromeda
with truly feminine raillery, and complains that the once beloved Atthis has deserted her and sided with her rival,
an example which seems to have been followed by others of her pupils. 1 A different kind of quarrel is indicated in No. VI. (xaxDocvoiGa Se jcstusat jt. t. >..), which is written
against a rich but vulgar woman (v. note ad loc), whom she attacks with a stinging but beautiful upbraidal, which contrasts graphically with the often hardly poetical bitter-
ness displayed in the invectives of her masculine contemporary Alcaeus. It should be noticed that in none of these
1
See xv. and notes.
SAPPHO
passages have
against
later date.
153
we any evidence Sappho in her lifetime we

are told
dark.'
similar to those
of charges being brought made at a
In person
'
by Max. Tyr. xxiv. 7 that Sappho
was small and

n [j.zXkiy6[j.zi^y
Alcaeus pays her what is, perhaps, one of the highest of compliments, in addressing her as
'sweetly-smiling.' Sappho herself indicates was of a gentle temper {Frag. XV. e.), and a lover of elegance and refinement {Frag. XXV. and XV. d). As a poetess her fame was unparalleled, according to
that she
testimony of many passages in ancient literature. comes the well-known story of her contemporary Solon, who, when his nephew had sung one of Sappho's odes, bade him teach it him before he died, iva [/.a&Giv outo
First
a7ro9avto (Aelian,
the
Ap. Stob. Serni. xxix.
28).
Plato (P/iaedr.
235, C) instances the names of Sappho and Anacreon as examples of the most eminent writers of olden times, and
he uses of Sappho the epithet 340X75, referring apparently to the quality of her poetry. He also declares that she is
the Tenth
Muse
(AntJi. Pal. ix. 506).
Aristotle places net-
on a level with Homer and Archilochus {Rhet. ii. 23), and Strabo (xiii. 617) speaks of her as frauâcrTo'v ti x?^lJ v anc adds ou yap ?<j(/.sv sv r<Z tocoutco ypovto tco [Av7jrj.ovsuof7.ivto
-
'i
(pavstcrav
JTOiTjcrsto!;
two
yapiv.
yuvaTx.0
vx;j.t.XXov,
ou^s
jcoto
[/.txpov,
eVwEiv/j
Plutarch {Erot. c. 18) declares that her utterances are truly mingled with fire,' and that her songs are penetrated with the ardour of her heart. Au't7j Se aXvj&w? [/.sixtyf/iva
'
xupl cpQiyysTai,
-9-p[/.oT7]To.
Jtal ma twv [asXiov ava<pspei tt^v otto T7j? 3capSta? The same writer adds that the enchanting
grace of her poems causes him to set aside the wine-cup in very shame. Besides these and many more encomia upon the poetess we have valuable criticisms by Longinus, by Dionysius of Halicarnassus, and by Demetrius. The telling remarks
of the
first
writer
have quoted
in the notes
on Frag.
II.,
uses in illustration of Sappho's sublimity. Dionysius of Halicarnassus (De Coiup. Verb., c. 23) takes Sappho as the most conspicuous example
that being the
poem which he
154
GREEK LYRIC POETS
among
y.ad
Melic poets of what he designates the ykcupupoq He quotes the famous Ode to avibjpos /apoorr/jp. Aphrodite (No. I.) as an instance of her power, and remarks
Tcorrnc, ttj? 7ics<o;
r susxeta
t
x.al
-/j
/apt; sv v?j Guvs7rewf
x.al
XstOTTjTt ysyovs Ttov apixovitov,
x.tX
Demetrius (De Eloc. 166) says

xSouda
jcaXXierofe
-
y\
.
Soc-ropco
jcai
stti
jtai
ôsta
axav
xspl f/iv jto&Xou; JtaXov ovop.a
svucpavrat ocut/jc t ^ 7roi7]ffSi. Little as it is, enough of
Sappho's poetry
still
remains to
justified in
enable us to
feel that
the ancients were

;
amply
admiration and their laudations are echoed by modern critics from Addison (see Spectator, No. 223) to Swinburne {Notes on Poems and Reviews). Indeed the fragments display a perfection at all points which is little less than startling a perfection too which is Intense peculiarly typical of the Greek genius at its best.
their enthusiastic
poetical feeling, and an imaginative power exuberantly rich, are matched by an exquisite readiness and self-
command in expression while, to complete the effect, every line is pervaded with a charming and varied cadence, which is almost music in itself.
;
'Sapphics'
Greek
and Horatian
Familiarised as we are with the Sapphic stanza, as with the Alcaic, mainly by the Odes of Horace, it is important to bear in mind the details in which Horace has not fol-
lowed the metrical system of Sappho's own odes. Whereas in Alcaics, as I have pointed out, his deviations are not detrimental, and under the altered conditions perhaps
desirable, in the case of his Sapphics it is hardly presumptuous to say that the clever Roman poet blundered, and seems in his latter days to have become conscious of his
I refer especially to his rule of introducing a needless and objectionable caesura after the fifth syllable. glance at the metrical scheme of a Sapphic line (-w-w^w-w-o) shows that the voice should not dwell
blunder.
upon
this syllable, as
being the
first
of the cyclic dactyl,
SAPPHO
but should
therefore desirable
155
It
is
pass on rapidly to the sixth syllable. for ease in recitation that the
final
fifth
still
should not be a
syllable.
fifth
Again the
effect
is
more awkward
our
will, it
is
if
;
the
by a long vowel
be not only final, but preceded for then, being forced to pause against
'
emphasis due such lines as ta; w.a;

are rare in
also difficult to give the fifth syllable the to it from its position in arsi.' Consequently
au&to?
at'otcra
ronXui (-->
^ v^ ^ - ^)
Sappho, there being about twelve genuine
instances out of
some sixty
I
Now
in all these lines
think
possible cases in the fragments. we experience a difficulty in
reading them, so as to give the true rhythmic effect an apparent fault however which is not due to defective workmanship on the part of the great poetess, since her
were written not for recitation but for song, which by no means bound to observe so closely as recitation the slight pauses at final syllables and the like. Horace, on the other hand, wrote, as modern poets do, to suit the requirements of recitation and for some unfortunate reason he conforms nearly all his Sapphic lines in the first three books of the Odes to the type which is exceptional in ^ ^ - ^ - d). There are but four Sappho (- ^
lines
is
; ' '
|
(Bk. I. x. 1, xii. 1, xxv. 11; out of some 450 possible cases where the 11), fifth syllable is not final and the second foot is invariably in the form of a spondee. As in the case of the Alcaic is indeed only the Sapphic line line hendecasyllabic (which
instances
in
I.-III.
Books
Bk.
II.
v.
with anacrusis and a catalectic instead of a
full
conclusion),
sight of the fact that the verse consisted of a naturally single colon only, and he chose the most unsuitable place for his artificial division to occur, thereby
lost
Horace
losing
all
spicuous In the Fourth
in
the effect of passionate speed which the lines of Sappho.
is
so con-
Book of
the Odes, and in the
Carmen
Saeculare, written in Horace's later years, we find a considerable change for the better, there being no less than
twenty-nine lines
among
163 Sapphics where the caesura
at the fifth syllable does not occur. Catullus in his Sapphic Odes XI.
and
LI. is
truer to the
156
GREEK LYRIC POETS

second
genius of the Greek model. caesura at the fifth syllable

freely in the
foot,
no rule about the he admits a pure trochee and has no objection to the fourth
;
He makes
syllable being final, or to the last
monosyllable- in all of which characteristics variance with Horace.
word of the
line
being a he is at
SAPPHO
i
[Bergk,
i]
IIot/aAoSpov' aSavar' 'AfpoooYra

toxI Ato;, ooAox'Aox.s, XfaaouLat
[XT] crs,
v.gv.igi
[7-'
{/.tJo'
dviaifft
oV-piva,
'AAAdc
Tito' sT.0-',
afooTa
JcareptiiTa
tk?
Sp.a? auoo)? otfoura
tt>]>.ui
SxiXueg, TCarpo?
Ss Sofj.ov At77ot<ja
apj/.
uTCO(,su<;aKya
ypuctov ^X9-sg, jcaAot os er ayov
coxes? CTpoO&oi wspl
yac
(./.eAatva?
10
a't'&s-
770>cva oivsuvts? Trxsp' v.x
topavw
aiâ
S'
-po? ota tukaata' sEixovto* tu ' to ptaxatpa
[xetotacratcr'
vjps',
a&ava'rtp xpoawxto,
1
OTTt
1
JCtOTTt O^VJUTS TCSXOV^-a,
oTjuTS
jttoTT
siy.to
JcaAvjitt,
iâXicTa 9-lXd) ysvsa&at p.atvoAa 8-ujjtcy rtva o*>]uts Ilei&to

(/.at?
ayvjv e? cav cptAoTara, ti?

^Pa7t<p'
cr'
to
aouojst;
20
xai yap at <peuyet

at
o*s
ry.yioic, Sttoêt,
o\opa p.r Ss/.et' aA}.a

p.7]
Lest,
at oe
<ptAt,
Tays<oc
<ptA^<7st
jctoux eO-sAotca.
158
GREEK LYRIC POETS

"EX9e
/.
[J.oi
xal vuv,
OCTffa
ycCkZTzy.v
oi XCcov
25
U.piU.VaV,
OS
[AOt
TsX.S<7<7ai
'
9-up-o? i|/ippst,
tXs<70V cu
aura
II
[Bergk,
2]
<S>aivTai |xoi jajvo? igo; -Sioicriv

sul[/.sv
TOl wvvjp, ogti; svavxio?
iâvsi, x,ai
xXaaiov
ao\> cptovsu-
-Ga? UTOCJCOUSl,
to p.oi [7.av ysXaurai; t^sposv, sv 7rroa<TSV' GrrftzGiv -/.apSiav

seal
co?
yap
*<>'
tSto* ppo'/tog
[j.s
cpoova?
sixsi.
S'
0UOV T
aXXa
xa[/.
piv yXcocraa fsFays, Xcttov
oamxa
^pto Trup u7taosopd[/.axev, 07r7iaTGci S' oo&v opm', ~ tppdf/. -Petct o
10
axouai.
'A
[/.'
'iSpco?
xax^ssrai, Tpd^.o;
o*s
xaicrav aypsi, $.a>porspa

[/.{ju,
7701a?
1
TE-9-vaxvjv
S'
oTayco ^raoeuvjv*
<paivo|j.ai
a'X'Xa 7uav
ToXjxaTOv
III
[3]
"A<TTSp? (aev
ai*J/
aiy.cpl
xaXav asXavvav
aTTOJcpuTTTOiGt cpasvvov eiooc, 07T7raTa TrXirjSot.ca (/.aXtcTa Xa|j.7r/]
(apyupia) yav.
IV
[4]
5s Ô/pov xeXaSsi St' uco\ov 'A[/.<pl as qauXXcov p.aXivtov, ai&ucaofJt.svtov

xo3i/.a xairappst.
SAPPHO
v
[Bergk,
5]
159
<j - ^ w ^ "EXSs
^pucioacrw ev
KuT^pt
apptoc
v/.Tap
x.ultx.s<j<jiv
<7u;./.[/.y.iy[Xvov
<9-aXiai<7i
otvoyosuca.
VI
[68]
_ ^ \j
/
\^f
/
'
/
<*>
'
\^ \j
v> /\
1
KaTfravot/ry. Si xsicrsat, ouS' (sti) tic p.vajLOcruva geOsv zggzx' ouSettot' (sic) ucTepov ou
yap
ttsSs^slc (ipdStov
Sdp-Otc
tcov
ejt
Ilispiac,
77SO
a^V
a<pav7]c >d)v
'A't'Sa
CpOlT(Z(jtC
aiy.a.'jpfOV
VSX.UCOV S/7TS~OTa'XVa.
VII
[78]
w w
.
.
r
'
v_/
\s kj
'
v>
w'
>-<
/\
Su
5s GT<pavoic,
(6
Afoca, ^spSsc-fr' epaTaic <pd|3aictv,

<x7zaky.tai
yspcriv.
opTiaxac
Wtoio
ex.
cruvsppaicr'
suav&satv
yap
7rs^Tat, Jtal
yaptroc
S'
f/.ax.aipav
(y.aTCXov TvpoTspyjv
acxsâvtOTOiGL
a uaTpscpovrai.
VIII
()
[40]
x
v^
6
[/,'
_A
Sdvsi,
"Epoc SaoT
y'Xux.'j ixpov
XufftfjtiXvjs
ap.ayavov oWstov.
[42]
"Epoc
(p-01) <ppsva;
X-a.T
(aor') srivaEsv
to;
aV|7.0C
OpOC OOUdlV SJXTTSTMV.
160
GREEK LYRIC POETS

IX
[Bergk, 52]
Cy
I
<J w \y O
a <7Aavva
Asou/cs
seal
u.ev
n^TjtaSsc, [/icai Se
vux.tsc, Trapa S'
p/T 'copa
yco
ok [j.ova jcocteuog).
X
( alcaics).
[28]
Ai
xal
S'
^/; sgawv
ti
't|/.spov
v]
xaAtov,
xux.a x.ax.ov, [/.vj Fz'nz'qv yXcocrc' > al'Sto? xs cr' ou jcoctsi^sv ou.u.aT ,
oXa' EAeys?
Ttspi
Tto ttacaiwc.
XI
[75]
'AaV
(0v
cpiAo? a[7.;xtv Xsyoi; apvixro
vswTSpov,
yspairspa.
ou yap
TAaffoj/.' syco
cuv(/
r staffa )oi,V^v
XII
[29]
2toc&l x,avxa
jcal
cpiAo?
xav sV
octroi; 6f/.-Tacrov /aptv.
XIII
[90]
'
lL
'
A
'
^_A^
Li A ^ ^ < x
rAux.eta p-aTp outoi

&uvaj/.at xpsxinv
t6v
I'ctov
xoSo)
Sa[j-iaa ttoiSo;
St'
ppaSivav
AcppoSirav.
SAPPHO
XIV
[Bergk, 85]
161
"E<m
[/.ot.
y.OLka. toxi?,
yjpuGioiaw av8-p,oi<7iv
ZyoiGX. (Aop<pav KXvj'i? aya-aTa" avrl tx? Eyio oiioe Auîav aiaav ou$'
S(/.<psp7]V
Epavvav
XV
SAPPHO AND HER ENEMIES
[12]
(rt)
^/ w
<- >..
OTTiva? yap
;7.2
eu i>soi, xyjvoi
(/.aXwrra divvov-
-rai ^ w
[14]
w.
Tat? xaXai;
u(/.[/.tv
(to) vo7][/.a TWfxov OU Oiai/.S17TTOV.
//'),
(<r),
and (d) sappho, atthis, and andromeda

T33]
(c?
vy
.->
^ w
<*j
'Hpa[/.av
[7.v
syco ci>v, "At&i,

[34]
tojcaoci
xo'tx.
Spi/cpa
[/.oi
~ai;
y
f/.p,v
[41]
sqpaivso >ca/api;.
(?)
A
yiv aTcvj/ÊTO
'Avopo|/,soav ttott].
[70]
"At9i, col
|/.e<9-v
cppovTiij^vjv,
iii\ <V
X
(
I
r}\ CI
J
\J v^ yy v^
f
, '
v^ v^
, '
\j ^> \y A
lI.
*Tt?
S'
aypouoTi? xot -OiAyEi vdov,*

ppaxs' eXjojv
?:l
oux
7:icrTa[j-va toc
tcov <7<puptov
"E/i
jxv 'AvopojJtioa
/taXav ap.oi(3xv.
162
GREEK LYRIC POETS

[Bergk, 72]
-w
aXkv.
tic,
oux
i'f/.f/.i
xaAiyxortov
opyav,
aXV
a(3axvjv
tocv <ppsV syto

[27)
^ -.
Sxiovapiva^ ev (m^SGiv opya?

fjuwJ/uAaxav
yXwaaav
7tS9UAac;o.
XVI
[37. 32]
^
(a)
^PauTjv
()'
*****
ou
Sox.ip.wf/.'
opavto Suet izoiyzGiv.
Mvacscftai Tiva
âjJLi
seal
ugtsoov apu/itov.
[10]
THE MUSES
<((}')
Ai Ta
(/.e
Ttp.tav eTcoTjaav
spya
<7<pa
Soicat.
XVII
[136]
SAPPHO ON HER DEATH-BED TO HER DAUGHTER
^
ou yap
-8-prvov
-9if/.i?
i_
_A
obda
v p.oiGOXOAto
a[/.[/.t
s[/.[/.evai'
oux.
Tcpexsi tocos.
XVIII
Metre,
ouS' tav
cf.
[69]
No.
VI.
Soxipno[7.i
rpociSotGav <pao? aAito

sic
scrcecrS-oa
cocptav
. . .
xap&Evov
ouSeva xco ^povov
TOiauTav
SAPPHO
XIX
[Bergk, 54]
ks
.
163
vy w
'
<y ^/
^ \y
t/'p/Euvr' aizakoiq ap.cp'
epoevra
(3o"j/,ov,
xoa; Tspev
avO-o? [/.o&ajcov fxaTSwat.
XX
[53]
vy.
^ \J w
,
nXy-pyj? j/iv <paivT' a <7Xavva ai 8' co? 7rspl f3to[/.ov <jT<xih]<7av.
XXI
[62]
_i
>
(î (î
Kar&vaaKEt, KuSipyj,
x,octtu7ttsc7$-e
ti xe a(3po? "A&tovt;,
<9-t|/,ev
>c6pai
jcal
x,aTpsfoc<jfrs j(yrciva<;.
XXII
TO HER LYRE
[45]
"Ays
Syj
/eXo ia
p.oi
cptovascreja yvoto.
XXIII
[60]
Aeote vuv
a{3pai XapiTE;, x.aTJXfotou.oi

[65]
ts Motaai
(b) V /
L'^V /\ w w vy vy w * vy vy v> L
v-
'
I
Bpo^07ra^; ayvai XapiTE;, $s<jts Afo? xopat.
64
GREEK LYRIC POETS

XXIV
[Bergk,
16]
DOVES
Tofoi
(<)z) tf/u^poc y.ev
sysvTO #woc,
^.
xap
S' I'ewit
xa
-^7rrspa
XXV
[79]
>_,
_ ^,
/ \
"Eyto Ss <pX7jf/. afipocruvav, ;cal [7.ot ^- to asXwo -^ ^ y.al to y.aXov ~kzkoyyzv. po;
J
Xoc|/.toov
XXVI
[39]
Hpo; ayysXo?
lj/.pd<pwvo; avjScov.
XXVII
GNOMAE
[101]
'O
[7xv
yap
-/.xkoc,
ockiov
I'ovjv
raXfiTai (jcaXo;)
6 Se y.ayafto?
auxwca
x.al
xtzkoq zgg&txi.
[So]
'O ttXouto; avsu (txc) apera?
oux,
adtvvj? Trapoiô?.
XXVIII
[9]
Al'$-'
syto, /^puGOCTECpav'
'A<ppdrWa,
tov^ Tov xaXov
~ky.yorp.
SAPPHO
XXIX
[Bergk,
19]
165
Ildoa? $
-ov xdikov spyov.
XXX
[36]
Oux
oio'
otti
<9ito
&uo
|xoi
t<x
voraaTa.
XXXI
[38]
'fi; OS
777.'-;;
TCSoa
(jtarspa TTSTrrsp'jywj/.ai.
XXXII
[II]
tzSs vuv STaipai?

tic saziTi xsp7cva y.aAto; asico).
BRIDAL SONGS
XXXIII
[91]
()
Metre, see Pop. Songs,

"IJ/ot
S?j
I.,
note.
to f/iXa&pov
1
jj//jvaov
1
KSppSTS TS/.TOVS? (xv^pe?

I
[/.'/jvaov
ya^po?
y.vbzoc
ecrspysTai ujo? "Apsut
[/.eyaXw
('TiMwaov) oXu iv.si^tov.

('T[7//)vaov).
[92]
()
ITsppoyo:, wc 6V aoiô?
AsViio? aAAoSaxoiciv.
66
GREEK LYRIC POETS

XXXIV
[Bergk, 104]
\^
^S*^/
w\_/
^-A_^
^
eixacoco
;
Tito
5', to (pile yaf/.|3ps, xoCkCic,

4
6'p7rax,i Bpao"ivto
ce /.aTacr' sijea^Sw.
XXXV
[105]
yaips, vufxcpa,
XXXVI
[99
-^
^^
\_/
"OA[it,s
$7)
ya^ps
(70i
[jiv
yajxo?,
w; apao,
5TTX(7t', /;/]; OS
TCaoO-svov av apao.
XXXVII
[93-4]
Maidens.
Oiov to
ascpov
y'Xu3C'j|v,x'Xov
spsu&STat
ax,pto
o*
B7r'
ucSg)
ax.poTaTW" ou y.av s>&sXa9-ovT',
stc'
'Xs'XaO-ovTO
[j.a'Xoo*po~Yjc,
aXV
oujt o\jvavr' STCbcsa&ai.
Youths.
Ol'av -rav ua>av9-ov ev oupsai 7uoi(/.sve? avSp; tocji xaTacTeipotffi, '/y.\j.y.i hi t xopcpupov avfto;
XXXVIII
[109]
'
I
'
Bride.
PartJienia.
IlapS-svia, 7iap-9-svia, %oX
XCtcoot'
tj<o.
(a7c)oi/y)
OuxsV
r^co TrpoTi
a'
oujcsV
SAPPHO
XXXIX
[Bergk, 95]
167
Fiaizzpz
<ps'pst?
toxvtoc
<ps'ptov
6W
XL
[98]
cpaivoXi? ecxioac' Aug)?,

7roct&a.
o'iv,
s'psi?
aiya,
<ps'psi? [/.arspi
x
\~*
^/
w/^-/
^j \j
UpCiipCO 1Z0()ZQ -T0p6yUL0t,
5s era^pala Trsy.TtSôyja, TCicuyyot o osjc sc,S7rova(yav.
ra
XLI
[51]
^ ^j ' ^w
1
'
^w
1
/\
/\ til w s^ /\ WV_/'
1 i
\j <s
S^^
W^>
/
w*
Kyj
<)'
ajxppocria; piv jtpairyjp sV.sV.paTO,
'Ep[/.a?
S' sXsv oXxtv frsot? oivo/d-âaf o xyjvoi apa 7ravxs; jcapyvîa (t) t^/ov, >caXsi(3ov apacavTO Ss Tia^Trav saXa
yaiy.Ppto
STESICHORUS.
C.
640-555 B.C.
TlSIAS, or Stesichorus as he was subsequently called from the progress he effected in Choral Melic, was an inhabitant
of Himera, which was founded about 650 B.C., 1 and he and his family may have come from the Locrian town
born about the year 640 B.C.,3 and became a prominent citizen at Himera, if we may form an opinion from the rather doubtful story of his allegorical
Mataurus. 2
He was
warning given to
Phalaris. 4
his
tells
fellow-citizens
Suidas
against the tyrant us that he was forced to go into
exile perhaps as a result of this action of his, or, as Kleine suggests, owing to civil factions promoted by the intrigues of
Phalaris and he spent the rest of his days at Catana. Cicero mentions a statue of him at Himera, as an old man, and he
;
died at the age of eighty-five, being buried at Catana. 5 Stesichorus, so far as we know, was the first to develop
lyric
poetry among the western Greeks in Sicily and Italy. Chronologically he succeeds Alcman, but, although he must have profited by the advance made by that poet and by
Thaletas
in
the choral strophe, he turned his genius in a
very different inclined him
His own taste seems to have direction. towards Epic, and, according to Muller's explanation of the myth which described him as the son of Hesiod, he was brought up in the traditions of the Hesiodic school. But as he could not resist the fashion of
1
Thucyd.
vi. 5.
c.
Comparing Lucian de Macrob.

to the
ii.
26.
2 Suidas. with the testimony of Suidas
and Eusebius
4 6
time of his death.
Arist. Rhet.
20.
;
Cic. Verr.
ii.
35, 87
Lucian
I.e.
Anth. Pal.
vii.
75.
STESICHORUS
169
his age, he endeavoured to effect some sort of compromise between Epic and Lyric. That is to say, while the form of \ his poetry was undoubtedly that of Choral Melic, the subIn the well-known jects were those of Epical mythology. words of Ouintilian, he sustained the weight of Epic poetry on the lyre Nor epici carminis onera lyra sustinens was the mythical narrative merely an important adjunct to his poems, as is the case in the Odes of Pindar it was the essential part, as we discern from the titles of his
'
'".
poems
The
'
Destruction of Troy
'
',
The
Oresteia
',
The
I have mentioned that the Helena', etc. objective element enters largely into Greek Lyric in Stesichorus' poems the
;
subjective, so far as
They may
tive
style,
judge, was excluded altogether. perhaps, in their union of the lyric and narra-
we can
were also
be compared with our longer ballads, which times accompanied by the dance. Some a different critics, taking view, infer from a passage in Clem. Alex. Strom, p. 133, u;/.vov sttsvovjits ST'/pl/opoc, that his poems were in the form of hymns, and that the narrative
in early
element, like the myth in Pindar's Odes, was in some way connected with the occasion. There can indeed be little
doubt that Pindar was much influenced by the example

of Stesichorus, and the long poem, Pyth. iv., which might be entitled the Argonauts will perhaps give us some idea of the nature of one of Stesichorus' compositions. Yet
'
',
it
must be admitted that we are

strictly lyrical
at a loss to
comprehend
how any
composition could reach such proportions as to be divided into two books, as is said to have been the case with Stesichorus' Oresteia} Stesichorus did not confine himself to mythology. Athen. xiii. 601 A. tells us that he was one of the 'inventors' of love-songs. These again were not of the proper subjective kind, but narrative, anticipating in poetry the novelette
of later times.
To
'
this class
and
1
'
Rhadina
(see Frag. VI.

Gr.
p. 783.
belonged the poems Calyce 2 Athen. vi. 250 B. also note).
'
'
Bekk.
A need.
For the prevalence among the early Greeks of romantic and sorrowful love-stories, see Welcker, on Stesichorus, in his Klcinr
2
Schriften.
170
GREEK LYRIC POETS

;
mentions a Paean by Stesichorus, popular as an afterdinner song in the time of Dionysius the younger and some species of monodic composition appears to be indicated in the story that Socrates, after his condemnation, heard a
singing a poem by Stesichorus, and begged to be 1 taught it before he died.
man
The important
system
is
addition
of the
Epode
to the choral
usually ascribed to Stesichorus, mainly on the strength of the proverbial expression ou&s to. Tpia Siryjstôpou at a wine -party ytvtootst?, employed against any person
could not take his part in the singing. 2 Hartung, however, points out that the song required on such an occasion would not be choral but a scolion or a paean and O.
;
who
Crusius,
chorus.'
who
refers the
proverb as 'you don't If this be correct,

article before Tpia is to
Epode to Alcman, explains the even know three verses of Stesi'

:
I suppose that the force of the You don't even be explained thus
we must take
are so scanty that from ancient critics that he was a great poet. By them he is spoken of in terms of the highest praise. Quintilian, in the passage I have already referred to, observes Stesichorum quam sit ingenio validus materiae quoque ostendunt, maxima bella et clarissimos canentem duces, et epici carminis onera lyra sustinentem Reddit enim personis in agendo simul loquendoque debitam dignitatem: ac si tenuisset modum videtur aemulari proximus Homerum potuisse sed redundat atque effunditur, quod ut est reprehendum, ita copiae vitium est.' The comparison of Stesichorus to Homer is found also in the Greek critics Dionysius of Halicarnassus and Longinus. The former 4 declares that among Melic poets Stesichorus and Alcman come nearest to Homer in the Common or Middle style (jtoivyj? sits [/.sotjs cuvd-zczcoc, âpax.T-/jp), which stands between the austere (audTKjpa apixovia) and the
it
know the proverbial three verses,' etc. The extant pieces from Stesichorus
on
trust
'
'
'
ornate (y>.aupoc
1
x.ocl
avDvjpa guv&sgi$).
2 4
In Longinus, ITspi
See Hesych. and Suidas.
See Marcell.
xxxviii. 4.
Co7nmentationes Ribbeddanae.
De Comp.
Verb. 24.
STESICHORUS
"T<|>o'jc,
171
'0(v,7)p&/.coTaTo;
ttocvtcov
we read:
2/nj<7iyopo;
ou
srt,
yap
(/.ovo;
'HpoSoxo;
'
sys'vsTO,
rcpoTspov,
ts
Ap^&oyo?'
os
1 Similarly, Dio Chrysostom says that Stesichorus was a devoted disciple of Homer, and that there was great resemblance between their works and an epigram 2 declares that the soul of Homer dwells
to'jtcov
[/.altera 6 TIXaTcov z..tX
again in Stesichorus
SsuTepov co/iaa.TO.
7uplv 'Op.rpou û/a svl <7Ts'pvoi; Finally, the fable of a nightingale sitting upon the lips of the infant Stesichorus singing is a beautiful tribute to his poetical reputation.
|
A
f
can hardly agree with Colonel Mure that the comments are all more or less borne out by the remains of the
'
Himeraean poet Some of the lines we and have one or two and sonorous,
'.
are,
it is
true, stately
e.g.
at the
the graceful reference in Frag. I. source of the river Tartessus
poetical expressions, to the silver mines ft.
(Traya;
aTreipovac
and to the approach of spring {Frag. VII.) appcoc apyupopiôu;), There is no small beauty in Frag. IX. p., vjpo; l7cspô(As'vou. fravovTo; av&po; x.t1, and the beginning of the Rhadina (Frag. VI.) is promising in its delicacy of touch and attractive metre. But most of the lines remaining are so exceedingly plain, not to say dull, that their preservation is not a very great boon. must remember that Stesichorus
We
was hardly a
lyric
poet
in
the ordinary sense

to
therefore his business
was not so much
and that work up each

;
detail and line to perfection, as to provide for the poetic development of his narrative, and the artistic delineation of his characters. 3 Consequently we cannot form a proper estimate of his poetry from isolated lines and fragments. His metres show a considerable advance on those of
Alcman, being very similar to those of many of Pindar's Dorian Odes. Compare especially 01. III., which is described by one MS. as STVjciyopsia.
'
'
1
'
Vol.
ii. p. 284 (Reiske). Anth. Pal. vii. 75.
Cf.
Dion. Hal. de
r\
Stesichorus to
<A;
[leyaXoTtpe'raia
X('">v
Vett. Scrip, who calls attention in the case of -nov /.axa xa? u-oih'asi; -pay[j.ax(ov, ev
jcpoa<07Cb>V TET7]p7]xev.
xa
TjOtj
xa\ xa aio.>;j.axa
STESICHORUS
i
From
the
rvjpuovyjfc.
()
[Bergk,
8]
*^ ^ ^ W W ^ \^ <S <S KJ \J
s*/
^-*
\^> \_/
\*/
^ v^ 'w/w ^ ^ v-^v^ y\ ww^^ ^

; ;
**->
ww v^
1
/\
'AlXtog o
T7:sp&ovu)a; Ssâ? C/taTs(3atvsv

ot'
ypucrsov, ocppa
acpUoiS-' Ispa?
'I2/CavoTo Tuspaca;
xotI psvO-sa vu/.to; eps^va?
ttotI [xa^rspa x.ouptSiav
ctkoyov
geryon's herdsman.
ts]
(yW7]9-i;) 'AvTi7Tpav fcXswa? 'Epu9-ia?
TapTVjaorou ~OTa[j.oO roxpa Traya? a7Tipovac apyupopiouc,

SV /CU$|/,(OVl 77Tpa?.
(Y)
HERCULES.
[7]
Ss Xaptov Sx.'J7Tcptov
~i'vv 7Tt<7/ov.vOi;,
$7ra<; |xy.Tpov
ov. ol
w; TpiXayuvov
-/.Epacrac.
to
xapiibjy.E <1>oao;
STESICHORUS
11
173
()
ODE AND PALINODE.

[Bergk, 26]
v_,
wwww wW /y WW WW w w I \^ w wWwW~WW w \^ w w w w w w /\
I
"
~y\"
'
'
. . .
_ t
n-
Ouvx.a
Tiv&xpeo; psCwv ttots
7ra<rt
&eb%
txouva?
Xa&ST
VjTOOooJpo)
Ss Ku.7rptSo5* x-stva
TuvSapsou xoupaict yoXcoaqcaGva

jcat
^tyafZou;
ts xai Tptyaôu? rUfajaiv
Xncsaavopag.
(P)
[32]
UU-uyj
.
WW WW
*
Oux. sgt' STop.o? Xdyo; goto:"

QUO* Spa? SV VYJUGIV SUffSAULOlC,
O'jS'
utso Tus'pyay.a Tpoiac.
Ill
BRIDAL OF HELEN AND MENELAUS

[29]
(?)
w w ~" w W ~ WW WW- WW wwww w ww w w ^ w ww ww

*~
IIoAAa piv KuSoivta [xaXa 7F0TsppCT0v

tzoXXx
jcal
tii
tcotI
<$typov ava>CTt
jAiipptva
q>uXXa
tcov
pooivou; aref avoug
re KOpov&a ooXa?.
174
GREEK LYRIC POETS

IV
DREAM OF CLYTEMNESTRA.
[Bergk, 42]
WW w w w w w WW WW w w W W 1 WW w w /\
1 '
'
Tk
Ss Spaxxov eSoxvjcre
jj.oasiv
xapa psppoTcoj/ivo? axpov

eqjavyj.
sx. &'
apa tou
fitxaikzix;
IlASUT&svi&as
V
EPEUS.
[18]
"XlwcTSips
yap ocutgv
u'Scop
a'isi
cpops'ovTa
Aioc xoupa
(3aciAsC<7iv.
VI
From the'Pa&va.
[44]
"Ays MoOcra
Aiyst'
apôv aocoa? spaTcovu|xou
Sap.itov Tcspl tojciSwv
epara cp&eyyoas'va Aupa.
VII
From
the 'Opscrsia.
[37]
WW ww ww ww /\ ! w w w w ^- w ww WW
-
/\
Totals
j^pr;
XapiTiov Sap.top.aTa xaAAtxop.iov

[/.s'ao?
ujavsTv <!>puytov
eêupcvra? a^pco?
[36]
7}po<;
STCpyof/ivou.
....
OTav ^po? wpa
'/.saocSt]
ysXi&tov.
STESICHORUS
VIII
[Bergk, 50]
175
serosa Ss arovayac t' 'Ai'Sa? slaysv.
IX
(*)
[51]
'ArsXe'cTaTa yap xai

xXaCsiv.
apâva
tou? ftavovrac;
Havovroc avSpo;
7ra<7' y.r:6Xk\>X7.i tcot'
av9-po)77(ov
X^-P'-?-
BYCUS
Fl.
c.
530
B.C.
IBYCUS was an inhabitant of Rhegium, a

lation
consisted
of Ionians
city whose popufrom Chalcis and Dorians
from Messene.
The
latter
for a
;
long time retained the
1 and Ibycus apparently supreme power in the state belonged to one of the chief Dorian families, if we can trust the statement that he had the chance of becoming 2 Instead of doing so, he betook himTyrant of the city. self to the court of Polycrates, who was a distinguished patron of literature and this to a certain extent determines the date of Ibycus' poetical career, since Polycrates became Tyrant about the year 532 B.C. 3 At his court Ibycus met Anacreon (see p. 104), but there is not the
;
slightest apparent affinity in the style of their poetry.
The well-known
revealed
his
story of Ibycus and the cranes

is
who
murderers
modern scepticism to the legends, where a blank, as

of the
It is
list
unfortunately consigned by of those romantic folk-lore
it were, is left for the insertion of the hero, as from time to time found suitable. supposed to have attached itself to Ibycus perhaps
name
because of the resemblance of his

or
tpuc,
name
to the
word
'i(3u,
defined by Hesychius as opvs'ou siSoc. In one branch of his poetry Ibycus followed closely in This we assume partly from the footsteps of Stesichorus.
the fact that a very large number of the references in eminent authors to his writings are in connection with
1
Strab. vi.
i.
p. 257.
2 3
Diogen. ii. 71, in explanation of the proverb See Clinton's Fast. Hell. vol. ii. note B.
ap/atoxepoi; 'ipuxou.
IBYCUS
177
mythology, and more directly because in many cases the ancients themselves were in doubt whether to assign a 1 So far as poem or passage to Stesichorus or to Ibycus.
chronology goes it is not impossible that, as a young man, he was a pupil of Stesichorus. It is not, however, as a 2 composer of Epico-Lyric, if indeed he was such, but as an erotic poet that Stesichorus is known to us from his fragSuidas speaks of him as spcoTO|xavs<jTaTo;, and the well borne out in his poems. 3 Herein he departs epithet of from the traditions the Himeraean poet, entirely whose love-poems were merely narrative and in no way It is with the connected with his own sober feelings. Lesbian school that, in this respect, Ibycus has the closest affinity, and it is possible that, on coming to Samos, he fell more directly under its influence. The fiery intensity of his feelings and language and the perfect beauty of his exments.
is
He pressions vividly recall the spirit of Sappho's poems. resembles her too in his keen appreciation of the beauties
he
see Frag. I.; vii. a', ft. y'. On the other hand strongly distinguished from the Lesbian and indeed all other lyric poets by the somewhat remarkable fact that his love-songs are not monodic but choral. This is mani-
of nature
is
from the nature of the metre and it is not easily how such purely personal feelings as his poems appear to express could be the subject of an ordinary choral representation. Welcker has an ingenious conjecture it is little else that the odes were sung at beautyfest
;
intelligible
by choruses of boys. If so, we could to some extent compare them with the choral songs of Alcman, in which, as we have seen, the poet often breaks off from his
contests
proper subject to pay compliments to his girl-choristers. Apparently, however, the love-songs of Ibycus were not mere digressions of this kind, but the main theme, as we
gather from the mention of an Ode to Gorgias, and from the address to Euryalus in Frag. III. far closer com-
2
3
See Bergk 16, 52, 53, 55, 62. See Welcker, Kleine Schriften,
Cf. Cic. Titsc. iv. 33, 71
:
p. 241.
Maxime vero omnium

scriptis.
flagrasse
amore
Rheginum Ibycum apparet ex
178
parison
is
GREEK LYRIC POETS

afforded
IX.).
by Pindar's choral
scolion to
Theoxenus
(Pind. Frog.
Unsuited as choral poetry

irregular
may
be
for love-songs, the
skilfully to give expression to the tremor and Aristoph. Thesmopk. 162 frenzy of his restless passion. speaks of Ibycus as softening melody' (yu\).(C,zw <xp(/.ovav),
movements of
its
rhythm are most
employed by Ibycus
'
and assuredly the accompaniment which followed such metre as that of Frag. II., spo; ocuts [j.z xuaveown x.tX, must have been of a peculiarly sweet and appealing nature, which sterner critics might condemn as enervating. The extant fragments are only' too scanty but as the most
;
important, Frag. I., II., III., are quoted not to illustrate some curious point of grammar or mythology or the like,
but apparently with approval of their poetical merit, they are perhaps specimens of his best work, and we have only It is strange to regret that no more has been preserved. that the poems of Ibycus, though he was ranked as one of
the nine great lyric poets, seem to have attracted so little attention among ancient critics. Probably he was outstripped by Stesichorus in the sphere of Epico-lyric, and perhaps his experiments in choral love-poetry were on the
whole unsatisfactory. At the court of his patron Polycrates it is easy to understand that the lighter and more
playful verses of
Anacreon won greater popularity.
IBYCUS
[Bergk,
i]
ww ww w ww ww w ww ww w ww ww w WW ww ww ww ww ww ww ww ww ww ww w ww ww w A ww ww w ww ww ww A ww* ww ww w ww www ww WW
^
'
'
'
IO
'Hpt,
[J.SV
ai T KuStovty.!.
[/.a'XWe? apSo|7.va-.
ex.
poav
TTOTa^cov,
I'va
xapDivcov
ai t' oivav9u^:
5
xtjtto-; ay.7jp-y.Toc,
auô'ixEvy.t. gy-izzoXciv u<p' pVE*7t.V
oivapsotc BaÊôiciv ejxoI S' Epoc
o'jOEyiav x.aTa/Cor.TO? topav,

pyjlliuoc
a-8-'
0770
7Tpo a? iy<ov
Bopsac,
alWov
rcapa K'jTrpiftoc a'CaTiar,;
(/.aviawjiv Ipeavot; aftaiy^Tj';
yX.py.TCO; 7TatOO'8'SV Cp'Aa*7-7!.
IO
ay.Tpa? opvac.
180
GREEK LYRIC POETS

ii
[Bergk,
2]
w*
'.
-uu-u^ w w w w w w w w w w
'
"
"7\
w w - w w uu w w w ' w w w w w w w w /\
;
W Wl
"Epo; auT
WW WW WW WW W W WW WW WW WW /\
x,uavoi<ri uxo ^Xscpapoi; Taxip' o[/.[/.act &spx.6(Xvo<; {/.e ; KTOipa Six.Tua KuTrpiSo? |/.e paXXfiu 7ravToSa7rot; xTj'Xâcri
T p.av
t
TQOfJticD
VIV
eTCpÔ(^VOV,
cogts cpps'uyo;
asjccov
i7T7ro?
asO-Xocpopo? tcoti y^poc
guv o^G<pi
-9-ooT; ?
apXXav
III
[5]
sfia.
WW w w WW WW
WW - WW*~WW"~WW WW WW WW
XapiTcov
-B-aXo?,
WW WW
EupuaXs
#
fkv/.zly.v
x.a>JXix.O[/.G>v ^^'Sv](7.a,
ge
jj.v
Kuxpt;
ftps'iâv.
t'
IIeiSg) poEoiGtv v ocvSegi ayavo(3XE(papo;
IV
HERCULES
IBYCUS
v
[Bergk,
.
181
9]
uu w w w w - w w
WW WW
D.au>c.o}7uSa KacraavSpav
7\
dpaaw&OKauov
x.oupav IIpia[x.oio
VI
[24]
w w www w ww
;
'
w ww ww
C
Tif/.av 7rpo; av^ptoTccov ajj.siôi.
VII
[6]
^\j
^^^
1^
i^f
Mupra
p.okd.
ts
jtal I'a seal
zkiyguaoc,
ts
>cai
po&x
x.al
Tepsiva Sacpva.
<P')
[7]
s^y
\y
^ ky ^*
V-
'
v^
s-
'
Ta[/.o; au*rcvo? jcXuto; op9-po? eyeipTjatv avjSova?
(Y)
[3]
ww
WW w w
'
'
w w WW
w
afACpavotovra.
^XsyeOxov, axep <W. vux.xa
[/.ascpav crsipta
VIII
[27]
Oux. <mv
a-o'pihjj.svot:; coa? Sfi
(papâôv supsfv.
ANACREON
Fl.
c.
530.
distinct in character
In the fragments from Anacreon we have poetry very from that of any of his predecessors.
is
a monodic poet, who writes chiefly of love and wine, he the successor of Alcaeus and Sappho, and the three together are almost the only Greek representatives of
As
Lyric poetry, as
we understand
it,
and personal
in
order.
But beyond
this
namely of the subjective Anacreon has little

alone of
all
common
with the Lesbians.
He
the Melic
poets proper employed the Ionic dialect, though we must remember that in avoiding the Epico-Doric of ordinary choral Lyric, and in keeping to his own dialect for the
inartificial
expression
of his
own
feelings,
he
is
still
at
one with Alcaeus and Sappho.
In metre, although his individual lines are of a similar character to those of the
Lesbian poets, he usually abandons the four-line stanza which they employed with such effect, and leaves himself more liberty for the expression of his less concentrated
thoughts.
But
he
it is
not in these external characteristics alone that

writers.
differs
from the other Melic

;
He
is
the only
genuine court poet that is to say, while plenty of Greek authors found patrons among the Tyrants, none of them exhibit in their writings the influence of their environment
to anything like the as is done by Anacreon. from the life of a Hellenic The citizen, with its eager activity in peace and in war. favourite of a Tyrant has no burdensome rights or duties he has simply to drink, love, be merry, and to write grace-
same extent
far
His poems transport us
ful
poetry.
Finally,
Anacreon
is
the only Melic poet whose writings
ANACREON
183
reflect vividly the temperament of the Ionic Greeks, who dwelt upon or close by the coasts of Asia Minor, and who were thus subject to the relaxing influence of the East. He would never have vexed his mind and body, like Alcaeus,
mastery still less would he have dreamt of abandoning daily comfort and life itself at the call of duty, like the typical His was just the Spartan.
in struggling for political
;
calibre of those Ionians who flung away the prospect of victory before Lade, because a few days' discipline and hard work were quite intolerable to them.
An
those who,
at
inhabitant of Teos, we hear of Anacreon as among when the reduction of their city by Harpagus
fleeing to a
was imminent, escaped slavery by
new home
Abdera, about the year 540 B.C. It was probably at this time that he made his acquaintance with the evils of warfare, an acquaintance which brought him little
we may judge from an apparent confession in Frag. xxix. d. (v. note ad loc). Neither was his love of freedom so great as to hinder him from accepting the invitation of the Tyrant Polycrates to Samos, and he lived in close friendship with his patron until the murder of
credit, if
l
the latter in 522 B.C. Anacreon had long since established a Hellenic reputation; and Hipparchus 2 invited him to add lustre to his princely household, sending a
Here he fifty-oared vessel to escort him to Athens. must have been in intimate acquaintance with Simonides, and also on terms of friendship with many of the great Athenian families, 3 and the citizens in general showed
their appreciation of the poet
by
raising a statue in his
honour. 4
His movements after the death of Hipparchus (514) or the expulsion of Hippias (510) are uncertain. It is not that he remained or in revisited like Simonlikely Athens,
ides, for his poetical style
little
1
suited to the
iii.
taste of a democracy. 5
and general temperament were An epigram

i.
Hdt.
3
6
2 Plat. Hipp. 228 C. [21, and Strabo, xiv. 63S. 4 Charmid. 157 e. Pausan. 25. 1. Compare Append. Anac. 8, where he speaks of himself as ou8'
Plat.
i8 4
GREEK LYRIC POETS
ascribed to the poet himself (Bergk, No. 103) speaks of a votive offering of a Thessalian prince, Echecratidas, from which the rather unsafe but not improbable conjecture is drawn, that Anacreon on leaving Athens, like Simonides,
1 enjoyed the hospitality of the Aleuadae.
Lucian, de Macrob., c. 26, tells us that he reached the age of eighty-five, and he himself speaks of his grey hairs which yet have not abated the ardour of his passions, and
similarly
we
find
him represented on Tean
coins as an
aged voluptuary.
is readily discernible in his presents us with an excellent and He agreeable type of the refined man of pleasure. studiously avoids all things earnest or serious, and all
The
character of Anacreon
extant verses.
He
He is things painful even in word (v. El. 94, Bergk). not a hedonistic philosopher, who, dissatisfied with the
brevity and the trouble of existence, betakes himself on rather it principle to the studied pursuit of enjoyment was a matter of pure inclination and good fortune with
;
Anacreon not to be touched by the sorrows of life, and to take a fresh and joyous delight in its pleasures. He dreads death, which will bring an end to his gay, ephemeral existence but his feeling is not one of heartfelt terror, and he can speak of the subject in the same careless, graceful tone (No. xxil.) with which he might describe an
;
unsuccessful flirtation.
Even
no
in his favourite pursuits
of
wine and love there
not say of the terrible earnestness of Sappho, but even of strong emotion.
is
trace, I will
'Ep(3 T Svj'JTS
/CO'JX 0(5
Kal
is
f/.aLVO(/.ou
x.o'j
[v.aivoaat,
the key-note to his happy temperament. Eros to him is not the dreaded deity portrayed by Ibycus, but a sportive
(No. VI.)
to
god who playfully vexes the poet with his golden ball and when his attacks become too annoying, Anacreon proposes, with wine and merriment as his seconds,
;
box with the god whom Sophocles calls unconquered

'
in
Cf. infra, Biog. of
Simonides,
p. 199.
ANACREON
battle
'
185
(No. XIV.).
we are
his
. . .
1 told, in sobriety,
Similarly his Bacchic songs are written, and Aelian deprecates the notion of
ti;
. .
being a debauchee, Myj yap
tov
7coi7]tt;v
tov T^'iov
axoXacrrov eivai XsysTto. If we feel disposed to quarrel with Anacreon as a poet without poetic fire, and to draw
invidious comparisons between him and the more ardent song-writers of Greece, we are withheld by the charm of
marvellous ease and grace. 2 It is not so much that he falls behind other Melic poets he stands apart from
his
;
an entirely different sphere of poetry, and in that sphere it is hardly too much to say that he attained as near as may be to perfection. Anacreon was a hater of all things unrefined or excessive. He detests persons of a jarring and difficult disposition, and loves the easy-tempered (No. XIX.) he admits that, probably for this reason, he is not friendly to the common citizens (Append. Anac. 8). He dislikes a man, who over his wine-cups neglects the Muses and talks of quarrels and tearful war {Eleg. 94). He despises sottishness as barand looks for wine to baric, quicken and not to stultify his wits. Ath. XI. 463 A speaks of Anacreon as 6 yapisi;, and the epithet is well-deserved. This quality, the poet himself says (No. XX.), is the foundation of his popularity, and he
in
; ' '
them
reserves his love only for those
who
exhibit a similar char-
acter (No. XXI.). As with the man so also in his poetry it is the yapi?, its grace and refinement, which chiefly delights us and all the more because these good qualities come with
;
the most complete spontaneity. There is no trace of his 3 laborious care and employing workmanship to produce his effects whatever Anacreon wrote was sure to be pleasing
;
Plato speaks of Anacreon as the can hardly have applied the epithet to him in the same sense as he does to Simonides (v. p. 202) or
faultless of its kind.
and
Wise. 4
as
He
it is
applicable to any of the poets
who
dealt with the
Athen.
'
x.
429
B,
and
cf.
note on XVI.
charmante.'
C.
2 3
Sa grace
infinie et sa legerete
Burnouf.
of Anacreon.
'Non elaboratum ad pedem,' Hor. Epod.

'Avoc/tpEovTo; tou cto'ôu,
xiv. 12,
Phaed. 235
86
GREEK LYRIC POETS

;
life. Anacreon, so far as we can infer and judge, carefully abstained from anything of the kind and in his instance the epithet probably signifies that he was a man of consummate poetic taste and skill. His genius was not one-sided, as might appear from the Melic fragments he also wrote elegies and epigrams, some of those which remain displaying no small merit {e.g. Bergk, Nos. 101, 113). We have besides in No. XXIII. an example of powerful stinging satire, which shows that the pleasureloving poet could prove himself on occasion no mean His skill is nowhere more apparent than in antagonist. His favourite Glyconics and his command of metre. Fherecrateans might easily tend to monotony, were it not for the slight but effective varieties which he introduces.
great subjects of
'Ava-sToâi Svj Trpo; "O'kotj.r: ov TTTspuyecyGt the impression of an angry flutter of disy.ou<pat;, /..T.A., is appointment admirably conveyed by the metre while in Frag. XIX. Ss peso), x..t.'X., where the poet is in a syio
;
In
the
lines
comparatively reflective mood, the metrical effect is correspondingly calm, the dactyls being followed by the
slower trochees.
pvjfciyj
But
x.t.'X.
it
is
in
the song beginning ITiS^s
ti
Sr
self.
it
Here
(No. V.) that the poet surpasses him(/., the rhythmical movement, simple and easy as
;
readily
appears, is a brilliant work of art in itself and we are able to appreciate the force of the expression
'
applied
by Aristophanes, Thesm. 162, to Anacreon as to Ibycus, that he softened melody yy[jJL,ziv apf/.ova<;.' There are certain peculiarities in Anacreon's treatment
of this branch of his art which deserve attention. As I have mentioned above, although he makes use of a variety of the usual lyric metres, such as the logaoedic, choriambic, and Ionic, he seldom employs the four-line stanza so common in Sappho and Alcaeus. The distinguishing feature in his poetry is the system or series of short and
'
',
not wholly independent lines, generally wound up by a clausula and one of the most important of these systems consists of Glyconics (-w-^w-^-), with a Pherecratean
;
(-c-w.^
a clausula, the latter recurring, not at regular intervals, but as best adapted to the nature of the
)
as
ANACREON
the
'
187
Each of subject or the demand for rhythmical variety. the lines before the clausula is so far independent, in that
1 is in all cases observed, and all but very avoided on the other hand no certain cases of hiatus occur, nor is the final syllable treated as anceps'; for in the three instances where it appears to be short (viz.,
wortschluss
'
slight elisions
'
Frag.
II.
1.
sXa^7j(3oXe,
is
Append.
jcotXarepa), the next line
it
really prolonged
jcsx.op7](xev6, Append. by being succeeded
3 in
gt respec', g[j., first the foot was tively. Glyconics probably 2 and hence assumes no originally treated as the basis less than three forms, -^, and <*. Of these the Iamb
In
the
by the double consonants
'
'
occurs
in
very rarely,
the trochee
is
equally
uncommon, 4
;
wherein we
may
contrast the Glyconics in Catullus LXI.
which the pure trochee is almost universal so that in Anacreon, as in the choriambics of Horace, the basis nearly always assumes the form of the spondee, or, to
speak more precisely, of the irrational trochee. The Pherein Anacreon ends in a long vowel without exception, and there is little doubt that it is not an acatalectic tripody, -c;-^^-w, but a brachycatalectic tetrapody, a I n Catullus I.e., on the other hand, the final -^-^^|
cratean
syllable
'
Hymen, O Hymenaee,' Prodeas nova nupta.' Another favourite system with Anacreon, in which also hiatus, elision, and the syllaba anceps at the end of the
'
is
frequently short,
e.g.
'
'
line are
'
broken dimeters each line being a
avoided, consists in a series of what are called wv^ A (&[/.SToa avax>.G){/.sva) thus
'
:
'
dimeter, -- The Ionic dimeter

clausula
{e.g.
broken
7s;.
'
or resolved form of an Ionic
itself
I.
Frag. XVI.
(e.g. Id.
1.
(See Frag. XIV, XV, XVI., etc.) frequently occurs either as a II, o-q-ivovts; sv ujxvois), or as a
The 'broken dimeters' should be as regarded brachycatalectic, while in the Ionic probably there is a pause after the last syllable equivalent to two short syllables, as indicated in the scheme.
mere variety
5).
1
2 Contrast Catull. lxi. 86. See W. Christ's Metrik. p. 517. 4 Append. 1, 6. Append. Anac. 4 and 8. Frag. XII. 1. 1
;
AN ACREON
i
[Bergk, 89 1
w w,-A
'Epo~ ts Stjuts
/.O'jx.
epto
x,al (/.aivoaat x,o'j
u.aCvo[/.ai.
II
TO ARTEMIS
[1]
Eav^yj toci Aioc, aypicov

SsGTuOtv'
7]
"ApT[Al ihjpOiV
AvjS-aiou
>cou
vuv
S7fi
îvqai S-pacujcapSitov
âipoucr'"
avSpcuv dc/Caxopa? xoXiv ou yap
avvjf/ipous
7TOt[AaiVli; TZOklYfUXQ.
Ill
TO BACCHUS
[2]
'OvaQ,
to
Sa|7,aA7]? "Epco;
x.al Nuiiffiat
jcuavtoiuoss
TTOpÛpST] t' 'AcppoStTVj

<ju(X7raiôi)<jw
IxtcTpsmsat
S'
uvf/Tjlcov jtopixpa? 6p(-)V,
ANACREON
youvouj-tai
s);fr'
crs" ru
189
S'
su[asvy<;
S'
^[/.Tv,
/.syapiap-ivv]?
BUYtd^r?
S77a3CO'JSlV.
KXeopou^co
GUf/.(3ou7.0?"
tO
S'
ay a fro; ysvsu
[7.0
TOV
V S'
pCOT*,
IO
AsOV'JCS MyZG&Cf.l.
IV
[Bergk, 65]
(Tov) "EptoTa yap tov

[/.&o|/.ai
dcj3pdv
Ppuovxa
[/.iTpai?
7ro7vi)avî7.ot;
aswsiv"
60s yap $tov duva<JT7^? 6' os xal j3poTOo? o*af/.aet.
[75]
^ vy ^ w A
' '
'
v-/
*-*
'
IIw/vS
p7]X.t7],
Tl
0*7]
[J.
XoÔV
o*s
{/.'
6'[/.[/.aCtV
fikilZOUGCL
vvjlsw; qjsuyst?, Sozist?

v
ouSsv
eio'svai
cocpov
I(rih
to 1
JcaXoS? [jIv
av toi tov yoCkaov iâkoiî,

Tspp*.aTa Spoôu.
yjvta?
S'
sytov
<7Tps(poi(/.i (<>') ajxcpl
Nov
o*s
Xei(Jt.<3vas
te
Ôffjcsat scoOâ
oux. s/stg
[76]
te
l
<73pT<3<ja rocket;*
o*siov
yap wnc ocsipvjv
S7irsf/. SaT7]v.
IQO-iK
[7-su
yspovTo; susSsipa
/jjugo'tcsttAs
xoupa.
VI
[Ml
2<paip7] 0*V)'JTS
[/.
TiOpCpupSV]
(ia'X'Xtov ^puaox.O[7.7j?
"Epw?
vr vi
(
7row.iAo<7au,|3a7.ta^?Tai'
V
190
GREEK LYRIC POETS

r
t
',
sgtiv
yap ax' boxtitou

j&ou.inv,
Ascj3ou, T/jv [xev ep.rv

^.sujcy]
yap, JtaTauiu.<psTaL, xpd? o aXXvjv -nva y6.av,z\.
VII
[Bergk, 47]
v*/
/ *
\J \j
/ /
[/.'
**j
\J \J \j
/
*
MEyo&to
xsXsjcei,
otjOts
"Epw;
sjco^sv
were
yaXy.suc,
î[j.spi'/]
S'
eXougsv sv âpa^p7j.
VIII
[46]
'AcTpayaâi
ft'
"Eptoro?
siciv
[/.avtai
ts
jcal
xuftoiôi,
IX
[24-5]
' ^ v^ ^j w ' \J ^
'-*-*
1 1 '
^y \y
i_L A ^s '
'
(<?)
'Ava7iTo;xat ^vj xpo; "OXu[/.7tov izxepuy&GGi xoucpai? Sia tov "Eptor'' ou yap i[j.o\ xaTc eOeXsi cuvTjpav.
($)
("Epw;) p.' scuta) v ysveiov uxoxoTaov ypuaocpasvvtov TTTEpuyoiv aerate

7rapa7TTTai.
X
[4]
'fl
xai xapftsviov (&sx(t)v aisi?* oi/o^.ai a cru o ou/.

OU/ ei^tO? OTt, TVJ?
S/,7jS
tyv/rfi yjvioxe'jstc.
XI
[3]
Kveo,3o''Xou piv syooy' spa),
K7so JjO'j^w
()'
sxu/.aivop.at,
S1OCX.SO).
KXsdfJouXov &
ANACREON
XII
[Bergk,
Sj
191
'Eyoo
S'
out' av
'A[/.aXfri>j5
PoiAotj/.7]v xspac, out'
Irea
7TVT7]JtOVTa
/.at /Ca.TOV
TapTvjffaou PactXsGffat.
XIII
[191
'Ap9-sl? otjOt goto

7rsTp7]s 65
AeuxaSo;
xoXu;x(jto {/.sftutov
roXtov
yuj/.a
spom.
XIV
[62]
p'
uoop,
S'
<psp'
oivov, to 7rat,
7)j/.tv
<psps
av9s7-ouvTa5
GT(pavou;, evswcov,
ok &r
~p0? "EptOTa
TTUX.Ta'Xl^to.
xv
[6.1
Ilapa ovjuts IluO'Ou.avSpov y.aTE&jv "EptOTa cpEuytov.
XVI
[63
1
ww;
v^
\j
'
'
^ cinCl *-^
to
vj
J\
Ay
o7j <pp
vj|7.iv,
~at,
jcXs(3tjv, oxci>5 ap.uffTiv
7rpo7uio,
rr<S
uoaTo;,
Ta [jiv osV iy/iy.z Ta tovts o owou

\
<S,
,1
192
GREEK LYRIC POETS

/cua^-ou;, to?
avuppicras
ava Stjute paccrapr^co.

ouTto StjOte [/qxifr'
TCOCiv Trap'
"Ays
TiaTayo) te xoXoXtjtw
Sxu-8ix,7jv
ol'vtp
u.e>.STt3{ji.sv,
aAâ
/.ixXoi;
IO
U7tOTCtVOVT; V
U'J.VOl?.
XVII
[Bergk, 90]
,-A
Mr&' wars
x.u(xa
xovtiov
TâXaÊ, TV] 7roûx.poT7]
guv racTpoficop /) x.aTaûoy]v luvouca ttjv S7u<raov.
XVIII
[17]
W _ W _A
A
()
'HpiCT'/jTa piv ITpiOU
'Xetctou jv-tapov a7to/.Aa?,
ol'vou S'
sêmov
jtaSov,
vuv
S'
appto? sposacrav
<pt>.7j
iâXXto 7njx.TtSa ttj

x.to[j.a*Ctov Tra'iS(t)
appvj.
[18]
()
âtoto
to
S'
ebon (AuSov)
r$5L<;.
ôprV/jciv [j.ayaXvjv ^<dv
Asu/tacTft, cu 5'
ANACREON
XIX
[Bergk, 74]
193
_ w Li_A
raxvTa;,
jcal
6'crot.
yO-oviou? lyouai
cr',
pu-9-j/.oui;
ya/\ o'j?* [X[xa&7]x.a
to
Meyt(7T7],
tcTv apax.ôixovtov.
XX
[4Sl
^>
'
\_/
!/
/"y
Epi yap ^
'Xoytov eivsjca 7catS?
av
<pt,/\otv
yv.pizvTX [7iv
yap aSw yapiEvxa
S'
oiSa
7\at.
XXI
[44]
rot ouvvjâv, "Epa|/.ai (o)
yaprroCv /t? yap
yj$o;.
XXII
[43]
IToltol
[7.EV
7]f/.lv 7]Syj
xpoTacpcn, xapyj
t /\uxdv,
r^yj
yapiEcraa
S' ouxi$-'
xapa, y/]pa/voi
ri'JXpO'J
(V cxôvtec.
S' 0'JX.ETt, 7i;o7\/\0<;
îoto'j ypovo? 7\sÊ&~Tat'
Sia Taur' avaGTa/û'Co)

9-a(/.a
Taprapov
(Ssôtxoi?.
'A$<o yap sgtl Seivo?

{vr/6c apya"XV]
8' e;
auTOv
;ta&o$o?" scat
xaTafiJavTi
fit.7]
yap etoiôv
avapvjvai.
194
GREEK LYRIC POETS

XXIII
[Bergk, 21]
**/
' \y w A ur <s
'
'
/->i-
*-
'
""v-*
' ' A w w \s w
\^/
^_^_1^_A
or
.lv_,
w i_-L^ w _--L w _ _^_A
A
-ovj
1
^/w- HaVtHj (&)
Y* EupU77'JA7] [/.sXsi
6 7iptCpOp7]TO? 'ApT[J.COV,
lv
>cal
sycov psppspiov JtaXu[/.f/.a t' <r<p y]/.o)fAvov, ev toai, jcal <Ll7i0v xepi uXivou;
(y.sv
acrTpaYôu;
xXeupvjci
c; - [3od;,
vtJxXutov
s'iXu(/.a xaxTjj; c/.gtzv)oc apT07rtoXi<jtv
y.aB-SÔTTOpVOKTlV 6[/.lXsb)V 6 7TOV7]pOg 'ApTSJAtOV,
xipSyjôv eupicrx.ciiv piov, dXkv. piv ev Soupl Tt9-slg auysva, TzoKktk S' v Tpo^cT, ~6Xk<k $ VCOTOV CXUTIV7) [/.(XCTIY 1 8'tO|/.iy-B-l?, /.op.vjv
TttOYWVOC t' /CTTt7;|XVO;.
IO
vuv
S' 7u(3aivi GaTtvcov, x.al
ypucsa
<poptov xaflipp.aTa
rat; (6) Kujcvj?,
crx.taîa/.7]v X<paviriv7]v <popt
Yuvoci^lv auTco;
-.
XXIV
[5'3
^
\w^>
V**
/\
s^ \j
7\
veoO-vj'Xsa,
'AYavto; oia t vppov

YaXaS-yjvov,
aTTO^StCpS-sl?
oW v
U7TO
CXyj x.po<7<r/];
p.7]TpO? STTTOyStJ.
XXV
[6]
Syj IIoGi&fjitov S' uScop IVnjJtsv, v<pXa;
Mel; piv
(3apuvi,
Aia
t'
aYpwt
^t;7.av!; x.<XTV.yo\)Gw.
ANACREON
XXVI
[Bergk, 41]
195
WW
WW ~ W W WW
cpt'Xdcppcov
A.
('O) MsyicrTV]? (To
*a
Syj (/.rvs?
eirsi
ts
<7f<pavouTai ts Xuyco xal rpuya xivsi
[/.sXivj^sa.
XXVII
[20]
(1.2)
-Â,w'--^wKAJ w-w<--A
Ti?
epa(j[7i7jv
U7w' OCuXtoV
Ic, 7J|37]V
TpS(|/a; ftu^-OV
TpV(OV yjpOTCWV
opêiTai.
XXVIII
[54]
(^2 J
ww wwww
;
/^
'E7TI
O OtppuaiV Ge'XlVCOV GTECpaviSJCO'J?
-8-[xsvoi
9a^siav opTTjv ayayw[/.ev

[39]
Aeovuctw.
(b)
TCSpl
nêxTa?
GTY<9'<71
(T
t'
7coS-ui/.tâ?
XtOTlVa?
-9"VT0,
XXIX
[70]
\(Z J
w w w w w w w
'OpadXoTto? piv "Apvj; <p&gi [/.Evaiâv.
[72]
(<)
NCv
(T
axo piv <7Toavo?

[114]
'
'
7roXso; oXwIev.
f/-^ J
-i w w w ww wwA
'
>
'A^/dy.cov n\ copiffTOxiXswyj, xpoclTov oi/.Tipto (piXtov,

oikzav.c, (T
"/){3t)v
Kfxuvcov TiaTpiô; SouXtjiVjv.

120-28]
(d)
-w
syto
W W (T ax'
pi<j/a$
'
ww
'
www
'
dairy)? <puyov WffTS
xoxxo^
acmoa
TroTap.ou scaXXtpdou rap' oy9a$.
196
GREEK LYRIC POETS

xxx
[Bergk, 48]
\j \J
wWw
**s
'
ATOxeipas
5'
aTO^^?
KOfiVj? ap.cop.ov
av9o?.
XXXI
[83)
'
i_
'
Li.
STecpavou; ' avirjp rpsi? sxa<TTO$ tXev tou piv po&vou?, rov Se Naujtpariryjv.
XXXII
[32]
O w w \j W v^ \J \J W W
v_/ V-
v-* s-
'Xlivoyc'ei
S'
ajACpforoXo? [xeXt^pov
x.e"Xep7jv iyovGv..
oivov,
Tpixua&ov
MON DES
I
B.C. 556-467-
The life of Simonides is of great interest, if for no other reason than that with his eighty-nine years of vigorous manhood he is linked on the one hand with the older and simpler
Greece, to which all our Melic poets have so far belonged, and on the other with that new world of thought which, for good and for evil, developed so rapidly after the Persian wars. We are now no longer in the region of conjecture or of pure ignorance, but have the opportunity of attain-
ing to something like historical accuracy with regard to the most important details of the poet's life and work.
are approaching the period when really authentic Greek history begins for the first Greek historian, Herodotus, was born in 484 B.C., seventeen years before the death of Simonides. The poet's career was intimately
;
We
associated with such tangible characters as the Pisistratids, Themistocles, Pausanias, and Hiero and some of the best of his surviving poems, especially those of a non-Melic
;
order, relate
to
the
great
events of the
Persian wars.
Finally
It
is
we have ample testimony from

life.
various sources
with regard to facts bearing upon his

fortunate that
are able to form this comparafor his tively close acquaintance with the poet's career name marks an epoch in the history of Greek Lyric poetry.
;
we
The Elegy, the Threnos, the Dithyramb, the Epinician Ode, and in particular the Epigram, take a new departure in the hands of Simonides. Above all, the vocation of a lyric poet now assumes a very different character for he first made of his art a paid profession, and discarding local ties and sympathies placed his genius at the command of all
;
198
GREEK LYRIC POETS

could afford to pay for
who
art of choral poetry to the highest pedestal
by the magnificent genius of Pindar, was soon to degenerate and collapse. Simonides was born at Ioulis in Ceos in the year 556, 1 a date which he himself verifies in an Epigram stating that he was eighty years old in the Archonship of Adimantus. 2 Ceos was inhabited by Ionians, and those who believe in marked distinctions of character between the various
it
fatally sapped its in all its splendour
For the time he raised the but he had it was upheld and foundations, although
it.
;
branches of the Hellenic race,
may
trace in
Simonides
of the readiness and shrewdness, and not a little of the want of depth and lofty principle often ascribed to the
much
His vocation as a choral poet found Ionic temperament. an opportunity of developing itself in his own island in connection with religion, for he appears 3 to have taken some
part in the cult of Bacchus, and Athenaeus I.e. speaks of him as teacher of the chorus (o\oV.cr*stv to-j; yopou;) at a
official
' '
neighbouring city Carthaea, which was devoted to the worship of Apollo. His ambition, however, impelled him to seek a wider sphere for his talents, and we must assume that he had already won something like an Hellenic reputation when we hear of him at the court of the Pisistratids, where Hipparchus, consistently with his active patronage of literature and the arts, showed special favour to Simonides. 4 He now became associated with Anacreon and Lasus of Hermione and with the latter he was on terms of un5 friendly rivalry, as he was subsequently with Pindar at
;
the court of Hiero.
Lasus' special province was the Dithyramb, and enmity may well have arisen between the two poets as rivals in
this
branch of lyric poetry, for since the Dithyramb was particularly connected with the chief public festivals of the Athenian citizens, and since it was the aim of the tyrants
Schol. Ar. Wasps, 1402.
Epigram
147, Bergk.
Athen.
otei
x. 456.
[jitaO-ot?
nsp\ auxov ec/s, [xEyaXot?
xa\ Swpoi? rcetO-wv, Plat.

5
Hipparch.
I.e.
228
Schol. Wasps,
SIMON IDES
to educate their subjects as it is likely that Simonides,
199
much as possible (Plat. Lc.) who subsequently attained

his
great distinction in Dithyrambic poetry, first gave attention to it under the patronage of the Pisistratids.
The next patrons of Simonides were the Scopadae and Aleuadae, the great Thessalian families to whom he betook himself probably on the fall of the Pisistratids in 510 B.C.,
celebrates a
or perhaps on the assassination of Hipparchus in 514. He member of the house of Scopadae in a well-
known ode (No. IX.), in which with admirable adroitness he avoids censuring a notorious villain, and yet does no violence to his own moral principles and a familiar anecdote concerning Simonides and the Scopadae is told l by Cicero and other authorities in connection possibly with this or at any rate with a similar poem in honour of that family. They complained that Simonides dwelt too much on the praise of the Dioscuri and not enough on the glory of his patrons and they accordingly paid him only half
; ;
the stipulated reward, recommending him to apply to the Dioscuri for the rest. Presently, while they were still
banquet in honour of the occasion for which composed, a message came in that two wished to speak with the poet outside. No strangers sooner had he left the banquet-hall than the building collapsed with a crash and buried the impious revellers, while to Simonides the Dioscuri had paid their debt. The kernel of truth in the story seems to be that some sudden disaster certainly did overwhelm the Scopadae, 2 perhaps, as Schneidewin suggests, the result of a successful conspiracy on the part of the oppressed Thessalians. Simonides, however, bore no grudge against them, as the story would imply, since he lamented their fate in a Threnos, of which a fine specimen still remains {Frag. III.). From Thessaly he returned to Athens, probably because he prudently foresaw the amplest employment for his great talents in a state which was rapidly coming to the front. The fact that he had been a favourite of the now muchabused Pisistratids in no way impaired his popularity with
sitting at the
the song was
Oral.
ii.
86.
See on Frag.
III.
and Athen.
x.
438.
200
the
GREEK LYRIC POETS

new democracy
;
and with a truly laudable impartiality
he sang the praises of the assassins of his former patrons.

{Epig. 156, Bergk.)
H
He
;viy'
'A&7]vaiowi
cpoto; ysvsfl', vjvi/.' 'Ap'.CTO'
-yetToJv "iTnrapôv jctsivs
seal
Apy.oSio;.
not with a genuine himself, into the enthusiasm, patriotic spirit of the anti-Medising with the victories over the is in connection and it Greeks, Persians that the poet won his greatest renown. The
threw
whether
or
style of composition that he selected
was
not,
with some
exceptions, Melic, but the Elegy or the Epigram, for which the particular bent of his genius admirably fitted him.
His elegy upon the victory at Marathon won him the prize, although he had no less formidable a competitor than Aeschylus and the two extant lines (Bk. 133) in which he tells how the Athenians fighting in the vanguard of the Greeks laid low the might of the gold-bedizened Medes show that the prize was not ill-bestowed. The long roll
;
' ;
',
of successes at Artemisium, Salamis, Mycale, Plataea, etc., but all earned their meed of praise from the skilful poet
it
when he speaks of those who fell in Thermopylae that he reaches his highest
is
the conflicts at
strain.
On
this
I.),
subject, besides a Melic passage of great
power {Frag. we have the well-known and immortal epigram

:
'XI stv'
ayysXXstv Aa3csoai(/.ovtot?
6'ti
tyjSe
KsifAsOa toi? x,eivtov pv^xaai TtsiS'Of/.svoi,
and many others of conspicuous merit. Thus we read (Bergk 99 and 100) how the comrades of Leonidas to 'win glory unquenchable for their country clad themselves in a dark cloud of death, and yet though dead have not died
(ouSs Te&vaci ftavovTe;), but
'
lie
in the
enjoyment of glory
ever
(jcsi[/.&' ayqpavTio ^poêvoi euTirîa).' the poet-laureate of the Persian wars, Simonides was intimate with the great generals who led the Greeks to
young
As
victory.
His friendship with Themistocles
is
mentioned
by Plutarch {Them. V.) in connection with an anecdote of the statesman refusing him an unreasonable request and
;
we read
in Plat.
Ep.
II.
of his intimacy with Pausanias, to
SIMON IDES
whom
av9pw7ro? wv, Aelian
201
he gave the pithy and appropriate advice [/ip.v/jco adding that Pausanias during his last hours in the temple of Chalkioikos lamented that he had not heeded the poet's words. In Melic poetry proper he appears to have devoted himself during this period chiefly to the Dithyramb, for he records (Bergk 145) that he won no less than fifty-six oxen and tripods, the prizes for the Dithyramb and he is able to boast that he was successful even when he had reached
;
the age of eighty (Bergk 147), in the archonship of Adimantus, B.C. 476. He introduced, or adopted, a considerable innovation in this class of poetry by extending
it
as
to subjects other than those connected with Dionysus, is shown by one of his titles, Memnon 1
'
'.
we hear of him in 475 B.C. successbetween Hiero and Theron of Agrigentum, fully intervening who were on the point of war. 2 Hiero in his old age had followed the example of so many prominent Greek tyrants in attracting men of genius to his court, and Simonides
with his nephew Bacchylides was
in
Very shortly after the of Hiero at Syracuse, for
above date he retired to the court
the
company
of
Aeschylus and Pindar. At this time, apparently, began that enmity between Pindar and the two kinsmen, which is supposed to exhibit itself so frequently in the writings of the Theban poet. They were not only rivals contending in the same branch of poetry for the favour of their patron, but as men also they were in strong contrast, and it is likely that Pindar's temperament could not brook the easy self-complacence, the shallow principle, and adroit versatility of Simonides, which enabled him to adapt himself so readily to the caprice of the hour in poetry, in politics, and in morals. Simonides appears to have enjoyed the special favour of Hiero, and to have often stood to him in the relation of an influential counsellor, as in the affair with Theron and similarly Xenophon represents the poet and
;
the monarch as discussing together the nature of tyranny. Hieronymus tells us that he maintained his poetic activity
1
Strab. xv. 728
li.
Schol. Pind. 01.
ii.
29.
202
to the last,
GREEK LYRIC POETS

and several of
his
epigrams belong to the
latest
At the age of eighty-nine (467 B.C.) he period of his life. died at Syracuse, as we gather from Callimachus 7 1, where the ghost of Simonides inveighs against the Agrigentine general
a war with Syracuse had violated his grave. There must have been something singularly attractive about the man who could win the favour of such diverse
patrons as the Pisistratids, the rude Scopadae, the arrogant Pausanias, and the Athenian democracy withal. To secure such success qualities more genuine were needed than mere
clever insincerity, artfully adapting itself to
all
who during
changes of
persons and circumstances. Doubtless Simonides was not without the latter useful quality, but the universal popularity
and esteem which he enjoyed were probably much more due to an amiable and tolerant disposition which naturally won for him the affection of his associates and friends, and led him to regard their shortcomings with laxity. He himself
says, or Plato says for him, ou yap eif
1.
note)
and that
ctocppocuvT],
cpiôfxcoôt; {Frog. IX., or moderation, for which
he became proverbial, 1 was exhibited not only in his own life but in his judgments of men. The worst charge
brought against his personal character is that of avarice, is an abundance of testimony. Thus we have it recorded by Suidas that he was the first poet who wrote each composition for a fixed charge (cf. above), and Athen., xiv. 650, brings forward as an example of his greed the story of his selling the greater part of the allowances supplied to him by Hiero, a shrewd transaction for which
to which there
the poet
made
a clever apology to his detractors
{v. p. 204).
reputation of Simonides did not rest entirely upon his poetry, he was also regarded by the ancients as a sage.
The
the works of Plato.
statement we have ample authority inter alia in Thus in Rep. i. 335 E, he speaks of Simonides, or Bias, or Pittacus r tiv' alôv twv cro<p<3v te
For
this
'
xal [/.a/capiwv avSpiov,' and a little before (331 E) on Simonides' definition of justice being given, Socrates remarks, vXkx pivToi 2i[J.(ovi^y] ys ou paSiov dOTKyrsTv C096; yap x,al
'
Aristid., rapt 7:apa<p8\,
iii.
p.
645.
S
frsto; avvjp.'
MON DES
I
ii.
203
In Plat. Ep.
with
Hiero and
Pausanias
311, the intimacy of Simonides is given as one of several
illustrations of the natural
great
power
re
to
come together
tendency of great wisdom and (TCscpuxs uvtsvat ei; tkoto
seal Suvap; Again in Protag. 316 D, f/.sya>.Y]). and are Hesiod Simonides Homer, spoken of as ancient who of imposed their art upon professors tj cotpwrrutY] Tsppm, mankind under the attractive disguise of poetry and still more emphatic is the passage in Protag. 343 seq., where Simonides, in his ambition to win a reputation for wisdom,
<ppovvj<7i;
;
described as trying to prove himself a better man than by attacking a dictum of that sage (see Notes on Indeed by the time of his birth Simonides Frag. IX.).
is
Pittacus
almost belongs to the period in which the sages flourished, and though he made poetry his chief vocation, he often imitated in his poems and elsewhere the short pithy utterances characteristic of those early Sophists,
call
if
we may
them
such.
The
very elaborate nature.
actual principles of his philosophy were not of a He accepts without question the
simple religious and moral views of the early age in which he was born. The gods are omnipotent and ever-active
rulers of the universe (aTOXVTa yap mankind alike in virtue and in
e<m
flecov
fpco), XX.,
is
1.
5)
happiness
frail
and
entirely
dependent on the
(V.s)
will of the
gods
14).
(x.(k-'nz\ziaTov
KpioTOt tou?
&soi
cpiXecotftv,
Frag.
IX.
1.
Yet
in a fine
passage elsewhere (No. X.), in writing which presumably the poet had not to consider the dubious character of his
attained only
patron to the same extent, he tells us that aps*nq is to be by the most strenuous efforts of mortals
in
his standard herein being far higher than that mediocrity which in Frag. IX. he pronounces to be satisfactory. In the Threnoi he gives expression to particularly gloomy
views of man's
Ionic writers
;
lot
on earth, such as are not uncommon
nor does he, like Pindar in similar compositions, hold out hopes of a brilliant after-life. The wisdom and shrewdness of Simonides were not
He gained much from his entirely the gift of nature. travels and extensive experience of widely different men
204
GREEK LYRIC POETS
and governments, and much too from careful study. This is apparent from Pindar's invective {01. ii. 86), aimed, it is
supposed, at Simonides, against poets who rely not upon natural genius, but on acquired knowledge and training. Indeed the greater part of Simonides' fragments bear the character of self-conscious finish rather than of spontaneity.
famous too for his ready wit, of which several For example he examples are handed down to us. declared that he sold Hiero's allowances in order to exhibit his patron's generosity ([/.syaXoTrpsTCia) and his own moderation (x.GGf/.ioTT};). He assured Hiero's wife that it was better
doors
to be rich than wise, for you see the wise at the rich men's l he remarked to a stranger who sat silent at a
;
'
He was
wine-party, Friend, if you are a fool you are acting like a wise man, but if you are wise, like a fool' 2
In his poetry he probably excelled above
part which does not here concern us
his
all
in
that
Epigrammatic poems.
tact,
For
this difficult
Elegiac and work his admirable
the terseness of his expression, and his self-restraint peculiarly fitted him, and it is greatly to the credit of
Greece to have produced a poet
who
could celebrate her
victories over the barbarian without
fluous vain-glory. The most salient mented on in his Melic and other poetry are
one word of supercharacteristics comits
exactitude
its
and delicacy of expression,
its
sweetness, and
pathos.
Thus
in
Dion. Hal.
Vett.
Scrip. Jud.
'
we
read
2i;/.wviy)c
TtSv dvo[/.aTo>v,Tr? cuv&icrsto^Tirjv ax,pi(3stav. 7capaT7]psTT7)v sxXoy/jv x. 64, says, Simonides sermo?ie propria Similarly Quintil.
et jucunditate
quadam commendari
potest,'
and Dion. Hal.
de Comp. Verb. c. 23, selects Simonides and Anacreon as the most conspicuous examples, next to Sappho, of the
'
finished
and decorative
style (6
vffi
yXa.cpupa; xai avJbjpa?
<7>jv9iasto;).'
take the (No.
As an illustration of Ode in honour of the
these criticisms
we may
heroes of Thermopylae
which is a masterpiece of appropriate expression. I.), Simonides himself speaks of his songs as TspTrvdraTa,
Ar. Rhet.
'2
ii.
16.
e? Et [xev irjXithos aocpov npay[j.a
avOpcoTO,
tmv.c;
ei
ok aocpo; ijXt'xhov.
MON DES
I
205
and the critics are in agreement with him. have been called Mzkv/.iprr^ Sta to rû, 1 and ix. 571, he is thus contrasted with Pindar
:
He
in
is
said to
Anth. Pal.
"EjcXavsv
'
sx.
vjfkov [/iya ITivSapo;"
etcves
Tsp~va
Houf/.sXt^-9-oyYOu
Moucra
u/.g)v6osg}.
As a further criticism upon Simonides' composition we may apply his own remark that painting is silent poetry
'
and poetry
is
speaking painting',
for
he excels
in close
realistic description.
He brings before our eyes
the swelling
waters high above the head of the mother and child as they lie in the trough of the waves (Frag. II. 1. 9, uTrspSs tekv /.otj.av, and a mere casual comparison of his hyporchem to /..t1)
;
movement of a hunted stag is full of life in the he summons up of the averted neck of the prey in
the
picture
his last
Similarly Longinus de Sub/, c. 15. 7, struggle for escape. in speaking of the treatment of visions in the poets, gives the palm to Simonides for realism (svapyscrTspo;).
But the quality for which his poems received the most enthusiastic praise was their pathos.' Cea Naenia (Hor. Od. II. i. 2>7), and lacrimae Simonideae' (Cat. 38. 8) were
'
'
'
'
proverbial
expressions.
grammarian
Dion. Hal.
in the
in
life
of
Aeschylus says that Simonides surpassed the tragedian

TYJ
so!
to
gu|/.toX'9-ss
~kz~ totvjti.
Vett. Scrip.
Jud.
II. vi.
420, places him above Pindar

6
(isT/ricov
the
same
respect
\j:i\
x.a! Iltvoapo'j to aTJXa 7raflinTBtc3?. [./.syaXoTrps co; co? sV.elvo;

jca-9-'
E'jpiGy.STat,
oixri^STfrai
And
Quintilian,
x. 64,
says that he excelled
miseratione.'
in commovenda we have one immortal Fortunately specimen

all
others
'
of his pathetic style remaining.
I refer to the Datiae No. which is II., always regarded as a fragment passage, from a Threnos. When we read this exquisitely touching poem we do not wonder that mourners sought the consolation of Simonides' simple pathos rather than of the majestic and exalted thoughts of Pindar. Another branch of Melic composition in which he is said
1
Schol. Arist. Wasps, 1402.

Tr,v
[i.v
XaXouaav.
ttjv ok ^(oyoacptav Tzotrjatv ai(jj7rujaav Plut. de G/or. At/ien., c. 3 c'f. Lessing's

. . .
rrotrjatv JJcoypaspiav
Laocoon, passim.
206
to
GREEK LYRIC POETS
have excelled was the Hyporchem. 1 We have only two or three scanty fragments of this description remaining (No. XXIV. A, i and 2), in which he speaks of his skill at mingling dance and song, and of the intricacy of the movements he invented.
He was
a very
popular writer of Epinician
Odes,
although his glory in this respect paled before that of Pindar. Probably in his hands the Epinician Ode first took the elaborated form which it exhibits in the Odes of his younger and greater rival. It was Simonides who raised it beyond the narrow limits of the particular occadigressions, mainly into the region of a practice which he himself justifies in the mythology, words a Moicra yap ou/. aTvopco; yeusi to 7rapov [v.ovov, x-.tX
sion
by introducing
(No. xxiv.
b),
and which
is
referred to
by Schol. Pind.
sicofrsv.
New.
iv.
60, 2ip.tov$-/]? TrapsscpacSGL yprp&ai

is
In illus-
tration there
Ode
the story already mentioned of the Epinician on one of the Scopadae, in which he devoted so large
;
a portion to the praise of the Dioscuri and the long ethical discussion still extant (No. IX.), is generally, if incorrectly, supposed to be from an Epinicion (see note ad
loc).
been
far
In this species of composition he appears to have from always maintaining the dignified tone which
characterises Pindar's Odes.
Thus we have
in
No. XVIII.
a rather
ungenerous punning allusion to a defeated Suidas remarks, outo? 7vpcoTo; cW.si antagonist, and
|Atjtpo7.oytav siceveyxsiv si?
to
acrjxa.
It is difficult to
estimate the loss that

depth, but
in
Simonides' poems.
in
we have suffered His genius was lacking perhaps in

its
grandeur and
perfection
at
all
other
points, and its universality, mark him as foremost among the Greek Lyric poets. Contemporary as he was with the
period of the Drama, a further knowledge of his writings would have been of the highest value and interest in the study of the literature and the thought of his age.
1
Plut. Qu'iest.
Symp.
IX. xv. 2.
;
See Ar. Clouds, 1356
Knig/its, 407.
SIMON DES
I
THERMOPYLAE
[Bergk l4 ]
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6 Siwapra? (3xgiXs<js, opera? [/iyav "kzkonzoiq ixsvaov ts y.^so?.
)coci/.ov
208
GREEK LYRIC POETS

THRENOI
II
DANAE AND PERSEUS

[Bergk, 37]
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10
ou
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xtp.vo? sv yXavt^t 7rpocto7rov x.ocaov (y
- )
El OS TOl SsiVOV TO y SsiVGV
VjV
S
x.ai jcev
MON DES
I
209
i[j.<Zv p>j[/.aTtov
'Xstctov \j~zTyzq oua?"
xiAO[/.at*
S'jSs
<jSetg> & ttovto;, (3ps<po$,

;cax.ov
ex,
15
p.Ta 8o'A(a Se tl; <pavsh], ZsO axsp otti 8s âpcra'Xsov etco; euyoy.au.
(
suostw o aêrpov
ge&ev
Txv6<pw o(%av cJyyvcoO-i
u.01.
Ill
ON THE SCOPADAE
[Bergk, 32]
^
"Av0-pto7ro; ecov
f/.7)S'
/\
[7//J7TOTS 9'/a7];
oti yivsrai auptov,

scrcrsTai'
avSpa
iScov oa,Siov
ocaov ypovov
[7.uia?
(dxeia
yap ouSs TavuxTSpuyoio
IV
[62]
A
\^ ^y ^/
W vy
\/
V..
,-A
Ouz. sgtlv
jca/.ov
avsm&djaiTOV
dcvO-pooTroic,
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oAiyio & /jôvco
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[39]
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cov
6 8' a<pu)cros 6[xw;

x.ivo'j
tjtpsj/.aTai âvaro?'
yap
igov \y.yov 01 t' f/ipo?
aya&oi
5
octi; T
x.ax.G<;.
2io
GREEK LYRIC POETS

VI
[Bergk, 36]
\^>
^
\J
^/ \J
^
v./ v^*
\J
s^/
V^l y^l
'\
'
\-
W ^ W ^ >^ v^ w \S ^ \j v^ \J
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#-s<3v S'
01
TrpoTSpov xot' 7Tl0VT0,

Yjjvi&eoi,
s avaxTcov sysvovB-' uts?
a ovov
?
ouS' acpS-iTOv ouS' ax.ivSuvov (3tov
yrpa? &ijcovto TsXeaavTS?.

VII
[38]
'
\J
\*/
<J
^/ \J
'
^ \^ u^ ^ ^
[/.(av
Ilavra yap
al
jy.eyaXac
ijcvevrat SacrXttoc
Xapu^Stv,
t'
apexal xai 6 xXouto?.

VIII
[577]
\s c*
;
s-^
^f o- ^ w o
S'
IIo>.Xo?
yap aplv dq (to) ts&vkvoci

xa>co)<;
^po'vo?,
<T[./.ev
apt&u.o~
xaupa
srsa.
ETHICAL SUBJECTS
IX
^
1
'
^
t
^>
\y
v^
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A
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'-'A.
*.
w
'
'
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(/.sv
dcXaS-ewi; yevsa&at,
x.al 7TO<j! >cal
cnrp.
a'
yoCkZKOv ^spciv te
-ycovov,
vow TSrpyavu ôyou TSfuyj/ivov
SIMONIDES
o? av y x.ax.6?
(/.vjS'
211
ayav
ova.ai'Kokiv a7ra/\a{7.vo?, siSco<; y'
Si>tav
uyfoj? avv*p"
f/.G)|7.a<70p.ar/
ou&s
tcov
[/.yj
[7.cv
syto
5
yap aXi&Uov
xaVra
a7Tipwv ysvs&'Xa. toc jca'Xa, toicti t' airr^pa

p.ot dau.sXsto?
|7.y]
pxf7.tx.Tai.
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to IltTTaxeiov
<TTp.
(3'
vsp.ETat, xaiTOt cocpou
xapa
cpcoTO? sipyjf/ivov
joCkzizov
-frso?
<paV
ecr&'Xov
[7.[7.svat.
av
[J.OVO?
tout' lyoi yspa?* avopa

X.aX.OV
[7.[7.Vai,
o' oux.
tan
(xr ou
IO
ov a[7.ayâvo; aup.cpopa
x.a#i/\7)*
xpaât? yap
si'
7ra? avy^p ayaO-o?,
x.ax.o<; ' si x.a/.(5; (ti)"
*xaTCi7r7vtCTOv apt(TT0t tou?
>cs fteol
cpiXscoctv.*
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(v.otpav aitovo? (3a/\sw,
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supusSou<;
xapTCOv
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ujm&v
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e'jpcov
axayys'Xsw.
x,al
cpt/\eco,
7ravTa?
7raiv7](7.!,
ex.cov offTi? sp^vj

fj/flSsv
20
8'
awypo'v,
avayxa
ouSs &so! [jAypvxax.
X
[Bergk, 58]
_^_ W _A
vl/
*~*
A
"Ecm
Tav 'ApeTav
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[7.iv
ti? 'Xo'yo;
ou<ra[/.(3aT<HS
7rl
vaistv
xsrpaic,
-9sc3v
yolpov ayvov ap.cpsTCiV
212
GREEK LYRIC POETS

ouSs xavTtov ^<papot; Qva-rcov egottto?,
to
[XT]
â/ifrufAO? iSpio? svSo9-ev [aoatj,
ix7]
t' ?
axpov avopsia;.
XI
[Bergk, 61]
s^^/
V^ S^
'
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s_^
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^^
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ttoTvl?,
apETav "Xapsv, ou
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ou BpoToV os a7t7][/.avTOv
XII
[71]
^ ^ (^ \ ^/ w \y ^
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v^
w
V/
S-*
V-/
V^
Ti? yap aSova? aTp

-ftvaTiov Sio; ttoO-sivo?
to;
S'
7:01a Tupavvt; "^ aitov. ouSs $sojv (â^coTO? axsp
XIII
[70]
^j ^/ ^J \J
^/
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v_/
^
/.aXa? cro<pia? egtIv X^p l ?>
OuSs
si
p.7]
ft? Sjjei GEjAvav uyisiav.
XIV
GNOMAE
[65]
.
'
(a)
'
U>J
"
V-A^
W^/\^^
'
S'
au SavaTO? xiyz xal tov
<puyo[/a)(ov
SIMONIDES
[Bergk, 69]
213
To yap
yeyewjf/ivov oujcst apejcrov
2<rrai.
[66]
'
(^J
v-/
'
w /\
E<7Tt xal Giya; ax.ivSuvov ysoa?.

[42]
^W ^
w^
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w /V
Peia
/c'Xstttouciv
avôcoxtov voov.
[76]
T6
Soksiv
jtai
Tav ala&siav
[67]
jStarat.
(/)
IloXt? avSpa oioaax&i.
EPINICIAN SUBJECTS
XV
TO GLAUCUS THE BOXER
[8]
w
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v- a
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(3ia
svavTia; fevavTia?
<xvt av Ta? yeipa? ra? yeipa; avTSivanr'
ouSi GiSapeov AX>c(/.avo? ts/.o?
214
GREEK LYRIC POETS

XVI
TO ASTYLUS
[Bergk, 10]
\^f
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XVII
MELEAGER
[53]
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XVIII
fi3l
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Tp.VOC.
XIX
A MULE-VICTORY
[7]
"" </
W ^ V^ W <w C/
l'x7Uov.
Xaiper' asAAOTtOocov -8-uyaTps?
SIMONIDES
MISCELLANEOUS
XX
CLEOBULUS CRITICISED
[Bergk
-
2is
57]
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asTaou re <pôyl ^pucsa? ts csXava;,
xal
S-aâtfcraiaicti Sivai?
-frstov
avriSivTa
-
[xivot;
GToXa;
"Axavxa yap ecu

xal^poTSot
yjaGco
'Xi-9-ov
Ss
Tztxky.[j.v.i
ftpauovu" p.wpou cpcoTo;
aSs
(3ouXa.
XXI
ORPHEUS
[40, 41, 12]
^
(^ v>
'
Vw>
^^
/\
w
v^
I
^^w^^
^
<^
t^/
"^
_
^
\-'^
s^
^W
'
^y \y ^ w ~~ ^ w 7\
"""
W^""
^ >^
*
\^>
^l -^/
-^W^-WW ^/ y\" - w <^ <j ^ ^< ^ ^ w ^ ^ ^ ^ ^ -^ ^ <J <J w^ /\

s^/
^/ ^
<^> v-/
I
\_/
'
\~/ \*s
v^<
'
'
/\
7Ki>t<3vt'
Tou xa\ aTCtpectoi opvi&es 07Tp KS^paXas, ava &' i^9u; opO-oi
216
GREEK LYRIC POETS

ouSs yap
evvocricpuXXoi;
avjTa tot'
wpT
avs|Acov
Tt? /caT/-to^'j /.tSvaiyivav {/.sXiaSsa
yapuv
apapeiv dbcoaftri (SpoTiov,

to?
oxoTav
yeiu.epiov
xaw.
[rrva
7Civu<7X,7]
Zeu? rp.aTa Tci7apax.aiSex,a,
Xa-9-avsj/.ov
5s
[xiv
wpav
ipav xaÔTpo<pov 7roucft.a? a'Xx.uovo?.
XXII
[Bergk, 25]
TO THE BREEZE
(a)
iu
A
^ ^> v^
s
<->
A
' x
'AtcoXo?
'
C'xep
/.uv.y.Tcov
^sd(xevo?
Tuopcpupa <r/is xspl xpcopav
Ta
jcu|/.aT<x.
[51]
"layzi
<)
[J.z
xop<pupa<;
aXo?
ap-îTapaccoyivy.;
6p<j|y.aySo'c.
XXIII
[74]
(Zj
^> w v-'v^v^^' ^y <^ ^ ^

"AyyeXe
/.Xutoc
v->
sapo$ aSuoSjj.ou,
jtuavsa yzkiboT.
[73]
k>
V-l v->
v-*
,^^,^-A
Asut' avjôve;
TroXuxoiTi'XcH
^topa'j/evsi; slapivai.
SIMONIDES
XXIV
ON HIS OWN POETRY
A.
217
SONG AND DANCE

W^^-
\~/
[Bergk, 31]
A
'
<J
'
wu ^^'
1
>
* 'Ora Si yapOffai
gov t eXacppov opjpjf/,a ttoScSv otoa [Atyvuu.sv* xaTiouct KpvJTa pv tgo-tuov, to 5' opyavov Moôgtov.
[29, 30]
ww
y_/
v-*->
^ ^ ^ /\ W 1^ ^ / \ uJ " w v^
"""
^-A-'
(â./
>^/
'
W ~" <J ~~
^>
u~_
^/ >^/
<^
s^/ " A
'AneXaciTOv wnrov
yj
*ova
'A[/.u;tAaiav aycovtw
dXsAtCo|/.svoi;
~oSi
p.ijjxo
oio;
ava
Aomov
avi>[7.ov
jcapruAov [/iXo? <Wy.cov, toSiov xsraTai ftavarov

JCpOS<J<70C
SUpep.SV [XOCTEUtOV Aa<pto* *t<xv 0' sa' cvjyivi

tcocvt'
ffTpôieyav srsptoffs
. .
xaoa
(ZTOAJAOV*.
B.
VARIETY OF SUBJECT
[46, 47]
'.
ww ww w w v_<w
~~
w w w w w ^ w "TT w w ww w w ~7\
l
1
ww
ww w WW
1
ww w
1
w
'
wwWW
'
'A
Mowa
yap
oox.
auopo); ysusi to rcapov
[v,ovov,
aXV
STrspysTm
2 i8
GREEK LYRIC POETS

rcavTa
6 jcaXXtôa? TSpirvoTocTtov (j,s7io)v
******
ftspiôj/iva"
[/."q
[xoi
JcaTaTOXoW
sWusp apâro nokuyofioq auXo?.
av#ov îli pjSojjiva.
XXV
[Bergk, 52]
vî
;
^ ^ ^ v^ o
^1
v^
'
^
;
w*
<s -^ \j *5
(EupuStaoci;)
io<7T<pavou y7i.ux.etav eSax-pucrav
tsx.o;. d/uyav aTTOTrvsovTa ya'Xaibjvov
XXVI
EROS
[43]
v^w<
^ W ^ \J ^y w /x
\*>
-~>
\*>
v^
>~>
^yirkiz 7wci Soô^Se; 'AcppooiTa;, tov "Apst. So7.o;x7jyj3cvto tskbv.
XXVII
[60]
;' ^ ^ ^
"flvS-pwTcs,
^>
>-'
xsfoai tov STi [.taXAov
twv uxo ya;
eV.etvtov.
TIMOCREON
Fl. 471.
TlMOCREON was
little
a lyric poet of Rhodes, of whom we know made apparent from his fragments. He was banished from his island on the charge of Medism, and as Athen. x. 416 speaks of him as a friend and guest of the king of Persia, no doubt his punishment was deserved, and
more than
is
in fact
he confesses his guilt

in
in
a friendship with Themistocles,
Frag. n. [i. He had formed whom he attacks so fiercely,
probably
that he
Athens
and
it
was presumably
in
Athens
cause,
came
across
Simonides.
From whatever
the two poets were bitter rivals, as appears from Suidas
and from their surviving poems. Thus Timocreon parodies a rather inane couplet of Simonides (see on and IV.) Simonides wrote a bitter epitaph for him, probably during
;
his lifetime, in which his slanderous tongue
he
:
satirised his
huge appetite and

x,ax,' s'otiov
TIoKkv. cpc.ywv jtai izoXkx.
7ugW xal TzoKkx
We
learn from Athen. x. 415 that he

in the Pentathlon,
an athlete
was distinguished as and he imparts much of his
It will be noticed that his physical vigour to his verses. is distinct from that of his poetry contemporaries in being almost entirely personal, and that too although he appears to use the choral and not monodic style. Now Timocreon
was known as a writer of Scolia, of which No. III. is an example, and I would suggest that the other passages also,
particularly No. I., are also Scolia, written like those of Pindar in the choral form.
TIMOCREON
i
ON THEMISTOCLES
[Bergk,
'
i]
^ îî ^y<^ \y \y ^ \J ^ ^ \J Ov^ ^s ^f

' '
w
^
y^l
\*>
\~l
ILpode
^l^l v^w
îj
U v^ W
1
'
^ *^
/\
'AXV
^
si
Tuys Ilauaaviav
<xtc'
y.ocl
7]
iuy 5av&t7:7i;ov
aivst?
tuvs AsuTuîSav, syw
&'
'ApiGTEi&xv -aiveto
avSp' ispav
eX-8-Eiv
'A&avav
srat,
sva "Xcogtov,
s^t.aTOX.1^'
rjâps Aaro),
avu<rrp.
dovra û<rrav, aSucov, TrpoSorav, 6? Ti[J.oxpOVTa ^tvov

apyupioiTi
-/.opxXix.ol'crt,
raisO-d? ou y.aTayv
6? TCaTpuV 'IxXucrov
la(3cov &s Tpi' apyupiou
toIxvt
tou;
,8a
tcêwv
si? oÊftpov,
700(5.
tou?
u.v -/.araytov aShco)?,
&' sx.Sitoz.tov,
too? o
/.aivtov,
S' 7ravSox.u yXoit3; apyupitov u7r6xlcog* Iatty.oi
IO
ûj(pa x.pa TC7.p^0)V

oi 5' y-cihov /.tjuôvto
(atj
topav ;j.l<jTOx.'Xo; yVcrfrat.
TIMOCREON
ii
221
THEMISTOCLES DISGRACED
[Bergk,
2]
()
MoGaa
touos tou
\)~kzoc,
ySkioc, av'
"E'X'Aava; tiO-i,
to? iov/.oQ seal oixatov.

[3]
(P)
'
<-*
>s-/
\J KJ
A

s,/
v^
v^
'
/\
Oux, apa Tip.ox,po)v y.ouvo; Môoictv cop/aaTO[AEt,

aAA' svt& scaÂoi
oux.
&y) 7rov7]poi'
-
yo) [/.ova /.oAoupt?
svtI x,al aAAoa aAco7vex.se.
Ill
SCOLION
[3]
<*_/
^ ^ v-/*- ^^
1^
-^/ V^/
'-/
^W
s/

V^
/\
"fi(p>,v
c' CO
ev ftaJAaccry) TIKpAS IIÔUTS, [JL^TS yTJ [J/^T 11

(ATJt
SV rjTTStpCO (paV/jJAEV,
-
a.AAa.
Tapxapov t vaisiv xa^spovxa
&a
as
yap
ttocvt'
(ctt') ev av9-pto7rot? x.a/.a.
IV
[10]
Kvjia
ooy.
p. 7rpo<J7jX8'S (p'Xuapia p.s
oux. sD-sXovra.
eSiAovra
Trpocv^&s Kvji'a cpAuapia.
BACCH YLIDES
C.
50O-43O B.C.
We have but
iides,
few details of the

it
life
and career of Bacchy-
nor does
appear to have possessed

us.
much
indepen-
and was the nephew on his mother's side of Simonides. We do not know the date of his birth, but he had evidently reached manhood before the year 476 B.C. when he went with his uncle to the court of Hiero and since he is mendent interest for
He was
born at
1 Iulis in Ceos,
tioned
the date 431 B.C., I have as the adopted approximate period of his lifetime 500-430 B.C. This agrees with the fact that he was younger than
by Eusebius
under
Pindar, who was born in 518 B.C., and with the statement His of Eusebius that Bacchylides flourished in 450 B.C.
patron
Hiero
is
said
to
have preferred the poems of
2 Bacchylides to those of Pindar, and it is supposed that considerable enmity existed between the two poets. After the death of Hiero he appears from a passage in Plutarch 3
have gone to live in the Peloponnesus, and we know nothing further of his life. He was no doubt greatly influenced by the example
to
and instruction of his celebrated uncle, and in the technique of his art he was probably content to follow his footsteps without attempting independent innovations of his own.
Nevertheless, as Hartung remarks, the fact that he enjoyed a considerable reputation side by side with such giants as Pindar and Simonides, implies that his talents were of no mean order. An epigram (Anth. Pal. ix. 184) testifies to
the fascination of his style, in designating

1
him \vXoq
Pyth
ii.
Sstpvjv,
167.
Strabo x. 486, Suidas. De Exilio c. 14, p. 605.
Schol.
BACCHYLIDES
and similar praise
Epig.
iv.
223
in Jacobs' delect.
is
bestowed upon him
19.
S' arco
Aapa
Longinus
CToy.aTcov cp9iyaT0 BoocjpAioT]?.
101) has an interesting criticism upon him, denying entirely to him any claims to real greatness as a poet, he testifies to certain other high qualities which are conspicuous in his extant fragments. Comparing poets such as Bacchylides and Ion with Pindar and Sophocles, the former, he says, are a&aTrrtoTOt seal sv T(3 x>caX'Xr 'pa(p7][7ivot, whereas Pindar and y>.a<pupto TravTT] in their Sophocles, mighty efforts, do not always keep up
(p.
in which, while
the high standard they set before themselves, y.od ttcttougiv The surviving fragments exhibit considerable ixTuyiaxxTy..
merit, and are perhaps, many of them, specimens of his best style, a large proportion being obtained from Stobaeus' Those that deal directly with the criticism Florilegium.
'
of
do not betray any distinct originality of thought, but the sentiments found in Simonides and in Ionic repeat elegy generally. Yet, though the matter may be slight,
life
'
the
manner
is
excellent, the expression

full
and the rhythm

tsjco?
being usually
of charm
while in the lines cdaX

is
y[XTspov, x.t.1,
Frag. XVIIL, there

it
is
Simonides himself. But one of pleasure that he
is
a pathos worthy of in passages where the note
is
'
at his best.
His Paean on the
delights of Peace,
when resounds no more and
the din of the brazen trumpet sweet-thoughted sleep is not

; '
ravished from our eyelids rings with joyous enthusiasm and there is a beauty and a humour in his song on the sweet compulsion of wine (No. II.) which, combined with the fascinating metre, are, I think, far more pleasing on
',
'
such a subject than Pindar's sublimer

1
flight.
See note ad
loc.
BACCHYLIDES
i
[Bergk, 13]
X
I
yj
yj
yj
^
v_y
^ ^ ^y ^1 ^^^ ^/ ^ <s yy ^ ^
l
^
^*
/\
v^/
'- ^/
^*>
A --^- A A
w^
'
v^ ^>
>*->
7\
10
'
^-/
UV
tcXoutov
Tixtsi &s ts -8-vaTOidiv eipava p.syaAa aot&xv av&sa, jcai [/.sXivXojffcrwv

SsaSaXscov t'
Eavfra <pXoyi
sm
pwtj.iov &so?(7tv
atSscâi
(3oc3v
|^pa Tavurpi/cov ts [/.t^Xiov, vut/.vacitov ts vsoi? auXtov ts x.al x.co[/.c>v

'Ev Ss Gioapo&STOi? 7rdp7wciv aifrav apa/vav IctoI 7isXovTar
[j.sXsiv.
syêa ts 7ôy/o)Ta îipsa t' a[/.<pobts' supw? Sau.vaTO, jjaXxeav &' oux, sgtl craX iyytov /.tutto;' ouSs cruXaTai |xsX(^ppwv U7cvo? axo f&S'paptov,
ap-dv o? -ftaXTiSi jceap'
cj|X7:o<7toiv
S'
10
spy.TcSv
ppiftovT
ayuiai, TvauW.ot
-8-'
uuvot
XsvovTat.
BACCHYLIDES
11
225
PAROENION
[Bergk, 27]
*-/
\*>
w w
'
w w
y*i
^w ww KJ ^/
v_/
\-/
'
rXuxsi'
avayx,7i
Xull/UOV GSU0[/.SV7] fta^TTTjCL &UfAOV,

Ku77piooi;' *' sAtcic fWtxki<7crsi <posvac
aâiyvuyivy] AiovuGioiGt, ckocotc,
avopast
xuti/^' 6
Tract,
S'
uôtoctw
77S[-/.7rs!,
y.soiavac
>.ust,
piv TroXstov xpr&ejj.va
av&pw otc
&'
(/.ovapyr^stv &oxst.
Xpucto
elscpavTt ts ;j.ap|j.aipouGtv 01x01
Trupocpopot
vyjss
ok
'kq/.t
aiyV/svTa (ttovtov)
AtyuTjTou tjiytGTOv
ayouatv
obr'
10
->,outov* to; ttivovto? opy.atvst xiap.
ETHICAL SUBJECTS
Til
[36]
226
GREEK LYRIC POETS

IV
EPINICIAN ODE
[Bergk,
1-2]
WW WW w w w w ^ ^ I
'
WW WW /\ WW WW /\
'
^>
^ W /\
* *
*
I
^
~/\
',
WW
I
WW
^
#so;
'
/\
"O\8ioc
cuv
o'j
co-uvt,
(xotpocv
te z.a)>wv srcopsv
(IkoTav SiayetV
t'
STCâlw Tu/a a<pvsiov

* * *
yap
ti; S7uyj>ovio)v Travra y' >j6ai;v.wv s<pu.
vaTOW!.
ir/]'
u.y cpuvat (pspisrov
asTiou TrpoTiSsiv cpeyyo;

ft'
olfko?
ouSsl; fipoTtov toxvtoc ypovov.
V
[3]
wwww w w
I
ww
^1
WW /\ \^ /\
'
Haopowt, Ss ^varwv rov arcavTa ypovov Saip.wv socoxsv

7rpacr<70VTa? sv jcaipco 7Toliox.poTa<pov
&ua. y/jpa? Lx,vu7&ai, rcplv eyx,up<7oa
VI
PROSODION
[21]
\^/
^ \^ WW
^"
"
IlavTSTfft D-vaTolat Safyuov TOTaqs tcovou? aXXowtv aXXou?.
BACCHYLIDES
VII
227
PROSODION
[Bergk,
19, 20]
\^
\^
'
^ ^ ^ ^
KS
v 1
'
*w<
W
1 J l J
**J
^J
'
**/
\^/
\J
\^t
v_/
\j
'
\J
\^/ \*J
\J
\J
_w w _ ^ _ A W ^J
*w*
~^/
v-^
^ ^ \J <j \y
EL?
6'po?,
si'
fua (Ss) ppoTOi?
scrriv
suTuîa; oSd?,
&u[7.dv
Tt? sycov aTtev&yj (W.tsXiv
Suvaroa piov
*o Ss
(
uipi[/.v* a|/.<pwwoXsi cppsvt,

Trap' a[/.ap
to s
ts (xal) vuxtoc [/.sTCXovtov
Jâpiv
sdv id.tetou jcsap,

aX,ap7TOV ^t TiOVOV.
^
Ti yap dXa<pp6v
y.ap&iav
;
Jp'
"He
yfc
^(S"
st'
sW
a7rpvj>cT'
oSopdy.svov oovsiv
VIII
[29]
^ V^
S-/^
T~
WW
'
<w<
228
GREEK LYRIC POETS

IX
HYPORCHEM
[Bergk, 22]
A ,i_ W W W WW WW W w w ww w ^ A
W
1
AuSia
avSpwv
[J.h
S'
yap "ki&o<; p.avusi ^puôv, akabzla. apsrav GO<piav ts iza.yx.pa.Trfi zkiy/ti
X
[30]
w- /\
WW w w
ILrJTOV
Cpa<70[/.SV
xoSoc Eysiv apsTav u'Xo'jto? Se xal SsiXofoiv av&pcoTOflv
oiaiXs?.
XI
[4]
w
'
WW - WW
/\
Qq
' aizaE, sitcTv,
<ppsva
xaX rcuxtvav
xspSo; av&po'Tttov piarai.
XII
[44]
;i
ww~- ww ~/\
'Opyal
j^sv av-S-ptoTTtov
cWxExpipivat
BACCHYLIDES
MISCELLANEOUS PASSAGES
XIII
229
TO THE DIOSCURI
[Bergk, 28]
^WWWW WWWWW~WW v^ w w w w w w w w W
'
'
Ou
[3otov 7wcps<ra Gcoixar',
outs ^puco?, outs
rcopcpupsoi Tax/jTS?,
Moucra ts vXujesTa
jcal
d-u^.oc, su^svt]? BottOTioiciv sv Gxucpotaiv oivo; vjouc.
aAAa
XIV
[9]
'-">->
w w ww
WW W WW WW ww /\
u-w
'7\
Nfcta yXuxu^topoc
sv 7roAuj(pu<7io S' 'Oau[A7T(j> Z7]vl xapie>Ta[/iva xpivsi tsao;

5Ct>avaT0icri
ts xal
.9-vaT0i<;
apsTa?.
XV
PAEAN
[14
WWW WW W W W W WW ^f |_ v^ WW w A
' '
'
1
v><
"ETSpO? l STSpOU
<J0<p6?
TO TS
TOXAat.
TO TS
VUV.
ou&s y^-P pa^TOv appvJTtov STCWV 7UUAa?

e^supslv.
230
GREEK LYRIC POETS

XVI
HYPORCHEM
[Bergk, 23]
^ Â^
'
Ouy
s&pa? pyov ouS'
a|/.|3oAa<;,
^pv] Trap'
EurWSaAov vaov
dcAAa ^puaouyiSo? 'I-riovia<; eaO-ovtoc? a(3pov ti &iai.
XVII
HERCULES AT THE HOUSE OF CEUX

[33]
^w wv_/ \J \J KJ w ^
. . .
*
'
^/
'
^ w \u ^
/\
\J
'
v_/
EcTa o
t:\
Aaivov ouSov, toI &s 9-oiva; svtuov, ioSs t'
ecpa"
AuTO^-aTOt
S'
aya#xov Ssarac suo'^&ou; STCEpyovTai
ftfaaioi
XVIII
HYMN
[11]
w ^f s^w /\ L v^ \J u w
'.
v_>
\J w
/\
Atai texo;
y-eiôv
>]
ap-iirspov,
<pav7] y.axov, acpOiyx.TOi<jiv I'cov.
Trev-S-eiv
XIX
CORINTH
[7]
w w ww * w - ^~w ~7\
BACCHYLIDES
xx
[Bergk, 40]
231
\*>
'.
Uv;wy
v-*
^ ^/ w ' ^ w
'EjcotTa ScfSocpops
'
Nuxtoc
t./.syaXox.oX7tOu ftoyorrep.
XXI
124J
Euts t/|V ax' ayxuAvj? iTjdi toi? veaviouc asukov avreivacra tcvj/uv.
XXII
THE EAGLE
[47]
Nioy.aTat,
i^'
sv
aTpuysro)
)(ast..
BANQUET-SONGS-THE
Among
how
SCOLIA.
the remains of Greek Melic poetry not the least interesting are these Banquet-songs. They reveal to us
intimate a part was played by poetry in the life of the ordinary Greek citizen, and remind us that monodic song, which seems to us the most natural form for lyric
poetry to adopt, little cultivated as it was by the great Melic poets, received its full share of attention in the daily
social
I
life.
have mentioned, on
p.
12, that convivial
poetry
in its
earliest stage
was probably of a sacred
character.
Whether
the later secular songs were simply a departure from the hymnal style, or of independent origin, is uncertain and of
little
importance
but
we may perhaps
trace the moralis-
ing vein which predominated in the Scolia to an earlyconnection with religion. Not a few also of the surviving Scolia are in the form of prayers to some deity.
According to Athenaeus, xv. 694 seq., and Dicaearchus songs were of three kinds. First came the Paean, sung in unison by the whole company xpwTOv
ap. Suidas, convivial
itsv
tqoov
ci'^Tjv
too -&S0O
after the
x.oivio;
aTOXVTSi;
[ua
cpwv/j ranaviôvTEg.
banquet and as an introduction to the wine, as we gather from Plat. Symp. 176 a. It was addressed to some appropriate deity, and was distinWe guished, Athenaeus says, by the refrain 'Lq Iloaav. assume that the Paean took the character of may usually to the for and this and other reasons god thanksgiving that he mentions, Athenaeus is right in protesting against the application of the term Paean to such a poem as
It
;
was sung
Aristotle's Ode to Virtue {Miscell. VI.). An early reference to the banquet-paean occurs in Alcman, Frag. XI. and see on Miscell Frag. V.
;
'.
BANQUET-SONGS THE SCO LI A

Secondly come the Paroenia, or
'
233
songs sung over the
wine-cup.' These were monodic and sung by each member of the company in turn. They might either deliver a
composition of their own, whether improvised or not, or apparently sing or recite some passage from any famous Thus we read in Ar. Clouds 1355 seq. of quotations poet. from Simonides, Aeschylus or Euripides as suitable for
such occasions, and Alcaeus and Stesichorus were popular 1 same purpose. Ilgen decides that most of the of Alcaeus and Anacreon songs belonged to this class of
for the
Paroenia, and it is obvious that the practice gave the poet an excellent opportunity for securing an audience. The proceedings were conducted with due ceremony. We are told that a lyre, a myrtle-bough and a cup were handed round to the right, not to the left as we pass our decanters. 2 The lyre was probably intended only for those who were skilful enough to accompany their own
songs
reciting
the myrtle-bough for others, or for any who were non-melic passages. Thus in Ar. Clouds\ loc. cit.
Strepsiades gives his son the lyre
when he wishes him
to
sing a song from Simonides (acrai i{/.cdvlo*ou (/iXo?), but substitutes the myrtle-bough when he asks him to recite
The cup was passed round

cup,
a passage from Aeschylus (rtov AicryuXou Xsât ti [xot x..t.1). the company like our loving-
and probably retained by each man in his turn while he was singing. The Scolia, according to the account which I am at present following, form the third and most important class of Banquet-song. In these, which like the Paroenia were
monodic, only the most accomplished took part, and indeed no small strain was imposed on the poetical inven3
1 De Scoliorum Poesi, the introduction of which is usually accepted as the standard authority on the subject of Scolia. 2 Pollux, vi. 108 and cf. Ath. xi. 503. The myrtle-bough, or piuppivr), is
called
by Plutarch
;
aTEuaxog,
which Hesychius defines as
6 ttjs Sdcpvrj;
xXdoo; ov xaTc'/ovTs; u[j.vouv tou? Oeou? (as if he were speaking of the Paean) so that it would appear that the laurel sometimes took the
place of the myrtle.

3
Athen.
xv. 694, ou jier^typv ouxs'tc 7idvxs?, dXX' <A
auv;xoi ooxouvte?
civai U.0V01.
234
tion or
GREEK LYRIC POETS

memory and
own
the ready wit of the performers.
The
in
leader started
by singing a short verse on a subject and

choice.
a metre of his
then passed on the lyre or his neighbour, but to any to myrtle-branch, not necessarily 1 to who was accept it, or, if Plutarch's account ready person
He
be
right, the first
man
of one couch was succeeded by the
of the next, and so on until the game began afresh with the second of each. The main feature and difficulty
first
of the Scolion, as thus described, was that each singer was bound to follow his predecessor not only in subject but in metre also, and was thus precluded from preparation
beforehand.
Original
improvisation was, however,
not
always enforced, slight variations

substituted
;
and quotations from famous poets or upon well-known passages were often
in the
but while
left
Paroenion the nature of the
quotation was
to the choice of each
member
of the
his
company, who might thus come ready primed with recitation or song, in the Scolion presumably it had
to
continue or cap the verses of the preceding singer. have an illustration of the Scolion-singing, as thus described,
in the
We
follow
song on Harmodius and Aristogeiton, if at least we Ilgen and others in regarding each verse as a
itself.
separate Scolion in
relieved
yet effective repetitions, change of expression, are to us the manner in which the game to reveal supposed was carried on. The same is said to be true of No. XVI. a'
The simple
by a sudden
and of No. XVII. a.' as com(3', also XVII. with No. pared [i\ perhaps of the second strophe or verse of Hybrias' Scolion (No. X.) as compared with the first. A still better example of the game, or rather an imitation of it, occurs in Ar. Wasps, 1220 seq. Here the leader makes several quotations which the next man caps in each instance with some appropriate passage altered if
as
compared with No. XVI.
necessary to suit his own purposes, the composition being in no case wholly original. It would appear also from this
passage that two performers were enough for the game. Such is the description usually given of the nature of the
1
Quaes t. Sy7np.
i.
1.

Scolia, in accordance with
235
Ilgen's interpretation of the the other hand, in certain important respects Engclbrecht x forcibly urges that Ilgen's views are misleading. Engelbrecht's main contention is, that
ancient authorities.
On
whatever may have who wrote towards distinction between and the third, did
been the case in the time of Dicaearchus the end of the fourth century B.C., the Paroenia and Scolia, the second class
not exist in the Melic period proper
and that the term Scolion had a much (c. 700-450 B.C.), wider application than is given to it in the above account. In Hesychius and Suidas ay.okiov 2 is explained simply as while in Schol. Wasps 1231, what Ilgen would Twcpoivio? cu&j, so that the two entitle Paroenia are spoken of as Scolia terms seem more or less convertible, or rather axokiov
'
',
appears to be the proper name for a certain species of Melic poetry, namely all Banquet-songs other than the Paean, while xapoivio? is simply an adjective used in conjunction with [j.tkoc, or ioStj to describe the Scolion. There is no mention in any authorities contemporary with the Melic period of the peculiar kind of Scolion-game described
above
to attribute the repetitions in Harmodius or in the song of Hybrias to the capping

'
'
and Engelbrecht very reasonably maintains that and Aristogeiton'

'
system is merely an unwarrantable conjecture on Ilgen's part 3 and indeed similar iterations are common enough in our own ballad
;
poetry. Certainly the large majority Scolia exhibit no trace of the game
of the
and
in
surviving Pindar's
choral
Scolia such
notion
is
absolutely
out of
the
question.
then was the exact meaning in earlier times of the term Scolion ? and what were the characteristics of this species of Melic poetry? In answering these questions, the
less closely
fall
What
we attempt
into error.
Greek. lyric poetry, as
to define the less likely we are to I have often men-
1 De Scoliorum Poest, 1883, being one of the most recent works on the subject. 2 For the accentuation see Engelbrecht, ad init. Particularly unjustifiable is Ilgen's statement that the single four:!
line stanza
was the form regularly assumed by the
Scolia.
236
tioned,
it
GREEK LYRIC POETS

;
was classified according to the occasion for which was intended and apparently Scolia were the poems composed for convivial meetings. But in addition many well-known poems, or passages from well-known poems,
originally designed for some other purpose, earned the name of Scolia because they were often sung or recited
' '
Of this kind would be the passages from Simonides or even from Aeschylus mentioned in Ar. Clouds I.e.; while such poems as those of Alcaeus, classiat convivial meetings.
fied
etc.,
by the grammarians as
were probably
all
GTOMJMOTOta, spamx-a, cujJwroTuca,
the
same
XI.
is
written as Scolia, or Trapoivtot cooV.t, and Even Sappho true of the odes of Anacreon.
fact that
appears to
have written Scolia, judging from the

to her
No.
was ascribed
by some
authorities.
Her odes
in general,
of friends of her
though intended no doubt rather for meetings own sex, were also made use of as Scolia 1 at the wine-feasts of men. With regard to the second question as to the charwe can again give no very acteristics of the Scolion In form the Scolia were, with rare exdefinite answer. ceptions, monodic, and written frequently in four-line Eleven of the surviving Scolia are uniform in stanzas. and their metre, but they are quoted as the Attic Scolia was like the infer that we cannot general. anything type
'
',
The rest of them exhibit considerable metrical variety, many of them being in couplets, and one even in Elegiac
In subject, such topics as love or wine were likely metre. to predominate, as is the case in Pindar's Scolia, but the range was very wide. Among Alcaeus' Scolia, if we are right in so calling them, the 'Stasiotica' play the chief
and many of those passages specially quoted by Athenaeus as Scolia are on political subjects. Again, the gnomic or moralising tone predominated widely (see Nos. VIII., XII., XIII., etc.), often not unmixed with humour, e.g. and Athenaeus I.e. calls special attention to the Scol. XIX.
part,
;
good moral influence supposed to be exercised by the

Scolia.
1
It is
a note-worthy fact that wine-songs should
Cf.
Aelian ap. Stob. Flor. xxix. 58, speaking of Solon

.
roxpa ttotov too

vii. 8. 2.
aocXcpioou
[j.iko$
xt
2a-cpou? aaavxoc,
and
Plut. Ouaest.
Symp.
BANQUET-SONGS THE
SC
O L IA
237
bear this character, and we are supplied with one more 1 proof of the sobriety of Greek gentlemen. Eustathius, Od. p. 1574, speaking of the different kinds of Scolion, says ra ;viv axaom/.a, ra ()i 7:06; spcivra, oXXi Ss jcal
To the last class, which Eustathius indicates to be the largest, would belong these political and moral Scolia. The expression ratiMmxa signifies, I think, or 'jeering' 'scoffing,' and not simply 'jesting' or 'comic,'
CTCOuSaia.
for
it seems to recal the phrase TOxpocipoT.oc jcspTOf/iouai in the Homeric hymn to Mercury, 2 and to imply good-humoured
on the part of the boon-companions. The endeavoured to deliver a clever home-thrust at each other; thus in Ar. Wasps 1226, Cleon is supposed to begin quoting a line from a popular Scolion ou$slg -toTTOT avqp sysvu 'A&rvoa? and Philocleon immediately
personalities singers often
'
-
outg) ys xavoupyo? ou&s doubtless 3tXs7CT>]<; his at butt. have but little illuspointing significantly tration of this in the surviving Scolia, for I think that
supplies
ouy
We
Mure exercises some over-ingenuity in detecting personal hits and inferior puns in passages which rather 3 belong to the class of cTrou&xia.
Colonel
Briefly, then, we can with safety say little more of the Scolia than that, so far as we can judge, the term was
applied
special
primarily to occasion than
all
poetry designed for no more
the convivial
meeting
and that
accordingly there was room for a practically unlimited range of subject and style, although we find, as is natural,
that certain characteristics, such as I have described, predominated. If the works of certain grammarians who
wrote on the Scolia had survived, our knowledge of the subject might have been materially increased. After the Melic period, according to Engelbrecht's view, the term Scolion acquired its more limited signification of a kind of poetry-game, as above described, while other
'
'
See Anacr. xvi. note.

2
'Eij
auToa/soiTj;
rj^rjiat #-aXir,ai
3
7:sip<o'[jiEvov, tjuts Koupot rapaipoXa XEOTOuiouai.
Cf.
note on Scol.
II.
238
GREEK LYRIC POETS

songs retained their generic
title
convivial
of Paroenia
(7ca'poCvta f/ifo]),
and no doubt there are traces of the game as early as Aristophanes, in the passage from the Wasps to which I have already referred.
as origin of the expression %y.oki6v, crooked applied to a certain class of songs, there is.no little dispute. The commonest explanation is, that it arose from the
',
About the
'
irregular order in which one singer followed another. Others ascribe the term to the irregularities in metre permitted in the case of improvisations or again the songs
;
may
have been
'
crooked
'
or
entendres not
uncommonly
oblique from the donblemade use of. Of course none

'
'
of these explanations are consistent with the view taken by Engelbrecht of the nature of the Scolia in the Melic
His own conjecture is ingenious, that axokiv. yk-q were originally opposed to op&ia yiXvj, that the latter term was applied to hexametric composition, and that thus
period.
crôTua
[ji^yj
however,
at first included all Melic poetry. 2 It became, limited to convivial songs, because these were
first
probably the
period.
1
religious lyric
Melic style and metre retaining the hexametric form to a later

to adopt the
el tu/oiev ovts?, Athen. xv. 694. This explanation would render intelligible the expression in Schol. Ar. Wasps, 1231, azoXia xa\ rcv9rjp7] yioovro [j-iX-q, applied to the songs which induced Proserpine to give back Alcestis.
xaxa totov Ttva
SCOLIA,
I.-V.
etc.
ATHENIAN SCOLIA
I
[Bergk, 9]
\u s^ v^ vy ^/ W
^-/
\J W \J ^ w w v^w y ^w ^ v^ \j w w
KS
*
'
'
v>
'
(a')
'Ev [y.upTOu >cXaSl to 190; ôp^Tto,

CuGTOp 'Ap[/.doio
/.'
'ApicrroysiToiv,
OTS TOV TUpaVVOV XTaVSTTjV

ICTOVOÔUC t' 'AJ>7Jva? 770l7)<7aTV]V.
[10]
((3')
î/VTaS-'
VT^ffOi?
'Apjv.drV ou t ttou TS&VTjJta?,

crs
o sv fy.ax.apwv
âctv
eivat,
iva xsp xoStojo]? 'Ayt.'Xsu;,
ToSe^yjv ts cpamv
AiO[/.vj$sa.
En]
(y')
'Ev [xupTOu
'
/."XaSl
to 190; 90p'/]CW
X.'
corrxsp
6't'
App.dîo?
sv
'ApiCTOySlTCOV,
'A-Jbjvaivjs
-8-ucrian;
avSpa Tupavvov "Ixxapyov sxaivsT^v.

fl2]
(0
Aiet c^cov x,Xso; sccSTat xoct' aiav,

9ft.T<xfr' 'Apfv.dStoi; *'
'ApiGToysiTtov,
otc tov
Tupavvov JCTOCVSTOV
t'
iGovdp.o'j?
'Aft^va? ETtoi^craTOv.
>
4o
GREEK LYRIC POETS

11
[Bergk, 14]
Ala? Asupu^piov
ol'ou?
7cpoStocTat,pov,
avSpa? aTrcoXeca?, [/.ajf<78at, aya&ou? ts Jtai 'j7raTpiSa?

0? tot' $iav oitov 7raTpo)v icav.
Ill
[6]
'
Evi/tYGaji.SV tO? pOU^6[7.Cx)'a,

jtai
vbtvjv
iSoaav &ol <ppovT?

to? cpiV/jv
-apa IlavSpoGOu
'Acbjvav.
IV
[2]
TLaXkikc, TptToysvei' avaca' 'Atb]va,

op-D-ou
tt'vSe 7roîv t jtai xoTara?'

Jtai GTacretov, jtai
TvaT'/jp.
arep aXyltov
jtai
fravartov ato'ptov cu t
V
[3]
JTAoutou
p.7jTp', 'O'Xu^.TCiav
aaSto
sv topai?, Avjfr/jTpa <7T<pav7j<popoi?

<7
7Tai
AtO?
<E>pCTCpOV7J
7To7.IV.
âipETOV, U & TavS' a[7.<p7TTOV
VI
[5]
'Ito
opvj/jGTa,
Ilav, 'ApxaSia? [/.sSetov JtXssvva?, Bpopioa? 07raS Nuj/.<pai?,

to
ysXacsia?,
Ilav,
tt'
lf/.ai?
ucppo(7Uvai?, aoiâi? y.âpvjixvo?.

VII
[Bergk,
4
1
241
'Ev Atâco
ot'
etixts TsV.va Aaxo',
4>ot(3ov /puaoxo'p.av
avaxr' 'AxoAAco,
eAacpvjpoAov t' aypoTepav

"Aprst/iv, a yuvatxcov f/iy' syst xparo;.
VIII
[7]
i&
TO
0x010? tic T v sxacTo;, <7T7j-9-0 OlEAo'vT*, EXEtTa TOV VO'JV

siV/jv
(
sctôvTa, /.XetTavTa xaAtv, avopa iXov vot/,tetv aftoAto
cposvt.
IX
[8]
'Tytaivstv [/iv aptrrrov avSpt #vaT<3, ftsuTspov Ss cpuav xaAov

ysvs<j$at,
to TpiTOv Se xaoutsiv aSoAtoc, jcai to TSTapTOv rfiv.v ;/.STa tojv
cptAtov.
242
GREEK LYRIC POETS

Tol Se
[j:)\
toIixcovt'
iyzw
fô'pu
v.vX
Eicpoc
xal to *xXdv
TTavTEi;
c:
:
'Xat<r/]'ov 7^po'fiV/]|a.y.
ypwTOC,
yovu
7TS7rnj<i3T? a|/,dv
X.'JVS'JVTl (</.e)
- v^ ^ ^ -
5<77TOTav
/cat
j/ivav fSafftXvja (ptovsovu.
w
w/
^/
'
\J \J
i '
^W
XI
PRAXILLA
[Bergk, 21]
AfyoJTOu Xdyov, to' Taips, j/.a9cov tou? ayaO-oui; cpilsi, tcov SsiXtov S' aTisôu, yvou? oti SsiôT? oliya yapi?.
XII
[23]
'Trcd
Trav-rl
[/.T]
'ppa'Ceu
XO-o) axopicx;, w' roup', u7roSuSTai cs toj 5' a<pavi 7ra? B7tSTai $6\o<;.
paly]*
XIII
[26]
"Octl; avSpoc <p&ov V T ppOTOt? Tljr^V
jxtj
TTpoSi^toatv, [v.yo&7jv
sya
VOOV.
#01<TIV X,aT
</.dv
XIV
[22]
Suv
cuv
jxot tuve,
[/.ot
cuv/â, suvspa,
cruGT<pav/](p6pi,
cruv coocppovi Giocppdvs',. [/.aivoj/ivw [xaivso,
XV
[24]
'
A u? Tav
(iio&avov
Tav
[Asv sysi,
xav o parat t^v

'
XajSsTv"
*ay<o xatfta xaV/jv ttjv yiv s/o,
spau.ai, AafisI'v.
BANQUET-SONGS THE SCOLIA

'
243
KJ
\J
'
w \~t
_
^ w
A
_
-v_,
v^
XVI
[Bergk,
19]
(a')
Ei&e
Xopoc /.aAv; ysvoifxvjv sXsâvTtvTj, xai p.e xocaoI Trails? (pspoisv Atovuciov c yopo'v.
1
20]
($')
Elfr'
arcupov xocaov ysvoi[/.7iv [/iya ypuciov,
xai
(7-e
>taX^ yuv/j cpopoivj fca&apov
O-sijiv/j
vdov.
XVII
[17]
ALCAICS
(a')
Ilai TsAajxtovo? Aiav aiyix'/jra, Xsyouat cs I? Tpot'av apiGTOv sa&siv Aavatov olst' 'A'/OCkicc.
(fit')
Tov TsXajxtova
I? Tpoiiav
TrpcoTOv Ai'avTa Ss SsuTepov

[/.st'
>iyouciv saO-siv Aava<3v
AyiAAea.
XVIII
[15]
ALCAICS
w -o sx
:
y/j? /pyj
xaTtSeiv ttaoov,
s'i
ti? 6uvaiTo x.al aAap//jv syor

X.'
77L r>
SV 770VTCO
ySVTjTOCl,
to"
TCapsovn cpsyeiv
avayiCTj.
XIX
[16]
w w w w v> w ^
; ;
'
\^z
\j ^ 3
/caoxivo? <6fV ecpa
yaAy. tov
6'cptv
>.a[itov
E(/.|/.ev
u&uv
seal
ypv;
[/./)
tov sraipov cxoXia eppovetv.
244
GREEK LYRIC POETS

xx
[Bergk, 30]
C* ^ ^ w ^ v^ ^y w
!
*~>
\^/
v-y
O'j yor, icoXX' /tv {fvvjTOv avfrporrcov,
aXV
pav,
XXI
PYTHERMUS
[1]
OuSsv
t^v
apa raXXa. izkrp 6 yp'jco;.
SCOLIA ATTRIBUTED TO THE SAGES

XXII
BIAS
[Bergk, p. 969]
^ ^ \j ^
;
>/
\j
^ ^
v^
V->
rcXsiGTav
'Agtoigiv apsT/.s 7raciv ev tzoXzi awes f-svyj; yap sysi /apiv aufraSv]; Ss Tpoxoi
TroXXaua fSXa^spav ^Xa^4 v
af av.
XXIII
PITTACUS
[p.
968]
v^
^ W ^ W \^ W ^/ w W O ^ ^ ^ W W W W \J VÂ^
,
\_/
<^/
*w*
y-/
V_^
*'
"E/ovTa
cttsi/siv
&si
toôv
/.a!
ram
cpwra
jtaJtov 7WOt6v
toSoxov (papsxpav yap ouSsv
Siydu.uB-ov syo'JTa Jtapoia vovj^.a.
BANQUET-SONGS THE SCOLIA

XXIV
SOLON
\s
\y
245
\J ^/ v^ ^>
*_/
^
\_/
v-/
\y
<*>
w -^
1^/
'
\J
\^/
\^/
X7.<7tov opa Hs<^\JkxY[tdvOQ avSpa

[/./)
xpuxrov yx?? &XWV

<j'
ttpa&ivj
(paiSpco TCpO?
VV7T/] pOGCOTTtO
sx,
f/.Aaiva; <ppsvo? yeytovij.
XXV
CHILO
[Bergk, 969I
P'VJ
wwww
' ^
A
U
\J
\J
*N-*
'Ev Ai&ivai;
dtacovat? 6 ^p'jco;
e^STa^STat
îSou? pacavov cpavspaV ev Si ypu3 vou? aya&wv t xa^(3v t' av^piov
Sowx sXey/ov,
XXVI
THALES
tp.
97]
WW WW WW W W WW WW WW /\ "u w w WW w w -w
'
/\
Ou
ti
ra
7C0AAa eV/]
cppovij/.7jv
axeipi^vaTO So|av"
ev Tt aa.TU acpov" EV Tl *S&VOV

OC'ipOU.
Auit;
yap dcvopwv xamAcov
yAtoffaa? a?:pavTGAoyou?.
246
GREEK LYRIC POETS

XXVII
CLEOBULUS
"
\J
*
v^
\J ^ w <J ^f v^ ^ w \J ^
*-/ s-'
'A|j.o<j<7ix
to
7r>.ov
[/ipo;
V (3pOTOl<5tV
scaipo? apxscst.
Xoytov ts xXf&o?' ti xsSvov* (rpoovst
aXV
[7-7)
[xaTato; aâpt? ytvsc&to.)
XXVIII
[Bergk, 27]
"Eyyst
st
Jtal
Kr,$covt, fWx.ovs,
jj-vjS'
STrtXyj&ou,
^pv) Tot? aya&ot; av&paatv otvo/ostv.
POPULAR SONGS
POPULAR SONGS
LINUS SONG
247
ww or
,
[Cergk,
;
2I
w w ww
w,
or
) w w L_ w
'H Aivs
TTl[7.V,
Tract. 9-eotffw
C701
yap gOtt&XV
TTptOTtO [ASXO avOptOTTOlTl
asicai" <pd)vaf? Tayupai?

<J>otSoc Ss x.oto) g' avaipsi
5
MoOffOtt
f^S
as
8-dtjvsouciv.
II
SWALLOW-SONG
[41]
(Metre, see Notes.)
xaXa^ topa? ayowa,

xa'Xo'j; evtauTO'j;,
stuI
yaarspa Xeuxa,
stu
vuia
[/.sXaiva.
Ila'XaS-av cu TrpoJCUJcXst
ex.
t:iovo obtou,
o'ivou
Ss SsxaTTpov
TUptOV T X.aV'JCTpOV.
x.al
x.al
TTupva ysXiotov Xe/Ci&iTav

aTcioO'STrai.
10
oux
si
uiv ti $g>gi;'
tocv
si
IIoTp' owriwfjie?, vj Aa[ico[/.&a ^s [7//^, oux, asop,sv.

7]
*H
^
ftupav
<pspto[/.e;
Iffo)
tou sp&upov
;
arav
Tav yuvai>ca
xai)'/j|Zvav
15
[xotpa [Xv dcTi, paXico; |v oftropesv av & Tl

cpspvj?
[/.sya &yj
ti cppoio.
"Avoty' avoiys Tav 9-upav jjsXtoovf ou yap yepovrs; T(^v, aXXa 7caioioc.
20
24 S
GREEK LYRIC POETS

ill
IBergk, 42]
av
Aeoa Tav dcyaO-av TUâv, Ssât Tav uyieiav, apa t5? 8-sou, av sxaXscffaTO T^va. cps'poy.sv
CHILDREN'S GAMES
IV
TORTOISE SONG
[21]
XopO?.
Xs^wvvj.
XsXl
Tl Ttofel? SV TCO /SA<0V7]

y.vX
[J.Sffto
Mapuo;j-' spia
xpoxav MiAvjaiav.
Ttoi'tov
Xop.
Xe>,.
'O
&'
sjtyovo?
sou ti
a/TrooXsTO
Aswcav
fouwcov sic acp'
fraXaacav aâ.TO.
FLOWER SONG
[19]
A.
B.
ITou
Ta&t,
f/.oi
xa
porV, -00
p.01
I'a,
xa
I'a,
tjou p.ot
Ta x.aXa csXiva
czkivy..
xa poSa, TaSl Ta
TaSl Ta xaXa
VI
BLIND MAN'S BUFF

[wo]
1 I
-A
a>JX'
''
nepi<JTSflp6{/.svo?.
XaXxvjv
jy.uiav ab]pac>to.
Xopoe.
(Hbjpacei?,
ou "kr^zi.
VII
I22 a]
IIAIAE2.
"Elzy]
Co
? X'
"ffiii:
POPULAR SONGS
VIII
249
MILL-SONG AT MYTILENE
[Bergk, 43J
"Aaei
x,ai
[/.'jaoc,
aAsi
yap
IIiTTajcoi; aAet,
fAsyaAa;
MiTUAava?
(SactAsdtov.
IX
TO DEMETER
[1]
ITaSIGTOV OUAOV
ISl,
IOUAOV
161.
X
124J
Moc/.pal Spue;,
to
Ms'vaAJta.
THE GAMES
XI
(a)
THE SUMMONS
[Bergk,
14]
wv/ v^ ^
:
;
a
^v^
/\
"Ap/t
(asv dcyiov
TOOV X,aAAl<7TtOV
a'frAwv Tay.ta?, x.aipo; Ss

p.7]/.Tt (ASAASIV.
xaASt
(/3')
THE START
[IS]
BaAî
7rdâ<; 9-s'ts Trap
rcd&a Tcdoa.
250
GREEK LYRIC POETS

(/)
THE FINISH
[Bergk, 16]
ArpfSi
t<5v jcaAXiGTiov [j.iv ayiov a&Atov Tapia?, jcaipo? fte xaXei

[7//]x.Tt [/.eXXeiv.
RELIGIOUS
XII
ELEAN WOMEN TO BACCHUS

[6]
'Ea&civ,
vjpto
Aiovucrs,
"AXtov ; vaov,
ayvov cuv XapiTecrctv,

TCO (3oG) TToSl ftuWV.
e?
vaov
Ac,is raupe, ac,is Taupe.
XIII
PHALLOPHORI TO BACCHUS
[8]
Sol, Bax.ê,
TavSe
[/.oucrav ayXaio[/.ev.
a7tXouv pufrp-ov êovTe? aloAco [/.IXsi, jcaivav, axapS-eveuTOv, outi Tai? 7rapo?
xe^pvjêvav ooSaiciv, aXX' axvjpaTOv

x.aTapj(Of/.v
tov
u[/.vov.
XIV
[5]
Aa&ouyoi;
KaAs?T -Oedv
SsjJLeAvji' "Iax,ye
Xopd?
TrXouTOÔTa,
POPULAR SONGS
xv
AT THE LIBATION
[Bergk, ill
251
Ti? TYJ&e
TzdXXoi
/.y.yyA)
oi.
'ExxsjpjTaf JtaXsi
ftso'v.
XVI
[4]
'AvafiaV avco to y/jpa?,

to
xaXa
'A^ppoSira.
XVII
[26]
STptyy' a7ro7ro a7rstv

l
viCTt.(iioav
aTpiyy' arco lawv,

>
opvtv avojvu.v.ov r
toxuxopou? S7U
vyja?.
252
GREEK LYRIC POETS

MISCELLANEOUS AND ANONYMOUS
I
(arion)
_^_A
vx;
""
^*s
~~
Wo
*U

aAoxa
Nvjps'i'a?
7fka.-A.6c
253
1
TS(/.VOVTS?, a<JTlp7] TTOpOV, CpfOTS?

to?
(/'
O0A10!.
acp'
ocaittaoou yAacpupa? veto?

Ai[/.va? epiâv.
si? oi&f/
aAmrdpcpupov
II
CORINNA
[Bergk, Corinna, 21]
(a)
/
V^
^W
/
<* *w<
W
\s \^
\*S
MsiA<po[Aat,
Ss xai Aiyoupav MoupriS' Uovya,

tttot'
art (3ava (pouc' e(3a ILv&apoto
spiv.
Nbcaa'
[xsyaAocr&svvj;
'Hapiiov, yiopxv
T ^ TC
'
'
2'-' ?
1
tzoLgxv tovou[/.oavsv.
[9]
'
iavsx.w? suSetc
ou
j/.av
TCxpo? ^crO-a
Kdpivva
III
PRAX1LLA
ADONIS
[2]
Kxaakjtov
y,xl
[7xv syto
asitco)
cpao; TjsXtoto,
-
ftsuxspov aerrpa ipaeiva csATjvy.i /];

rfiz
ts
7rpd<7to7rov
o>paiou<; <7ixuo<j?
xal fxyjAa
y.al
oy/va;,
254
GREEK LYRIC POETS
IV
PRAXILLA
r:aoOiv Tav >cs<pa7.av,
ra
&'
vp&s
vu[/.<pa.
V
ARIPHRON
(?)
PAEAN TO HYGIEIA
/\ ^ ^w ^ ^ w>j ^^ ^^ ^ ^ w ^ ^ w /\ ^ /\ ^r \J w \y v^ w /\ ^ ^ w v>
w \y
'
\^ **>
'
'
'
**-
'
'.
**
\~/
v>
v^
'
'
v^v^
\y W V> W
I
v^
î
V^W
1 '
\J
~/\
\5 l<
\y
'
s~/
/\
'Tyiaa 77pGîCTa
(iiOTac, <ju Ss
i
vj |/.0i
cro vaioi|/.i ixaxaptov, [xetoc
to
>.t7i6[/.vov
:rp6<ppcov
cuvoixoc
eitjc'
yap
tic
-^
ttXoutou /ap tc ^ tsx<j>v,

avO-ptoTroi? (3afftA7]toos apyjzc,
'px.<7tv iS'7]pUO[7.V,
vj
tocc. i<7orW;v..ovoc
xorkov
5
OUC, X.pO(pl<HC
f,
'AcppoSlTa?
TIC
a'X'Xa
&EOa)V
aVi>p(0770t(7t
TSpJ/lC
7)
ovtov
a|J.7TVOa
7T<pavTai,
'
ijxtoc csio, (/.axaip'
TyiEta,
Xoc^ttei
T'9aA
mxvra
/.al
XapiToiv sap,
Tf)V Ss /topic O'JTtC 'Jâi[7.tOV (pu).

VI
255
ARISTOTLE TO ARETE
[Bergk, vol.
ii.
Aristot.
7]
WW
-
\J \J w \J w
:>
w v 7\ WW w w ^ WW WW I ^j WW WW ^ w WW
_
wtw
w
w
IO
ww ww ^"w ^ ww ww
\^/
-ww w
1
w ww /\ ww ww ww ww ~/\ ww WW /\ w WW ww ww ww \J \j ww ww ww - w w w w w w ww ww ww ww w
I '
'Apera TroAu^.o^&e, yevei ppoTSiio ib^pap.a xocaawtov (3(co,

aa;
spt, Tvapflive, f/.op<pa?
xal fravtv ^vjawto? sv 'Eaaocoi tcotjao?

x.al ttovou? TA'/jvai [/.aAspou?
ajtajxavTa?'
toiov
7Ti
(ppsva paAAet.;
xapxov
/.al
rreu S'
r'
aO-avaTOv jfpuTou t xpsiaato

fr'
yovetov [/.aXoacauy^TOtd
'
utti/ou*
vy' ou
'x
oaa' avsTAaaav
Aio? HpaxAsyj? Arâ? ts

spyoi?
jcoGooi
10
aav aypsuoVTS? ouvafuv'

5015 & ttoS-oi? 'AjjtAsu? Al'a? t' 'Ai'ftao od[/.ou?
era? S' vex.v cpiAio'j (7.opcpai;
^X&ov
'Axapvo; svTpoô; a.Atou jpnpcaasv auya?. TOiyap aoioi(/.ov spyoi? aSavairov t |uv a'jcr,c>0'jGi MoGffat
/.al
Mvattoauvas fruyarps?,
yspa?
(3s(3aioo.
Aw?
Eeviqu c 6a;* auôucat*

(
cpiAiz::
ts
256
GREEK LYRIC POETS

VII
[Bergk, Frag. Odes, p. 139]
TTXH
*-
N->
V-/
<^ u ^w w \j ^ v^ ^W W \J \J ^J J\ ^ W n^^ W /V ^ ^> -^ ^ ^ WW /\ w w w w w w w w w ~sT ^ w w w \j W ' \J <

*
s^
/\
'
<w*
\_y>s>
*>
\~/
'.
\~>
\_^
v.;
'
\_/
\*s
xî
/v
apya (te) xal
Tspf/.a,
Tuya, (J.p07TO>V to xal (7091a? <9-axsl> E&pa?

-
xal Tip.av (3poToi? eTOxbjxa; Epyot? xal to xaAov xaeov ^ xaxdv ex crsftev, a ts yapt?
Aa|//7rei
rap! oav XTspuya ^puasav xal to te TtAacTiyyi So8iv [xaxapiGTOTaTOv tA&/

o'
tu
a[/.aâvia? Tropov i? sv aAysaiv, xal AajATrpov cpaoc ayay; sv cxotco, 7rpo<pspe<JTaTa fteov.
VIII
PRAYER TO THE FATES
ww
:
1
'
lib. i 4 o.]
7\
w w w WW w w w w w
/\
1
-ww
W
I
JU
l
'
w w w w *~ w ~ w w WW ^/ W A W "~ W VJU W A W WW" A

.
1 I
--
/T'
b~
'
KAtofrw AdyzGit; t' suo)Avoi xoCipat Nuxto?, suyoj/ivcov srraxo'jeraT', oupaviat yfrovtai t
oaiôv?
7CSM.7CST'
to
7ravSei[jLavT0t*
aittuv GOÔXOATTOV

Euvoiuav liTcapoQpovou;
/iod
Tiroltv
257
5
t'
aosA<psa?,
AUav
CT(pav7]Oopov Eipavav ts tocv&s (3apu<ppovtov
ASAa'&OtTS CUVTU/17.V.
IX
t
FRIENDSHIP
[Bergk, Frag. Adcsp. 138]
s^ \y ^f w <j * w ;l ^ ^ Ww ! ^ >^ s^v^ v^

1 1 '
\*>
V-*-
v^v^
'
wv-/
/\
\^f
'
'
v-/
^ w
/\
Ou
oijS'
^puGO? ayXaoc, G7ravit0TaT0c ev -9vartov Sucrs^ ictw

(3ig),
ouS' aoatta?,
apyupou
jcXTvai, 7rpoc dcv-8-pwxov So)[/.ad[/.ev'
aCTTpaTiTEt too? o^st;,

outis
to;
yaia? eupuxsôu
ydvi[/.oi fiptSovTSc
auTapxsi? yuat,
ayaOtov avSpcov
6[/.o<ppaS(/.o)v vdvjcri?.
X
EURIPIDES.
EPINICION TO ALCIBIADES
ii.
[Bergk, vol.
^j
w
'
^_/
'
w
>
Enrip.
3]
^/ \y
>^ ^ wv-^ ^y w ^^^ <s ^1 ^j ^

;
^
'
v_/ v^<
^ w w
' '
/\
ww
Si
S'
asiaou-at
to
IQ.smou
x.7.1
~at'
'
y.aAov
vix.a,
koXXkjtov, o [atjosI? aX'Aos
EAAavtov (Aaysv),
aptiom
pvjvai
TrptoTz. op<xf/,efv
osuTspa
t'
x.al
Tpixa,
axov>]Ti, Sic
GTe^&sVra
sAaia
5
jcapuja
poav xapaooCvat.
XI
[Frag. Adcsp. 96]
'
v/
w w w v^
V-/W
'
"E eitoc
JteicsTai
Pa&udsvSpw
T
Y,v\
SV /J)0VI G'JfX770<7ltOV
XupaV
aLtOlOO^,
iayac t Tiavrep-so: auAtov.
258
GREEK LYRIC POETS

XII
[Bergk, Frag. Adesp. 97]
w W W w \j w w w w w
i
v./
'
w www
.
"fig ap' ewrovTa

T'/jlauys?
[/.iv
a^pomov
e'XaaiTtTTOu TCpocrcoTrov
v.Tzzknzzv a|7.s'pa?.
XIII
[/. 8 7 l
*
1
v^
ii
v>
\jkj v^w w w v^w
\j
/\
Nod Tav
SGTt,
[/.Ol
"OXu|j-7rov x.aTa.Ssp/,o[xsvav ocaTCTOuôv 7TLGT0V Tai7^SlOV 7U ykttiGGy.q.
"Hpav,
XIV
[/. 86]
WW wWwww
WW
\_A^
Ou yap
Tfe!
ev [j.zgoigi x.?tou Scopa
Sucjv.a^Ta Motcav
'71Tt,TUJ(_0VTl <pplV.
XV
[/. 89]
'fl
yXuJtsi' stpava
Tcl0UT0f)QTtpa ppOTOt?'
XVI
NIOBE
[lb. 98]
Oux. aisl S-aAiQovTt,
(3w
(W-gtou? ts tsxvwv
<pao; opcococ.
(SptO-of/iva yTuxspr'v

XVII
259
DEATH OF ADONIS
Ub. 79 a]
^w_^_ w _A
Ka-rrpo; rîy' 6 (xaivoAvj?
OOOVTt CrXJJAa/iOX.TOVW
KuupLô? &aAo;
coascev.
XVIII
[//'.
101]
HECUBA
w w w w ^- w
ww
W /\ w w w w WW
'
WW w w ^ w /\
w w w (w L u w w
)
'
âporcav xuva' yoCky.zov Ss

yvafrjAiov
*.
oi
xoAiav 98yyo;jivai; u7raV.ous piv "I&a,

ts 7tSTpac.
TeveSoi; ts TCpippuTa
pvji'jttoi
ts (7tayoi)
<piAavsf/.oi
XIX
[90]
w w * w w w
w
1
WW ww ^ w ww' w WW W /\ w ~/\ ww w w WW WW ww
"
1
'
ITpoârtov yap
co? X7i6 /.pavav
sV.
toxvtcov jtSAapu^sv,
9aAsov
yaAa
oufts'
(peprarov u&top, toi S' STuprAcov IffffULtevoi
7rt9-ou?'
acx.o? S'
xsAAat,
yap
ti? a;j.cpopsos saivu' sv Sojy.ot?, Aitkvoi ts xi-froi xAacr&sv axavTS?.
XX
[62]
'Ex,
2a7r<pto<;
TOfV aixeAyo|xevo; uiXt toi
(pspto.
2 6o
GREEK LYRIC POETS

XXI
[53]
'Eyco
(py.y.i
lo7cXo)ta(/.o)v
Mowiav
su Aayiv.
XXII
[99]
"Aaaov Tpd-ov aAAov

ffioovTi; avO-ptoTtcov. >P
sysipst
XXIII
[104 A]
IToix-i^STai
[J.iv facial
TCOAUGTE<pavo:.
XXIV
[104 B]
**;
www
v^w w w
/\
Ou
[ayv
7T0TS tixv apSTcicv aAAaôp.ai ocvt' a&joou Jcsposo?.
XXV
[116]
TV
ax.T7.v, tiv' uaocv Spaj/xo
koX TiopsuSxo
XXVI
[141]
Micsto
[j.vat^.ova <jup.7TOTav.
XXVII
PAEAN TO LYSANDER
[Carm.
PoJ>. 45]
OO w v^
/\
Tov'EAAaSo; ayaêa?
GTpXTayov
a?:'
supuyopou
co
SâpTa;
'Iyj
u[/.vr<JO[/.sv,
Tlatav.

XXVIII
ITHYPHALLIC
261
HYMN TO DEMETRIUS POLIORCETES

[Tb. 46]
O;
oi.
tt5
oXi
[jiyiGTOi Ttov <&oov y,y\ îXtktoi

7uapsi(7tv"
evTaufra (yap Ar^TjTpa
x.al) Av]{/.7]Tpiov
a aa Trapry'
(
JtaipoY
5
/7] f/iv
ra
iv
ceÂva tyj? Kopvj; [/.ucmjpia
spjS&'
7roir]cr7j,
6 S'
iXapoc, to<77Tp
tov
-8-sov &si,
xal
>caXo<;
xal yeXtov rcapsoTtv,

<iS(/.v6?
6-8-t
<paiv9-',
oi
cpiAoi
7ravT; jcujcXw
v [/.saoict 5' auxo?,

6{/.oiov, to'crap
10
[J.v
oi
91X01
aors'ps?,
TJXlO;
5' SX.SIVO?.
'fl
tou x.paTiTTOu xat IIoaELotovo;
-9-soO
yaips xacppoSiTV^'
aXXoi
q 7}
[xiv
V]
[Aa/.pav
yap a.TOyouGtv
&oi,
oujc iyouGiv coTa,

-q
ou/C sitxiv,
ou 7upooB3(ou(Wv
6pc3[/,sv, Xt-9-ivov,
y}(/.iv
oubs
sv,
ge Si TrapovO-'
ou uXivov, ouSs
ijyo[j.a{>a St]
aXX' aXvjxkvoV
cot'
7tt)fo](J0V,
20
(piXTa.T,
TTptOTOV f/iv slprVTJV si gu' x.'jpio;
yap
f"/)v
fV
o'jya
vjptov aXX'
6'Xtj: tyj?
Soiyya
co57rep
v]
7cspu,paToG<iav
7:1
'EXXaSo?
25
AitcoXov, ocTt?
TOTpa?
jca&7](Avos,
xaXata,
reavr' a.vapxaVa; ipspst,
,
Ta
cro)[/.a-9-' r,(/.<av
JtOUJC SYtO U.<XYS<7-9 ai,
(AitgjXwcov yap aprcaffat vuv Ss jtal Ta 7Toppo)')
Ta
Ttov 7TXa;,
30
(/.ij,
p.aXwTa
|/iv
&q jcdXaaov
a'jTo;* si &s
OtSlTCOUV Tiv' SUO,

T7jv
7j
2/piyya Toumjv ooti?

G771VOV
7?0tfn(?Sl.
73
)caTaicp7](/.visi
262
GREEK LYRIC POETS

XXIX
PAEAN OF THE CHALCIDIANS TO
;^
T.
FLAMININUS
\^/
w
'
/\
w w ^> w v^ \J V --UU v^w \J \J w v^ v^

i_< \_;
*->
'
IltCTIV Se
PtOU.0atOV GEpOJJ.EV
6'pxou? cpuAacaEiv.
Tav [xeya'XsiOTaTav Meattsts x.oupai

xctiV
o'
Zvjva fv.iyav 'Po>C-av ts TiTov

toj'is
-9-'
ap.a 'Pwâicov ts
5
Ilatav
TlTS CWTSO.
XXX
SAPPHIC ODE TO
ROME BY MELINNO OF LOCRI

"Ap7]0?,
(?)
Xaips
crsp.vov
\jsa 'Pcojjmx -9-tjyaTVjp
^puTEO|/iTpa,
oaiftppoav
avaaera,
vaisig 7:1 yag "Oauj^ttov aisv a9-pau(7TOV
Sol
[/.ova
xpscpEipa Ssio*
Moipa
/.uoo;
appTjKTG) paaiAfiov
-
ocpypt^,
o<ppa xoipavrjov zyoiay. xapro;
ay|AOVuy]?
crSsuyAa JtpaTSptSv ASTtaSvwv crrspva yaia; yal xoAia; &aAa<7<j7);

era S' utto
10
ccpiyyeTocf
cru S'
aGTa
x.al
ac<paAsco? jtu(3spvqc? Aatov.

6
[/.symtto? al'cov
IlavTa 8e ccpaAAcov
|XTa7i:Aa(7crtov (3iov
aAAOT' yXktag
1
col [/.ova TiATjtfiGTiov oupov apyxc;

o'j
'H yap
avopa?
ex.
(/.eraPaAAei. toxvtcjv cu [/.ova JtoaTiTTOo?
vJiynj.r^y.q (/.eyaXou?
ao/uei;,
sucnraûv AajAaxpo? o'-co? avsiaa x.ap ov arc' avftptov.
20
DITHYRAMBIC POETS
on p. 106 seq. the general Dithyrambic period in Greek Melic poetry, and I have also on p. 40 and p. 107 dwelt upon the tendency at the time of the musical accompaniment to become more and more important at the expense of the It remains for me to sketch briefly the developpoetry. ment of Dithyrambic poetry, and to give some account of the poets from whom passages appear in this collection.
I
HAVE
already described
characteristics of the last or
was
the latter part of the seventh century B.C., when it raised to the position of a branch of cultivated Melic poetry by Arion (see p. 102), to the end of the sixth
first
From
century, when it took a new departure in the hands of Lasus of Hermione, the Dithyramb proper appears to have
little attention. It was not, so far as we can from the silence of authorities, patronised during judge this period by the great Lyric poets, and we have more positive evidence in the words of Pindar {Frag. 47, Bockh)
received but
IIplv f/iv sip c/owoTSvsia t' aoioV. o\tk)pa;j.(3cov xai to cav ya 8SaXov av8-pw7roiTiv 776 <jTO aaTO)v.
4
So great were the

described as the
'
alterations effected
by Lasus
that he
is
of the Dithyramb. 1 He was probably more a musician than a poet, and his innovations appear to have mainly consisted in bringing the musical inventor
'
accompaniment, hitherto plain and monotonous, into better agreement with the excited "tone supposed to characterise a Dithyrambic song. For this purpose he made a free use of the flute, 2 and from this time we may date the commence1 Clem. Strom, i. 365 oiOupap.ôv ok ir.viurî Aaao; 'Epfuoveu?. a Scholiast on Pindar, e<TO]cje 02 aoxov (SiSu'pa^pov) rcptlruos 'Aptav
:
Cf.
.
.
e!xa Aaao;.
2
Schmidt, Diatribe in Dithyr.
p.
12S seq., points out that the flute
had not always been the appropriate instrument of the Dithyramb. Thus Arion was a xt&apcoSo?.
264
GREEK LYRIC POETS
ment of the quarrel between the advocates respectively of the flute and the lyre, of which we have such a lively illusIt must not, however, be thought that tration in Frag. I. the new or more typical dithyrambic style, as ridiculed by
the comedians, belonged to this date. within the last period of the great
his
Lasus
falls
rather
Lyric poets, and
Simonides probably and Pindar almost certainly adopted improvements. From the latter poet we have a long fragment, No. VI., which we may regard as a type, though a favourable one, of the Lasian dithyramb. The rhythmical structure of the fragment is bold and rich, and a lively and almost violent motion prevails in it, but this motion is subject to the constraint of fixed laws, and all
' ' '
the separate parts are carefully incorporated in the artfully However great may have been the constructed whole 1
'.
improvements introduced in the music, they certainly had not yet detracted from the excellence of the poetry.
Nevertheless the corrupting influence was already beginning to make itself felt, as we gather from the lines of
Pratinas {Frag.
I.),
written about the beginning of the
fifth
century
B.C.
and during the course of the next hundred
years the new style came rapidly to the front. Its progress is described in a lively passage from the comic writer Pherecrates, quoted in Plutarch's de Musica, where IIoiyjtic is complaining of her wrongs
:
'Eixol
yap
v^p^s
V T0l<7t
7Vp0)T0l?,
tcov xoucoav Ms^.aviz7rtS7js 0? â 6tOV [J.Z

t
OCVTJJCS
yaXaptofspav
t'
sttoitjgs
yoposac owosjca.
'A~Kk' ouv 6'p.to;

f/.0lYS TCpO?
outo?
|/iv
^v a-o/ptov avvjp
Ta VUV
vCaZ.SC*
Kivyjaia?
eâpjxoviou?
cr.7;oki}ikZY.i
*****
y.v.ij.tzxc,
i/.'
&, 6
jtarapaTO? 'Attix.6?, ttouov iv toi? CTpocpaT?
outco;
x.tX
puvi$S'
xa[7.7iTtov
'^-.ov
CTpoîXov
oojosjc'
{jLJ3a^.oiv
Tiva
[j.z
x.al
(7Tps<po>v, oXtjv Sli<pi>0pV
ev tovte
1
yoprW?
apy.ovia? Ijftov
Miiller, Hist,
of Greek
Lit.
xxx.
adfin.
DITHYRAMBIC POETS
y.Xk'
265
oOv
E(/,oiys
goto?
tjv
a~oypcov
avTip.
O
;cai
oe Ttô'Oso;
o3
[7-',
<pt^TaT'/], x.ocToptopuys
. . .
otaxsjcvat^' y.layiarv.
,
. .
a~ avTa?
(6'S')
ou; Xsyto
f/.upf/.7]>ct<x<;.
r:y.pzkr{ku&'
aywv
sx.Tpa77sXou?
first step in the direction of the new attributed to style Melanippides, and Suidas is in agreewho of him sv tyj ment, says &9-upa[/.j3G>v êXoTzotof. exaivo7rXsiOTa. One of the chief innovations assigned to z6[j:rfz
We
thus see that the

is
him
is
the substitution of the

1
ava|3o>.7j
for the antistrophical
a mere prelude of the song, and the term was now applied to the whole musical composition, apparently because it partook of the nature of what was once only the prelude, in observing no fixed laws and
system. before the
The
full
avafioV/j originally signified
commencement
regular periods. Aristophanes speaks of these ava(3o>.ai as being collected among the clouds {Peace 830) or floating about the void air {Birds 1385) and Aristotle I.e. appears to condemn them as exhibiting no distinct xzkoq. The effect upon the poetry was certainly disastrous, as we gather partly from the passage quoted by Aristotle from
;
Democritus
Oi
/j
in
condemnation of Melanippides
YJXY.cn.
t' ocutco
TSuysL avr.p aXXco x.axa tso/cov
<)z
[/.axpa avapoToq
tw
7TO17j<t<xvti
Y.y.Y.iazr
Melanippides flourished in the latter part of the fifth 2 century,' and his pupil Philoxenus (435-380), of whom Pherecrates makes no mention, followed in his wake, many
innovations being attributed to him by Plutarch. Yet his music and poetry were regarded as severe when compared with the still more elaborated and ornate style of the next 3 There is a long passage surviving from his generation. Asi-vov, but the nature of the composition, whatever may
1
Arist. Rhet.
iii.
9.
Suidas describes him as younger than Diagoras, who, as he says, flourished 468 B.C. 3 Sec Antiphanes ap. Athen. xiv. 643.
266
GREEK LYRIC POETS

class
have been the

assigned,
is
of Lyric poetry to which

I
it
was
in-
so essentially un-melic, that

'
have not
'
cluded
it
in this collection.
is
Little
the charge sheet of PherePhrynis, the empty, unsubstantial ridicules crates. Aristophanes in the Birds of the former, 1352 and Phrynis is still style more strongly condemned by Pherecrates. The latter is
;
known of Cinesias who appear next on
the accursed Attic
and of
{de Mus. c. VI.), to have altered the anform of Terpander's nomes. Next to these comes Timotheus, who attained to very great renown as a Plutarch calls him cpiXoxaivoc, and Dithyrambic poet. accuses him of being addicted to tov cpiXavfrpi0770v TpoTrov, and Suidas speaks of his enervating the ancient musical
said
by Plutarch
cient
style
v/jv
apyaiav
(/.oucr/.^v
iiz\
to [/.aXaxioTspov [/.ST^yaysv.
important alterations in the Nome, giving up for the most part the use of the hexameter, long regarded as essential in this branch of Melic poetry, and effecting a still more radical change in what had once been regarded as a calm and sedate style of composition by giving it
the opposite characteristics of the Dithyramb. with pride of his own innovations in Frag. I.
He made
He
e',
speaks
a'Sco
Oux.
Ta
Tta'Xaia x.t.'X.
Contemporary with Timotheus
in the first half of the
fourth century was Polyeidus, who is spoken of by Plutarch de Mils. c. XXL, as surpassing even Timotheus in the
intricacy of his musical style. From the silence of authorities with
regard to later
that the flourishing Dithyrambic poets period of this last product of the lyric muse came to a close about the middle of the fourth century.
we may conclude
Dithyramb we have means of judging except from the criticisms of the comedians and others, since the surviving fragments are insignificant. After making due allowance
Of
the real character of the later
but
little
for
at
any
exaggeration there can be no doubt that the poetry rate was of an inferior order. All those who won
,
distinction
were renowned
skill
;
but for their musical
not for their poetic genius and the very fact that such
DITHYRAMBIC POETS
267
meagre fragments survive from so many poets living at so late a period, indicates that their writings owned but small Nor indeed was the Dithyramb intended literary merit.
composition it was a lively mimetic repremore or less dramatic scenes, in which imitative gestures and clever instrumental effects were of far more importance than the diction. 1 Dithyrambs were intended for prize competitions, and written to win the immediate favour of a public of a somewhat vitiated taste, and by no means to endure as monuments of literature.
for a literary
;
sentation of
consisted, according to a good description in of Greek Literature, in a loose and wanton play of lyrical sentiments, which were set in motion by the accidental impulses of some mythical story, and took now one direction, now another, preferring however to seize on such points as gave room for an immediate imitation in tones, and admitting a mode of description which luxuriated
They probably
Miiller's Hist,
'
in
sensual charms.'
append
in their
the poets from
whom
chronological order a short account of fragments appear in the text.
PRATIN AS
Fl.
500 B.C.
Pratinas
is
known
to us in connection with the rise of
the drama, and it would of course be misleading to speak of him as a Dithyrambic poet. Nevertheless at this early
by no means easy to separate dramatic from dithyrambic poetry, and the satiric drama itself, the invention of which is ascribed to Pratinas, was probably in Moreparticularly close connection with the Dithyramb. over the fragment in the text, quoted by Athcnaeus as a
period
it is
' '
See Plat. Rep. iii. 396, where Socrates speaks with contempt of the imitation of the neighing of horses, the lowing of bulls, the roaring
of the sea,
and the crash of thunder.
268
GREEK LYRIC POETS
hyporchem, appears to partake rather of the dithyrambic nature, and it will be noticed that it is addressed not to
Apollo, as we should expect in the case of a hyporchem, but to Bacchus the patron of the Dithyramb. In any the connection of the of the case, subject fragment with
the history of the later period of Greek Melic poetry completely justifies
its
insertion in this place.
our scanty information about Suidas, Pratinas is obtained, tells us that he came forward with Aeschylus and Chaerilus about the year 500 B.C., and that
from
whom
he was the
first
composer of
satiric
dramas, thirty-two of
his fifty plays being of this nature. Pausanias (ii. 135) speaks of his fame as a satiric poet, and Athenaeus (i. 22) testifies to his reputation as a master of the dance.
LAMPROCLES
Lamprocles is mentioned as a dithyrambic poet by Athenaeus (xi. 491), and probably belongs to the earlier
part of the
fifth century, being described as the pupil of Agathocles and the teacher of Damon, the latter of whom maintained that simplicity was the highest law of music,
and numbered Pericles and Socrates among his Thus Lamprocles belongs to an early period of
against
its
pupils.
dithy-
rambic poetry, and was not open to the charges brought

later cultivators.
MELANIPPIDES
Fl. c.
I
440 B.C.
have spoken above of Melanippides and his innovations, if Suidas be right in distinguishing between an elder Melanippides, born 520 B.C., and his grandson, what has been said applies to the younger poet. Many critics think that Suidas was mistaken, but G. M. Schmidt in his
and,
Diatribe in
Dithyrambum not only accepts

1.
his
testimony
If,
but attributes Frag.

the contrary,
' in
the text to the elder.
on
we
are
to
regard
the later Melanippides
DITHYRAMBIC POETS
as the author of the attack on the flute,
it
269
is
difficult
to accept Plutarch's statement with regard to that poet (de Musica, c. 30) that from his time onwards the flute-
player in importance took precedence of the poet himself. Melanippides the younger, according to Suidas, was later than Diagoras, who flourished, according to that authority,
468 B.C., and must have died before 414 B.C., since his death took place at the court of Perdiccas II. of Macedon, whose reign extended from 454-414 B.C.; with this monarch he is
have spent a great part of his life. Melanippides is first place among dithyrambic poets by Xenophon {Mem. I. iv. 13), and Plutarch classes him with Simonides and Euripides as one of the greatest masters of music.
said to
given the
fc>*
DIAGORAS
Diagoras of Melos
(ix.
is
204) as
Si9upa;j.[3o-oioc,
described by Sextus Empiricus but he is better known as a
philosopher of atheistical tendencies who earned the title of "Afrsoc. His date is uncertain, for Suidas can hardly be in right saying that he flourished in 468 B.C., if at least it
was taken prisoner at the fall of Melos in and ransomed 411, by the philosopher Democritus. He is said by Sextus Empiricus to have been originally a man
is
true that he
of great piety, as the fragments of his poetry indicate, but, according to the story, he was impelled to atheism by the
injustice of the
fraudulently published as his
Diagoras. attacking the popular religion in its most hallowed quarter, the Mysteries and he is said to have diverted from their
;
not punishing a fellow-poet, who own a Paean written by His atheism took the aggressive form of
gods
in
The purpose many who were about to be initiated. Athenians retaliated by outlawing the poet, and put a 1 He escaped to Corinth, where he price upon his head. took up his abode and we also hear of him at Mantincia. His position as a poet seems to have been one of but little prominence, and he probably abandoned his art for
;
philosophical speculation.
1
Schol. Arist.
Frogs
323, Birds 1073.
2;o
GREEK LYRIC POETS

TIMOTHEUS
FI.
398 B.C.
in
Timotheus of Miletus was born
454
B.C.,
since Suidas
says that he lived to ninety-seven years of age, and he died, according to the Parian marble, in 357 B.C. The flourishing period of his career is placed at 398 B.C. by Diodorus (xiv. 1 46,) but, as Clinton points out, he must have attained to eminence and effected the innovations already referred to
before that date.
He was a voluminous writer and became one of the most celebrated of the dithyrambic poets, his Thus Athenaeus reputation surviving long after his death. (xiv. 626 C) speaks of the Nomes of Timotheus and Philoxenus being studied as the last stage in the education and a Cnossian decree in the of the Arcadian youth second century B.C. speaks of him in terms of the highest On the other hand, the most wholesale condempraise. nation of his style is to be found in the pseudo-Lacedaemonian decree, which summarises in its charges against
;
Timotheus
all
the sins of
all
the dithyrambic poets.
He
doubtless flung himself boldly into the spirit of the age, which delighted in luxuriant expression and realistic pantomime and in a surviving fragment (No. I. s') he bids
;
defiance to the admirers of the older style.
TELESTES
Fl.
398 B.C.
Very
B.C.,
little is
in Sicily,
and
known of this poet. flourished, according to
He came from
Diodorus
I.e.,
Selinus
in
398
the Parian marble mentioning him as victorious in a dithyrambic contest in the year 401. His poems are said
to
have been particularly admired by Alexander and in of raised a monument his Aristratus, Tyrant Sicyon, The fragments that remain are insignificant honour. 2 enough, and are excellent illustrations of the vapidity of dithyrambic poetry.
;
Fast. Hell. an. 357.

Plut. Alex.
c. 6.
Plut.
H. N. xxxv.
36. 22.
DITHYRAMBIC POETS
LICYMNIUS
is
271
Licymnius was a dithyrambic poet of Chios whose date He is spoken of by Arist. {Rliet. iii. 2.) as uncertain. for reading,' and the few surviving lines avayvoxTTix.os, fit
'
attributed
to
him
is
are
not without
is
literary
merit.
rhetorician of the
same name
identified
mentioned by Aristotle
critics
{Rhet.
iii.
2),
and
by some
with the poet.

are
Of Lycophronides, from whom two passages by Athenaeus, we have no information.
quoted
DITHYRAMBIC POETS
Passages referring to Flute-playing and the Musical Style.
()
New
PRATINAS.
HYPORCHEM
[Bergk, 457]
w^
KJ
\-/
^>
\*/
\y
^ W
/\
^/
v-' V_/
_A
^ /\ W w< W "0 ^ ^ "O
'"^
'
''~ N
A.
'
X '^
A A
\_/
I-
-'
V-A_>
\-A>
V^
v^
/\
WW
W ~~ W W ~~
WW
\
A
W
*""
'
W
*
W
s_/
W
'
W
/
WW
IO
w ^, A
* *
WWWWWWWv^WWWW
ww w w ww
.
^_, v/
va;
WW W
/
A
- H
r / ww ww
^r
/\
A
lL ^ A w w ~ W ~ w w W W lA A
7 '
L
'
'
Ttva Ta^s ia ôpsuLtaTa Ti? u(3pi? sp.o'Xsv E7U Aiovu<7ia6y. Tzokv-xTxyz O-uf/iXav sy.oc sao? 6 Bpoj.no;'
;
[7.
Ssi jcsXaSsiv Set TOXTavetv ef/i
DITHYRAMBIC POETS
av' oosa
273
-Swivov
u.zra.
Na'ia^tov
;./.sAb;.
<)'
ota ts jcujcvov
ayovra
Jtai
TTOty.iXoTrrspov
Tav ioiXav xaTSTTacrs

udrspov yopsusTto,
6 Tltsplc pacriXsiav
auXoc
yap sg&'
u7r/]psTa;
9-lXst
/.o)LWO [xovov JH>pa[/.ayoi;

su.[/.svai CTpocT'/jlarac.
ts miypoLylxiGi vs<ov
apotvwv
10
*riai t6v <J>puvaiou ttooc&ou

oXsys
poavsyovTa*
tov 6lecL(7iaXox.aXa| ;.ov,

J
XaXofJaouoTOX 7rapa;./.sXopux)|/.ofiaTav &'

Tp'j~avco 6s[/.a? tte"Xactxevov.
y.v ioo'j
u~ ai
1
5-
aos aoi
osi;ta?
x,al 7toS6? ^tapp'/pa, 9pia{/.(3oov9-upafA(Js.
KunroyjJUT' aval axous Tav dp.av Aiopiov yopsixv.

(P')
MELANIPPIDES.
ATHENE REJECTS THE FLUTE

[Bergk,
p. 590]
\*S
WW
'
\^J
^ w
'
'A
opyav' &ppu{/sv
3i s t'
o'j y.
-
[/iv
'AD-ava
9'
Ispa?
ystpo:,
"EppsV
toco
al'cysa, <TG)f/.aTi XiItAa"
sr<o jcajtora-n oiowai.
TELESTES.
' '
(Y) DEFENCE OF THE FLUTE

[p. 627]
'
'A
'
^
'
(^
'
WW
/
'
A
/
v./
^/
v^ ^ \j w * w W A ^ / w w ww "" ww w
i
<*_/
*_/
v,/
ww ww ww ~ ww w __ ww WW lL a
/ /
\^f
>
'
ww
w w ~~ w ww ww
.
A
vow
10
ov <70<pov erocpav XafioCcav oux, s sX oaou

s
274
GREEK LYRIC POETS

&oui/.oT? dpeioic
opyavov
r>iav
'A&avav,
<$uc6cp8a'Xaov y.iayoc, &pO'8:>)ffsT<yav,

auS-i?
s/.
yepiov (3aXeiv,
cpyjpl
vut/.avsvsi yopotT'j-c.)
Mapcja
/Skioc.
Ti yap
viv
suTjpaTOto jtaXXso? o&j; spto? BTStpsv,
7 -aoDeviav ayau.ov *al a-rcata

dftXa y.axav ayopsuroc
a sveiy.s ICXwOxo
aos [7.aT7.toAoywv
ijaaa
7700<iS7rra-9-'
'EXXa<$a
v.o'jco7ro'Xtov
.
.
lO
.
vpac sttioBovou
fipoTO'ic
TSjrya? ovsioo?
(8')
TELESTES, FROM THE

I
'
ASCLEPIUS
'
p. 628]
~~" *"~
'w'
\J
\^/
<^/
W
~"~
^/ ~~
'
'w'
'J ~"
V^
\^<
^W
- VJ "^
'
\^> <^/
W \^
. .
V-^
S-/**'" ^ ~ V^ V^ W W T\
*s->
ri
4>puva
>ca7JXt7irvocov
aoltov ispcov
|3a<jtX7Ja,
AuSov
6? apao<js 7i:p(0T0?
vo[/.ov
Ao>Gi$oc wTiizoCkov [xouaa;
aioXov
6[/.cpa
DITHYRAMBIC POETS
11
275
MELANIPPIDES
00
iP-
591
ww
V-'v-'
*
^ *7\
~ >^ ^ \^ v^
*-* -^/
\*J \^t
Havre;
to
fS'
dtTrecTuyeov
oSwp
Trpiv sovtsc awpts? ol'voo, Tajflx oy) raya toi j/iv vouv a~6).ovTO, toi oe y.py~V/jxtov ysov 6itav.
xac
ocst(,coou
(Luyac us&scav.
Ill
DIAGORUS
GO
[p.
562]
*./
'
^/>^
/^
*-^v/
^v
\/
060?,
ttso; Ttpo ttocvto;
spyou (ipoTSiou
vw[j.k cppsV u77SpTarav,
auTOOa^?
ft'
apsTa
fipa/'jv oi{/.ov spxst.
ww
I .
^v ^
[
/\
\^/
V>
~-
Kara
oaif/.ova )cal
Tuyav
xa 7ravTa
(SpoToTstv dxTsXeiTai.
2/6
GREEK LYRIC POETS

IV
(')
LAMPROCLES
(P-
5541
IlaXXaSa TrepaexoXiv
7i;otw!Xtjo)
etelvav 8-sov sype/.-ôty.ov
TroXsuacW.ov, ayvav
7caiSa A16; [ASvaXou Sa{/.a<yi7T7cov.

<P')
THE PLEIADS
[p- 556)
aire Tcoravai;
LICYMNIUS
TO HYGIEIA
[Bergk,
p. 599]
'
^^^^
'
7^\
^
w^
^
**s *~>
v./
^y ^
*
; w^ \->v^ /\ ^/ ^ ^ w ~
^
**
s** <*
"~
v./
w
*
*
;
*
^>
<_>
^ ^
/\
AiTcapo;7.|AaT [xaTSp, uî^Ttov ftpovwv

cst/.vcov
'AtcoXXcovoc
'
(IJaffiXeia
-oflsiva,
Troa.'JysXtoc
Tyisia*
*
t
Ti; yap xXoutou y&^Q r tekswv, y xa; iaoSai;j.ovoc avfrpuixoi; pxaO^'tfto: apya; * * *
gsDsv Si ytopl; outl; z'Av.vjmv
s<pv.
DITHYRAMBIC POETS
VI
277
SLEEP AND ENDYMION

T598]
'
\J
'
^W
W V^
1
~/\
"Tttvoc Ss, yaipttv oy.f/.artov auyoi'c, ava7C67tTa{/ivoi?

foffOKJlV S/&01U.MTS /.OUpOV.
VII
00
I
^
^/
w _^ W
~/\
y^
^^ V> W
1
Mupiat? Trayaiffti oeotpuov 'Ayfotov a/swv te j3pusi.

<P')
;
'A/spcov aysx
[ipOTOlGt TTOpD-fASUSt.
VIII
PHILOXENUS
[p.
!
611]
s->
O ^
w w w v^ ^ ^ W v^ ^ w W ^/
-^/ v_/
'H
x.aA>,i~pocto
ypiKioôcTpuyE raXotTSta x.aHoc ipcoTcov. yaot-rdcpcovs
IX
TIMOTHEUS
[p.
.
624]
^/
^ ^ w ^ ^
*
I
/\
^
'
,_/^
<-*

<~>
/\
^w
w^
Su
t' <o
obcrfci
tov ael oôv oupaviov "Alis paXXtov, Xa[/.7Ppat^

to
-y.'i/ov E)tapd>,ov eyiVpofoiv (isXo;
ca;
vsupae,
is
Ilaiav.
278
GREEK LYRIC POETS

x
FROM THE CYCLOPS
'
'
[p.
.
621
'
^_ w L_ w w ^
' '
'
w w L_
'
A
'
"^ W w V ^~ "" A www

L_.
'
-1
'
_ __. A www _ w v^ w w ^~
' _i!
'
'
Li.
A
N
"Eyeus
<)'
ev
|7.v
ostcocs >acrcrivov jxsXaiva;
(jrayovo; ap.ppoTa? a<ppto Ppuat,ov" S' sfotoaiv &e ji.eTp' avsysusv Sfnavs
ai[/.a
Bax.yiou vsoppuroic oaxpuoicri Nup.cpav
XI
FROM THE PERSAE

[p. 6">2]
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XIII
[p. 621]
Outoi tov
oupavov
y' u7tpa[7.:r/ovTa
eiaavaJ3r<rst.
DITH YRAMBIC POETS

XIV
Tp.
279
623]
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vjffO-a,
Tiji.d&ee, )tapu
Nix.a Tâdflco; McV/jcio?
tov Kay-wvoc tov Itovoxai/wuTav.
XV
TELESTES
[p. 630]
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ysfpy.
XVI
[630]
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xapa
xporr/jpac
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A'joiov uu.vov
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28o
GREEK LYRIC POETS

XVII
LVCOPHRONIDES
[P-
633]
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xal Tav Jhjpo<povov \oyyi<)\ iizzi rxot, vo'o? ocXak Jts^wrai S7a xav Xapwi D*av TOx'iSa xal jtaXav.
XVIII
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(
/taXov to TTpocrot) ov, av
p.7j
noajuov
scpuxT]
r yap ai&to? av&o;
7n<77csipst.
PINDAR
B.C. 522-442.
This book
professes, as I have explained in the Introduca to be collection of the readable fragments of the tion,
Greek Melic poets other than Pindar. I have nevertheless admitted by way of supplement the more important of the
fragments of that poet
requires justification.
also,
No
collection of
and the addition hardly Greek songs would
be complete without the splendid specimens of the Threne, the Dithyramb, the Hyporchem, and the Scolion to be found among Pindar's surviving poems, for apart from their great poetical merit, such ample illustrations of the different branches of Melic poetry add considerably to our know-
On the other hand, I ledge of their several characters. have not thought it necessary to include all the readable passages from Pindar's fragments, but have selected only Of the works of the other Melic the most important. poets so little remains that nothing of value can be spared with Pindar this is fortunately not the case, and in addition whatever I have omitted in this collection is readily
;
accessible to English readers in the various editions of Pindar. I must leave to these latter any detailed remarks
on Pindar's
and works, contenting myself with a brief sketch and a few general remarks chiefly in biographical connection with the fragments. Beyond this I would refer
life
all
readers to excellent articles on Pindar in the Hellenic
Journal, vol.
Professor Jebb, and in the Quarterly iii., by Review, January 1886, to Professor Gildersleeve's and Mr. Fennell's introductions to their editions of Pindar's Odes, and to M. Alfred Croiset's La Poesie de Pindare, in which
282
GREEK LYRIC POETS

'
the chapter entitled
La Destinee Humaine dans
Pindare,'
p. seq. should especially be read, containing as it does good criticisms on the fragments of Threnes, which are included in this text.
y
20 1
Pindar was born in the year 522 B.C., and lived, it is said, till the age of eighty (442 B.C.). He was thus contemporary with the old age of Simonides (556-468 B.C.), with Lasus,. who instructed him in the technique of lyric poetry, and
with Bacchylides, and he advice or example of the
may
also
have profited by the
Theban poetesses Corinna and
He belonged to the great family of the Aegidae, Myrtis. branches of which existed not only in Thebes, but among the Dorians of Sparta, Cyrene, and Aegina. The Aegidae also held high office among the cultivated and devout priesthood of Delphi, a fact probably not without influence on Pindar's career and poetry. At an early age Pindar left Thebes for Athens, where he received instruction from
His first great Lasus, Apollodorus, and Agathocles. the tenth was Ode, Epinician Pythian, composed by him at the age of twenty, and, considering the importance
attached to such occasions as victory
in
any of the great
games, we must infer that he had established his reputation in Greece even at this early age. We have two other odes,
Pyth. vi. and xii., composed in 494 for citizens of Agrigentum, marking the commencement of Pindar's connection with the Sicilian magnates and many odes follow closely
;
upon
this in date for victors
from various Hellenic
cities.
The
period of the Persian wars now succeeds, and Pindar had a difficult part to play. His profession, and, if we may
his later utterances, his
;
judge from
own sympathies were
while, on the other hand, as a member entirely Hellenic of the Theban aristocracy he was expected to adhere to
the Persian cause.
was
The course he adopted in his poetry from reference to the delicate topic at any rate till later times and soon after the battle of Salamis he was able to withdraw himself from the troubles in Greece by accepting Hiero's invitation to his court at He was apparently held in great esteem in all Syracuse.
to abstain
;
PINDAR
the Sicilian
1
283
fame spread as far as Cyrene, 2 which he is even supposed to have visited in person. Judging from Frag. VI. he had returned to Thebes by the his life scarcely year 463 B.C., but of the later period of
cities,
and
his
anything is recorded. He speaks of himself in Frag. CXXVI. (Bockh) as in the contented possession of a modest estate, and the lines may refer to a time when he had quietly settled down in his native city after his travels, and after the Thebans had freed themselves from the difficulties in
which they were involved subsequently upon the expulsion He composed an Epinician Ode, 01. iv., of the Persians. as late as 452 B.C., when he was seventy years of age, and
died, it to him
age of eighty, his death being sent response to his prayer for their by the gods after his death almost divine He received greatest boon. honours at Delphi, and when the Lacedaemonians, and subsequently Alexander, sacked Thebes, Pindar's house
is
said, at the
in
was regarded by them as sacred. Pindar could hardly have lived through a period more
favourable to the production of great poetry.
as an art
Melic poety
had been brought to its full development by Simonides and his predecessors, and the musical accompaniment had attained to what was considered by many Hellenic judges as its prime finally lyric poetry in general was never
;
or esteem than at this period, when it enjoyed practically a monopoly in literature. It was not indeed long before there came rapidly to the front that
in greater
demand
the
new and perhaps greatest offspring of Greek poetic genius Drama, which was soon to cast lyric poetry proper
entirely into the shade.
We
are struck with the
rapid
advance of Dramatic poetry, and attribute it in great part but we must also to various contemporary circumstances of revival no sudden remember that it was poetic inspiration that took place at this period, such as was to a certain
;
extent the case
in
our
own Elizabethan age

to
rather the
was twisting poetical talent, owing directed to a new channel, and thus lyric poetry at the so far from period which practically marks its close,
certain
causes,
See
01
2, 3, 4, 5, 12, etc.
See Pyth.
4.
284
being
this
in
GREEK LYRIC POETS

a state of decay, was in
period
its
full
vigour.
It is
to
final
all
that
Pindar belongs, and his writings

features.
exhibit
characteristic
Stamped
as
his
poems individuality, the directly personal or subjective element has all but disappeared. His compositions
are with his
own
were
intended
for
public
representation,
and
poems without exception are in the choral form which he extended even to his Scolia. 1 He writes
his existing
throughout as the professional poet, whose duty it is to devote his talents to the occasion for which his services are but his estimate of his profession is a high one, required and he places before himself a lofty standard in language and in thought which he seldom deserts, and he notoriously avoids allowing the narrow limitations of his special subject
;
to curtail the range of his genius. The Epinician Odes are full of narrative, but besides this they are pervaded with an
earnest religious and moral tone, upon which I lay stress here, since it is very noticeable in many of the fragments
His sentiments on religious matters are elevated. Attached as he was to mythology, particularly he exercises a purifying eclecticism in his acceptance of
before
us.
and his test of truth in such matters is the of the story with godlike character. Instances consistency of this might be multiplied from the Epinician Odes in
its
legends
the fragments those which I have grouped together under No. XII. exhibit Pindar's reverent appreciation of the mystery and of the ever-active omnipotence of the gods.
Similarly on ethical subjects, bound as he was by his profession to speak words not unpleasing to his patrons, there is yet no trace in the Odes of the sophistical compromising
in Simonides his tone is throughout earnest and and almost austere. The moral atmosphere is that of the tragedies of Aeschylus and Sophocles, 2 and in
found
lofty
See on Frag. ix. See M. Jules Girard {Le Sentiment Rcligieux en Grece, p. 348) on the epoch of Pindar and Aeschylus, which he regards as the highest
1
in
Greek
religion
'
C'est le
moment
oil
Ieur religion sous l'influence
orphique est le plus pres de s'epurer sans se detruire, oil elle allie le mieux le sentiment de la dignite humaine avec le respect de la divinite?
PINDAR
285
reading Pindar's Odes we at once perceive that the ethical and didactic character of so many choral passages in the their predecessors tragedians is but an inheritance from It is only in the Fragments that Pindar the lyric poets.
appears to unbend, and not only condescends to utter shrewd precepts on social tact and manners, but to sing
of love and wine.
His appreciation of nature is great, and a fine example occurs in Frag. VI. descriptive of the approach of spring. Here again he relaxes the grand magnificence which in the Epinician Odes characterises, for example, the splendid
description of Aetna, and assumes an exquisitely light and
graceful tone both in rhythm and language. On the whole the surviving fragments indicate that, if we knew more of Pindar's writings, our estimate of his
poetical qualities, gathered as
it is
almost entirely from the
Epinician Odes, might undergo not a few modifications.
PINDAR'S
FRAGMENTS
I
THRENOI
Hiickh, 97
(
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II
I95J
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y.
.
Toici
keXighj -rav v$a<$s vu/Cto. x.aTto, la[j.7it [Xv j/ivo;

t' SVl ll|X(OVGGl TTpOOCCTlOV
'X>OtVt.XOpOÔlC
aUTOJV
Jtai Xi(3av<o jtat y_pu<70ic cxtapcxi
x.ap oi; (3sj3pi-9-ev'
PINDAR
x.al
287
toI [xsv
0*
i7i7roic
toI os sgcoi;, YU{/.vacioi? (ts),

TEOTTOVTat, TOXpa OS GCplGlV EUaV&VJ?
aTra?
TOl
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ts&oXsv
oX|3o(;'
ooâ
o*'
spcrrov jcaxa YjtSpov xio*vaTai
aiel ft-ua [/.lyvuvTtov Trupl T7jXs<pavei Travroia frsoiv s-l

8(j)jL/.oi'c.
Stroph.
p'.
EvSsv tov a Eipov spsuvovifai
c/.o'tov
. .
.
Tcorai/.oi. fiXvj^pol oVypspac vojcto?
Ill
[97]
WW w ww '/\ ww w w w /\ ~~ -w w w /\ ~~ww w ww ww ., w w
*
1
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'
L"
ûyjxi o aaspstov u~ oOpavioi yaia omovTat, sv a^ysffiv cpovtoic

U7T0 LsuyXai; acpuxxoi? /.a/xov*
E'jcsfiEtov o" ETro'jpaviot
vaiourai
up.vo'.c.
c;
ao^Trai? jxaxapa u.syav ocsioovt' ev
IV
I98I
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\^/
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Oir>i 6e
^spffe^pova
ZC,
oivav
jraXaioG 7rivO-Eoc
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SlqSTat,
avo*io*oi
ex.
TOV UTTEp&SV aXlOV
EVaTW
STSt
v|/u/ac 7?aXiV
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Tav
ayauoi *at
cftsvsi
ts scpawuvol co<pi(Z
uiviffTOi
avops? kuôvt'" e? oe tov \ovx ov ypo'vov
yjptos;
Trpoc avf>p<o7r<ov
ayvol KaXsOvrat.
288
GREEK LYRIC POETS

v
THE ELEUSINIAN MYSTERIES

[98]
"OXîo;
tia
octtl; i^tov x,iva

k
%oiXav
ut:o ^-9'ov' oihz u,v piou tsXsutocv

r)s
oiosv
otOGciOTOv dcpyav.
VI
DITHYRAMB
U5]
^2:
A A
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,
^1
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s^
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vl/
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15
A
"lST' V J(OpOV, 'OXu|7.7ttOl, 7W T JCXUTOIV TCSJJOTSTS /apiV, #01,
-oXupaxov oiV
affrso? 6[/.<paX6v {)uovxa
v Tat? ipai? 'Afravai;

oi./viT
TiavSaiSaXov
t' sujcXs'
avopav
PINDAR
ioSeTtov \a.yzxz ffxeipavcov, t<xv t' dapi&pdxtov
7\oi(3av,
|7. ayXafiy lotre xopEuOivT' eg aoi&av &utoov
289
Atd&v T
eruv
tov
Bpo'f/.tov
tov 'Ept(3dav te ppoTOi
>ta/\io[/.ev.
10
Tovov utoxtwv piv 7raTepwv
[/.s/V7csu.sv
yuvaixtov T KaS;v.&av u.oXov. 'Ev 'Apyeia Neyiz [/.ocvtiv ou lavS-avet
(pomxoeavwv otcoV oi^SivTo; 'Opav

euoo[/.ov Ixafotxyiv sap <puxa
-8-a/vaôu
I c
vexrapea.
Tots paXXerat, tot' eV

icov
a[/.(3poTav ê'pcov eoaTai
<pdpou, p'doa aêtrai t'
t KOfAaim piyvuTai,
{/.sXlwv <ruv auloT?
eXHcaf//7rica opo.
0{/.<pal
aêirai Ssy.e/vav
290
GREEK LYRIC POETS

eXauveiv ti veoorepov 7] Trapo? ; 'AXka. ce Trpo? Aio? i7nrowrt froou? Iêtsuw
a7r/]p-ov' s? oi[7.6v
to
Ttva Tpoaroio vjpatc,

gtocciv ouXoyivav,
7roTvia, roxyjcoivov xspa?.

S' el (?a[/.a <pepet? tlvo?,
73
naXsp.ou
73 vj
xapTtoO cpQtctv, 7} vicpSTou <j#ivo? u7rep<paT0v, 7:6vtou xeveoociv ava ttsSov,

&s'poc
10
r 77ayTOv ^frovd?, 7] votiov uâTt âjcoTco &epdv,

y
v^
yatav xaTax.'Xuaaicoc
-9-vjcret?
avSptov veov e apyjx<; Y^ v0 ?
o -a 7ravT0iv oXo<p(opop(.ai ou)ftev
pixa
TCi<70;/.ai.
VIII
PROSODION
(a)
DELOS
[58]
'
WWWW WW
/\
WW*
/\
WW ^ v-^ w*^" W^ WW WW W \^ /\ 'WW WW WW WW

^
w ^
'
WW /\
^/
WW"~WW
"""WW -'WW
WW WW
u>
Stroph.
Xalp'
fteofy/.aTa, îTwapo-ôy.y.f./.ou
TraiSeccri
Aaxou?
l|/.epoe<JTaTov spvo?,
7c6vtou ftuyocTep, yftovo? eupeia? axivTjTOV Tepag,

OCVT [3pOT0l
Aalov
xucXrraor.Gr.v, p.axape? S' ev 'OXu;jl
T7JXe<paT0v
5
x'javea; j(frov6; aVrpov
...
*
>tuj/.aTe<7<Jiv
Antistroph.
*
YjV
*
TravTO&XTiiov t'
yap
TOTrapoiO-e cpopvjTa
avsuiov
PINDAR
iiKcaaw oCkV a Kotoyevr? gtôt' coStvecci -8-oat? tots Teacaps; opfrai tt.yyiT6x.ou; eTrsâ viv, S^
77p t
291
avwv axtopoucrav
-
y&ovioav,
av
S'
eîx-pavoi; cry$ov Trsrpav aoa[/.avT07iSiXoi
*iove<;
sv#a tsxoTc'
EuftaifAOv'
e oâ.TO ysvvav.
(/?)
AT DELPHI
[60]
'
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V-*
O"
'W vj "
tj
~- r^
WWW v
\^j v^y j
V*/
ITpo?
'OXu|/.7:to'j
Ato?
ts
ce,
'Xitjco^.ai XaptT<j<7t
;cal cruv
'A<ppoSiT<x
sv â&Eto
[7.
Siâi ytopw aoiStfzov

5
IltepuWv ^pocparav.
XI
SCOLION
TO THEOXENUS OF TENEDOS
wwww w w w w w /\ ww ww w w w ~7\ w ~ ww WW w w l w w w ~/\

' '
' '.
' ; '
. ,
'
'
'
Epod.
^ w ww ww
ww ww w "" w w w w L w
'
w w ww
Stroph.
Xpv;v piv tta-ra y.aipov gpeortov p&?s<T$ai,
-8-upi,
cuv ttXv/lv:
xa;
rte
eoêvou axiTva?
(ti;) offffcav u.a()|/.apio<ja$ Spooled;
292
6?
GREEK LYRIC POETS

p)
7708-0) Jtu(Jt.aCvSTai,
d aSap.avTo;
Antistroph.
ipuypa <pAoyi,
7rpo<;
S'
'A<ppoSiTa; aTi|/.a<j&sl? sDa/.of&scpapou 5
rcspi xprâct [/.ox&i'Cst fiiaiox, yj yuvaixeio) ftpaaei J/uyav oopeiTat Tcaaav oSov O-epaTCuoiv.
'AXX' Syo
TOCffS' BJWCTl X.7]p0? CO?
fW^Sl? X?
Epod.
ioav ixeXwyaav rajtofAai, sut' av i&o) xaiStov vsoyuiov sv &' aoa nai TevsSto Hsifto) te vatet,
y,vX
<;
vjfiav.
IO
Xapi?*
uiov
'Ay/jG&a*
x
SC0L10N
[239]
1
(?)
^ "~s^W W <J ^~ ^ o ^ 1 L w ~- U"

'
W"~
^ W ~~ O*^" ^
*
""
'Avfa' av&pioTCtov ycaâTcoSes; ofyovTat, pipiixvoa 8' ev TroTa^puaoio tcaoutou CTV)8itov sw, xeâyet.
TcavTS? fcix veojy.ev ^suStj ~pG?
axTav
aC 7cXoutsovts?
*
toi S' 6? i/iv aypr,[/,o)v a<pvso? tots, *
aeôvTai. eppeva? a[/.7reAivoi? to'ôi? SajiivTec.
XI
SOCIAL PRECEPTS
(a)
AMPHIARAUS TO HIS SON AMPHILOCHUS

[173]
1_
I
w
^
_ 1 w
UU-Û _ /\
^w
v->
^ v^ w ^
'
W 7\
^Q
TS*VOV,
7covTiou frvjpo; 7iTpaiou
/pom âXwTa
voov
PINDAR
tcIj ~oAicrcrt.v 6[/,iasi' 7rpo<5<psptov Trasoa;
293
xapeovn.
aXkoT aAAoia
cppovst.
GO
[172]
v^v^^^w"" L~ ^ * ^ /\ V^ 1-/W /\ yy v^v^ ~ s^ w \J w

'
'
'
My) xpo? axavra?

safr'
avapprjât.
ots 7u<7TOTaTa
tov a^pstov Aoyov 6S0;' xevrpov Si [-'ax,a ? (nya<;
6 xpaTWTSucov Aoyo;.
(T)
'
yj 'I
(^1
>_/
'
v^ w 7\
1^
I
v^^ 1>^ ~/\

I
y_,
yj
yj
^/
yy \y O''-' ^l\J ~- \J <J ^J ^
/\
'A'X'XoTpiotct
p.V)
7rpo<paiveiv
tic spETai
to'jto ye toi dpsco* [/.o^8-05 ap.îv'
xaAtov
j/iv
wv
ei
$sucvuvai*
p.oipav
te Tspxvcov ? piaov
^py)
Travrl Aa<
y-ascOTa?
5
ti? avfrpwrcotci
fteoaSofos arXara
TTpOdT'J^,
TaUTaV
GrtOTEl X,pU7TTtV E01X.EV.
XII
THE GODS
(a) PAEAN
1
33]
yy \y yj
1^/
yy ^J w "~ ^ "~ " r /\

.
v^ w ^ w
'
v^v^
>-
<-(
/\
Ti
5' A7reat,
aocptav
sp.fj.svai,
;
a oAiyov toi
a.vrp U7csp avSpo? iayjjsi
294
GREEK LYRIC POETS

ou yap Za&'
^vaxai;
'
oizon; toc
&eo3v (3ouXsu[/.aT* epeuvacsi J3poT
axo
[/.aTpo? s<pu.
(y6')
HYPORCHEM
[7Sl
\j
w * w v^
l*
A
Sy] jcsXsuS-o?
0eo~
s SeiâvTO? apjâv
sxauTov ev Trpayo; su^-eTa TsXeurai ts jcaXTiove?.
apsxav
sXsiv,
(T)
[106]
.,_A <J ^ ~~ "O ^^ w w*- w w~~w

\-/
.
\~/
'
_ W _ W _A
8-eto
Ss Suvoctov
ex.
[/.eXaiva?
vujcto? ap-iavTOV op<rat cpao?,

jceXaive<psi
Se mcoTei xaXuâi xafrapov
aj/ipa? aeXa?.
(8')
[105]
.v-'WW W
ta
~'~V-'
w'
^W
so;
Ta 7tavxa
tsu^cov ppoTOt? xal /aptv aoi$ <puTSuei.
CO
PINDAR
XIII
295
THEBES
[206]
u~~-i;u-uu- ^ _ -^ ^ u w w w /\
s^
1 1
^
'
w w w w w w w w w
'
/^
w w
KeJcpov/jTai /puaea xpTjm;
Eia
Tl}(lc!>[/.V Y]5"/]
lepalcriv aot&ai?*
TTOlXlAOV
xo<7|/.ov
auâevTa Aoytov
6'{/.co;
0; xal zoAuxAErrav rap eoToav
râv
Tt |j.aAAOv
6Xa<7X7]<7l
&Sc3v
5
xal xax' avfrptoTrcov ayiua?.
XIV
ATHENS.
DITHYRAMB
[46, 196]
; WW WW WW WW^W |W w w w w _ _ wv-/ _ ww~* ww ww ww ww w ww

i
'X2 tocI Awwcpal xal locTEcpavot. xal aot&[/.oi,
'EaaocSo?
pet<j(/.a,
^v
xAEival 'A&avai, Saip.oviov TCTOAfeQ-pov.

"^r
*^r
ip*
"^
o&i uaifk? 'Aftavaiwv 6ocaovto <pavvov

(
xpvpiS' dAu9-pia?.
XV
SPARTA
[213]
I
l
L w * w L w ^" W w ww ww /\
,j
"Evfra (xal) pouAal yEpovxwv xal vwv avSpoTv apwjTSuowjiv

ai/jy.ai,
xal
'/ppol
** Moiaa
xal 'AyAal'a.
NOTES
ARCHILOCHUS
EPODES
It metre, see Schmidt, Rhythmic and Metric, p. 93 seq. peculiar in frequently changing the nature of the rhythm in the second line of the couplet as compared with the first. Thus in
is
I. the first line is in dactylic or f time, and the second in trochaic or \ time, while in Frag. vn. we find the reverse.
FOR Epodic
Frag.
I.
Stob. Flor.
lxiv. 12.
'Woe-begone
am enwrapped
half-lifeless
in desire,
by the
will of the
gods pierced to the very marrow with
sharp pangs.' 9-eojv, apparently Aphrodite and Eros.

KuTrptoo? Fsxaxt,
II.
For the use of
extjti
cf.
Alcman XV I.
x.T.X..
Tolo; yap
Stob. Flor.
lxiv. 11.
iv.,
The metre
acris
of this
Epode
etc.
Horace,
dactyls
Od.
Solvitur
hiemps,
is imitated by For the 3 -time
and for an entirely <s~>, see Metre, p. 63, arrangement of the Epode, see Schmidt, p. 96.
Notice the languishing
different metrical
by the
7cippo[jL
'
falling
Compare
I
effect, appropriate to the words, produced or brachycatalectic close. 'Oa'xsaai 8' ouokv op7)[j.' closely with the passage Sap. II.
' :
(Jewi
5'
otzouat,
:
and Apoll. Rhod.
iii.
962, of
Medea
in
the
presence of Jason
'Ex
o'
apa
01
o' /.paSirj axrjî'wv nsaev, op.ij.ata
auxoj;
"H/Xuaav.
III. 'AXXa [j.' 6 Xus. Hephaest. 90. AuctpsXr;? is applied to Eros, Sap. VIII.,
and Hesiod, Theog.

iv.
Aapvatai,
cf.
Sap. xill., -oOto oapstsa, and Anacr.
911. of Eros, o$e
xoA (jporoui; oaij.a^ct.
820,
IV. (a) naxEp Auxa{jipa /..x.X. Schol. Hermog. in Walz. Rhett. and Hephaest. 129 (11. 1-2). 1. 1. should probably restore the Ionic xdtov.
vii.
We
1.
1.
2. 3.
7tapr'eipE cf.
f,;
X.
5,
vo'ou 7:aprjopo;.
(
Schneidew., for MSS. r ;, Bergk a; (Walz).
300
(6)
GREEK LYRIC POETS

Orig. adi>. Cels.
:
?wv),
O nctpto? ?ajj.[3oj;oios tov Auxapi[37)v (ovetotii. 74 Dio Chrys. ii. 746. Huschke thinks that this passage belongs to the same poem as the Fable of The Fox and the Eagle, No. vi. If so, this is the application of the story to the case of Archilochus and Lycambes, the words a'Xa; ts xat Tpa7reav matching ûvwvirjv |j.t?av
cf.
(vi. a.).
V. Ouxe'9-' oijwo; Y..T.1. Hephaest. 35 and 30. The two lines are not unsuitably placed together by Elmsley, and the passage may perhaps be sneeringly addressed to Neobule. For the position of Ss cf. on No. XI. 9.
concludes that this and the next Fable (No. vn.) are directed against Lycambes. Philos., Imag. 766, says iy.ikt\<3i pjfrou xai 'Ap/iXdyw -po? Auxa a[3r)v, and Julian, vii. 227A, speaks of Archilochus employing fables for purposes of this sort. The story, which is found in Aesop I., was that the eagle, after contracting an alliance with the fox, devoured its cubs. Vengeance however overtook her, for her nest was burnt by a spark from an altar from which she had stolen some meat her young ones fell to the ground and were eaten before her eyes by the fox.
I.
VI. The Matthiae t.
Fox and the Eagle.

p.
i.)
Huschke
(Miscell. Philol. ed.
Between (a') and ((5') there is a considerable gap, in which the crime of the eagle is related. In (P') the eagle is jeering at the fox from her own inaccessible crag, concluding, if my arrangement be accepted, with a sarcastic expression of hope that the fox will not
come
fox's
across any more eagles. The last passage (y') is either the prayer to Zeus to punish the offender whom she cannot reach, or her song of grateful triumph after the punishment has been inflicted.
Quoted by Ammon. 6, ed. Valck., and many other authorities. For the use of apa equivalent to apa cf. Pind. Pyth. iv. 78, and see Hartung on the Particles, 456. (') 1. 1-3. Atticus ap. Euseb. Praep. Ev. xv. 795 A, with reference to this same fable. Obviously, as Meineke pointed out, the passage is from Archilochus, though his name is not given.
(a')
i.
1.
'
3.
iXaeppiiov.
Hesych.
',
-apaaxEuao|jiEvos paoiwe,
'preparing
for',
or
awaiting untroubled
since the eagle has taken

[j.avr;v
position.
Schneidewin conjectures
//.
= ;j.aviav
up an unassailable
(cf.
Aristoph. Frag.
647)1.
4.
Schol.
eagle) xaXelv.
Hesychius also gives the
xxiv. 315, euoO-e xat 6 'Apyp.oyot; [j-EXaptuyov touttov (the line, with xuyot? for tu'/t)?)
and he explains
without reference to the eagle. Schneidewin [j.sXa[a.7i. conjectured that the line belongs to the fable, and I have accordingly placed it in the taunting speech of the eagle.
(y')
lus
Stobaeus, Eel. Phys. i. 122, attributes this passage to Aeschybut Clem. Alex., Strom, v. 725, and Eusebius to Archilochus.
ARCH LOCH US
I
1.
301
Stobaeus has etc' oupaviwv y.a\ av9pw-tov Schneidewin. etc' Euseb. etc' Alex, Clem. av9pwTC0u;. oupavouc, av9pwTCtov, than Liebel's reading /.at &z[jx<tvx 1. 3. -/.a{k'[ju<rra has better authority
2.
etc'
adopted by Bergk, and is I think more suited to the context, as the fox is only speaking of sin and its punishment, u[3pi; te y.<x\ Si'xtj.
VII.
The Ape and the
Fox.
is
Amnion.
6,
and elsewhere.
to be attacking the pride of Lycambes, Aesop narrating (14 Schneider) how an ape boasted about his ancestry to a fox. Or the story may be that of Aesop 69, where an ape who had attained to royal power was en-
In this fable Archilochus
supposed by Huschke
trapped by a
1.
fox.
1.2. 'I, an
angry messenger,
will tell
a tale to you,
Cerycides.'
If
it
Huschke be right, Ktjouz. must be applied to Lycambes, and as was a gentile name in the Ionic cities Athens (Photius) and
it
Miletus (Hesych. s.v. x^pou/toai), of the Parian family to which

Archil,
is
may
perhaps also have been that

;
jeering at his employing the former of the two fables mentioned. The metaphor in ax-uxaXr] is of course suggested
'
in this case, Lycambes belonged boasted descent, and is therefore probably
by
Krjpuxior],
Herald's son
to
'.
Somewhat
similarly Pindar, 01.
vi.
91,
speaks of the
man
whom
its
song and
7}uxofj.wv
he has consigned (probably verbally only) his choral musical and dance-accompaniment as ayycXo; 6p9-d?,
a/.uxaXa Motaav.
p. xxviii.
See especially Fennell's remarks, Introd. to

ayv. azux.
Pindar,
It
is
',
hard
to
see
how
it.
can mean
'
a messenger of evil
associate
tidings
1.
as Liebel takes
aTCozpiD-E'!?,
i.e.
3.
he was
too
proud
to
with
his
fellows.
1.
4.
apa,
cf.
on No.
cf.
VI. a'.
xEpBaXcV] (trisyll.)
Plat. Rep. 365, referring to this passage.

x.T.X.
VIII. TrjvsXXa xaXXtvixs

Schol. Ar. Birds 1764,
and Schol. Acharn.
1230.
Cf. Schol. Pind.
Nem.
iii.
01.
ix.
1.
I have adopted the arrangement suggested by Bergk in his note, though not employed in his text. It not only imparts a very lively in the effect, but brings the song into accordance with the description
Scholia
to uiXog
r,v
tptaxpoôv
to KaXXtvr/.s. xp\? etcex.eXocoouv
The
Hercules in honour of his victory over Augeas (Schol. Birds, I.e.), after which occasion he founded the Olympic games (see Pind. 01. x.). Hence the lines were appropriately employed as an informal Epinician ode by victors. Compare 01. ix. 1. To |j.ev 'ApytXoyou (ae'Xo; ^wvasv 'OXuu.TCia, KaXXivtxo; 6 xpiTCXdo; -/.s-/Xa8w;
song was a hymn
to
ap/.sas x.t.X.
Cf. also Aristoph.
Knights, 1254.
Archilochus himself, we are

of this
told,
was the
first
to use
it
for purposes
kind w/.v.
ok TCpwxo; 'ApyfXo/o; vixr]ia? ev Ila'po) xov Arj;j.r)Tpo;
302
u[j.vov
{i.e.
GREEK LYRIC POETS

'having been victorious with his
ijti7;sa)V7]XE'vai.
hymn
lo
Demeter',
v.
Bergk
120), iau-(o xouxov
TjivsXXa was a cry employed when there was no music at hand, in It imitation of the notes of the lyre (cf. SpsxxavEXo, Ar. Plutus, 290). was uttered by the leader, 6 scjapyo;, while the band of revellers, 6 xuv
xwp.a(jTcov XPP?>
followed
it
CV.
ix. etc.).
'{2
has
little
Schol. Arisf.,
and seems
up with the words xaXXfvixs x.x.X. (Schol. authority, but is supplied by Dindorf in the desirable for the completion of the metre,
;
though not
1.
essential.
4.
were employed
Bergk leaves afypjxa but Fick points out at all it would assuredly be afyp]T>]>
that
if
the dual
TETRAMETERS
IX.
1.
0u[jl,
-9-ijfJi'
d[ju]-/avotat x.x.X.
Stob. Flor. xx. 28.
1.
xuxo>[j.eve.
Cf. Solon. II, 61, xaxoct? voiiaotai xuxtd[j.vov.
1.
2.
avsys.
So Grotius
for MSS. dvaoso, or IvaSsu, confusion
having
:
apparently arisen with the succeeding syllable in ovêvmv. sv ooxotaiv x.x.X. If the word means 'spears ', we must translate 1. 3.
'
Firmly taking thy stand close up amidst the spears of the enemy.' In that case, however, the words -Xâiov and b> are hardly reconcileIt has been suggested to me that odxoi is possibly used for able. In the singular, at any rate, the expectation {i.e. of the enemy). word has a meaning similar to this see Liddell and Scott. The
'
' ;
interpretation
'ambush'
for ooxolaiv
is
not so well suited to the context.
in this passage is regarded by all the com1. 7. pua;j.6; or puQ-jxo? mentators as signifying 'disposition, character, nature,' and they compare Anacr. xviii. oaot yO-oviou? e/oucti puS-jj-ouj, and Theogn. 964,
opyrv xai poffy.ov
x.x.X.
With
this interpretation
fail to
see the force

'
of the words in a passage relating to the alternations of human Consider fortune, and I would suggest that the meaning is rather
:
what an even ebb and flow of destiny governs the tempering good with evil fortune and evil with good.'
X. Tot?
affairs of
Cf.
men,
No.
x.
Stob. Flor. cv. 24. 0-oi; xtO'Si (xa) Travxa x.x.X. ' Remember lines express the same sentiment as No. ix. that our fate is in the hands of the gods, who can reverse it at any
These
moment.'
1.
1.
424, xauxa
vi. 5
'
:
For x;9ct, Bergk compares Aesch. Pers. Grotius supplies xa. -avxa \rrpo\j.zv 9-cdtai. For the sentiment cf. Hor. 3 Od.
. .
.
Dis
te
minorem quod
'
geris imperas
Hinc omne principium

firm stand.'
Cf.
hue
1.
refer exitum.'
3.
[j.aX'
su
psjjrjxdxas
those
who have taken a

and
for the
Hdt. vii. 164, x^v xupavviSa sense No. xm. 1. 4.
eu pEpVjxutav,
phrase
in its literal
ARCH LOCH US
I
'
303
1.
5.
-/piiAr,,
want ', poverty (/paa

'
'
aâvt;, Suidas), not as in Lid.
and
Scott's earlier edition, 'request', 'prayer'.

'
with mind distraught '. Cf. No. IV. (a), 1. 2. Ilgen keeps the MSS. reading XFlPb anc^ proceeds xai vdo; -apropos, comparing with the application of nXavaxai to evils wandering abroad,
vo'ou Jtaprjopos,
Hes. Wks. ioo

XI.
aXXa
oe p.ucia
Xuypa xax' av9p<o-ou; aXaXjjxai.

x.t.X.
:
XprjijiaTiov
oceX-tov
ouoe'v
iii.
Stob.
Flor. ex.
10,
1.
being
also quoted
7csp\
TTjs
by Ar. Rhet.
x.t.X.,
17
('Ap//Xo-/og) rotel tov naxepa Xs'yovTa
9-uyaxpo;
is
Lycambes
love for
commenting on the change Neobule to violent hatred.

;
from which Schneidewin conjectures that in Archilochus from ardent
Stobaeus quotes the passage as if it were written on the occurrence of an eclipse but from Aristotle's words we should rather gather that Archilochus is merely taking the power of Zeus to change day into night as a crowning instance of his omnipotence, eStjxs in that case
being the gnomic
1.
aorist.
I.
a~to[j.oTov
explained by Etym.
It
'
Mag.
av
xi? cwtofiooeis ysyovc'vai
can hardly express the notion here, as, in Soph. Antig. 388, 394, of swearing not to do a thing although that passage seems to allude to Archilochus' line. Possibly the watchman there is playing upon the signification of the word. In
r
t
[>.ri
YEVEcrS-ai"
evtoi dl (xveXtcicttov.
'
the famous speech of Ajax (Soph. Aj. 646), "A7cav9-' 6 p.axpo; x.t.X. Sophocles again seems to have had the lines of Archilochus in his
mind.
Valckenaer for MSS. Xuypov, which is unmetrical. Bentley Ilgen explains uypov with reference to the misty feeling in the eyes caused by extreme fear rather perhaps 'faint', languid', as in Soph. Antig. 1235, "YP V Y*wva, and Eur. Phoen. 1437, uypav yspa.
1.
4.
uypov,
r/pov.
'
As applied
look of love
I.5.
to the eyes the

'.
word
signifies usually the
'
languishing
'ex hoc tempore', 'after this', that is to say, unless passage to an actual eclipse, '(Since Archilochus has proved fickle) from this time forth (all nature may prove fickle), and everything become credible and to be expected.' Or we may take
x xou,
we
refer the
mean simply 'therefore', just as ex tivo?; = wherefore?' Kai 7uara -avTa Liebel, for oux a-iaxa âvxa. Ilgen reads ex 8e toOS' a7:iaTa rcavxa x.t.X., referring touSe to Se'os, so that the passage would
ix tou
to
'
mean 'Fear
But surely
1. 1.
will
make
man
this is out of
7.
lav,
harmony with the Valckenaer for Tva, Bergk oxav.
believe the most incredible things'. context.
For the corrupt xtftai 8' tjou 7]v Gaisford reads xoisiv rjotov 3' For the position of Be cf. No. V. 2, oypio? xaxwv Se, in which case, however, it is justified by the close connection between the two nouns. For other instances see Hartung's Particles 190- 1, in all of which there is more justification for the transposition than there would be in Gaisford's version. With 11. 7-9 cf. Hor. 1 Od. ii. 7.
9.
cipo;.
i.
304
GREEK LYRIC POETS
XII. Toto; avfrpw7:otai x.x.X. Theo. Progymnasm. i. 153 (Walz) quotes 11. 1-2 with the remark that Archilochus is paraphrasing Homer, Od. xviii. 136
Tdto; yap
otov -'
1.
voo<; eaxtv
sraySovuov avfrptoTuov,
r.airft
rjijiap
ayr ai
(
avoptov xs
0cwv
xe.
i.
arms.
Glaucus appears again in No. xiv. as Archilochus' companion in He is also spoken of slightingly in Bergk 57 asxov xpo7tXaax7jv,
:
explained by Plut. as ipiXoxoaôv wep\ /.o[j.r]v. z.. men's feelings vary with the fortune 1. 2. oxofyv (^[XEprjv) Zeus brings to them. With the reading oxolov, which has less authority, ItcI must of course be taken not, as in the former case, with aysi in
tmesi, but with
daily
ayr],
rj[jipr v, 'men's feelings are such as Zeus brings them For aysi Stob., who quotes the passage, Eel. Phys. i. 38. has which might perhaps be expected in imitation of the Homeric
(
'.
construction above.
Supplied from the Platonic Eryxias 397 E. we should perhaps read hi rjfjiprjv, as an example of Ionic Cf. Anacr. ii. 6, saxaxopa; note, and see Fick in BezzenPsilosis '.
1.
3.
hi
^[i.Ep>]v
berger's Beitrdge, vol.
xi. p.
246
seq.
XIII. Ou
otXc'to
(jiyav
x.x.X.
11.
1-2
Dio Chrys.
ii.
456;
11.
3-4,
Galen
1. 1.
in
Hippocr. de Artie.
yaupov,
cf.
III.
T.
xviii. 1. 537.
I.
SiararcXiyp-ivov
Hemsterhuys,
Eur.
for Sta7:s7Ujy|jivov or ota-s-Xr^yfi-e'vov.
2.
Porrpuy.
Or.
1532,
[joaxpuyoi;
yaupou[j.svos,
sarcastically of Menelaus.
1.
4.
potx.6?
the
same
signification,
has somewhat more authority than paipo;. Both have with the knees bent inwards knock-kneed
' '
',
',
a physical peculiarity favourable, according to Galen, to firmness of

stand.
Kapou]? Tzkuoq
so Galen
while Dio has a totally different version,
/at E7uvor'[j.aai oaau's,
according to the
common
'
reading.
Schneidewin
'
follows Bergk's older version, xa^tvw'[j.aatv

silio
oaau'?,
',
and
xa\
interprets
eon'.
abwidantem, oppositum
xoltzi
u-E?uprj;j.evw
bristling with
plans
Emperius reads
xv7]'[j.at<nv
Saau? (mss.
if
Dio
h&
xv7j[/.aiai),
hair
about the limbs and body being often, sign of strength.
erroneously, regarded as a
XIV.
ev xot;
rXaux' opa
x.x.X.
Heracl. Pont. Allegor. Horn.
c. 5,
Gpaxixol;
aj:EtXr](j.;j.s'vo;
Seivoi; xov t:oXs[j.ov Eixasi O'aXaxxt'to
'ApyiXoyoc xXuSwvi.
Alcaeus passim for the frequent application of the same metaphor. cf. on No. XII. 1. 3. 1. rXaux' opa, perhaps opa Rocks of this name are mentioned in the Odyssey iv. 1. 2. TupEwv. 500, but as they were near Naxos (Scholl. ad loc.) they can hardly be those referred to by Archilochus. Schneidewin conjectures that the
Cf.
1.
;
latter
were
'
raxpa?
vs'cpo;)
quasdam
i.q.
yupEov (with
axpoyyuXa; non procul Thaso nubes convexa yupov or xupxov,

'
'.
Liebel,
',
a cloud
ARCHILOCHUS
pregnant with
rain.
305
TupEcov is the Ionic
But he has possibly overlooked the fact that form of the gen. plur. fern, from yupo?, not yu peos.
1.
Compare Anacr. xxm.

1.
12, aaxive'wv, etc.
3.
i% <xzk~v.r]<;
acXnxw; (Hesych.).
1.
4.
line with
Clem. Alex. S/rom. vi. 739. I have conjecturally placed this 11. 1-3. Archilochus is apparently imitating Homer //. vii.
Ntxrj; 7itpax' ryovxai Iv aO-avaxoiai
-O-eofaiv.
102.
XV. Ou
xai-ep
xi? atSofo? x.x.X.
Stob. Flor. cxxvi.

xrspicpr^j.o?.
4.
'icpfrtpLo?
Porson, for xa\
Salmasius
xaforep sucprjjxo;.
Bergk
1.
Compare with this line Stesich. IX. raV a~oXXuxai rcox' dv9pu>7:wv yapi?. have omitted a third line, bracketed by Bergk, and quoted in a
2.
(3
xavapi9|uo?. ooo Porson, for uou.

9-avovxo; avopo?
corrupt state by Stob.
tooi"
xdxiaxa 3e
xu>
#avovxi yiyvsxai.
XVI. Ou yap hd-Xx

412 (ouy
x.x.X.
Stob. Flor. cxxv.
5,
and Schol. Od.
xxii.
oairj xxa[j.c'voicjtv -'
dvopaaiv suyexaaafrai).
XVII. "Ev
377.
2.
8'
ETCtuxajxat
[jiya x.x.X.
Theoph. ad Autolyc.
0'
ii.
37, p.
Cf.
Frag. 143 (Bergk),
xs'xxtya
e'tX^cpa; 7xxspou,
Archilochus
speaking of himself.
1.
[j.s
Hecker and Bergk, some mss.
xi.
XVIII. KXu9-' dva? x.x.X. Plut. de and. poet. c. 6, with the remark auxov xov {hov IrixaXoup-evo? 8^X0? saxiv, not the element fire as in Eleg. 12 (Bergk).
1.
1.
:
ysvcu
Cf. Aesch. Choeph. 2, awxr p yevou [xoi s'u'jj.jj.ayoc; x' aixoupivw. Fick I.e. points out the inconsistency of retaining ysvoufside by
(
side with yapi^su.

1.
2.
yapt^su x.x.X.,
'show
me
thy wonted favour'.
XIX. Nov
1.
8e AewcpiXo; x.x.X.
'
:
Herodian,
jrepl
<r/7]j/..
57. 2.
1.
dpysi.
Liebel, supposing that the

apyeiv et xpaxetv
|
Leophilus, has a note

1.
speaker is enamoured of de formosis, ut Anacreon de

'
Bathyllo, xov apxi xtov ardvxwv

2.
Ksixai
',
'
:
all
things
lie at
xpaxouvxa xai xu'pavvov.' the disposal of L.', all power'js' in his

31 axous.
hands
like 3-scov Iv you'vaat xeixai.
AetoipiXou 8' axou'sxai
Porson, for Aew'oiXo?

x.x.X.
XX.
i.e.
Ei yap w;
is
'
i\j.o\
Plut. de
EI ap.
Delph.
c. 5.
'
Ei yap w;
perhaps
pleonastic, and Liebel supports the reading in spite of my anger at my rejection '.
tS
vel sic
',
XXI. (a) 'Q? Aiwvu'301' avaxxo?. Quoted by Athen. xiv. 628A, to show that the proper accompaniment of the Dithyramb was oivo? xai
306
[Li&i].
GREEK LYRIC POETS

We
see from this and the following passage that Archil, (cf. Biog. Archil, p. 1 1 1).
i.
was
a composer of Melic poetry proper
?ap?at, see p. 7, and cf. Ar. Poet, Tragedy arose from tuv EâpydvTwv tov
(P)
30,
where
it
is
stated that
oi!)"jpa|jipov.
auTo? i?ap/wv, Athen.
v.
180
E.
epithet points to the early existence of a Lesbian school of Lyric poetry, see p. 100.
Ac'a|3iov.
The
XXII.
'
"E7;Ta yap vE/.pwv x.t.X.
ApyiXo'/ot;'
[xevot,
E^xa yap
xai
^"jp 7
!
jc.T.X.,
gutw tote
Plut. Galba, c. 27. "ftarap hi cprjaiv t:oXXo\ tgu ^dvou [jl^ auvEcpaâ-
X"'p a ? ^
xa9'at[j.aaaovTEs etzeoeixvuvto.
MELIC AT SPARTA
TERPANDER
v
I.
Ev9-'
ai/[i.a
x.t.X.
Plut. Lye.
c. 21.
(Tsp-avopo;) outws
::sjtcH7)XE
7cepi
Ttov Aazoai^.ovt(ov.
See Art. vin.
p. 101,
and compare the passage
from Pindar there quoted (No. xv.

<Ay\xk ve'mv,
cf.
in this text), also

9-pE'J/E
Alcman xxiv.
where,
Mtoaa,
Pind.
Nem.
x.
23
o'
afypuxv 'Aix^tTpuwvo?,
as in this passage, Dissen explains Dor. Dial. p. 79.

Aiysia.
ai/fj.a
as 'warlike spirit'.
If
Chappell {Hist, of Music,

'
p. 107) is right in
'
saying that
Greek music was pitched extremely high, we can more readily understand
'
why
Xtyu;,
properly
shrill
',
is
so often used for
sweet-toned
',
musical'.
Eupuayula,
Cf.
Alcman
VII.
and
IX. etc.
Eupuay.
may be
I
yEpovTa?
Schneidew. conjectures eu apapota, Bergk thinks that Aix.rj aytpo[XEV7] Se explained by Aratus 105 I should take it to 'He' 7:ou eiv ayopr| t\ Eupoyopto ev ayuiyf.
: .
signify, like EupudoEta,
'
easily accessible
'
',
open
to all
'.
II. 2di o fûEi? x.t.X. Quoted by Strabo xiii. 618, to show that Terpander was the inventor of the heptachord, discarding the older tetrachord. See, however, Music, pp. 35, 36, and Ath. xiv. 635, where
the use of many-stringed instruments is spoken of by Euphorion as Some (e.g. Bergk, Hist. Gk. Lit. p. 211) understand by -apiaXatov. aoiS. the old Nome, of 4-parts (see p. 36). TETpay7]puv
The
axoaTEpâvTE?, so Eucl. dialect is given as it

III.
(a)
Introd.
Harm.
19;
Strabo,
aTtoarTpE'iavTE?.
appears in these authors.

vi.
this for the

1.
Clem. Alex., Strom, Zeu -avTwv ap/a x.t.X. solemnity of the rhythm.
is
784, quotes
3.
hymn.
ra'pzw perhaps implies that the passage Bergk alters to ara'vSw.
from a processional
Conjecturally attributed to Terp(P') Keil, Anal. Gramm. 6. 6. ander by Bergk, who has restored the Doric forms Mtdaai?, Mwadpyw.
SPARTAN SONGS
IV.
Schol.
307
It is, however, hardly safe to tamper with a word so familiar in Epic poetry as Mouaa.
x.x.X.
'A[i.tp{
[j.oi
Ar.
Clouds 595,
'Ajxcpi
[Aot
auxs
4>otp
ava, x.x.X.
TYRTAEUS
These, if we may include No. II. (#. below), are the only extant passages from Tyrtaeus of a Melic description. w 2racpxa; suavopw x.x.X. Quoted by Dio Chrys. i. 34 I. "Aysx' (Emp.) as an instance of an spL(Bax7Jptov or march-song, and by Tzetz.
Chil.
1.
i.
692.
uav5pto.
I
1.
have restored the Doric
genit. in w, v.
Dor. Dial.
;:aX-
P- 94I.
4.
Xgvxe*;,
odpu o\ i.e. Ss^ta Se odpu, x.x.X., Se?. being implied in Sdpu. so Thiersch for (jocXXexs, paXXovxs;.
II. "Aysx' oj Srcapxa; evo7xXoi x.x.X.
the
is
name
of the author,
Quoted by Hephaest. 46, without and conjecturally assigned to Tyrtaeus. It

:
xtvasiv,
a brilliant example of spirited metre, xivtjcnv Hephaest. has but this is with little doubt a hyper-Dorism of later times.
SPARTAN DANCE SONGS

I. Plut. Lye. 21 and elsewhere. Bergk thinks that it may be attributed to Tyrtaeus on the strength of Pollux iv. 107. Tpiyoptav 6s
Tupxato;
ectt7](js,
xpfis
Aaxw'vwv ydpou?,
JialSas, avopa;, ys'povxa;.
It is
worth noticing that the Spartans did not regard dancing as inconsistent with the dignity of old age.
I.
1.
ifjiss,
(api? in
Bergk {Dor. Dial. p. 95). Plut. gives the Lesbian ap.[j.? one passage), but the pure Doric is more probable in a song
7]{ji.es
of this character. = ^[i.v, but ^jjL;
in
1.
= Eafiiv,
Doric
Dor. Dial.
Eipi?.
Xff?
p. 96.
r^dc, is
restored
by Ahrens
for the 'milder'
from
auyaaSso = auyaÊo, Lesb. Dial. pp. 83, 84. auyaaoso is read in two out of the three passages in Plutarch where these lines occur, relpav Xapi'
in the third.
Xa-ei?, pp. 92, 93.
tion,
an old form of el, found in early Doric and Lesbian inscripand in Homer when accompanied by x or yap; v. G. Meyer, Gr. Gram. 1 13. = xpeixrovE?) from *xdpTitov, *xapaawv. For the assimilation xappov? (
at is
of
p? cf. 0-appstv
as
compared with
Oapastv, etc. {v.
Meyer,
10,
271).
II.
-dppco yap x.x.X.
Quoted by Luc. de Saltat.
who
explains
x(j[j.a8oiv
xtofxai-axE (3eXx.
as
dpystaflai.
For
dp/âaafh. Bergk compares Hesych. x(op.a?ax v. Dor. Dial. pp. 95, 96.
ajj.tvov
3o8
GREEK LYRIC POETS
ALCM AN
A.
PARTHENION
THE
that
is
discovery of this fragment, from which I have taken nearly all intelligible, is an incident of considerable interest, not only
from the
literary value of the rescued poem alone, but because of the possibilities thus opened out of the further recovery of lost Greek 1 literature.
The parchment containing this Parthenion (see p. 9), was found among the Egyptian tombs by Mariette in 1855, and handed over by him to Egger, who published it in Memoires dhistoire ancienne et de philologie Since then it has been edited by Ten Paris, 1863. Brink, Bergk, Ahrens, Blass, who revised the papyrus with a magnifier 1869, and Canini, who adds a full commentary and French transla;
tion (Paris, 1870).
The poem is universally acknowledged as Alcman's, not only from the nature of the composition and from the Laconian dialect, but
because no
less than four passages in it are quoted elsewhere as his. belongs the credit of detecting the strophical arrangement of the poem, this being the earliest known example of the kind in
To Ahrens
Greek
literature (see Prefat. Art. v. p. 38,
and
VI. p. 49).
Unfortunately, of the three pages of which the parchment consists the second only can be said to be in a state of decent preservation. As regards the rest it is almost hopeless to try to disentangle the
meaning, and even in page 2 the task is often far from easy nor is this to be wondered at, since this page is occupied mostly with very personal jests and compliments, addressed to one or other of the choral band of virgins. Notwithstanding, the fragment is of great value and interest. In the history of Greek poetry the song ranks as the earliest choral ode worthy of the name many of the passages, even when imperfectly intelligible, are not without poetic beauty and above all we have a delightfully fresh and quaint picture from Spartan life in
;
;
the seventh century B.C.

ition
from a religious subject

(v. text
Particularly striking also (for the poem is a
is
the rapid transto matters
hymn)
exceedingly secular
far
ad
inif.),
clearly illustrating for us
how
senti-
were the Greeks from isolating religious ceremonies and ments from the everyday life and thoughts of the worshippers.
It is
for the
usually considered that the poem is a hymn to tbe Dioscuri ; fragment in the original begins with the word ilwAuScuxr^, and
in
Compare the recent discovery of a fragment, probably from a Greek Corned}', Egypt, announced by Professor Sayce in the Academy, October nth, 1S90.
in
a tomb
ALCMAN
seems
at the
309
be celebrating the slaughter by these and Canini further urges that among the Spartans 2toi ( = 9eoi, v. text 1. 3) would stand par excellefice for Castor and Polydeuces (cf. Xen. 'Hell. iv. iv. 10, va xu aiai). Another suggestion is that it is in honour of Diana Orthia (v. on 1. 28 and Bergk, p. 25), in which case the Dioscuri might be mentioned
to
commencement
deities of
Hippocoon and
his sons
incidentally as tutelary deities of Sparta. For further information I recommend readers to consult Bergk's remarks, and especially his copy of the MS., and Canini's separate
edition of the Parthenion.
by Bergk, the
commentators.
I.
1.
letters in
The text closely follows the MS. as given brackets being conjecturally inserted by the
etc.
A recountal
has preceded of the well-earned punishment

'
:
do who sing, etc. Ilasov = [IJ-aOov, Dor. Dial. p. 94. For atcov = 0-swv see Doric Dialect, p. 94. General Sense. Alcman begins by complimenting Agido, II. 6-30. when suddenly Agesichora (a xXsvva yopayo?) engages his attention In 11. 25-30 he makes amends to Agido, and declares that (11. 10-24). the two maidens run level in the race for beauty. 1. 7. 'Ayiow; (genitive for ou;). See Dor. Dial., p. 95.
as
I
I.
of the family of Hippocoon at the hands of the Dioscuri. The connection with what follows seems to be The gods hold vengeance in their hands'. Happy is he who escapes it and leads a peaceful life,
3.
1. 8. The ceremony is taking place in the oXioc, Bergk for aXiov. night (cf. 1. 29, vu/txa 01' ajj.[Bpoaiav), but 'Agido,' the poet says, 'makes us believe that the sun has risen.' Cf. Romeo and Jtiliet, 'It is the
morn, and
1.
1.
Juliet
is
the sun.'
10. cpaivsv, 7;ouvev 11.
x.Xsvva
'
(Ahrens, ir.on^). See Doric Dialect, p. 93. Canini on the authority of Hesychius takes in the
'.
sense of
beautiful
we ought
633
:
to
For the form see Lesb. Dial. p. 82. Perhaps adopt the Lesbian accentuation xXsvva. See Athen. xiv.
A, for yopayo; in the sense of 'leader of the band'. ouok Xwa' Iff is Bergk's ingenious conjecture. He declares Seq. that the original has OYAEAiiC, and the change from A to A is very Blass thinks he can trace OYAAMS2C which would avoid the slight.
,
harshness of
ouoe.
Awaa
si
is
given by Hesych.
= iHXouaa
(cf.
Spartan Dance Song No.
1.
oe Ife).
For
:
Iff
The meaning
'
see Dor. Dial. p. 92-3. of the passage, whether we follow

ea-si
from
Bergk
or Blass,
The beauty of our leader (Agesichora, 1. 20) withholds appears to be me from dwelling further upon the qualities of Agido' (vtv 1. 11). Canini refers yopayd; to Agido, and explains She is above all praise or blame.' But surely 11. 10-16 must refer to the same lady as 11. 17-22,
'
:
namely Agesichora.
1.
12. 14.
7)[j.v
Eivai.
See Dor. Dial.
p. 96.
1.
BOTOIC Bergk gives up
as insoluble, since a
man
of Alcman's
310
GREEK LYRIC POETS
gallantry would never have been guilty of so invidious a comparison with the other ladies as would be implied by the reading (Sotoi?. = r.r^6\>) in the comparison seems to imply 1. 15. The word jzayov (
Agido was of fine stature, doubtless a claim to beauty among the Spartans or it may be simply a stock epithet borrowed from Epic. 1. 16. Blass professes to trace tuv in the original. 'Y7ro^sTpt8t'wv = u7U07rrepi8iwv) is a syncopated form of *uTO7rerepi8iiov. It is referred ( to in Et. Mag. 783. 10. The meaning is apparently a horse such as the fancy sees in winged dreams This seems hardly a Greek thought, but the Scholiast appears to have understood the passage in that
that
; '
'.
way
I
oxi
xa
9-aujj.acrxa xal xspaxtoor] 01
jxoujxat eiwfraai xoi? oveipot?
~poa-
oamiv.
Bergk supplies
Nw[ji(a)'=
vo't](j.oc,
Ahrens
2aupi(a)
*9-au;j.a.
suggest
1.
olov u7T07uxpi8i<ov, if at least
it is
permissible to combine the
last
two syllables for metrical purposes. See Dor. Dial. p. 92-3. 17. opffc.
18. 'Evsxtxos,
;
breed'.
i.e. 'the horse of my comparison is of the highest Venetian mules were famous as early as Homer see //. ii. 852. Compare Append., Misc. and Anon., No. 12, 'Evs'xioa; rccJXco; axEfflavaoopio;, and Strabo v. 4. 1. The adverb accompanies some verb never 23. Siaoaoav, etc.
1.
uttered
[jlev
by the
be
right, the poet is
(xi xot Xsyto to retire.
Bergk's somewhat fanciful reading |j.e'v(e) for saying 'to what shall I liken her countenance ?' ;) when Agesichora, who is becoming embarrassed, begins Alcman reassures her (jaeV auxa, remain '), and though
poet.
If
'
continuing his compliments (1. 25 seq.) couples her name with that of Agido. Auxa in this case must be taken in the sense of the Latin Heus tu Cf. Oed. Col. 1627. 1. See Lesbian Dial. p. 88. 25. 7iEoa for [i.Exa.
'
' !
I.
26.
The reading
although
1
in
the text
is
that of Blass
'
(excepting
oYe;,.
appears in the original), will keep pace ever like horse attending upon hound', alluding apparently to the dogs called r:apt7:7cot, trained to run exactly with the horse (Pollux, v. 38), though here the emphasis is rather upon the horse not suffering itself to be
as;,
Blass
outstripped.
Eip/jvo)
KoXai; is explained by Ahrens and Blass as 9-spa7iwv. seems to be the same as sp^vo?, which Hesych. interprets as aXwrExt;, a Laconian hound, half-fox half-dog (Poll. v. 39).
Bergk reads
Scythia (Hdt.
swiftness.
'
'
xoXafctos,
5
iv.
and
7),
as
a horse belonging to Kolaxis king of if his horses had become proverbial for
',
For these doves (Agesichora and Agido), rising before us we bear the garment to Artemis through the ambrosial night, contend (in beauty).' This has occurred to me as the least improbable rendering of this very doubtful passage, adopting the above text. For a variety of other versions consult Bergk and Canini, as they transcend the limits of these notes. That which I have offered has the merit of connecting the passage closely with what precedes. 'OpfKa, a Laconian epithet of Artemis, is Bergk's conjecture for
II.
27-30.
like Sirius as
ALCMAN
opQ-ptai
311
p.
which the original gives.

iii.
(Compare above,
309.)
See
Pausan.
16. 6.
IlsXsiaSs; is
taken as
'
Pleiads
'
by some
(see Canini), as
if
the chorus
'
of girls were compared to that constellation. is explained by the Schol. ipapo? or oapo;
',
ad
loc.
as apotpov,
mentioned by Herodian as occurring in plough Alcman. Nothing, however, is known of any such offering in connecwas a common offering to tion with Artemis, whereas oapo?, a robe goddesses. Cf. //. vi. 90, where Hecuba presents her best garment
and
this
meaning
is
'
',
to
Athene.
Seiptov aaxpov is
constantly used for
quoted
in Liddell
and
Scott.
the brightest of all the stars, avoids the repetition of the simile in
Austpojjivai
the sun compare passages But no more than Sirius, the Dog-star, need be meant here, a rendering which
',
'
11.
7-8.
aÊptto,
from 'AfapoÊvai ('Asfpw

;
see
son's
Sounds and
probably Lesbian
afsipopivai,
The change Inflexions, p. 408). see Lesb. Dial. p. 82. Possibly

digamma
;
King and Cookfrom F to u is
retaining the diphthong au as short.

1.
we should read otherwise we must treat the

'
31 seq.
The argument seems
to be, either,
We
have but few
fine
garments or ornaments, but yield to none in beauty'; or else, 'just as one is never weary of such good things as purple robes and golden
ornaments, so the beauty of these maidens never palls Schol. to //. v. 206 quotes this passage (with 'A[j.uvau
'.
a[j.uva?9-ai)
to
show
Od.
that apjvsaEhu
aÊiiaaSai,
and Bergk compares yXaiva
aôtâ;,
The difficulty lies in the 521, 'a cloak for a change'. on account of the metre. here the active of ap.0vai reading necessity There is, however, a somewhat similar usage in Oed. Col. 11 28,
xiv.
We have not sufficient purple non tanta est copia purpurearum (cf. Bergk change garments vestium ut mutare liceat '), or, There is never such satiety of purple garments that we wish to change them.'
The meaning apparently
for a
' '
TaoE. djxuvw xotaoE Tots Xoyot;
is,
either,
'
'
1. 33. Spdxcov, of a serpent-shaped bracelet or 'Oei; is said by Hesychius to be similarly used.
armlet
see Lexicon.
1.
34.
AuSia
[xiTpa,
Netn.
viii.
15,
Cf. Pind. the Lydian snood, evidently famous. where Pindar, epe'pwv Auoiav puxpav xava/r,oa rarcoi|
metaphorically applies the expression to his own Ode in Lydian measure. Lydia was famous in all matters relating to costume. Cf. Sappho xxix. note, of Lydian dyes.
xiXfAEvav,
= 9-eoeiotJ;, v. on 1. 13. Similarly in 1. 39 Xvt\wi$v. is I. 38. ctieiotJ; the Laconian form, according to Bergk, of KXEtat0/]'pa. The rest of the fragment is hardly intelligible enough for insertion
here.
See Append. Alcman, No.
12.
II.
Ou
e-i
(j.'
rocpttevocoft x.x.X.
plains that
Alcman, now too old
to join in the
Antig. Caryst. Nisi. Mir. 27, who exmaidens' choruses, wishes
312
that
GREEK LYRIC POETS
he were a xrjpuXo?, or male halcyon, which when enfeebled by is borne on the wings of the females. The poet, who is said by Suidas, though incorrectly, to have first introduced to p) l5a[xeTpots
old age
fj-eXipSslv,
here retains the hexametric
style.
Notice, however, the
movement imparted to the lines by the employment of dactyls The whole rhythmic effect of this beautiful exclusively. (Cf. p. 62).
lyrical
passage
1.
is
singularly melodious.
1.
1.
2.
to see say.
The word (BocXe = utinam, is of uncertain origin, for it is hard how it can be the imperative of fiaXXw as Liddell and Scott
It is
ip.spdcpwvoi,
accepted by most commentators for MSS.
tEpocpwvoi.
more
likely to
. .
be connected with
.'
(3ouXo[j.ca,
and
to signify
'(Heaven) grant that

1.
3.
o S xe.
For the use of the
particle te in a general instance, see
'
on Anacr. xxiv., Sappho xxxvn. 5. im xu'[j.a-ro; avfro;. Buchholz very aptly compares the French phrase a fleur d'eau', between wind and water'. 7rciT7JTac for ôxaxat, Dor. Dial. p. 92.
'
1.
4.
vTjXsyEs
Bergk, for
vrjXels.
Boissonade
vtjSse?.
EuSouatv x.t.X. Apollon. Lex. Horn. 101. 18. have placed this well-known passage conjecturally among the fragments of Parthenia. It is evidently choral, and its solemnity is
III.
I
It is not unpleasing to think that it a midnight Parthenion (cf. No. I. 1. 29). The graphic personification of natural objects in these lines is strongly suggestive of the spirit of modern poetry.
well suited to religious lyric.

in
was sung
1.
form
1.
i.û'5ouc7tv.
eu'Schslv.
I
Bergk suggests that Alcman employed the Lesbian

See, however, p. 97,
adJin.
for MSS. 90X0" te ipjcerd
;
3.
have adopted Schneidewin's reading
x.t.X. but such an abrupt introduction of ou'XXa would be very bald, and the quick succession of &, #, as would have been far too great a strain upon Laconian vocal organs (see Dor. Dial. p. 94). 1. 5. xvwoaXa is said by Apoll. /. c. to be the appropriate term for the monsters of the deep, ia. S-aXaaaia xrj-n), such as whales, etc. o't'wviov 1. 6. Bergk, for otwvwv.
9-'
oaa
x.t.X.
Bergk reads
ou'XXa
&
epjrcra %'
oaaa
IV. Oux sT; avô x.t.X. Steph. Byz. {v. 'Epuatyrj) reap' 'AXxjj.avt ev aoyf xou SEim'pou xwv Ilap&EVEtwv aafiaxtov. These words, like those of the next passage, are evidently addressed to Alcman by the maidens of the chorus (v. Art. iv. p. 30).
{
1. 2. nap aocpotaiv. This is usually regarded as unintelligible, and the commentators propose various emendations Jacobs âpaaoô;, Welcker roxp' aaoootcn. It is not, I think, impossible to retain the words as they stand for the maidens are perhaps rallying Alcman on a fit of poetic modesty, and reminding him that he is not 'amidst a critical audience A different and highly probable translation of the
'.
ALCMAN
line
313
has been suggested to

critics.'
me
'
:
You
are no fool, no, not even in the

Cf.
eyes of clever
hi.
2090?, aooia, constantly relate to poetic skill.
Pind. 01.
i.
44
Pyth.
i.
42, etc.
'Epuai/jj
1.
4. 'Epucriyalo;.
was a
city in the
middle of Acarnania
(Steph. Byz., and Strab. x. 460), taken as a typically rustic district. The ancient authorities are doubtful whether in this passage we
should not read

1.
'
ipuaiâioe,
trailing a shepherd's
crook
'.
5. SapStwv, v.
Biog. Alcman, p. 124.
V. "Ocrai 81
oaoa 8s
. .
raitSe? jct.X.
.
sW,
xi&apicruav, in
Apoll. de Pronom. 381 B. Cf. No. I v. ad init. maidens who belong to our band', early times more or less synonymous with xt&apwSo's
'all
p. 81).
(Aristox. ap.
txpicav,
Ammon.
p.
Dor. Dial.
95
ivtf, a'vs'ovn,
Ibid.
VI. ZsG -axcp
x.x.X.
Schol. Od.
vi.
244 (Nausicaa
log.
oil
yap
e;j.o{
Toioaos 7:051? x.t.X.).
'AXxpiav rap9-vou$ Xsyou'aa; siaaywv
so
that this line
is
in all pro-
bability
from a Parthenion.
VII. Mwo' ays,

Priscian
1.
Muaa
Xfysia.
ii.
Maxim. Plan.
I.
Rhett.
v.
p.
510. v.
3,
rtfe
;<?/r.
Terent.
425 (Keil), with the

del 8s,
name
of Alcman.
1.
Xtyeia, cf.
on Terpander
I.
2.
a'svaoios,
Bergk's conjecture for

Z>m/.
p.
or
atsv, astos, etc.,
Hartung
aioXaotos.
jtapo-e'vots, Z><9r.
94
asiSsv, p. 93.
An instance of Alcman's strophical VIII. Mtoa' ays KXXio7:a. for Hephaest. 40, where the passage is quoted, (cf. p. 49) tells us that he composed whole strophes in this metre. ir\ II. 2-3. 70'pov, a good instance of zeugma, being equivalent,
system
;
. . .
as
Welcker points
IX. 'A
out, to smTtO-st
Tjj.spov
ii.
ufxvw
:
-/.at
xithi yopov yapisvia.

si?
Mwaa
vAvXrtf.
Aristid.
508
tou Aa/.wvo? Xs'yovTO?
auTov
T xai tov yopov.
further implies that the words belong to the same song as No. vn., as if the line showed that the prayer in No. vii. had been answered, the chorus being poetically regarded as the
He
muse. For
to
y.i/ly]Y
Bergk reads
;
xs'xXay',
but
xs'xXTjy'
may be
retained, as
due
Epic influence
X. Kot
v. p. 78.
t\v su-/o;j.ai x.t.X.
Athen. xv. 681
A.
Tiv=aoi, Dor. Dial.

p. 83.
We may
...
genitives in -to, p. 92, cps'poica, Lesb. Dial. conclude from the fem. partic. that this is from a
p. 95,
Parthenion, and that the leader of the chorus is speaking ; and we gather that the hymn is addressed to Here from Athen. xv. 678 A,
IluXeujv
1.
orre'pavo$
civ
-zf
t
'Hpa
jtspixi'&e'acriv
61
Aaxwvs;.
2.
reuXeaJva, trisyll.
4
1.
GREEK LYRIC POETS

3.
xurcatpto
Welcker, on the strength of Eustath. Od. 1648.

MSS. xura'pw.
7,
xal
xurcsipov xuractpov reap' 'AXxpavi. xat spaxou, v. p. 9 2 ~3-
x^paxto
B.
XI. *o{vat$
1.
BANQUET SONGS
is
x.x.X.
Strabo
1.
$o(vai
= eotvaic,
instance in Alcman's
see Lesb. Dial. p. 86.
1.
x. 482. This Lesb. Dial. p. 83. fragments of the shorter
the only certain

;
form of the dative
2.
avopsuov,
jzcaava.
Cf. Muller's
I.
Cretan and anc. Laconian term = aucj3(xia (Strabo Dor. ii. p. 294.
I.e.).
3.
For the Paean
at
banquets,
v. Art.
1.
pp. 12-13,
and
Introd. to Seolia, p. 232.
XII. KXIvai p.Ev Exrxa, Athen. iii. no F. This and the following passages, as written by a Spartan citizen for a Spartan audience, by no means accord with our notions of the black broth regimen. Similarly in Bergk 117 we find a fragmentary
passage dilating on the varieties of Laconian wine. It would appear that in this as in other respects the rigid Spartan discipline was not See Lesb. Dial, for imiziooivai, p. 83, yet fully established (7'. p. 100).
xparcaSai, pp. 83-84,
II.
xfjv
= xat
sv,
p. 92.
;
Various conjectures are made for this corrupt passage it is simplest, I think, to adopt Schneidewin's Xivw xs aaacqxw xe (genit. after smaxs'cpoiaai), and Bergk's tceoectxi ( = [iixsaxi, p. 88), such an usage of [XExsaxt as impersonal not being without parallel see Liddell and
3-4.
;
prefers Schweighauser's muoEcrcri, suggesting that the word applies, as in No. v., to the maidens of the chorus. The form in Athen. 495 b, where the cup is described. txeXi/vt] (i.e. TzekU-q) occurs
Scott.
Welcker
and linseed. ypuaoxoXXa is explained by Athen. as a mixture of honey I have taken them with 11. 1-4, on account B. xiv. Athen. 11. 648 5-6. Some subject must be supplied of similarity in subject and metre.
for
mxps'ijsi.
i.e. x?]p. oraop.
xo
[xe'Xi,
Athen.
I.e.
v. Liddell
and
C.
Scott, orcwpa.
'AXxjjiav
. . .
XIII. Kat
aorjâyov
1.
r.oy.oL
xot
owaco
x.x.X.
Athen.
x.
416
eocuxov
Eivat napaoloioaiv.
Eur. Supp. 1202, xpu:ooos ev xo(Xw xu'xsi. Welcker not as 'a three-footed caldron ', but as 'a calthe phrase explains dron on a tripod the two being separable, and compares yaaxprjv
I.
cf. xpirc. xux.,
',
xptaooos, //. xviii. 348.

2.
Xsla
hardly possible to supply the gap. Welcker reads to x' eV He thinks that xptripr];, a kind aXX' eV'Evxi yz vuv x.x.X. of cup (see Athen. xi. 500), was used as a ladle for the caldron. Welcker objects to the interpretation of this 1. 4. 7ia[j.cpayos.
1.
It is
xpirjprj?
word given by Athen. aorjepayov, and by Aelian that it means rather 'an eater of all kinds of no doubt a praiseworthy quality at Sparta.
ôXu[jopwxaxov, urging diet' (warap 6 8a^.o?),
Welcker compares
ALCMAN
Ar. Pol.
I. iii.
315
xa ok
'
3,
xa
\xkv
(u>a) i^woâya, xa ok xaprcoipaya,
raxpicpaya
but we need hardly take the word in its strict scientific sense, and it seems safer to follow the ancient critics, and translate omnivorous ',
which
1.
is
loosely equivalent to
'
5.
yXiepov 7:e8a,
Lesb. Dial. p. 88.

P- 93'
greedy Casaubon's conj. for yalepov ractSa. Ilsoa = [xexa For the shortened ace. plur. xpor:a; see Dor. Dial.
'.
'
has ever loved,' Gnomic Aorist. After the (winter) solstice,' i.e. when winter has fairly set in ; unless we can read mp\ xa; i.e. in the xpoâ?, about the time of the (winter) solstice depth of
iipaaih}
'
',
winter.
1.
1.
6.
7.
tju,
a correction by an
unnamed commentator
aXXa
' . .
.
for MSS. ou.
meets what has preceded not by a simple opposition, but by going back to a reason for the opposite' (Monro's Horn. Cram. p. 254. q.v.).
xoiva Casaub., for x.atva.
yap
XIV.
"flpa;
o' ear;y.3
xpst; x.x.X.
Athen.
I.e.,
as a further example of
Alcman's gluttony. See Dor. Dial, eot]xe sc. Zzuc,.

EJ&IEV, p. 93.
for /%>, p. 92, aaXXst

like
= 3-aXXst,
p.
94,
SaXXst
must be used impersonally

IloXXaxi
o' ev -/copucpai; x.x.X.
uei,
etc.
XV.
Bergk and other commentators explain this passage by referring it and the words iv xopuepai; ope'eov, and still to a Maenad or Bacchante more those in line 5, if the reading be correct (see below), point Welcker, however, finds a difficulty forcibly to the same conclusion.
;
a Maenad and, altering line 5 as below, he applies the passage to some Spartan woman who is carryCompare for the ing a cheese-offering to the gods in a golden vase.
in ypuatov ayyo; as the natural utensil of
;
golden vase on such an occasion Scol. xvi. (3', and for a cheese-offerHis objections, however, to the first explanation ing Athen. xiv. 658. are not strong, for the epithet ypusiov is merely ornamental, and appropriate enough, as Hartung says, in connection with a being more than human, such as a Maenad and it is very difficult to dissociate the words of Aristides, given below, from this passage.
;
1.
2.
O-Eotcjiv
ao"7]
Hermann,
for
{\zoic,
aorj.
rcoXu'cpap.o;
Fiorillo, for
a Dorian form of rcoXuoiovo; a view discountenanced by Ahrens. It has been suggested to me that -oXuavo; may possibly be a compound from <pavo; a torch, signifying lit with many torches ', which would be very appropriate of a midnight Bacchic festival. 1. 4. Possibly r/oiat or the Doric eyovxt should be restored eyouai.
-oXuoavo;, which according to
Welcker
is
'
but there can be no certainty about such cases (see p. 97), and perhaps r/ousi is more in keeping with the Epic tone of tcoêvs; avops;. The reXeovxe'ov in<xkot.iht?tx. 1. 5. In this line the MSS. read yep<A
storation
is
due
to Fiorillo,
who most
aptly compares Aristides
i.
49
316
Kai Suvar^ av
difficulty in
GREEK LYRIC POETS

v
x.a i
ovoug jrrepouv (o Atdvuao;) ou-/_"-x:ous p.dvov' w<J7Cp

avc'9-r;x.s'
x.a\
Xeovxwv yaXa aptiXyEiv
ti$
auxw
Aax.wvix.6s
7:ot7]xirjs.
There
is
no
supposing that Arist. incorrectly speaks of Dionysus when he should have said a follower or companion of the god. Grjaao ('thou didst milk' from the obsolete 9-aw) is Bergk's reading, and although too far removed from the MSS. 9-etsa, and involving asyndeton with exuprjjas, I have admitted it into the text in default of
anything more satisfactory.

glosses.
1.
Fiorillo cuts out

v
<9s!<ja
and
-
axpucpov as
6.
axpuoos.
Hesych. has Axpooo; (axpuoos Welcker)
xupos 6 -iqano-
[J.EVO; utzo
Aax.wvwv.
apyucpedv xe. So two MSS., the rest 'ApyEiocpdvxai or the like. Welcker and Bergk, on the strength of a grammarian's testimony, read apyicpdvxav, thinking that Alcman humorously applied the epithet to xupdv an explanation which, I think, will hardly commend itself to readers.
C.
MISCELLANEOUS
is
XVI. "Epos
spoken of as
[jie
oauxs
^ysp-dva
x..x.X. Athen. xiii. 6oo F, where Alcman xwv Ipwxix.wv [jleXwv. Cf. p. 126.
XVII. 'AcppoSixa [j.kv oux. eoti x..x.X. Hephaest. 76. As Meineke remarks, 'sensus non plane liquet'. The curiously sharp contrast drawn between Aphrodite and Eros can hardly be explained without further knowledge of the context nor do I understand the force of the words a pj p;ot {Kyr s, prithee touch them not'. The passage would certainly be improved if we were bold enough to accept Canini's wholesale revision of the text in 1. 2 axp' eV avJhva (3atvwv xe x.wuxoi aiyst xw xu7:atpiax.w, il ne touche pas meme aux corolles' cf. Hes. Frag. 156 ax.pov hi dvO-spt/.wv x.apôv &hv ouSe See Lesb. Dial, for raicrSst, p. 83, Ka|Batvwv, x.axEx.Xa, and Aen. vii. 808.
;
'
'
P- 95x..x.X. Strab. viii. 340, and Menander (Walz, Rhett. with reference to the custom of invoking deities from their favourite haunts. Compare Anacr. II. 1. 4, note.
XVIII. Ku-pov
135),
ix.
XIX.
TouO-'
aoEav
Mwaav
x.x.X.
Athen.
xiii.
600
F,
where
it
is
mentioned that Megalostrate was a poetess of enamoured.

11
whom Alcman was

.
.
1-2.
aoEav
Bergk
(earlier ed.) for aosiav.
Touxo
Swpov, appagift
rently a song or
Megal. poetically described as a Muses, being composed under their inspiration.
hymn by
of the
[xaxaipa raxp&Evwv 'blessed among virgins'; cf. the familiar Sta O-Ea'wv, 31a yuvatx.wv. The genit. in these cases is perhaps due to the fact that the epithet used is so strong as to be equivalent to a superlative. to the blessed virginMax.at'pa rcapQ-evw has also good authority
'
:
goddess',
i.e.
Diana or Athena.
ALCMAN
XX.
I
317
have placed these four passages together on account of their character, which may possibly indicate that they are from Scolia (cf. p. 236). fragments
sententious
clever poetical genealogy of Tu'yj] (Plut. de fort. Rom. 4), (a') Cf. No. XXII. and without, of course, any foundation in mythology.
on Alcaeus
ne-.ftoij;,
xxm.
probably as the spirit opposed to blind obstinacy, which Perhaps we prevents men from listening to the dictates of reason. should correct to the Doric nsifho?. IIsp\ xou 'PA. (') Apollon. de Adv. in Bergk An. II. 566. 11. 8' inserted by Schneidewin. pa Bergk, for pa, explaining it as the neut. of an old form PAIS, whence paruo;.
'
ivi<J7TOt
Bergk
for ejxiotoi.
i.
(7*)
Schol. Pind. Isth.

II. xxii.
35
6 r.ovrpv.^ ok
vow
xa\ ::pofj.a9-iav
(o) Schol.
305, to illustrate the use of fxrfa
cpe'pei.
\xijot.
ct7a9-o'v.
XXI. The next

with nature.
four passages are illustrative of Alcman's familiarity
That he learnt his power of song from birds seems to indicate that he went further than his lyric predecessors in casting off the stiffness of semi-epical lyric and in cultivating freer rhythm and melody.
Hartung for ~f)7 Se Bergk hctj xa'Ss For 8s is cf. on Sappho xxxvu. 1. 4. 1. ovofxa auv9-. 2-3 restored by Meineke from sups' xs ylwai. Tulwars., which is nowhere else found, is apparently a participle from a verb yktaaaia, whence -('kw<:vr ij.a. for opvts (P') Ath. ix. 374 D, as an example of the Dorian opvti; (v. King and Cookson's Sounds and Inflexions in Greek and Latin,
(a')
ix.
etctj
Athen.
390 A
Se xs
particularises too closely.
p. 143).
vo[j.w?
= vo[jtoug,
v.
Dor. Dial.
p. 94.
XXII. Ota
illustrate the
Ato? 9-u7a'x7)p x.x.X.
remark that dew

ae'po;.
x-.x.X.
is
Quoted by Plut. Symp. most abundant at the
III. x. 3,
to
full
moon.
Ato?
he explains as
/spsovos Quoted for the long quantity of the seventh by Priscian de Metr. Terent. 251, immediately after a line from Alcman (Append. Alcman 3.) hence this also is attributed to that poet; 'Upon the beach (the wave) falls hushed amid the sea-weed.'
XXIII.
syll.
XXIV.
words of
(note).
Quoted by Plut. Lye. 21, as the "Eprsi 7<ip avxa x.x.X. Cf. Terpander I. 6 Aaxwv.x.o? -otrjxr,?, possibly Alcman.
/.iQ-aotsocv
Tw
aioapw and
o'
(Bergk
-tjv)
Welcker
ix.
for
-co
and
siv.
which Welcker retains, sc. maidens performing amidst as if to the lines referred a panic /opei'av, a choral dance. Bergk supposes that the reference is to the alarm
(in earlier ed.) for Ausav,
XXV. Auaav Auâv Bergk
a-pa/.xa
/..x.X.
Athen.
y]^
E.
318
GREEK LYRIC POETS

among
the maidens of Nausicaa
says,
caused by Ulysses
in
ed. 4, which, as
Welcker
expression of frightened maidens.
he reads Auaav would be a very inappropriate Compare Alcaeus xxvi.

;
XXVI. Auaâpi? x.x.X. Schol. on 6ua7:apt in imitated by Alcman in these appellatives.

XXVII.
:
//.
iii.
39,
presumably
Avrjp S'iv apjAsvoiaiv x.x.X.
Schol. Pind.
(9/.
i.
60, in illustra-
hanging above the head of Tantalus. 11. 1-2. the appiEvotaiv, Bergk and others for dapivotaiv (see below) words may be either neuter, in bonds or masculine, among those bound'; S-dxw (Dor. genit.) Hermann and Bergk, for 9-dxas. 3. Welcker explains this line as signifying that it was no real stone that hung above his head, but a mere phantom of his disordered mind, comparing Eur. Bacchae 918, Verg. Aeti. iv. 468 seg.,
tion of the story of a stone
;
'
'
',
1.
etc.
is
With our
text,
however, the meaning
is
rather that Tantalus
so chained that the danger, though not unknown to him, is unseen and thus all the more terrible. Welcker's version of the whole
passage
is
entirely different
râx'
lizi
"Otmc, (from Schol.
Pind.) dv^p
8'
sv
aapivot; dXixpo;
Saxo? xaxa,
jtETpa? ops'wv piv ouSe'v, Soxe'wv 8e.
He
regards the incident as taking place not in the Inferno but in
heaven when Tantalus was admitted to the presence of the gods (see Athen. vii. 281 b). The rendering would be, 'Like a sinful man he
sat
down upon
his seat
among
the blissful gods, seeing naught of the

strained,
saw it.' This is certainly we should expect rather a word for reclining.
stone, but
deeming
that he
and
XXVIII.
O.HQ
'Pt7:av opo? x.x.X.

.
.
Schol. Soph. Oed.

Tr\
Col. 1248.
'
Nu/idv
Purav
uXai
Xc'ya 81
auxa
svvu'^ta Sid to r:po?
Susst xstafrai.
Ptrcd? opo;
The
s'v9-eov
lines are conjecturally

v.
p..
emended by Lobeck from
aic'pvwv.
ALCAEUS
I. 'Hpo; dv^|j.oVTo? x.x.X. This and several of the succeeding passages are quoted by Athenaeus x. 430, to illustrate the remark v.a.~k raaav wpav xai 7tpiaxaatv mvtov 6 7roi7]X^<; (Alcaeus) EuptaxExat. The dactyls in these lines, following upon an initial trochee, should
:
be regarded as
short syllable
spirit of the
is
'
choreic
'
wanting
(see p. 63) to give us the

is
an entirely different movement

passage. Tw, Lesb. Dial. p. 84,
Ep-/opivoio, for
and thus, though only one form of a complete hexameter, effected, admirably adapted to the
;
oxxi, p. 88.
Lesbian genitive
in -w, is
probably due to the influence
of Epic tradition.
ALCAEUS
(No.
VI. in this edition)
319
For ijraiov, the beauty of which 'nonnemo' (see Gaisford's note) endeavours to spoil by correction, compare Pind. Frag. xi/v. 14
:
gi/9e'vxos 'flpav 9-aXap.ou,

euoo[jlov
Eâiwaiv sap cpuxa vs/.xapsa.
II.
Ts'yy nvEu'fiova
x.x.A.
Lines 1-3 (part) in Proclus on Hesiod,

i.
;
and Athen. x. 430 B, and 22 E lines 6, 7, 8 in Proclus only the end of 1. 3, and 11. 4 and 5 are quoted anonymously by Demetrius de Eloc. 142, and a comparison with the passage in Hesiod shows clearly enough that the lines belong to this poem of Alcaeus
584,
;
:
Works
'Hjj.o? os a/.oXu;j.o;
x'
avOa
v.ca
7jyExa TeVaij
AsvSpEM Icps^duEvo? Xtyuprjv xaxa/susx'

IIuxvov utco ^XEpuywv,
O-s'pso;
doior]v
toprj.
xa[j.axwoEo;
For the metre see Metre pp. 67, 68. Foivio, Faosa, Zw^. ZVtf/. p. 81 StJ/atui,
'
p.
90
xa/./s'a, p.
88
oracoxa
p. 88.
1. xe'yye 1. 7cvEU[xova Fot'vto is the simple correction of the commentators for the unmetrical oivw rcvEiijjiova xe'yy^ (Procl. I.e., and Athen. i. 22). Bergk prefers xvsu'[xova? from Athen. x. 430 x. jiXsu[j.ovas o"vw
but
may
is
well
have crept
(1.
in
through inattention to the

also
7
,
by which
hiatus
avoided.
i.e.
aoxpov,
Sstpio?
7). cf.
Theognis 1040
'AtepovE? av9'poJ7:oi xai v<r]juoi oTxivs; otvov Mrj 7uvoua', aaxpou xai xuvo; apyopiEvou.
Cf.
1.
Hor. 3
Si'iatai,
(9^. xxix. 18.
2.
Alcaeus follows the example of
Homer
in
employing
the plural verb with rcavxa, there being clearly in this passage a See Monro's Horn. Gram. 172. 'notion of distinct units'. I. 3, etc. For the appreciation of the grasshopper by the Greeks,
see Liddell and Scott under 'O Mouuwv Tzpo<f>r\ir]<;.
xe'xxi?.
Plat.
Phaedr. 262 D
calls
it
II. 4 and 5. xax/si if correct does not follow the usual Lesbian conjugation of the contracted verbs (v. pp. 90-91); 7;uxvov is suitably supplied by Bergk from the passage in Hesiod. The succeeding
words are very corrupt o7T7coxa is Ahrens' reasonable conjecture for OTIIIOTAN, but no conjectures can satisfactorily restore 1. 5, where The words, we have after xafoxav EIHIITAMENONKATAYAEIH. whatever they once were, appear to have been an amplification of
;
Hesiod's
1.
O-eoeo.; xcq-iaxiooEOi; topTj.
7.
y^ vu j so Seidler for Yovaxa,

:
Bergk
yova, but
Schneidcwin quotes
Steph. Byz.
III. "Yei
yowix
01 Alokiit;
xa yovaxa.
[jlev
Zeu; x.x.X.
in
1
Athen
I.e.
This ode
is
imitated by
Horace, chiefly
Od.
i.
9.
320
GREEK LYRIC POETS

;
For xa|jJ3aXXe, xipvai;, see Lesbian Dialect, pp. 88, 83 where we should expect oppavo; (Doric wpavd?), cf. Lesb. 1 1. p. 82, and see on Sappho I. 1.
1.
1.
for opavo?
jj-ovo?,
xdXo?,
5.
8.
xdp(3aXXe
d|j.cpt
:
'Dissolve frigus', Hor.

yvacpaXXov,
I.e.
commentators suggest
for
-tiO-t] (-xl9'ei)
-jiaXwv, etc.
yvocpaXXov,
or xvdoaXXov
(cf.
xva7txw),
see Lesbian
Dialect on
IV. Ou
see
1.
1.
o for a, p. 85.
ypri
xdxoiai x.x.X.
;
Athen.
I.e.
For
l-ixps'-r^v
and
[i-sQ-uaO-riv,
Z^.
1.
Dialect, p. 89
dadpievoi, p. 90.
3.
"i^rt?
an emendation by Stephanus for p.uO-ov. Lesbian form of Baxyo?. A grammarian compares and Olxt; (the capitals are Bergk's) for "r.noq and oTxo; and for
S-ujjlov,
Buxyi?,
the use of
u, (3uth;
pd-9-os.
V. ntvwjjisv x.x.X. Athen. I.e. For metrical scheme see No. II. This poem should be compared with the more sober lines of Anacreon xvi. From that passage, and from the remarks of Athenaeus we gather that the potations of Alcaeus and his friends were in excess of those sanctioned at ordinary Greek wine-parties (cf. note on Anacr. I.e.). accusatives in -xi?, partic. See Lesb. Dial, for xd8, xdx, p. 88
;
xipvai;, to9rjTci)
1.
(=
x.
tofraxw), p. 90.
1.
Athen.
481
A gives
x(
xov Xuyvov
<[[jievgjj.v.
Porson emends
p.
to
85), Welcker, xo Xuyvov |j.e'vo[j.sv ; but the neuter form of in the singular than Xuyvos, if authentic, is at any rate far less in the plural. AdxxuXo; djxs'pa these words in connection with the
xd Xuyv(a),
Ahrens
whom Bergk
follows
6[j.;j.vo[j.v
(see Lesb.
Dial.
x(
common
;
preceding have been variously explained AdxxuXo; seems to express a minimum of time as in odxxuXo; dw? [Anth. Pal. xii. 50), and Matthiae interprets thus 'Why wait for evening (the usual time for The words may, Let us enjoy the little left of the day revelry) ? however, I think, be regarded in the light of an apology for an early The day has only a finger's commencement of the drinking-bout. Or we may accept shall not be much too soon.' breadth to run. Schweighauser's rendering, punctum est quod vivimus i.e. let us
:
'.
'
We
'
'
',
eat,
1.
drink, and be merry, for to-morrow we die so Ahrens for dape; cf. Sappho xxxiii. 2. dspps
'.
:
1.
2.
Possibly,
however, daps should be retained as another instance of Epic influence on the literary dialect. 'alxa is the reading boldly adopted by Schneidewin as a Lesbian variation on 'dixa it has at least the merit of keeping closely enough to the original atxa 7:oixiXXt;, or rcoixiXa. for 1. 4. i'va (sc. xua9-ov), xdt ouo, i.e. one of water to two of wine Athen. x. 430 speaks of this as a drunkard's mixture, whereas in Anacreon I.e. we find the proportion of two parts of water to one of wine regarded as suitable for a sober reveller xd jjlev Sex' lyy/a;
;
;
ALCAEUS
uoaxo;,
la.
tze'vts
321
ava
|
o'
o"vou
|
x.ua-9-ou?
w? avuppiTTt
orfizs paasaprjSio.
Judging from these and other passages {e.g. Ar. Knights 11 84), it appears to have been customary to mention the water first. z. x&pdXa?, adopting Porson's punctuation {v. Bergk, note 1. 5. ad loc), implies that the cups were to be brimming over for -/.scpaXirj
;
It is sense cf. Theocr. viii. 87, urap xecpaXag, of a milk-pail. hardly so likely that -/.aTa xs<paXas can be used in the sense of Irl
in this
'
jcecpaXrJv,
ic,
headlong,' praecipita7tter (Bergk).
For
/.ax
Bergk suggests
(=
?o>g).
VI. 'AXX'
avjj'xco x-.x.X.
Lines 1-2 in Athen. xv. 674 c
11.
3-4,
A then,
xv. 687 C, the two fragments being united stanza. For metrical scheme see Sappho I.
by Bergk
;
into a single
See Lesbian Dialect for genitives

p.
avrj-cw,
to, p. 84
a;j.[j.t,
accus.
;
jcXe'srrats,
83
respÊTco
(=
jTepiS-ETio), p.
88
the dat.
p.
87
and the form
where u represents an original F, p. 82. These luxurious banquet-customs of wearing garlands round the neck, and anointing both head and breast with perfumes, are described by Plutarch Sympos. iii. 1, with a reference to some similar passage in
ysud-rw,
Alcaeus xeXeuwv x.axa.yia.1 to [j.upov /.axa xx; -oXXa xaQ-oiia? /.scpaXas /.at tw jôXiw arr)'9-o; (Append. Alcaeus, No. 12), cf. Anacr. xxxvill. [s'. Galen says that this was employed at banquets, as it was 'Avrjxw
:
supposed
to assist the digestion.
VII. 'i2? yap oyj'xox' x.x.X. Schol. Pind. Isth. ii. 11. For metre cf. No. xvi. and note. See Lesb. Dialect for Ewnjv, p. 84, and cpaiat ( = cpa<ri) p. 90. In this fragment and in the next Alcaeus appears to be lamenting alike his own poverty, a natural result of his combative spirit, and also the increasing importance of the commercial classes among the Asiatic Greeks at the expense of the old aristocracy (see Art. viii. p. 99). With this passage compare Pindar I.e., where the proverb is attributed to a man of Argos A without any name being given. Scholiast informs us that a Spartan Aristodemus was by one authority reckoned among the Seven Sages. "EctXo; is found in Lesbian, and eaXo's in Doric, or other dialects for i?0XoV cf. [J.aaXrj(; = [jLaa9Xrj;, Sap. XXIX.
'
',
VIII. 'ApydXsov Ilcvia /..t.X. Stob. Flor. xcvi. 17. Metre. If the second line be complete it should probably be
scanned
o <s <s ^
but very likely
aosXcpi'a
it
\*/
ww
'
in
is a fragment of a hexameter, the last syllable of being shortened before a succeeding vowel. For hexameters lyric poetry see Metre, p. 62. Ad[xvai? (see Lesb. Dial. p. 90), or the middle od;j.vat, is Bergk's
emendation
for Sdpjat.
322
'AoeXcpaa (cf.
GREEK LYRIC POETS

Epic) should perhaps be written aosXcpta, since it is an same kind as ypuaso;, Lesbian ypuaio?.
adjective (aosXtts-ioc) of the See Lesb. Dial., p. 85.
IX. otvo; yap

(Bek.).
/..x.X.
Tzetz Lycophr.
v.
212; Schol. Plat.
p.
377.
For aXafka (= aXi)&&a) see Lesb. Dial. p. 85. These two lines recall the apophthegmatic or sententious character
common
in convivial
songs (see Introduction to Scolia).
X. KsXopvai xiva /..x.X. KaXsaaai, Lesb. Dial. p. 82. The passage is quoted by Hephaestion 41 as attributed by Bergk to Alcaeus.
AtoXr/.ov,
and
is
For ai=i see note on Spartan Dance-song
1.
XI. 'IoitXox' ayva x.x.X. 1. 1. Hephaest. p. 80 1. 2. Arist. Rhet. i. 9. Metre. Apparently Alcaeus out of compliment to Sappho has chosen her own favourite metre, but has imparted to it a little masculine energy by the addition of the Anacrusis. For Sappho's
in Alcaics see Sappho Frag, x., and refer especially to In the second line xwXuet aiSio? is usually treated Additional Note A.
retort
as a case of 'synizesis', and scanned xwXuet a"ou;
Bergk,
however, reasonably urges that -/.wXust should be treated as a dactyl, The same ei being shortened before the succeeding diphthong. have no other ai9-e po; Sia jjieWo. applies to Sappho i. 11, wpavw of a dactyl in this position, but as similar cases in Greek
|
We
Sapphics licences are found in Seneca and other Latin poets, Bergk thinks that they must have been imitating Greek models. See Lesb. Dial. p. 82 for the double liquid [j.sX\i-/o[j.stoa, and for
Fetmjv p. 82,
I
and
p. 89.
have adopted Blomfield's reading [ieXXt)(0[i.siSa for [j.eXXi-/o[j.to, for in -og, and we have Hesychius gives the nominative in -rjs, and not the analogous <piXo[i.|j.tor,;. A Lesbian vocative in -a (for -eg) on the model of the first declension in -i\c, is quite conceivable.
XII.
As'?ai
[j.
-/.io[j.ovxa
x..x.X.
Hephaest.
is
30.
The
on
tetrameter with Anacrusis
well suited to a tone of earnest
entreaty.
Kw[jlo?.
The line is evidently from a Compare Hermesianax

:
serenade, see Art.
I.
p. 8,
ol ?:oaou; av0i?axo xw[jlou; As's^to; 'AXxato;
2a::oou; oop[j.(wv J[Apovxa
yaji.ov.
is
XIII. KoXtoo 8' Eos'âvx' z.x.X. Quoted by Hephaes. 59, where there some doubt whether this beautiful line is ascribed to Alcaeus or to
Kpivoi (voc. of the fern,
Alcman.
name
Kpivio) is
Bergk's excellent emendaxvii. 36.
dation for Kp&vw.
He
aptly compares Theocr.
<,
ALCAEUS
XIV.
"E[j.e
323
Ionicus
metre Alcaeus composed many poems (Hephaestion 66). Compare 3 Hor. Od. xii., possibly in imitation of the poem of Alcaeus to which this line belongs. See Lesb. Dial. 88 for the prep, rcoa ( = |jixa) in raSsyoiaav, and for
SsiXav x.x.X.
in
solitary instance of the striking
minore,
which
-atsav
= -aswv),
p. 83,
and
p. 84.
B.
'
XV.
'
"Asiaov
a;j.[j.t
x.x.X.
Apollon. de Pron. 384

'
and Scott give JoxoXtov = ?owvov, purple-girdled dark-bosomed of some Southern beauty ?
Liddell
',
why
not
XVI.
Metre.
Map;j.a(psi 8e [jiya? oop.o? x.x.X
Each of these lines consists of two (if not three) Cola, both of which are introduced by the Basis (see Art. vr. p. 58), which we therefore find employed not only at the beginning of a line, but also of a new Colon (see Boeckh's de Metris Pindari p. 188, and p. 138).
is quoted by Athen. xiv. 627 A, to show that Alcaeus [xSXkov tou os'ovto? -oXejj.ixoc, and esteemed his military higher than his poetic career. Mr. Jevons, in his History of Greek Litera-
This passage
was
ture, thinks that the passage betrays more military foppery than befits the stern warrior, and we cannot perhaps help being reminded
of Paris, TtspixaXXsa xeu/e' grovra,
//. vi.
321.
The Duke
of Wellington
his
however,
believe,
remarked that the greatest dandies were often

for itself alone but
line.
finest officers.
That the description is intended not an incentive to war is shown by the last See Lesb. Dial, for xuvCatai, yaXxiai (p.
p. 88, vsuoio-iv,
mainly as
wv), p. 84,
85), xaxxav
= xa{F
-aaaaXot; (ace. plur.), xpu-xoiaiv, p. 83, the genitives

(3cXsus
h/upw, Xtvw
1. 1.
(p. 84),
= |3eXeo;
(p. 84),
7:ap=7:apa, etc.
'
I.
"Aprj (for"Apsi) 'in
3.
yaXxiai, etc.,
Martis honorem (Jahn). 'brazen greaves bright-gleaming hide the pegs
on which they hang.' Lesbian for xv^-uos?. xvafilSes. 1. 5. xo'iXou, I have adopted Seidler's emendation for xolXat (from Basis xfj(f)-iXai), the two short syllables being permissible in the (see p. 58). Possibly the F should be retained, see Lesb. Dial. p. 81. No apostrophe is necessary after kolt, which is the usual Lesbian
'
'
form, see
p. 88.
PepXrjjie'vat,
Casaub. reads
fefifaftUvtav
(two MSS.
'
pspXyjfiivov)
=occi-
these were trophies from slain adversaries. XaXxioixat. According to Stephanus the name XaXxiSfi? was given to the people ota xo /aXxoupysia zptoxov âp' auxcit; ocpOTjvai.
',
sorum
as
if
XVII.
fact that
c.
5,
'Aauv;'xTi[.u xtov is is
avEp.uv x.x.X.
That the apparent description
of a storm
it
rightly placed among the Stasiotica, is shown by the quoted as an allegory by Heracleides, Alleg. Homer.
:
who
explains thus
MupaiXo?
S7]Xou'{jievos
etui xod xupavvtx^
xaxa
MuTtX}]va((ov iyeipofiivT] auaxacrt?.
324
Cf.
GREEK LYRIC POETS

Hor.
I
Od.
xiv.
See Lesb. Dial,

p.
for aîes
Soph. Oed. Tyr. 23. Antig. 163, etc. ov ( = ava), p. 85 'izlp (r,[J.eii), p. 87
; ;
(jtepi),
88
[J.:'orcrov,
p.
82
dauvETtjfu, ooprjiJ-sO-a, [j.o/9'i>vte;, yoXaiii (yaXtoai),
pp. 89-90.
1.
1.
aauvc'xrjjjLi
is
ing of the v in arsi

Cf.
Ahrens' conjecture for aauvETTjv xai. The lengthenis for metrical purposes and not dialectical.
on Sap.
XI.
With
'
avs'p-tov
axaatv
comp. Aesch. Prom.
1087.
ataaiv avxi^vouv,
strife
1.
6.
of opposing winds.' Alcaeus plays upon the word araaic. have the force in this passage as in Tcep is said by Ahrens to
'
others (see Lesb. Dial. p. 88) of ura'p ; but surely the usual meaning the water encompasses the mast-box '. excellent sense here gives 6 1. âSyjXov ( = 3iao7)Xov, Lesb. Dial. p. 84) is usually interpreted 7.
: '
something you can see through
'
the next line then
is
merely an
amplification of this epithet. 1. 9. Bergk objects to the mention of anchors, when the ship is being driven by the tempest in mid-ocean (1. 3), and he accordingly
emends.
Such
confusion,
however,
is
excusable
enough
in
allegorical or figurative language.
XVIII. To
or]uxs xupioc sc.t.X.
similar allegorical attack upon a tyrant (Heracleides I.e.). Bergk suggests that reference is made to this passage by the Schol. Pind.
Isth.
i.
32
'AXxocto; t^v ouaruyiav ystp-tova
v.ou
Tpixufxiav Xeysi,
If this
be so, Alcaeus is possibly referring to Pittacus as the third tyrant, worse than his predecessors Myrsilus and Melanchrus. It must, however, be admitted that according to Heracleides the words of
the text apply to Myrsilus. See Lesb. Dial, for ovw
(
= avw)
p.
The
by
1.
text is very corrupt in Heracl. Bergk and Seidler.

3.
and the infin. avtXrjv p. 89. 85 and has been emended mainly
;
vao;
(J.pa,
MSS. vao?
after
yf[s ok
I[i.[3aivsi.
Nao;
some noun coming

in
(J.(3a.
'Ep.patvw
is probably dependent on however takes the genitive
Oed. Col. 400,
[j.^
'rj.paivr,?
opwv.
XIX. Nuv
ypyj
|j.eK!>79-7jv
-/.t.X.
Quoted by Athenaeus
x.
430 as. a
further illustration of the readiness of Alcaeus to seize
upon every
occasion for wine-bibbing. See on No. 1. See Lesb. Dial, for [j.E9-ua9-r]v ([j.E9uai>7]vai), and r.^vrp ( = -(vEtv) p. 89. This passage is imitated by Horace (1 Od. xxxvii.): 'Nunc est bibendum,' etc. Hartung attacks the reading xtva ^po? (3tav ^to'vrjv
therefore
He (Ahrens for tôveIv) as being mere tautology after [j.sO-uaO-r.v. adopts a suggestion founded on Horace's 'pede libero Pulsanda tellus,' yO-o'va ^po; [i'.a\i xpour)v (or t.olUiv). Matthiae defends
'
'
the reading in the text, explaining too; (3tav not as violentius but in its usual sense of invitum,' i.e. must drink whether we wish
' '
We
it
or not.'
ALCAEUS
XX.
IVasfis,
325
by Aristoph.
"Qvrjp
ouxo?
(v.
x.x.X.
1234
Schol.
ad loc.)
KpEto?, Lesb. for xpaxog.

pdrca; (pdras?) is
is applied against Cleon. 'Ovrpe'êt, Lesb. Dial. p. 85.
This passage
would be
porcac;.
"Eysxai
of course Lesb. for the gen. poiz^, for the accusative porax;,' Keeps ever on the brink of ruin.'
XXI. Tov jcaxorcaTpi&a /..x.X. Quoted by Aristot. Pol. ill. ix. 5, to show that the Mytilenaeans chose Pittacus as their champion against the exiles headed by Alcaeus and Antimenidas (v. Introd. to Alcaeus). For metre cf. Frag. II.
Lesb. Dial, for -0X10$, p. 87
;
aydXm, p. 84.
For aydXu Bergk reads oryoXw, i.e. 'discordis,' but surely a/dXw 'chicken-hearted' is most appropriate, when Alcaeus is rebuking his
fellow-citizens for voluntarily putting their necks
beneath the yoke of
the tyrant.
For
E7:aivovTc;,
which
is
here quadrisyllable,
Lesb. Dial.
p. 91.
we should expect
lâtvsuvxss,
Ahrens
7ravEvxs;.
XXII. MeXayypo;
that Alcaeus
is
/..x.X.
Hephaest.
79.
It
is
generally supposed
in
ironically praising
his
old
enemy Melanchrus
comparison with some other tyrant such as Pittacus, whom the poet regards as casting all Melanchrus' vices into the shade. The construction of zlq after aios, though hard to parallel, is M. showed himself towards the intelligible enough in this instance. city as worthy of respect,' i.e. he acted towards the city in a manner
'
worthy of respect.
XXIII.
p.
Xatps KuXXava?
is
/..x.X.
Hephaest.
79.
Lesb. Dial, for
upiv7)v,
89
1.
yc'vvaxo, p. 82.
in favour of retaining the accent on 3 (= 0;) and as second pers. sing. (v. Bergk on Alcaeus, 5). Others 6 (jis'owv, as if from [ji37][j.t, Lesb. for p-soa'-w read o picst? (partic.) see Lesb. Dial. p. 90. (a form implied by the participle [xeSs'wv)
1.
Bergk
treating
ptiosu;
u[xvr)v,
Bergk
in this
and one or two other
instances, apparently
by
an oversight, does not carry out his plan of universal Psilosis. Meineke's correction for xopuoaaiv auycu?. I. 2. 1. 3. Bergk's correction from yfwa xw xpovtor] p.ai'sia.
XXIV.
Asivdxaxov
ftsiov
x.x.X.
See Lesb.
Dial,
for
euê'oiXXo;,
EyEvvaxo, p. 82.
The well-known
the west wind
line
'
and the rainbow) a young man's fancy
In the spring (which should be the season of lightly turns to
thoughts of love
us the explanation of the graceful allegory of ', gives the Greek poet (as is implied in Etym. Cud. 278. 17, quoted by Bergk). The genealogy of course has no foundation in mythology.
Cf.
Alcman
XXII.
326
GREEK LYRIC POETS

'HXfte? ex rcpaxwv x.x.X.
XXV.
The
617
;
rest
11.
Lines 1-2 are given by Hephaestion. has been reconstructed from a paraphrase in Strabo xiii.
3,
4 by Bergk,
is
11.
5-7
by O.
Miiller.
The passage
civil strife at
usually placed
among
the Stasiotica, since
it
was
Lesbos which caused Antimenidas to enter the service of the king of Babylon. (Introd. to Alcaeus p. 136.) Hartung points out that he may have aided Nebuchadnezzar in the siege of Tyre, or the conquest of Judsea, or Cyaxares in the conquest of Nineveh.
See Lesb. Dial,

au[A[J.a/ct?, p.
for tw, p. 84, xxe'vvais
x-reivas)
pp. 82-3, the partic.
= to'vxs, for as osupu for Ssupo {v. on Sap. VII. 4) 7C[incov Lesbian the declension of the numerals is extended beyond the cf. oooxatos'xtov, Append. Alcaeus No. 35. first three Mr. Murray has pointed out to 1. 1. ypuaoos'xav IXscpavxivav Xa[3av me a sword in the Bronze Room of the British Museum belonging approximately to this period, which affords a beautiful commentary on this passage. The handle is composed, not, as is often the case, of one solid piece of ivory hollowed out to receive the metal, but of two pieces divided lengthwise and bound together by a golden thread running round the whole length of the hilt. We should 1. 4. xsXssa;, aor. indie, (the participle would be in -at?).
ami
90.
ooto,
in
rather expect xcXssaa?, but See Lesb. Dial. p. 82.
we
find e.g.
xaXsaai,
as well as xaXssaai.
We find, however, for [j.a/rjxrjv, is curious. 1. 5. The form [Jiayaixav a Dorian form [xayaxas, pointing to a stem [J-a/a-, side by side with From [J.a/a- Lesbian, retaining the Spirant of the termina[j.ays-. tion 10), may have formed a verb piayaiw, or possibly [j.a/ai;j.t (see p. 90), from either of which the derivative [j.ayaixa<; could be obtained. But one span short of 5 royal cubits ', i.e. the man's j3aaiXir]!wv, etc., Miiller reads pai'.X7JVov with height was about eight feet four inches.
1 '
quoting Herod, i. 178 to the exceeds the Greek xptai oaxxu'Xoi?. The epithet, otherwise prosy, thus enhances the glory of the achievement. PaaiX7]-io; preserves the ancient diaeresis, while in Attic we have
[jtayatTav
;
Bergk
paatXrjiwv with ::ays'v,
effect that the royal cubit
the diphthong PaaiXsco?.

v
XXVI.
in Liddell
'
E;:xaov wax' x.x.X.
Herod.
Lesb. Dial. J7caw
and
or two other instances are given Scott of the accusative following this verb in the sense
jET7J<jaw.
of.'
xsp\
[j.ov.
Xs. xxiii. 9.
One
of cower for fear
Assigned by Bergk among the enemy.
to the Stasiotica as
if
describing a sudden panic
XXVII.
This also
BX7]'yptov ava'[j.wv x.x.X.

is
Schol.
//. viii. 178.

if it
placed by Bergk
allegorical picture of peace.
the Stasiotica, as Cf. Nos. xvil. and XVIII.
among
were an
ALCAEUS
XXVIII.
cf.
327
Birds 1410.
"Opwd-es tivss oTS
-/..x.X.
Schol.
An
For metre,
No.
11.
noixtXdosppot,
Schneidewin
TrdXrjo; x.x.X.
for -sipot, Lesb. Dial. p. 82.
XXIX.
"Avops;
Schol. Aesch. Pers. 347.
7/.
1.
avops?
yap r.olzMi (restore Lesbian
7:0X10;) ru'pyo; ap.
XXX.
and No.
riivw[j.v x.x.X.
Ath.
i.
22
F.
It is
not unlikely that Athenaeus

1.
may have manufactured

v. respectively.
this line
by confusing together For aixpov see on No. 11. 1. 1.
in
No.
II.
SAPPHO
I.
noi/.iXoO-pov'
/..t.X.
'
Quoted by Dionys. de Comp.

'
Verb.
c.
23, as
an example of the
says,
Sappho
7]
finished style (yXacpupd; yapa/xrjp), in which, he excels all other Melic composers. He adds xauxrjc
zffi X:cio;
Euiizeiot.
xotl
7]
'/??<$
ttj
auvsTXâ xai Xstdx7jxt y^yovs xtov
ap;j.ovttov.
See Lesb. Dial, for oVaist
aviaurt), p.
(=
p.
xrjXoac), p.
88
a't-oxa,
(=
ei
7:0x2,
;
85 the adverbs xulos, xrjXui note on Spartan Dance-song I. and

; ;
85) ; /puatov (= /pucjcov), p. 85 -oiaa, -aiaa in the participles, p. 83 in the genitives wpavto, [jiaaw, aoo<o;, p. 84 ; the forms of the 'con/.aXr][j.t,
tracted' verbs oivsuvxs;,

Irj-sppst,
I.
aSt/oja, pp. go, 91
the forms
xsXs<ro-a'.,
pp. 82, 83, etc.

:
and
we
(cf.
this, however has less authority, riotxiXoGpov', 7'. 1. -or/.'.Xd<j>pov' tautological as compared with ooXg^Xo/.s in the next line, unless follow Ahrens in regarding roi/.-.Xoopov' as Lesbian for 7:01x1X0 $-pov
1.
is
Lesb. Dial. p. 83). The word is a'-acj Xcyo;j.Evov, and, in the sense of 'goddess of richly -carved throne', is a little unsuited to the Welcker conjectures that it refers to some contemporary context.
art at Lesbos (cf. Jebb, Hell. Journ, ill. i. 117, on sui>povot Pind. Pyth. ix. 62). But Aphrodite, although I must admit that she is called suOpovo? by Pindar {Pyth. i. 28), is nearly always, especially in early art, represented as erect. Consequently another
i2pai in
work of
(e.g. Wustmann Rhein. A fits. No. worthy of attention, who connect the word with the Homeric frpdva (//. xxii. 441, where Helen embroiders Opova -otxiXa on her robe). Aphrodite may thus be described as goddess of the spangled flowers just as at Cnosus she was called 'Avikta (v. Hesych. The epithet in this sense would be particularly appros.v. avQ-eia). priate from the lips of Sappho, whose love of flowers is conspicuous.
conjecture of
23, p. 238)
is
some commentators
'
',
Cf.
Frag.
3-4.
5.
vi. VII.
[j.
. .
.
xxxn.,
Oujj.ov,
etc.
xaO-' 6'Xov seal [lepog.
II.
1.
Schema
See
Ixe'pioxa
i-ip)d-i.
p. 85.
1.
6.
auSw? (Lesbian for auSou?), apparently from a form (auoo>
328
auo7]).
GREEK LYRIC POETS

'Aioiaa exXue?
'
while
xXu'w, especially in
the former, as usual, applies to physical hearing, the imperative xXuO-t, xe'xXuts, etc., constantly
'.
give heed to the two adjectives, unconnected by a Transl. conjunction, must not both be taken as mere epithets. With speed did thy beauteous sparrows, etc'
signifies
1.
attend to
.
'
',
.
9-10. xaXot
oJxss;
'
sacred to Aphrodite, v. Athen. ix. 391 E Aristoph. Lysistr. Latin poets have familiarised us rather with swans as the The charioteers of Venus {v. Hor. 3 Odes xxviii. 14; 4. i. 10, etc.).
dipouO'ot,
;
724.
The
Romans seem
Kepi
not to have been satisfied with the simplicity of the Lesbian picture.
U7rep, v.
:
Lesb. Dial.
p. 88.
[isXaivas
Moebius
directs attention to the
Homeric character
of
this epithet.
1. 11. For the scansion cf. note on Alcaeus XI. Gaisford reads wpavw Qi- -psu? 81a jjiaato, from an MS. reading d-wpavw9-epoc 3ta pieato With $c'pcu?( = he compares Vergil's 'nare per aestatem liquidam
1
'.
ih'oou;) cf. (SsXeus, Lesb.
Dial.
p. 87.
wpavto
oupav&u.
"^FopFavo?,
and G. Meyer
rather Dorian.
1.
Lesbian oppavo? from inclined to discredit upavo;, which is Cf. on No. xvi.
should expect in
is
We
14. 15.
[Jisioiaaata' /..r.X.
recalls
(
Homer's
oti),
<ptXo[j.[j.sto/ ?
1
'Aopoot'xa.
p.
to
1.
xioTTi
= /at
&Tci
= xat
v.
Lesb. Dial.
a
88.
suggests
traction.
I.
x' oxTt,
since
we should expect
and not
in
Meister such a con-
17.
xwxx'
Compare, however, 9-uptopw in Sap. XL. xcotti jjloi, without, however, any e;j.w, Bergk substitutes
Notice the effective transition to the goddess'
very doubtful, for the MSS. have something like The text is Bergk's, being a slight varia'
MSS. authority.
II.
18-19. Ttva x.x.X.
own words. The reading here

tion
is
ttva 3sut TOtS-iopiaisaYrjvsaaav.
upon
Seidler's.
Transl.
Whom
dost thou wish Peitho to bring
to thy love ?' Mat; (=pta?, Lesb. Dial. p. 90) is objectionable, since the pres. active is not elsewhere found, |i.ao[j.at on the contrary being employed in Sappho, App. No. 10; Seidler's Xal? (cf. Spartan Dance-song No. I) has no MS. authority. Among many other readings that of Blass is
stO w-|-;j.at o-' ayrjv x.x.X., i.e. aot ayr v but we worthy of attention. have no other instance in Sappho of the first or second line in the stanza to which she has given her name, ending in a non-final
(
syllable.
For Peitho as the attendant of Aphrodite cf. Ibycus ill., and Sappho 135 (Bergk), where she is called the daughter of the great goddess. Unknown to Homer, Peitho appears first in Hesiod in the legend of Pandora. Her prominence in later literature and worship is perhaps due to Sappho, Ibycus, and other lyric From the poets. seventh centuiy onwards she is usually the familiar of Aphrodite, and
SAPPHO
;
329
and
sometimes a mere attribute, as it were, of her although at Sicyon at Athens Peitho appears to have had a separate worship. 1. 20. tara'. Hermann regards this as an endearing diminutive for
the vocat. â-ooi (xwv u-oxopiaxixa>v) it is, however, not unlikely that in this case, as in some others (v. p. 87), Lesbian is influenced by the analogy of a different declension. Tupivva is given in Max. Tyr.
;
from Tupivvw, which

1.
is
found
in Et.
Mag.
243. 51.
Vide Bergk's note on the accent of yaXsmxv, etc., in which he is inclined to think that here too, and in the adverbs auxap, axap, etc., Lesbian kept to its practice of casting back the accent.
25.
I.
28.
ziio'h 9i, Ahrens conj.

etc.
safrt.
Quoted by Longinus de Sublim. c. 10, and his After commenting on the realistic character of Sappho's description (ex -ri;? txlrftdxc, aox7jc) he points out that she exhibits her power mainly in combining in a single picture all the most violent symptoms of the love-complaint (xa axpa auituv xat
II.
<aivcTat,
criticisms deserve notice.
uxspxsxajAs'va oeivtj xai ixXejfat xai

a[i.a 'iu/cxat, xaterai, aXoyicrret,
si?
aXXrjXa auvofjaai).
. . .
He
continues
cppovsi
'iva
[J.7J
v xt
-;p\ aux/jv 7:a0-o;
cpaiv^xai,
iraGwv 8e irvvoSos.
F., etc.,
Plutarch refers to the poem, Morall. ii. 762 Sappho aXr 9-to; [i.ji.iypiva Jtupl cp&s'yyexai.
(
remarking that
videtur.'
Catullus' rendering of this Cat. LI.

for the
p.
Ode
is
well
known,
s;j.[j.ev
'
Ille
mi par esse deo

k\j.\u
(
See Lesb. Dial,

p.
double liquid
in
= civou),
;
si[j.(),
;
87; (pwvsusa;, ycXabac, erappojj-jBciai, pp. 90, 91 xd for the relat., p. 87 xa[A, xax- for Ppo/aog, u7:aoEopd[j.a/.sv, p. 85 dXtyw for the genit. p. 84 etc. xsO-va/.^v, p. 89 /.axa, p. 88 1. Mot, 1. Apoll. de Pron. 336 A quotes from Sappho the words which is adopted by some commentators tpatvsxai Foi /.^vo;, a version but since all authorities have [.101 in this passage, and Catullus renders the line Ille mi,' etc., and since Apollonius himself quotes [j.01 in this line a little before, 335 A, we are almost forced to accept Bergk's explanation that in 356 A the grammarian was referring to some other
82;
(
; ;
; ;
xoi
= aoi),
'
poem. That the reference

1.
in ktjvos is quite
general
is
shown by
-/.?]
ooxt; in
2
1.
= si
quis).
1.
xrjvo;,
Lesbian and Dorian for
()x.tvo?.
Cf.
= (s)xe?, Sap.
XLI.
1.
1.
2.
'Qvrjp
6
'
i'v/jp.
4. v7:a/.ouci,
5.
Attente et
cum
silentio audit,'
'
Weiske.
1.
ysXaiaac, so
is
the reading
Buttmann and Neue (MSS. ysXai; or ys)>a; or,), and dulce ridentem,' and by supported by Catullus,
'
Horace's apparent imitation in 1 Od. xxii. 23, Dulce ridentem Lalagen amabo Dulce loquentem.' The reading in the text supplies us with a good example of zeugma, aiiOavsxai being implied in For [iav (= pjv) Hartung reads JjraxouEi, as Schneidewin points out.
|
'|j.av
(=
e[J-Y).
330
1.
GREEK LYRIC POETS

6.
IjrcoaffEv,
gnomic
aorist.
i7rro7]<jev
From tctoud we should of course expect

dialects
1.
;
in
ijrro'aaev is
from the
collateral
form
;rcoato
Lesbian as in other cf. on oprjp 1. II.

;
7.
the rest the line,
have given in the text the MSS. reading. (One MS. PpoyEws, Endless conjectures have been made to restore (3poysto;.) the nearest to the original being Neue's mote yap a iow x.t.X.
5
Ahrens suggests
yap fiow x.t.X. Bergk, with undue disregard of the MSS., w? yap siuSov (= *Aoov, sioov) [Bpoysio? o-. I suggest as possible w; xe yap c low. 1. 8. Etxei, if it be right, must be i.q. the Doric s'txei with Lesbian
a>? as
;
;
psilosis
1.
'
T/csi,
no utterance comes
to me.'
Toup reads
:
cxei.
FiFajz (p. 82), similarly we speak of 'broken accents,' etc. Compare Lucretius' imitation of this passage, iii. 155
9.
Sudores itaque
et pallorem existere toto Corpore, et infringi lingiiam vocemque aboriri, Caligare oculos, sonere aures, succidere artus.
1.
10. 11.
ypw, ace. for

oiriraTEcycTi
ypo'a.
Bergk ypw
dative.
1.
0[j.;.iaTsa3i,
and,
if it
the reading given almost unanimously for be correct, the change of r.[j. to rat, and not to \i\i is
is
probably without parallel,

MSS. in Sap. x.
is
"oâxa, on the contrary,
is
given by the
For due
1.
3.
we should expect opap {Lesb. Dial. p. 84), but the form to the collateral opsw, frequent in Herodotus. Bergk a o\ (juopto;, quoting juaXsupov in Alcaeus as another
opr\[xi
[-.
instance of
for
ex,
from
F,
Schneidewin
for
I/,
oi Ft'opio;,
p'.
with
some
jj.'
authority
'iopw?
but scarcely any for the omission of

[J.'
If a os
be
is
right,
must stand
aypsi
[j.01.
Cf. //. vi. 165,
xiii.
i.
given as feminine in 'Aeolic' Cram. An. Ox.

1.
481, etc. 208.
'iopw?
14.
Homeric
I.
aipsl, cf. Hesch. xataypEt, xaQ-aips'i, xaxaXajj-pavst, âXtvaypExo?, auTaypExo?, v. Buttmann Lex. i. 130.
and the
kioe6<ti]v,
15.
utosuEtv, etc.
etjioeu'eiv) so Ahrens 'mosuy]v (Lesb. Infin. ' I seem to lack but little of dying,' cf. the
I.e.
from
Longinus
-ap' oXtyov
te'O-vtjxev.
It is true that this

is
paraphrase in use of the active
instead of the middle iîoEuofAat
Hermann's reading 'raoEurjs which have the letter v.
(the adjective)
without any certain parallel, but is against the MSS., all of

r^srj,
1. the MSS., and Bergk supposes that they belong to Longinus' remarks with regard to the passage. In any case they probably indicate the sense of what followed in the original poem.
II. 16-17. To fill up the gap Bergk conjectures aXXa = Hermann 'AxO-t, etc. 17. The unmetrical words net xa\ TOvrj-ca follow in
demens
III. "AoTEps; x.tX Eust. II. 729. 20. See Lesb. Dial, for asXavvav. p. 82 CMroxpujcxoKn, oTzrcoxa ( = 6toxe), a'pyupta, p. 85. p. 85 and p. 88
;
^XrjO-oiaa, p.
83
SAPPHO
;
331
1. 4. dpyupia is mentioned as occurring somewhere in this or a very and is conjecturally placed as similar passage by Julian Efip. xix. in the text by Blomfield. Neue, remarking that Xdp.mri requires a
preposition, rather boldly reads yav irl iraa-av, from a comparison with the phrase -aaav eV aiav in //. viii. 1. 1 and xxiv. 695.
yav is used transitively for causes the earth to gleam', lights up the earth' but in all other instances of the transitive use the object is something whose very nature it is to shine, e.g. d-rajp, <reXas, cps'yyos, and not something which is illumined by a foreign light.
'
Possibly
'
Xajji^T]
With the whole passage cf. Hor. omnes Julium sidus velut inter ignes
|
46 Luna minores
xii.
:
Od.
'
Micat inter and Pindar
Isth.
iii.
42, 'Awacpo'po? fraTjxos
to?
aurpots iv aXXoig.
oe x.x.X. Quoted by Hermog. Walz. Rhet. iii. 315 as an of a beautiful Bergk suggests that description of nature. example the passage refers to the gardens of the Nymphs (cf. Ibycus I.), which, as we learn from Demetrius Eloc. cxxxn., were often introduced
IV.
'A[j.o\
poems, cf. Od. xvii. 209, Theocr. vii. 135, and Hor. Frondesque (Markland for 'fontesque') lymphis obstrepunt manantibus Somnos quod invitet leves 1. 1. uowp is interpolated, according to Neue, for the sake of exHe adds that û/pov xsXdoci = W/po? sari xsXaod;. planation. ucjStov Lesbian for oûv, v. Lesb. Dial. p. 83, and note on vii. 1. 4. 1. 3. the word xatappei is against Lesbian usage in two respects in the employment (1) of the contracted form instead of xaxdpp7)ii, consequently (2) of the full form xaxa- (see Lesb. Dial. pp. 88, 90) Ahrens reads xappe'ei, treating this line as the third and not the fourth
into Sappho's
'
Efiod.
ii.
27:
'.
in the
'
Sapphic stanza.
'
V. 'eXO-j KuTcpt. Athen. xi. 463, kotoc xr,v xaX^v Sarcpw, and the quotation certainly justifies the epithet he uses. Bergk's suggestion that these words occur in the song in which Sappho spoke of her brother as cup-bearer (cf. Introd. p. 140) is far-fetched and apt to mislead
for Sappho is speaking figuratively of the nectar of love, just as Pindar describes his poetry as ve'jcxap yuxov, 01. vii. 7. Lesb. Dial, for ypuat'atcji, p. 85 oivoyosuaa (Bergk for -oucia, Neue
;
;
-eiaa), p. 91.
au[j.[j..
O-aX.
'
mixtum voluptate
x.x.X.
',
Neue.
VI. KaxO-avcuaa
An
attack upon a rich but uncultivated

(v.
woman who had

Stob.
Flor.
iv.
probably provoked Sappho

Sa^cpou?
r.rjic,
Introd.
;
p.
152).
12,
aâtosuxov
yuvaix.a
Plut.
Pracc.
Conjug. c. 48, Ttpoq xtva rcXouTiav and Plut. Syinp. ill. i. 2, to that rose-garlands were sacred (ii7te<p7j|i.i<Ttai) to the Muses. See Lesb. Dial, for xaxO-avoisa, p. 83 7:oxa, p. 85 reoa for
;
; ;
show
|j.Exa,
p.
88
1.
ppo'owv for po'owv, p. 82.

uutepov.
1-2.
The
reading here
[j.v.
is
very doubtful.
uorepov.
Stob.
Plut,
I.e.
has
/.ax.
5k xefaeat ouos^:ox.a
oi&ev
ea. ouof-o/.'
however,
332
gives
GREEK LYRIC POETS
In 1. I I have given xeictsok ouSs xi? ;j.v. se'D-cv Easrai' ou yap x.x.X. eti implySpengel's simple but ingenious addition to Plutarch's text, ' now wealth the will no gives your reputation longer enjoy ing you ouSs'ôx' has been In 1. 2 Grotius conjecturally adds a? you'. replaced by the commentators for ouos'-ox', which is not Lesbian. y.f v 1. (= /.a\ iv), which is a Dorian contraction (v. 93), we 3. For
;
t
should certainly have expected xdv. Meister suggests that xtjv was = xa\ av (ava). I believe that employed to avoid confusion with xav we should either read xa\ 'v, or else /.' siv, the latter of which would
account for the reading in one MSS xav. The Epic form siv might xa{ elided suitably be borrowed in this Epic expression, and we find
elsewhere,
e.g.
Scol.
i.
2.
VII. 2u ol axapavoc?. Quoted, Athen. xiv. 674 E, as Sappho's simple reason for the custom of wearing garlands at sacrifices. See Lesb. Dial, for axscpavoi? (ace. plur.), p. 83 rcp!Ha9-' (= rap iS-safP), the infin. ^poTEprjv, p. 89. auvs-'ppatsa (= auvsipasa), pp. 82, 83 p. 88 w Aixa, Welcker's conjecture for tootxa. (For a in the voc. 1. I.
; ; ;
sing. v. Lesb. Dial. p. 86.) rapak'a^ (Seidler for âp{h'cj9-') after

infinitive for imperative,
1.
<ju must stand for zsptSHcO-at, the such an elision being not unfrequent in Epic.
2.
avj]-uoio
so
Ahrens and Bergk

Cf.
(inetri causa)
for the usual
Lesbian gen.
a7:aXaiat,
1.
avr|xw.
Alcaeus
1.
note.
Casaubon
for a-aXXayciar,.
7ceX. v.. /aptx? [Jiaxatpa. Bergk's text, sufficiently far from the original, but does difficulties than the various conjectures of
3.
Athen. has suavika yap

I
which
have followed,
is
not perhaps present more other commentators, and at least gives us the sense required. Trans. It is the lot (cf. ixxikzi in Antig. 478) of the flower-bedecked to be further in the favour of the goddesses ', there being perhaps special
'
reference to Aphrodite.
1.
Cf.
on No.
Cf.
I.
1.
4.
osupu
aTUjarpapovxai is also said to
(Appendix, No. 84). = ciaoo; (oo?) in very unemphatic one, except in the instance of liaoo; Sap. IV. 1. See G. Meyer's Gr. Gram. 62. The dative after aruaxpap. in the sense of 'are averse to\ is In both the Greek and intelligible enough, but not easy to parallel.
Appendix, Sap. No. 18, arcu. occur in Lesbian, though Sappho has osupo In the cases found the syllable is usually a
aôaxp.
and acquired
VIII.
(a)
the English phrase the verb seems to have lost the thought of motion that of hostility.
and others joining
The
Hephaest. 42, where XV. (c) is also quoted, Schneidewin that passage with this. It is seems to be borrowed from Epic. Xuatjjielri; epithet
e.g.
.
.
applied to Sleep in Homer,

.
Od. xx. 57, and to Love in Hesiod,

III.
roOo; in Archil. Theog. 911. Cf. Xuai[j.sX7)s Catull. lxviii. 18, 'dulce amarus'.
rXuxuraxpov,
cf.
SAPPHO
t
S33
The passage is (b) I have adopted Hartung's conjecture in I. i. quoted or paraphrased in Maxim. Tyr. xxiv. 9 thus, if ok 2oww>o1 6 Epwj sxtva^c xa; cpp. X.T.X. For the treatment of Eros in these passages see Additional Note B.
IX. Aiou/.z
afflat'.
/..-.l.
by Stephanus.
Lcsb.
Hephaest. 65. The lines are attributed to Sappho Schneidewin remarks 'aura cantilenae popularis
Dial. p. 82, for asXavva.

'
Bergk
restores Psilosis in
xaxsuow for
/.aO-suoto.
Me'aai vuxte? for
He
quotes Hdt.
viii.
midnight,' v. Blomfield Gloss. Aescli. Choeph. 282. 76, Thuc. viii. 101, Xen. Anab. 1. vii. 1, for the
'
same phrase. Klausen remarks that the plural in such cases implies some notion of universality, and Peile explains \>.iiai vu'x.ts; as the
period are hardly justified in saying that vuV.te; = (v. Liddell and Scott), unless some instance can be found of Nu? in the singular being used for 'a watch of the night.' The nearest
parallel to this case
xd?ov
at
which
all
nights, whether long or
short, are half gone.' 'the watches of the night'
We
never
would seem
the parts of a bow,' i.e. a bow, though a single part of it. Whatever be the explanation, it that the plural came to be used exactly in the same sense
is
'
rdfa,
as the singular in such phrases as ix
vux.tiov,
xoppio tuv vu/.twv, etc.

i.
X. Et
8'
r\yzc,
v..i.X
Quoted by
Aristot. Rhct.
9,
as Sappho's re-
sponse to Alcaeus' addresses.
See Alcaeus
XI. note,
and Additional
Note A.
See Lcsb. Dial. 7Jys; (= si/sg), p. 84; Fzlr.r^ (= stralv), pp. 82 and 89 iiXoc, for ia9-Xd; is found in Lesbian, and laXd? in Dorian and other Dialects ; cf. [JiaaXr]? = [j.aa9-Xrj?, Sap. XXIX. at ( = si),'see note on Spartan Dance-song, I. 1. 1. tt FeiTC7]v, Blomfield from [j.7)TtTst^v 1. 2. the words of course scornfully repeat Alcaeus' xi Fdr.r^. 1. 3. I have adopted Mehlhorn's conjecture for piv az oux stysv, or should expect xocttj/sv in Lesbian. Bergk proxsv (^ ou xav /sv. poses /.i a' ou xfyavsv. For d(j.;.iaTa Blomfield reads or.r.ot.xoL for MSS.
;
[j.t]
We
'
o;j.ij.a-a
1.
Notice Schema -/.a9'' oXov xai [jipo?. thou wouldst speak of it straightforwardly '. So Bergk and Ahrens for tw Sixai'w, which would be ridiculously tame.
{v.
on
II.
1.
11).
4.
Tw
oixaiw?,
XI.
'AW
ewv,
Stob. Flor. lxxx.
4.
Another
refusal
from Sappho
to a suitor.
See Lesb. Dial, for atj.[juv, p. 87 <tjv Foizrp ( = auvotxitv), pp. 82, 89. 2. auvFo;-/.7)v, Schneidewin or we may read auvofx7)v, and regard u as lengthened in arsi. Cf. on Alcaeus XVII. Bergk, in a different metre, reads ûvot/Ojv veto y' hvx from two MSS. vs' ousa.
;
1.
XII. 2xa0t
x.t.X.
is
Athen.
is
xiii.
564 D.
in
The metre
uncertain.
the text, the second line
According to Bergk's arrangement, as an ordinary Alcaic hendecasyllable.
334
GREEK LYRIC POETS

and
x.t.X, unveil, or reveal, the beauty in thine eyes.' Scott, in spite of the article, give a strange rendering,
'.
'
Tav eV oaaoi?
Liddell
'
shed grace over the eyes

XIII. rXuxsia
Hephaest. 60. The lines are probably {licTEp x.t.X. be regarded as brachycatalectic dimeters (with anacrusis) rather than as tripodies, as is indicated partly by the fact that the final See W. Christ, Me/rik, syllable is long in each case and not neutral.
to
'
'
p. 284.
See Lesb. Dial,

1.
for
-/.pv/.r^
(=
xps'xstv), p.
89;
and
2.
ot'
'A^poStx.
cf.
Hes.
Theog.
962,
uizooy.rfisiax
ppaSivav, p. 82. Sta ypuac'rjv
'A<ppooixav.
Horace's
xii.
'tibi
qualum Cythereae puer

in
ales tibi telas', etc. (3 Od.

lines.
4)
is
probably
'
imitation of these
Compare
too the
English song,
O
I
mother, put the wheel away, cannot spin to-night,' etc.
These lines, quoted by Hephaest. 95, are XIV. "Ecm [j.01 7..X.X assigned to Sappho by Ursinus, since Sappho is said by Suidas to have had a daughter named Cleis. Sappho's mother bore the same
name.
Metre.
ypuatotaiv
Brachycatalectic
being
trisyllabic,
trochaic tetrameters
disyllabic
(v.
Metre,
p.
61
;)
and AuSiav
by
synizesis.
Others
arrange the lines on a simpler metrical system,
by reading Kkir i$ (W.

t
Christ)
and
first
aTrataav
(Ahrens) for rcaaav or

i'pÊprjv,
roxiaav.
See Lesb. Dial, for
ypuatoiaiv, p.
85; E/oiaa, p. 83;

is
p. 87.
aya-axa, as the length of the
syllable shows,
for d ayaâxa.
XV. These passages, or most of them, refer to certain quarrels that Sappho was engaged in (v. p. 152), excited perhaps by jealousy on
In XV. (a) she complains of the inthe part of her Lesbian rivals. gratitude of those whom she has befriended, perhaps some of her own pupils, but she adds that she is not speaking of the nobler sort
;
she speaks of the estrangement even of her favourite in (e) she implies that some punishment has befallen her Atthis but in (/) she disclaims resentment on her part, rival Andromeda
in (b),
(c),
;
and
(d)
have conjecturally regarded the gnomic sentence in (g) as suggested by the circumstances to which the other passages seem
I
and
to refer.
Neither would
it,
think, be excessively fanciful to suppose that in
the lines of No. xvi.
Sappho is concluding the subject by proudly vindicating her poetic reputation against the spiteful criticisms of her
rivals.
(a)
Et.
M.
Ages.
xi. 12.
su Qita is explained as TOtstv eu cf. Xen. 449. 34. e/elv. ti9e\s xa xwv oiXtov aaoaXwc, v. Elsmley Eur. Med. 896.
SAPPHO
/.Tjvoi
335
Ahrens
for aivovxai
(=
xslvoi), cf.
on No.
II.
1.
aiwovxai
from
Choerob. 259.
cats
u'fAfxiv
xaXai?
x.x.X.
Quoted by Apollon. de Pron. 34S

p.
c.
to illustrate
{Lesb. Dial.
87).
It
is,
fragment belongs to the same Mr. Swinburne makes much of this line in {b) 1. I. Hephaest. 42. his Anastasia, and certainly its rhythmical flow is singularly attraccf. No. XVI. (a'). tive, rcoxa Blomfield for 7ioxa, v. Lesb. Dial. p. 85. Plut. Erot. c. 5, in illustration of a usage of yapu, the meaning 1. 2. of x.a/apt? here being given as xrp ou^w yap.wv Eyouaav wpav. That the line refers to Atthis, and is closely connected with the previous line in the text, is demonstrated, as Bergk points out, by Terentian Mater. Florea 2154: 'Cordi quando fuisse sibl canit Atthida parvam virginitas sua cum foret.' Plutarch has exi aaivco. IcpaivEo, Bergk from Max. Tyr. xxiv. 9,
this
|
think, extremely probable Ode as the lines oxxiva; x.x.X.

I
that
e'[x[j.v
[j.[j.vai
tpaivsat.
(c)
1.
Hephaest
42.
2.
(ppovxiaorjv
(=
cppovxiîv),
Bentley for
cppovclg
Vjv,
v.
Lesb. Dial.
Andromeda is mentioned pp. 84 and 89. one of Sappho's rivals (avxfxsyvo?). She
by Maxim. Tyr. xxiv. 8, as is attacked by Sappho in
the next passage, and in Bergk 58. Various Saucpw r.spi 'Avopopioa? axwrnrsi, (d) Athen. i. 21 c. use attempts are made to restore 1. I, and many commentators make of what seems to be a paraphrase of this passage in Maxim. Tyr.
xxiv. 9
:
t(? 3' ocypoiwxiv jxe[j.[JLva axoXrjv.
See Lesb. Dial, for

Ppaxea
(Jpaxsa, p.
82
sXxrjv
(=
IXxstv), p. 89.
'
Hesychius If so, the force of the satire is that the fine woman's garment clothes cannot conceal the innate clumsiness of the wearer. Similarly the Scotch girl in Burns, commenting on a rival, points out
'. '
very well bear its common meaning of 'rags', or here ; but Liddell and Scott on the authority of clothes ', shabby a rich as (ppaxo; t[j.axtov noXuxeXe's) translate the words
may
'
How
2.
her
new shoon
fit
her auld shachl't
feet.'
(e)
Hephaest. 82.
(/) Et.
e[i.[u
'
and
See Lesb. Dial. Z[i.\u, p. 82 (3dx7]v, p. Sy. 43. for [j.[j.v and opyavwv. Ursinus opyav, am not one of the resentful in temper, but have a gentle
;
M.
spirit.'
'Apaxrj? is
explained Et.
in
M.
Anacreon XIX,
apa-/.tô[j.Evwv
contrast to
as avxi xou rjauyiov xat -paov. Liddell yaXs-ou;.

' '
Cf.
and
Scott's translation of ajBax.r^ in this passage, childlike,' innocent,' is Its literal meaning seems to be 'not answering surely incorrect.
again,' rather than 'without the power of speech,' like an infant. (g) Plut. de Coh. Ira c. 7, i\ 2a::cpio 7rapaivt ax. ev ax. opyrj? 7:<puXay0ai
The text has been restored by yXtoaaav [j.a'luXaxxav. I have adopted Ahrens' ^souXaô, since Seidler.
Hermann and
-j-iuXayOai
is
336
GREEK LYRIC POETS

Jtapaivst.
evidently dependent in Plutarch on
MaûXaxa? occurs Pind.
Nem.
vii.
105.
XVI.
(a) aur,v x.x.X.
Herod,
II.
r.soi (j.ov. Xs'. vii.
28.
Mva<TE<r9-at x.x.X.,
Dio Chrysos. Or. xxxvii. T. belong to the same song.

recalled respectively
'
|
The two passages not improbably (See also on xv. ad init.) They are
535.
'
by Horace's Sublimi feriam sidera Usque ego postera Crescam laude recens'.
;
vertice
',
and
See Lesb. Dial, for J/au<r]v, p. 89; SoxtjAWfu, p. 89 ap-pitov, p. 87. In the first line Herod, has Aadstv 81 ou oo/.sl piot tdpavw Suarrayja,
I deem that I touch not the being Bergk's conjecture. heavens by two cubits,' i.e. Two cubits more and I touch the heavens.' For the single liquid, where we should have opavw = oupavou. expected oppavw (from *FopFavd;) v. p. 82, and cf. on No. I. 1. 11. Casaubon In the second line uoxspov is given by Volger for sxspov.
Su'ot rca/saiv
'
'
pivaaEafrat for p.vaaaa9-at.
Sappho is evidently xtpiav x.t X. Apoll. de Prott. 404 A. connects with this and the of Muses, reasonably Bergk speaking
(b)
At
p-s
passage Aristid.
dXptav xs xa\
ii.
508, Sarctpou; Xsyoua7];
to;
aux7jv at
Mouaat
xto
dvxt
7jXtoxr,v snotrjaav, xa\ toe ou<5' d-oO-avouarj;
earai
XrjO-7].
The
fragment would thus appear to be connected either with the preceding one or with No. VI.
At
p.s
Seidler for
ep.s.
xxiv. 9,
Restored by Neue from Maxim. Tyr. with Socrates' exhortation to Xanthippe the dying words of Sappho to her daughter, ou yap Q-. v (Aouao^dXwv
XVII. Ou yap
-9-s'p.i?
x.x.X.
who compares
o'/tta
I
SpfjjVov.
I
sTvat x.x.X.
'
have adopted Schneidewin's reading,

referring to
'.
p.oi(707:dXw gen.,
'
in
domo
vatis,'
Sappho
Neue
p.otao7:dXio,
a house
serving the
Muses
Bergk (Sappho 137) conjectures that these lines are from the song which Solon is said to have taken pains to learn before he died. XVIII.
Dial, for
'
OuS' tav x.t.X.
Chrysipp.,
;
izspi
a-ooaxtxtov,
13.
See Lesb.
oox.ip.wp.1, p.
89
aXtto
tjXiou.
deerp that no maiden that beholds the light of the sun will at
any time be (thine) equal in wisdom.' Sappho is perhaps speaking of one of her pupils, unless of her own fame as in No. xvi.
Socpia,
'poetic
skill,'
as in Pind. 01.
i.
116, Pyth.
i.
12, etc.
Notice epical phraseology
in rcpoaio. tpdo? aXtw.
XIX.
Kp7]aaai
Ionics a majore
65, is rightly
Lines 1-2 are quoted by Hephaest. 63 as u J) but if, as seems probable, 1. 3 quoted ibid. attached by Santen to 11. 1-2, the metre must be choriambic
x.x.X.
with anacrusis, v. Metre,
p. 69.
SAPPHO
See Lesb. Dial, for
z/.
337
p.
wpysuviro,
|j.axaaat,
go;
[j.<m'w
(=
toxte'w),
Hesych.
ra>a;
t.
a.
seems copied from Odyss.

v. p. 29.
ix.
449, 'pev' avfoa
jtowjs.
For
Cretan dancers
XX.
nX7]pr]s x.t.X.
as indicated above in the text.
an Ionic,
v.
Metre,
p.
Hephaest. 63 as an example of Ionics a majore, For a trochaic dipody answering to It is, however, possible to scan the lines 70.
:
as logaoedic with anacrusis

v>
'
.
_ ^y v^ w _ w
/
v-
Schneidewin remarks, videtur de artibus magicis sermo de ortu,' Neue. Cf. //. viii. 5 56, etc. ecpaiveTo,
'
esse.'
XXI. Kax9-vaaxei x.-u.X. Quoted by Hephaest. p. 59, and attributed to Sappho on the strength of Pausan. IX. xxix. 8, where it is said that Sappho sang about Adonis and Oetolinus, and of Anth. Pal. vii. 407. V
Ktvopsw
ve'ov
epvo; oSupojiivrj, 'AcppoSttr]
Suvfrprjvo;,
in reference
to
Sappho.
*
is
In this, as in many other cases, e.g. the Bridal Songs, the poetess drawing upon the Volkslieder for her material. See pp. 12, 14.
XXII. "Ays or] x.t.X. 317 (Walz), and Eust.

speaks
'0[j.rjptxw;.
Reconstructed by Bergk from Hermog.

77. ix.
iii.
41, the latter of
Pindar, like
i.
says that Sappho Sappho, addresses his lyre in a
whom
famous passage, Pyth.
1.
XXIII. {a) Hephaest. 52 as a choriambic tetrameter. The Graces are invoked to give beauty to the song. They are constantly invoked, or mentioned by Pindar, in a similar manner, e.g. 01. xiv.
Gaisford reads vuv (given in several MSS.), comparing for metre Te deos oro Sybarin cur properas amando,' Hor. 1 Od. viii. But the Latin poets were always more anxious to avoid a long succession of choriambics than the Greek {v. Metre, p. 68) and Gaisford dis'
;
regards the testimony of Hephaestion. Philostr. Epist. 71, commenting on (b) Argument Theocr. xxviii. Sappho's love of the rose, seems to refer to the beautiful epithet in
this
passage
{v.
Bergk,
ad loc).
by Schneidewin
for 00S.
v. Lesb. Dial. p. 82.
Bpoooxaysss, restored
XXIV. Taiat (Se) Au/po?. Schol. Pind. Pyth. i. 10, where Pindar describes the soothing influence of music even on the eagle of Zeus,
causing him to relax his swift wings
/aXa?ai;
1.
(toxstav
(iii
^xspuy'
aj-icpo-cepwO-ev
xwv rapiaTspwv. The words liA iou iv. imply that, while in Pindar the eagle relaxes his wings from delight, in Sappho the same effect is caused by the Thus Neue, ûypoc,, ob timorem,' reverse feeling of pain or fear. If we could accept Volger's 'û/po;, languidus cf. Protn. Vine. 693. prae somno the meaning of the Scholiast would be that, while Pindar
6)
:
oe 2a7rcpw hit too evavxiou
'
',
338
GREEK LYRIC POETS
takes as his illustration of the influence of music one of the fiercest of birds, Sappho for the same purpose speaks of the gentlest. But such a rendering of AG/po; is, I think, out of the question, as it always signifies 'lifeless', or 'spiritless.'
oe
added by Neue
I'yEVTo,
Bockh
for lyEVETo.
XXV. "Eyw 8e cp(X7][i.' x.t.X. Ath. xv. 687, arguing that luxury is not necessarily inconsistent with virtue, quotes this passage with the remark Sarccpw 7]Sja9-r] to xaXov tJJs aPpoTr]Tos aa>eXE"tv.
Metre.
clusion.
Choriambic
with anacrusis, and a brachycatalectic con:
See Lesb. Dial. oiXrj[j.t, p. 90. The words xai [xoi x.t.X. are paraphrased by Athenaeus thus r xou so that asXtto seems to be tjv i7ci'9'u[i.(a to Xajajcpov /.ai to xaXov stysv auTr; used for life,' like the Homeric cpao; iêXioio. If so, the meaning of
; '
the passage as it stands is as follows the joy I take in life, includes all that
'
My
desire for the light of
life,
splendid and all that is fair.' The context in Athenaeus clearly shows that xaXov has here an ethical and not merely an aesthetic signification.
is
XXVI. 'Hpo? ayyeXo? x.t.X. Schol. Soph. El. 149. The dactyls are probably choreic, as is shown by the cf. on Alcaeus Frag. I. Comp. Odyss. xix. 5 8.
1
initial
trochee
XXVII.
or
oo-orov, p.
(a)
'O
:
[jlv
yap
x.t.X.
Galen Protr.
c. 8.
See Lesb. Dial.
82
'iBrjv
lostv), p.
it
Bergk and Schneidewin among the Epithalamia as if were an apology for the ill looks of the bridegroom. Notice the redundant xai xaXog is plausibly added by Hermann.
. . . '
89. place this
in K&yaO-o?
Kal xaXoc, arising out of a natural confusion, as
if
the
C.
sentence ran
2xE<Lat lav
he
is
both good and

e[j.ov to?
fair.'
Cf.
Plat.
Phaedo 64
or\
apa Kal aoi auvooxfj a^so

IlalS'
|
Kap.01,
and
ii.
//. vi.
476, Sots
v.
koI
tovSe ysvEafrai
Kal
Eyw'rcEp.
(b) 6 tcXouto?
x.t.X.
Schol. Pind. 01.
53
and Pyth.
1.
Tac
supplied by Neue.
XXVIII. x.t.X. i'yw Apoll. de Synt. 247. assigned to Sappho on account of metre and dialect.
AW
Conjecturally
tration of the excellence of

I',
Quoted by Schol. Ar. Peace 1 174, in illusLydian dyes, to which therefore the words Auo. x. refer. Compare Horn. //. iv. 142, where Myiovi; stands for Lydian. MaaXyj? for [jLaaS-Xr]?. Cf. eoXo?, and v. on Sap. x. 1.
Se x.t.X.
XXIX. ndSa?
XXX.
XXXI.
Oux
'12?
otS' x.t.X.
Chrysipp.
x.t.X.
iz,
arcocpaT,
1.
23.
oe
Teat's
Et.
M.
662, 32.
7ipoaTtO-vai
au[i.cowvov,
tocrap to
lzTpuyw[j.at
TTETiTEpuytojjLat,
Ot yap 'AioXst? E?wS-aat also Schol.
Theocr.
7ce6a
i.
55.
so Schol. Theocr. but Et.
M.
x:ai3a.
The
alliteration
both of
SAPPHO
the labials and dentals in the line is particularly noticeable. the dentals, Dith. Poets I. ', 11. 1-2.
339
Cf. for
XXXII.
xa"t
TaSs vuv Ixaipat? x.x.X. Athen. xiii. 751 at eXsuS-spai yuvatxe; eti xai vuv xa\ at 7cap9-Evoi xa;
D.
xaXouai youv
xai cpfXa;
<juvr)'0-st5
Ixatpa?.
BRIDAL SONGS
For the early Greek Bridal Song, see p. 12. These short fragments bring before us very dramatically the nature It is plain that of the occasion for which they were intended. Sappho's Bridal Songs took their character from the appropriate Volkslieder, a fact which is conspicuous alike in the metre of several of the passages and in the naivete of the language.
XXXIII.
v I\|/oi
x.x.X.
This passage
ptEaopiviov,
is
quoted by Hephaest. 129, to

;
and by Demetr. de Eloc. clxviii. for the beauty of the [j.exa.fio'kri, or change from an exaggerated expression t<jo;"Apeui to a more sober statement
illustrate the
use of the
or refrain after each line
in
1.
(eaxt
8s'
xt; totw?
yotpt? Sawpixrj
ex [xexaPoXrJ?, oxav xt zlrzouacc
(Jtsxa-
paXXrjxat
Metre. Various attempts have been made, often with considerable violence to the text, to bring these lines to the form of hexameters. As they stand, 11. 1, 2, 4 are paroemiacs, with or without anacrusis, a
xa"t
loairep [ierav07]O7)).
metre of great antiquity and common in Volkslieder. Cf. infra on Linus song, Popular Songs 1. For 1. 3 v. below. The refrain was probably sung, or shouted, by the whole bridal company the rest of the song perhaps by a chorus of maidens, cf. on No. xxxvil.
;
See Lesb. Dial,

(genit), p. 84.
for aeppexe (aefpexe), p. 82;
u^vaov,
p.
85;
p.syaXio
At first sight these words look as if they refer to 1. 1-2. *l#oi x.x.?,. the erection of a triumphal arch but doubtless they are a mere complimentary jest at the stature of the bridegroom as he approaches the
;
house.
Although the MS. authority is against it, this form is usually adopted, since the grammarians state that this was the Lesbian for Meister (p. 46), however, discredits their testimony. u'lot.
Notice the Epic expression
textoves
avSps?,
cf.
7roip.svEs
avSps?
in
No. xxxvn.
1.
3.
1. 3. Bergk brings this line metrically into harmony with the rest by reading epysxai, and regarding yaptppo; (or yaj3po?) as ^/^, compar-
ing avopoxTjxa xa\ rjpVjv in Homer {v. Bergk) but in a song of this kind, interrupted as each verse is by the refrain, it is hardly necessary for them all to have been of equal length.
;
ya|j.ppov"
xov vujjupfov AtoXst?,
Bekk. Anecd. Gr.

lines as
p.
228.
Cf.
Pind.
01.
vii. 4.
(b)
Those who arrange the previous
hexameters, add to
340
them
'
GREEK LYRIC POETS

this verse,
in
which
is
quoted by Demetr. de Eloc.
cxlvi.
from
Sappho
16),
reference to a
man
of great stature.
The
Lesbian singer' is usually taken to be Terpander (cf. but refers rather to the Lesbian poets in general. For the hexametric metre, cf. No. xxxvn. and see Metre,
proverbial Eust. //. 741,

p. 62.
XXXIV.
Tlw
x.t.X.
Quoted by Hephaest. 41 as Aeolic Pentameters

itxaaBco, p. 84.
though without the name of Sappho. See Lesb. Dial, for tw (=tvi), p. 88;
The
diaeresis
of an original diphthong in eVxaaow is remarkable, and is perhaps employed for metrical reasons on the analogy of the diaeresis common See pp. 84-5. in Lesbian where the diphthong is not original.
xotXtdr'
answering to
tells
grammarian
xaXto;, so Bergk for [AaXiar'. Similarly a us that Alcaeus employed xaXtov for xaXXiov.
XXXV.
Xalpe
x.t.X.
Serv. Verg. Georg.
i.
31.
See Lesb. Dial.
p.
86, for vuijâ.
XXXVI. "oXpts x.-c.X. Hephaest. 102. See Lesb. Dial, for vg\c, (Reisk for eyeis), p. 89. Schneidewin points out that ciX[3ts yap-Ppe is the conventional greeting in Epithalamia, cf. Theocr. xviii. 16; Eurip. Hel. 640 (u>Xjji<7av = addressed as 6X|3ia), Hes. Fr. xlix. = See apao, unaugmented Imperf. in the -\u conjugation rjpaao.
Lesb. Dial. p. 90.
11. OCov x.t.X. 11. 1-3 Schol. Hermog. (Walz) vii. 983. refers to That the first of these de Eloc. Demetr. cvi. passages 4-5, the bride is obvious from Himerius i. 4 and 16, where a sort of paraphrase is given of Sappho's Bridal Song {v. quotation in Bergk). The second passage is quoted without Sappho's name, but is very A comparison with the reasonably assigned to her by Bergk.
XXXVII.
Wedding-song, Catullus (No. 62), renders this practically certain. In the Latin poem a band of youths sings in answer to a band of the maiden who has been caregirls, and in 1. 39 the latter compare fully reared to a flower that has grown up unharmed in a garden
Ut
flos in septis
secretus nascitur hortis,
Ignotus pecori, etc. In 1. 49 the youths declare that a maiden who shuns marriage is like a vine in a bare field, with no husband-elm on which to rest for
support.
Ut vidua
in
nudo
vitis
quae nascitur arvo,

evocat uvam,
Nunquam
se extollit,
nunquam mitem
Sed tenerum /?wz0
deflectens pendere corpus,
Jam jam contingit summum radice flagellum, Hanc nulli agricolae, nulli accoluere juvenci, etc.
It is
Greek passages before
the only natural to conclude that herein Catullus was imitating us, both being from Sappho, and that just
SAPPHO
341
as the lines o!ov to yXuy.ujj.aXov x.x.X. refer, we are told, like Catullus' 'ut fios, etc.,' to the tenderly-reared virgin-bride (Himer. I.e.), similarly the passage otav xocv uaxivSov x.x.X. describes the obscure and
in girl, iv oupeut being paralleled by by prono deflectens, etc.,' and the neglect of hanc nulli agricolae, etc' A further the shepherds by the line
neglected
. .
lot
of the unmarried
' '
'
nudo
arvo,' xajJ-ai
probable assumption from the comparison with Catullus is that 11. 1-3 are sung by a chorus of maidens, and 11. 4-5 by youths, as I have
indicated in the text.
See Lesb. Dial,

op6-i]Eq, p.
'
87
xaxaaxt[3oiaL, p. 83,
for uaoio (=ow), p. 84, and note and p. 88.
on
vii.
>j.aXo-
I.
3.
Forgot
till
now.'
4-5.
it not, Rossetti.
nay
but got
it
not, for they could not get

ok
it
II.
.
Demetrius
[J.EV
1^
I.e.
remarks,
-
xfjs Xe'Sjswi;
. . .
[j.kv
uTnjpsxsl
7j
iTz<.y.oa[xi
UTtrjpsxsl
xoiaos
oTav
xaxaaxEt'Pouai.
E-ix.oa[j.t
x6
EJUtpEpo'piEvov
yap-ai Se xe x.x.X.
With
8 re.
the Epic 7:oi;j.svei; avSps? cf. No. XXXIII. 2, xexxovs; v.vbpzi;. Te in the combinations [oiv xe, 8s xe, xai xe, yap xe, aXXa
'
xe,
not a conjunction, and does not affect the meaning of the conjunction which it follows.' Monr. Hodi. Gr. p. 243. It serves to mark an assertion as general or indefinite,' Id. p. 242.
and the
like, is
'
XXXVIII.
Ilapihvia
x.x.X.
:
of the beauty of dvaoi'^Xwat;

arcoxptvExcu x.x.X.
1.
Demetr. de Eloc.
vu;j.cp7]
cxl.
as an example
;ip6<;
x^v 7âp8sviav yrî
...
^ ok
1.
Blomfield conjectures
a7roi/7]
for oiyr\\
otherwise the metre
would be
a most improbable arrangement in monodic poetry. 1. 2. Various endeavours have been made to restore this line to the metre of 1. 1. In itself it becomes perfectly metrical merely by elision
and the
substitution of
7:pox\
or
rcox't
for 7wpo;, as in the text.
El. M. 384, 4. Demetr. de Eloc. cxli., etc. perhaps belong to the same song as No. xxxvn, and probably suggested the address to Hesperus in Catullus 62. Compare Byron's
fEarapE x.x.X.
XXXIX.
These
lines
'
Hesperus, thou bringest
all
good
things,' etc.
otv, Casaubon's admirable emendation for oTvov. Many attempts have been made to restore this line to greater metrical regularity. If it be right as it stands the scansion is
1.
2.
djiu <p. [j.axpt n. from aôiov in one of the authorities. the introduction of the preposition, I would suggest a further alteration to d~u |j.dxpoi; rcai'v, thus bringing the passage into agreement with Catullus' Hespere qui natam possis complexu
Bergk reads
If
we accept
'
342
GREEK LYRIC POETS

since
'
avellere matris.'
Bergk's reading, however, may possibly bear the it is conceivable that araxpe'petv, like a<paipeiv, should take a dative in the sense of from the mother'.
same meaning,
clxvii.
-/..tX Hephaest. 41, and described by Demetr. de Eloc. a satirical passage where Sappho intentionally adopted prosaic language. Schneidewin quotes Pollux iii. 42, xaXftxai -a; xwv tou
XL. Gupw'pw
as
vupupiou tptXwv
apywv fa? yuvaixag (3o7]d-iv ttj These verses then exhibit to us a phase in the mimic bridal combat, when the maidens console themselves for their baffled attempt at rescue by aiming feminine sarcasms against their opponent. For 9-upwpw, where we should expect in Lesbian 9-upocpw v. p. 84. Compare, however, xwtci in Sap. I. 1 5 (note). rapte- Schneidewin for raVce-, Lesb. Dial. p. 83.
9-upai?
xai Qupwpo?, 6 vu V?n Powctt).
-rais
i<pe(m]Ji>s xat
XLI.
exhibit
Krj 3' |j.(3poatas x.t.X.
Hermes
Bergk and
Lesb. for
11. 1-2 are cited by Athen. x. 425 C. to as wine-bearer to the gods ; 11. 3-5 Athen. xi. 475 A. Ahrens reasonably join the two passages together.
SeeLeso, Dial,
iy.et.
vjyov, p. 84.
For
xfjvoi=xEivot, see
on No.
II. 1.
Ktj,
If, as seems to be the case, the lines are from an epithalamium, perhaps the bridal of Peleus and Thetis is referred to and we have a good example of the Greek love of drawing upon mythology for a
;
parallel to the present occasion.
Cf. p. 19.
For the gen.

I-
a[j.|3poa(as
Neue compares
Odyss.
iii.
390, 393.
3-
xa PX?3 otaj an illustration of these

is
may be
seen in Panofka's
Ancients, PL viii. 9. a different metre from the rest, perhaps as the closing line in a stanza. It is either Ionic as indicated in the scheme, concluding with a trochaic dipody {v. Metre, p. 70), orchoriambic with anacrusis
1.
Manners and Customs of the

4
in
v-/
<J
'
v./
KJ
w \J
Hermes assumes
*ipu,
whose duty
it
the office of cup-bearer to the gods as being the appears to have been to pour out the wine at
cf. II.
iii.
sacrifices or great banquets,
245
seq.,
and elsewhere, and
see Roscher's Lexicon,
'
Hermes.'
STESICHORUS
These three passages are
exploits of Hercules against
all
from the
rr]puovrj(?,
or the story of the
Geryon.
I. (a) Athen. xi. 469 E. The story of Hercules borrowing the cup of Helios to sail over the ocean (v. Athen. xi. 470 c) probably arises
from a confusion
in
mythological tradition.
The cup seems
to
have
STESICHORUS
been the attribute
343
originally, not of Helios, but of Hercules, in his character as a sun-god, corresponding to Melcart. As this aspect of Hercules was lost sight of, the myth was transferred to Helios, the
sun-god proper, and Hercules in the present story was represented as merely borrowing the cup. He sailed in it to Erytheia, where the cattle of Geryon were to be found (cf. Athen. xi. 781 A, and 469 r) and in the passage before us has apparently just restored it to Helios, who goes on his westward voyage, while the hero makes his way
;
inland.
I.
3.
atpixoitP
Blomfield, for
a^txr) 8'.
Notice the Epic phraseology
in
(3e'v0-a
II.
I.
vu/toc, as in xouptSiav aXoyov, etc. (1. 4). 5-6. For the trochees in f-time, v. Metre, p. 67.
'
explained by some as with firm tread,' Buchholz comparing Theocr. viii. 47, MiXwv (Batvei jknji. But it is, I think, much better to translate the word on foot' in contrast to the journey in the ocean-cup which is just completed. Cf. above. rcaY? Schneidewin, for tzaXc,. (P) Strabo iii. 148, r.ep\ tou rvjpuovo? (3ouxoXou. Erytheia is explained by Strabo as Gades and the adjoining islands, Tartessus as the Baetis, while apyupopiôu; refers to the silver mines near that river. There remains no little difficulty in the words, since the poet seems to say that Eurythion (the herdsman) was born
6.
juoaafl,
'
opposite Gades and yet near the source of the Baetis. Bergk, to meet this, entirely inverts the order, thus Tapx. 7:01:. ct/eSov (a word in Strabo which I have not included in the text) avx. xX. 'EpuS-sfa; ev
:
|
xsuS-. jtsTp. 7iapa rcay. araip. apyupoptou;,
he was born hard by
(the
mouth
of)
meaning then being that the Baetis, opposite Gades and

the
near the silver mines, âya; referring not to the river, but to the mines Even then the poet (cf. Aesch. Pers. 234, apyupou xrjyr] xi? x.x.X.). will be in error, since Strabo speaks of the silver mines as being in a mountain out of which the Baetis rises nor does the expression in
;
Aeschylus
justify us in
'
regarding the phrase

'.
'
silver-rooted sources
'
'
as equivalent to
silver-mines
if
'
become
'
quite intelligible source ', but as streams

'
As the words stand in the text they we regard raya? not as fountains or
'
',
waters
'.
For the short final syllable in the accus. plur. raya; (Schneidewin -aya;) v. Dor. Dial. p. 93. These lines relate to the occasion when the (y) Ath. xi. 499 a. other Centaurs were attracted by the smell of Pholus' wine, and were This took place on the hero's disastrously defeated by Hercules. return from Spain.
crzu^cpsiov
xfivsv
Casaubon, for Bergk, for rftsv.

Ouvsxa TuvSapso?
II.
(5'
-rxixyiov.
II.
(a)
x.t.X.
Schol. Eur. Or. 249.

II. a'
With
story
and probably with
is
connected the well-known

subsequent
recovery,
of
Stesichorus's
blindness
and
thus
344
briefly related
xHJvoa,
GREEK LYRIC POETS

by Suidas
<J>aoi ok
autov ypot'}avTa
Iyy.wp.10v
s?
i]/dyov 'EXe'v?)?
xf,v
xutpXw-
T:aXiv
ok ypociavxa
EXev7j?
dvsipou,
7:aXivw3iav,
avapXs'iai.
The poem
in
which he offended Helen was probably
either the 'EXe'va or the 'iXiou ILipaiq, and Bergk, whose remarks ad loc. should be consulted, considers that the lines in II. a' are part of
impossible to say how the story arose, but not improbably to account for the heterodox version of the Flight to Troy adopted or invented by Stesichorus, to the effect that it was only a delusive image of Helen that accompanied Paris (cf. Plat. Rep. ix. 586 c). rcoxe is supplied by Bergk, three MSS. 1. 1. Cf. Eurip. I.e. giving ouvsxa jiots. Schneidewin thinks that ouvsxa does not belong to the words of Stesichorus.
it.
It is
it
was devised
1.
2.
[j-oilvas
Bk. for
cf.
|J.ovac,
or
|j.ia;.
'H^toowpw
(v.
Dor. Dial.
p. 93,
for the genii.),
the expression
Stop' 'Aa>po3ix7]s,
and see note on

is
Bacchyl.
II.
1.
4.
/oXwaa|jivT].
Kleine /oXioaapiEva, but the change

;
unsafe in the
case of a word so frequent in Epic

1.
cf. p.
78.
3.
Schneidewin prefers
to
xou'pa;,
since the goddess
was not angry
with the daughters of Tyndareus.

aocpiv7)
1.
4.
take /oXwventing her wrath upon Tptyapou?, referring to Helen's union with Theseus, Menelaus,
But we
'.
may perhaps
mean
'
and Paris
(P)
respectively.
etc'
IxufJLOs
From the famous Palinode to which host of ancient authorities. The passage is quoted by Plato Phaedr. 243 A, with the remark xat roirjaa? or* -aaav
oux
x.t.X,
' '
reference
is
made by a
t^v xaXouuivTjv TzaXivojofav

III. IloXXa
-apaypri'jj.a avc'pXs'lev.
[jlev
Kuow'vta
x.x.X.
Quoted by Athen.
iii.
81 D, from
Helena,' in which Epithalamium celebrating the

Stesichorus'
'
poem
there apparently occurred an nuptials of Helen and Menelaus
It is, therefore, (Schol. Argum. Theocr. xvii. v. Bergk, Stesich. 31). likely that the passage refers to the flowers cast before the bridal
procession on that occasion. I have followed Meineke in retaining jxupptva (Schneidewin and Bergk [jiupatva), v. Ahrens Dor. Dial. 102 and cf. on xappove?, Spartan
Dance-song,
I.
IV. Ta SI Spaxwv x.t.X. Quoted by Plut. de Sera Numin. Vind. c. 10, as the vision of Clytemnestra. Apaxwv is referred generally not to Agamemnon but to Orestes cf. Aeschyl. (who appears to be borrowing the idea of Stesichorus) Choeph. 527, tsjcsIv Spaxovx' e'Soifsv, and
:
The word
mother.'
Schneidewin quotes Eur. Or. 469, [i.7)TpooovT7j; Spaxwv of Orestes. psPpoTiofxe'vos will then imply 'smeared with the blood of his
The Pentameter
omission of
(1.
1.
2) if
1
correct
is
jj-oXav in
we should
most unusual in Melic. By the obtain a hexameter, and thus have
STESICHORUS
345
a complete elegiac couplet. There is not, however, any record of Stesichorus employing this non-Melic metre.
V.
"Qix-reips x.x.X.
was forced
to carry
A16; xou'pa,
Athen. x. 456 F, with reference to Epeus who water for the Atridae. either Athene or Helen.
We
are reminded of Miranda

'
and Ferdinand
sweet mistress
she sees
in the
Tempest
My
Weeps when
VI. Ays Mouaa
Xiyst'
x.x.X.
me
work.'
viii.
Quoted by Strabo
347,
who
re-
counts the story of the 'Rhadina' which appears to have been a kind of love-novelette in verse (v. p. 169). Rhadina was a Samian woman, married to a Tyrant of Corinth. Her own nephew LeonThere the tychus, being enamoured of her, followed her to that city.
tyrant slew
them both, and
at first cast forth their bodies unburied.
Pausanias afterwards relented, and had them duly interred. however (vii. 5, 13) speaks of their tomb in Samos, at which anxious
lovers prayed.
'Epaxtovup-ou
He
Bergk, for Ipaxwv
ujivou?,
Ahrens
aoiâ? paxwvu';jiou$.
VII. Totaoe yprj x.x.X. Quoted from the 'Orestea' by Schol. Ar. xov aocpov Peace 797, where we have xotaSe yp7J xaXXixo(juov
.
. .
|
ôi7]xrjv
y.zk<xOT\.
u[xvs1v
oxav r,ptva
filv
tptovfj
yEXiStov
ô[jlvt]
(Bergk
Hesych.
^Soj-iEvrj)
Sa[Ato[j.axa
e?upovxa;,
explained by Schol. xd Kleine for ISJEupovxa.
8r)[j.oai'a
aSd[j.eva,
âiyvia.
xoi (f/dXiaxa) x.x.X. Plut. de ap. Delph. c. 21. refers the lines to the flute-contests at Delphi, which were see p. y]2>. abolished shortly after their introduction Regarding
VIII.
MaXa
EI
;
Bergk
Apollo as representative to a great extent of the Greek poetical genius, we may compare with this passage Sap. xvn.
'AXX' ou yap
9-e'p.ig
lv (jloito-oXio o!x(a
-9-prjjVGv Ejj.jj.evai
x.x.X.
For
[j.aXiaxa
Bergk reads
[j-eXiaxav.
Krfizoc,
Schneidewin and Bergk

15.
xdoa, but see Dialect, p. 78.
IX. (a) Stob. Flor. cxxiv.

d[j.ayava), Dialect,
(P)
I.e.
'Apfyava (Schneidewin and Bergk
Id. exxvi.
5,
a-oXXuxat
x.x.X.
Kleine for
marginal reading
o [JidXXov
r.ana. r.okia. -ox' dvO-p. y.
dvfh ydpt, from a Compare Archil. XV. ydpiv

ciXux'
xou oou Stwxofiev.
346
GREEK LYRIC POETS

IBYCUS
I.
xiii.
Quoted among other erotic passages by Athen. ~Hpt fjiv x.t.X. 601 B, who comments on the fervour of the poet's outcry, fioS. xa\
xexpayev.
in | time,
' In the metrical scheme I have treated the dactyls as choreic ', i.e. is It of course the trochees. to ordinary possible to equal
regard the dactyls as pure, i.e. in f time, and the trochee as prolonged thus > ^ but I think that the more rapid movement is best adapted On the other hand in No. II., owing to the rarity of for this poem. the trochees and the entire absence of the single syncopated syllable, I have treated the dactyls as pure and the trochees as in % time.
,
With the spring the flowers and trees are released from their winter bondage ; me the storms of love never leave.' Such a contrast between the joy of nature and the sorrow of the poet, familiar
'
as
it
is
to us in
modern
cf.
lyrics, is
rare
enough
in surviving
Greek
poetry.
1.
i.
KuSwvicu,
Stesich.
ill.
'
i.
1.
2-3.
apoo[j.svai
poav lx xox.
to point
watered by streams from rivers
'
the
expression
seems
to
some process of
orchard-irrigation.
The
it
genit. poav
'material'.
may be described as one of 'agency', The Homeric Xousafrai 7rota[j.oto is not quite
or possibly of
parallel, since
involves also a notion of place (v. Monro's Ho7)i. Grain, p. 107). Buchholz gives a nearer illustration from Eur. PJweti. 674, a't;j.axo? It is, however, not unlikely that the construction is eosuts yatav. simply apS. ex poav uoxapuov, watered from streams of rivers.'
'
IlapO-Evwv x^7to;
/.r -oi,
t
this
is
which Demetrius
tells,
generally supposed to refer to the Nufxcpatoi de Eloc. c. xxxii., Sappho was fond of
If this be so, the phrase probably reintroducing into her poetry. fers not to any particular garden of the Nymphs, e.g. that of the Hesperides, but signifies rather a garden such as Nymphs might
'
haunt',
317-318.
cf.
'Nympharum domus
Hartung suggests an
24. 4,
'
Verg. Aen.
i.
168 and Odyss.
xii.
entirely different explanation, quoting
Pausan.
viii.
who speaks
Alcmaeon which were never

riapSHvot.
1.
of cypress-trees round the grave of cut down, and which were called
should be retained as due to (1. 8), buds that sprout beneath the shadowing vine-shoots.' Stephanus reads uV Epvsatv, but the form Ipvo; is mentioned in Cramer. Ann. i. 173, 27.
4.
In
xf]7i:os,
:
as in
epr]fx.io?
i\
Epic influence
'
The
first
Lesb. Dial. p. 83, e[j.oi, Ethic dat. like the north wind of Thrace, that rages amid uô expresses accompaniment, as in Sa'tSwv the lightning-flashes.'
1.
6.
SaXs'O-oiaiv,
a9-'
. .
.
'
1.
7.
Pope'a?,
vr.o
Xa;j.7:o[i.Evawv,
//.
xiii.
//.
Ppov-rijfc,
796,
xviii. 492. Buchholz compares (aikli)) uto and he thinks that there is reference to the
BYC
US
347
ancient notion of the wind bringing the lightning from the clouds. For (pXs'ytov, cf. on Bacchyl. I. 12. v. Lucret. vi. 246 seq., and 96. on his dark course from the side of atuawv 1. 8. Ioejavos, 'speeding
. . .
active ', v. Lid. and Scott. aaXs'ais, Aphrodite, with parching frenzy I. 9 seq. aO-ajj-Pr]'? x.x.X. unflinching holds fast from earliest manhood the fortress of my heart.' natSofrsv is generally taken to be the = love for a boy '). I have followed Schneidewin's objective genitive (
'
'
'
'
'
explanation
a puero
'
',
i.e.
from the time when

a-9-a(j.p7]<js(v)
my
boyhood
left
me.'
'AO-ajxPrj? Eyxpaxc'w?,
Herman from
xpaxaiw?.
v.
tional
For the description of Eros in this and the next passage, Note B on Eros in the Lyric Poets.
II.
Addi-
"Epos auxs
1.
'
x.x.X.
Plat.
Parmen. 137
A, Schol.
For the metre,
cf.
on No.
1.
seq.
thrusts
me
Eros, with melting glance beneath his shadowy eyelids, with spells manifold into the infinite toils of Aphrodite.'
Me supplied by Bergk.
III. Eupu'aXs x.x.X. Quoted by Athen. xiii. 564 F, among a series of passages, illustrating the fact that love is engendered in the eyes '. The lines of Ibycus are contrasted with those of Philoxenus, to 6 eracivos xat -/.aX)u-po3to7:s x.x.X. {v. p. 277), with the remark xucpXo?
'
/oct'
ouoev
o[j.<ho?
tu ipuxsuo
sV.sivox
verse appears to be missing after 1. 1, beginning with a vowel, so that the final syllable of fraXo? may be short in the System (v. Metre, p. 73), and containing a noun with which xaXXi/opov agrees.
'
'
1. 1. yXuxsiav, so Mucke (Jacobs yXuxs'wv) for yXau/Ewv, Hecker The words yap. S-aXo?, nurseling of the Graces ', yXuxspov with fraXo;. express the same idea as Alcaeus' r.o'kr.w a' Eoâvx' ayvat Xa'pnrsc,
'
No.
1.
xiii.
3.
IlEiiko, see
on Sap.
I.
18,
and
v.
Bockh on Pind. Pyth.

57.
ix.
39.
IV.
tou's te is
Xeuxitckou? x.t.X.
Ath.
ii.
speaking of his slaughter of the Molionidae, for whom This fragment and the next, not of see Pind. 01. xi. 26 seq. Bockh. any particular value in themselves, show us that Ibycus did not conHercules
himself to subjective lyric after the fashion of the Aeolic School, but dealt also with mythological subjects, cf. Biog. Ibyc. p. 137.
fine
laoxscpaXou?,
Meineke proposes
taorazXou?.
V. rXauxiomoa Kaaaavopav. Herodian, 7:sp\ <r/ji[J-. 60. 3 1, in discussHe remarks that it consists of the ing the so-called <J'/.%a 'Ipuxsiov. addition of -at to the 3d sing, subjunctive. Ahrens and others are of opinion that -rpi in this passage and others from the Lyric Poets {cf.
No. VII. p' and SaXâi in Bacchyl. 11. 2), stands for the indicative and not the subjunctive, and that it arose from a mistaken imitation of certain passages in Homer, where it represents the true subjunctive.
348
GREEK LYRIC POETS

;
that the termination was first applied to verbs in -e'w, they followed the -j-ii conjugation, e.g. oiXtjcti, vo7jai (cf. cpiXn]{Ju in Lesbian) and then extended to other verbs also but he inclines to the opinion that, with the exception of verbs from e stems (among which he includes 9-aX7i7]ai in Bacchyl. v. note ad loc), the cases that
Bergk suggests
if
as
occur, in
Homer and
elsewhere, are subjunctives and not indicatives.

Dialectis, etc. pp. 62-8.
Compare E. Mucke de
However
this
may
be,
Ahrens reasonably objects to the form being regarded as Rhegine rather it has become (in which we should expect -rjTi, Dor. Dial. p. 94) He adds associated with Rhegium from its employment by Ibycus.
name 'schema' or 'construction' is a misapplication of terms on the part of the grammarians, who thought the poets were using the subjunctive, where the indicative would be expected.
that the
VI. 242
'
Aioov/.a.
x.x.X.
Plut. Quaest.
Symp.
ix.
15, 2,
and
Plat.
Phaed):
c.
I
fear that
am
buying honour from
men
at the price of sinning
before the face of the gods.'
Bergk suggests Jtepi fl-sols (Lesbian ace. for &Eoug), which version seems to have been followed in Professor Jowett's translation, sin'
ning against the gods.'
VII. I have placed together three very fragmentary pieces, which are yet not without poetical merit. The hiatus in xai \'a may be ascribed to the (a.) Athen. xv. 681 A.
influence of the ancient
(p'.)
in (F) "a.
Herod,
rapi ayr^L. 60. 24, cf.
on No.
v.
|
Compare
Iwa
the well-known
words of Soph. El.

aacpY).
17, Xajjotpov ^Xiou asXa;
xtvsi cpO-Eyi-iax' opviahov
(y'O
Setptoc,
Theon. Smyrn. or Setpiov of any

s'cmv x.t.X.
p.
146, to
star, cf.
show that Ibycus and others use Hesych. and Suidas.

t.z$\
VIII. oux
Chrysipp.
aôyax.
c.
'
4.
ist
Schneidewin compares the German saying, Kraut gewachsen.'
Fur den Tod
kein
ANACREON
I.
'Epw
xs 07]ux.
as
it
forms a
implies, for
Hephaest. 29. I have placed this fragment first motto for the poet and his songs. He lives, he love and wine, but is never carried away by either passion.
fitting
II. rouvoufxou x.t.X.

1.
5.
rj
reading
Hephaest. 125. The usual xou, Bergk from rjxou which is given by four MSS. is "xou (with syxaftopoe in 1. 6, v. below), which involves
ANACREON
349
asyndeton and a dubious construction in iiA Sivrjat. Besides, AÔ-ato; was a river in Magnesia (v. Athen. 683 c), with which region, so far On the other hand, as we know, the poet had no connection. Leucophris, a city of Magnesia, on the river Lethaeus, was celebrated for its worship of Diana (v. Athen. I.e. and Strabo xiv. 647, who speaks of an immense temple there to Artemis), so that apparently the poet, in order to attract the attention of the goddess, begins by singing the praises of her favourite abode from which she hears his Schneidewin (without, I think, much reason) is of opinion prayer. that so long a digression would be out of place, and that 11. 4-9 must refer to the city for which Diana's aid is invoked. He therefore retains "xou, regarding 'U. Im. Sivyjcri as a pregnant construction Come
'
:
and stay by the

1.
streams.'
6.
saxaxopa; Bergk, for lyxaSopa, on the strength of a MS. reading,
Eaxaropsi;
or
-ai?,
and a passage from Apollon. de Syntaxi

given
p. 55,
where
saxaxopa?
1.
rcdXiv is
among
instances of psilosis in Ionic.
7.
yatpoua', 'propitia',
Moebius.
II. t.
7}
i.
III. 'I2va? x.x.X.

1.
Dk> Chrys. Or.
35. Cf.
I.
SajxaXr]?,
Nu'[/.<pat.
Hesych. xov
a[j.aovxa,
ays'pto/ov.
No.
IV.
1.
5.
Owing partly to the custom of celebrating the rites of Bacchus among the woods and mountains, and partly perhaps as
1.
2.
the mythical representatives of the Maenads, the Nymphs are conCf. Hor. 2 Od. xix. 1, Bacchum stantly associated with that deity.
' . . .
vidi,
3.
Nymphasque
in
discentes.'
(1.
1.
Notice that
jropepups'?], s:u<jxpE<pai
4),
Siocr/.s'to
(No. XI.
1.
3),
and many other instances in Anacreon, s combines with the following long vowel or diphthong so as to form, for metrical purposes, one
syllable.
'
proleptic, well-pleasing to thee.'

7.
-/.Eyapia[xV7);,
1.
1.
Give heed
to
our prayer, and
may
it
be
241, points out that the emimperative is chiefly found (as in this instance) after another imperative, 'so that the infinitive serves to carry on the command already given.'
8. ercaxou'eiv.
Monro, Horn. Gram.
ployment of the
infinitive for the
I. 10. Bergk reads w Aeuvuss from w 3' euvute, too' su vu as, etc. I have followed Fick in writing Asovuse, with which he compares the form Asovu;, on an inscription from Erythrae I.G.A. 494.
IV. Tov"Epwxa.
II.
Clem. Alex. Strom,

,
vi.
745.
.
.
.
2-3.
|ae7.o|j.ou
asiostv
Hermann
for
jj.eXrojj.at
aEiStov [juxpoa?.
V.
ILiokz Gprf/.u].
These couplets of
Anacreon.
Heraclid. Pont. Alleg. Horn. c. 4. acatalectic and catalectic trochaic tetrameters
most charming specimens of metre in Notice the light and rapid movement imparted by the while a welcome very sparing use of the irrational trochee ( ), pause is given by diaeresis after the second dipody this, however, is
furnish us with one of the
;
3SO
not found in
1.
GREEK LYRIC POETS

7,
xXu{K
p.su x.x.X.,
nor does
in
'
it
justify us in dividing
each
of these lines into two, as

1.
is
done
Hartung's edition.
3 Od. xi. 7, Quae velut latis equa trima Eur. Hec. 1090, where the Thracians are spoken For the form Buchholz quotes C. B. Stark In primae declinationis formis fere ubique t\ pro a positum est, praecedentibus vocali aut littera p in nominative' Fick prefers epswirj,
1.
IIgjXe,
cf.
Hor.
cf.
campis.' 6p7]xi7] of as euittcov ye'vo.;.
'
from a form eps'txto? which he says should be used where the metre would otherwise be imperfect.
Xojfov,
in
Hippon.
42.
1.
1,
implying scorn, as
in
Theocr.
x.
13,
yst'Xeai
(j.u/aKoi<ja
xat
op-piaai Xoija |3Xs7rotaa.

1.
4.
a' is
supplied by Bergk, being required both by the metre and
the sense.
1.
5.
Xapova;
Buchholz remarks that

raoia,
this is the local accusative,
Soph. Aj. 30, and contrasting poaxofisvo? The expression in Sophocles is only parallel Xsi[j.wvi, Odyss. xxi. 49. if we can regard (3oaxEa9-ai as implying motion. If so, XsijjitDva;, like ra'Sia, may be regarded as a quasi-cognate accusative after a verb of
comparing mrjSwvxa
motion, or perhaps an accusative of extension. the sea and similar phrases.

',
Compare our
'
rove
1.
6.
i7T7Toaiprjv
fj.su.
KXGaK
only
Bergk, for Hephaest. 76.
t-ôjist'prjv.
Liddell
and Scott give
Eusfrstpos
;
as of
but terminations, and Bergk formerly read Eus'9-aps It is possible that this line belongs Tocvusfrstpa occurs Find. 01. ii. 26. to the song from which 11. 1-6 are taken.
two
Bergk suggests
VI.
1.
xoupa,
comparing Theocr.
xiii.
xxvii. 55.
2a>a(pr) x.x.X.
Quoted by Athen.
to
that the
1.
poem was addressed

-,
Sappho.
599 c, mentioning a report See however Addl. Note A.
cf. Meleager Ep. 97, CTâipiarav Scpaipr) Tov"Epwxa xps'tpw. Plate which Eros is represented as a youth playing at ball, graphically recalls this passage and it is not unlikely that the artist, in painting the vase, was consciously influenced by Anacreon's words. It is with a ball that Aphrodite tempts Eros in Apol. Rhod. Argonaut.
HI., in
hi. 135.
The metaphor
light
He
1.
very happily employed by the poet to express the Love made upon him. uses, with less truth, a contrary metaphor in the next passage. 3. v7Jvi, contracted from vr]vu, dative of v^vi? contracted from the
is
and
playful nature of the attacks that
Ionic form ve^vi;
(=
vsavt;).
Bergk compares the Samian v^ (=
ve'a).
7roixiXoaap.pa>.(o, Seidler's
ingenious conjecture for tohx&o; Xap-Pavto,

alter to aXXov.
or TcoixiXou;
1.
a;j.paXto.
x&[j.7}v
;
Cf. aa;j.|BaXa
8.
aXXr]v sc.
Sappho XI,. some commentators unnecessarily

Hephaest.
68.
VII. MsyaXw
ing to
'
x.x.X.
For trochaic dipodies answer. . .
70. -/ei^z^ yapaopr], 'a bath of It would seem as if blades were despair tempered in naturally cold mountain-springs.' Gold. Treas. Greek Lyrics.
'.
Ionics, see Metre, p.
ANACREON
VIII. 'AorpayaXai, Schol.
yaXat
for
-01.
351
//.
xxiii. 88,
illustrating the Ionic ctorpaiii.
Compare
Apoll.
Rhod.
115,
where Eros and
Ganymede
'
are playing together with golden astragali. In Miiller's Gr. Lit. p. 183, the passage is curiously translated Dice are the vehement passion and conflict of Eros,' the sense of
I
which
fail
to
understand.
Surely "Epwxo? must be taken
with
Eros sports with the frenzies aaTpayaXai, so that the lines mean that and conflicts of his victims as if with dice.
IX. (a)
The
in
Hephaest. 52 and Schol. Arist. Birds 1372. first long syllable of a choriamb is very rare monodic Melic, but is excellently adapted to the spirit of this
'Ava7ixo[xai,
resolution of the
passage.
Bergk compares Himer. Or. xiv. 4, wherein Anacreon, finding himspurned by the object of his affections, threatens the Loves (toIs unless they aid "Epwcuv) that he will never celebrate them in song him. The meaning of these lines is I flutter up to Olympus on
self
'
account of Eros
'
{i.e.
to accuse or threaten Eros).
auvrjPav, cf. Scol. XIV.

r.poc,
âv, and
to
oaixo?
;
(j.s9-uaxea9ai x.t.X.
exoosQ-cu rt\ in Pind. Pyth. iv. 295, 9-ujj.ov and Eur. suuyaaD-ai, 504, Hesych. râv Cycl. fjpr), but in the present passage as in No. XX. the word
and
seems
have an
erotic signification
which does not belong
to
it
in
the other instances. from Lucian Here. Gall. {b) Cleverly restored by Bergk
6 ao?,
c. 8, 6
epw?
Ttjis 7:oi7]-ca,
I
7rapa7:Ta8-w.
asiouiv (or latowv) fie u7uotc. ye'v. ypuacxp. TCtsp. f) aExotc see no reason for inserting w? (Bergk) or o'c
(Schneidewin) before [x' e<jiwv. Note B. zTspuywv, see Additional

X. 'a
1.
not.
Athen.
xiii.
564 D.
cf.
1. I,
TOxpS-e'viov
PXotwv,
No.
v.
1,
Xo?ov
pXEKouaa,
and
Ibyc.
II.
xayip'
afets,
0[j.[j.aTi
0pxo[j.Evo;.
oux
Bergk conjectures
x.x.X.
ou xost?,
rapt
Schneider oux
57.
5.
ast?.
XI. KXo[3ouXou
oios/eV
'
Herod,
xrjv
ayrjji..
SI otoaxE'w (dissyll.),
oiapX7i:tv
Bergk from
3to? xvewv, 5e Sioaxvao, etc.
Hesych.
at,'
auv/w;
opaaiv [j.Ta[5aXXovTa.
at,'
Thus
the meaning-
is
to
as Lid.
keep on casting glances and Scott render it.

iii.
rather than
'
to look earnestly
XII. Strabo
For the Iambic

'A.[j.aX0-L7]?
'Eyw 151. basis, v. p. 187.

referring
o'
out' av x.t.X.
Arganthonius, for whom see Tap-crjcaou Hdt. i. 163, where a more moderate span of years is assigned to his
(5aatXuaat,
xpa;,
the Cornucopia, see Diet, of Biography.

to
reign.
The general sense appears to be that the poet would rather win the object of his affections than the greatest treasures.
352
XIII.
GREEK LYRIC POETS

'Ap9-c\;
ot)ut'
x.t.X.
Quoted by Hephaestion
130 as an
example of the Proode, or a distich where a short line precedes a long one, being the reverse of the Epode. For 1. 2, see Metre, p. 68. It has no exact parallel in the Melic
choriambs are fragments. Sappho VII. closely resembles it, but the there introduced by anacrusis instead of basis. Again, Alcaeus v. would be identical in metre, but for its catalectic conclusion.
lq Aeux. tot. aXpjv Hartung quotes Eur. Cycl. 165, mxxav Aeuxa8o? mxpa? ano, remarking that the expression had become proThe poet is speaking metaphorically of plunging into the verbial.
8'
waves of
love.
x.x.X.
XIV.
<s'p'
uowp
Athen.
xi.
782
A.
For the metre
in this
and
the two following passages, v. p. 87. I have adopted Fick's correction of av9-Ep.ouvTa? for av-frspûvTa?. 1. 2.
Cf.
1.
on No. xxi.
3.
1.
2.
Referred to by Eustath.
II.
1322. 53,
Orion
p. 62. 31,
and Et.
doubtful whether to read 8^ as in the text, or pj. With jj.73, the sense is bring wine as a refuge from Eros', or I may give up the contest perhaps, bring wine and garlands that with 8ij, bring wine that I with Eros, and greet him as conqueror' may fight unhesitatingly'. Bergk comp. Trachin. 441/EpwTi piv vuv
M.
345. 39.
'
We
are
left
'
'
ooTis
avravtataxat
tiuxtt]?
07110?
e?
y/tpa? x.t.X.
Arj
accompanies to? ( and Plat. Rep. 420
= ut)
E.
or "va to emphasise the purpose.
not infrequently Cf. //. v. 24
XV. napa
07]uts x.t.X.
Hephaest.
70.
xocteouv i'pwTa,
Bergk
for xoctsoW sptoTa.
Athen. x. 437 A. 3v) x.t.X. here an illustration of the sober habits of the better sort among the Greeks. Wine was to be an incentive not to uproar or Compare Introd. to Scolia, stupefaction but to song (xaXot? up.voi?). x. 431. Athen. and pp. 236-7,
XVI. "Ays
We have
tout'
laS-',
opa?, 'EXXrjvixo?
7I0T0?, piETptOiai yj5lO[J.VOU? 7COT7)p{ot?
XaXstv te xai X/joeIv ?cpo? auTou? ^Ss'to?" TO UEV yap ETEpOV XoUTpOV EtTTtV OU 7T0TO? X.T.X.
For the proportion of wine and water, cf. on Alcaeus v. and see Athen. x. 426 seq. Anacreon's mixture of two parts water to one of wine is unusually moderate, three to two being the common ratio Elsewhere (Append. Anac. 23) he calls (Schol. Ar. Knights 11 84).
for a
slightly stronger potation,
xa&apf
8'
xeXe'Ptj
7:evts
xai tpeI?
avaystaikov.
follows Baiter in reading avu[Epiari, but this 1. 5. avuPptoTio?, Bergk would give us a solitary instance of hiatus between Anacreon's rapidly moving lines. For the Ionics, v. p. 187.
ANACREON
1.
353
barbarum
rixis
'
|
7 seq.
Compare Hor.
Od. xxvii.
|
2,
'Tollite
Morem,
verecundumque Bacchum
Jonson's
'
Sanguineis prohibete
and Ben
So may there never quarrel
Have
issue from the barrel But Venus and the Graces Pursue thee (Bacchus) in all
1.
places.'
9.
2xu{hx7jv 7:oaiv. explained
by Athen.
x.
427 as axpaxoTroaiav.
I.e.
The Scythians were
notorious drunkards, see Athen.
who
refers
to the story in Hdt. vi. 84, that
Cleomenes learnt drunkenness from
the Scythians. Horace I.e. takes a similar view of the Thracians, and Plato {Laws i. 637 E) speaks of the Scythians and Thracians with their wives drenching themselves with wine, and thinking it a very
fine
1.
1 1.
and pleasing custom. Not soaking u7to7uvovTss.

'
',
as in Ar. Birds 494, but

ujcomvovxE?.
'
drinking
quietly
',
as in Plat. Rep. 372 D,

MrjS' wars xujia x.t.X.
[xs-rpiw?
446 F. This passage exNo. xvi. not as Lid. 1. 2. if jroXuxpdtyi, the noisy, chattering Gastrodore and Scott strangely translate the expression in the passage the many-oared', i.e. the ship(!) The term is mentioned in Lobeck's
XVII.
Athen.
x.
presses the
same sentiments
'
as
we
find in
',
'
Parall. 466 as implying contempt.

1. 4. emaxiov, explained called ctviawv.
by Athenaeus as a kind of cup, usually
XVIII. (a) 'Hpi<rt7]aa x.t.X. Hephaest. 59. Athen. xi. 472 E. I have followed Hartung in the arrangement of the lines, so as to give a succession of alternate Glyconics and Pherecrateans (v. p. 187). 1. drained a bumper The word xaoo; generally 3. ?s7:tov xaoov,
'
'.
denotes a large earthenware vessel, so that we feel disposed to exBut one halfpenny-worth of claim, as Prince Henry at Falstaff, bread to this intolerable deal of sack !' 1. 6. xw[jia(ov if the regular xcofio? or serenade (v. p. 8) is implied,
' ;
it
seems
7iaYo(\)
to
have taken place
in the
day-time
(cf. rtpiaxrfitx)
as well as
in the evening.
appfj,
Hermann
doubtful
ayopaito.
;
justification of the elision, quotes Pind.
for 7:atot appf,, or ôo\v appto;. Bergk, in 01. ix. 112, where, however,
the reading
'EpjjuJ aT7jaav {b)
1.
is
\x
and an Attic
xiv.
inscription, xrjpuxi
aOavaxwv
'iaXXw
x.-.X.
Athen.
634
C.
r\
Bergk supplies AuSov on the strength of Athen. I.e. [/.ayaot; opyavov laxt 'J/ocXtixov, oj? 'Avaxpswv cprjai, Auowv t upr)[j.a.
1.
1.
yap
61,
2. yopof[aiv
jj.ayao7]v,
Bk. for /opoataiv

2,
|j.ayaotv, cf.
Pollux
iv.
where
1.
[j.ayaor) is
7j[3as, cf.
said to be the form used

IX. (a)
1.
3.
No.
note,
by Anacrcon. and No. xxi.
354
XIX. 'Eyw
I
GREEK LYRIC POETS

Se
pae'w
this
x.x.X.
7.
M.
i.
45.
have placed
and the next three passages together, since they

;
display to
I.
some
2.
-
6'aoi,
Bk. for
extent the poet's personal character {v. Biog. p. 85). o". XGoviovs seems to be explained by Hesychius
(3ape'a,
/9-ovia
-/.sxp u;j.[jiva,
'.
spo{3epa.
Bergk
'PuO-jj.ou';,
translates
'
it
here,
callide
:
celans iram
Jacobs
axoXiou;.
izpiv
'temper,'
cf.
Theogn. 964
av ei8rs avopa
aacpr]V(o;
Vj.
opyrjv xai pu9p.dv xat xpo7:ov oaxt? av

'
II.
3-4.
have found thee,

a[3axi.
Megistes, to be one of the gentle in
disposition.'
Rt.
is
XV.
cf.
f.
The word
to
M. jjou^wy xat \i.r\ 9-opu[5w5wv, cf. on Sap. inadequately explained in Lid. and Scott.
[j.[xa9-r]xa-Jtv
Mq-LaS-rjxa a
M. Bergk, for
to; [asyigttj.
For Megistes,
No. xxvi.
XX.
"E[j.
yap
x.x.X.
Quoted with the next passage by Maxim.
Tyr. xxiv.
exhibit Anacreon's at.^poauvrj, even in his love-songs. aow, Valckenaer for oiSw.
9, to
XXI. "Epafiai x.x.X. Bergk /apixsuv e yap,

/apixdct; to
v.
above.
I. Herodian attributing the word have adopted Fick's correction to yaptxouv.
1.
for /apuv yap

I
Anacreon. For auv7](3av, cf. on No.
IX. (a)
2.
XXII. 7:oXto\ [j.lv x.x.X. Stob. /^/^r. cxviii. 13. For the metrical arrangement, see Introduction. Notice that cf. on No. III. 1. 3. yr]paXsoi, 'aISew, apyaXE7] are trisyllabic 4. The Ionic measure takes the place of the Trochaic dipody.
;
I.
See
p. 70.
x.x.X.
XXIII. SavSf
Athen.
xii.
533
E.
An
to
interesting specimen of Anacreon's satiric powers. for Eurypyle, the have been fired by jealousy
;
He
appears admirer of
Artemon, was the object of his own affection v. Anth. Pal. vii. 27. II. 1-2. Bergk adds y' to improve the metre, which even then does
;
not exactly correspond with that of the other lines. rapi<pdp7]xo; explained by Chamaeleon, ap. Athen.
[Btouvxa TOpKBEpEuS-at I7A xXivrjg,
I.e.
Sia xd xputpepw?
is
though a different meaning
given to the
word by Schol. Arist. Achar. 815. Bergk renders 'famosus', objecting to any mention of a litter, since he is said (1. 10) to ride in a
chariot.
I.
3.
psp(3spiov,
the
mann
words
thinks
it
signifies
meaning of the word is quite uncertain. Schdsome barbarian head-covering, and that the
(the
xaXu[i.(j.ax'
Eaorjxtojjiva
usual
reading), in apposition
to
(kpPs'piov,
imply that it narrowed off to a point. KaXu[j.fj.a is generally used of a woman's veil or hood, but is obviously not inappropriate of a man's head-dress of this description. KaXup.[j.a x' etotjxw[jievov
(Meineke), signifies the meagre tightened garment in contrast to the
ANACREON
'
355
where the
spirit
bis trium
is
ulnarum
toga,' in
Hor. Epod.
iv.
of this
For xocXu^jLa, not in the sense of a headclosely imitated. But a dress at all, but merely of a covering, cf. Soph. Track. 1078. possible objection is that Anacreon goes on to describe the man's
passage
garment
1.
in
1.
seq.,
and the
-
plural
xaXu[j.[j.axa
receives
some support
from Hesychius' xaXu7:xpa

4.
xeâXyj? xaXu|j.[j.axa.
'Wooden
refers to
mann
Plin. A".
Schoearrings', contrast ypuasa xa9-c'pij.axa in 1. io. H. xi. 37, 50, for the use of earrings by
Asiatic men.
1.
That Artemon followed the customs of the barbarian or Asiatic (cf. and 5) is probably meant as a jeer at his low, and perhaps
1.
non-Hellenic birth.
1.
5. Ssppiov
i.
(Bk.), or a similar
word
is
required.
Schneidewin
refers
to Hdt.
sians.
1.
71, for the
use of leather clothing
among
the primitive Per-
6.
v7j-Xuxov,
'unwashed,' so
Schdmann
for vso^Xouxov, vsd^Xuxov,
etc.
these persons did not enjoy a high reputation; cf. dpxoTrwXtatv Dionysus' rebuke to Aeschylus, Frogs, 858, XoioopsiaQm 0' ou S-e'î;
;
|
avopa; ou]xa;
'
1. 8. earning a fraudulent ishment described in the next

1.
ev
io<T7isp
apxojxwXioai;.
living', for
which he receives the punas

ev
line, v. note.
9.
Soup\,
explained by
Schdmann
or pillory described by Pollux x. 177, axeuo; ijuXivov oft. [jLaaxtyoGiail'ai tov irepl ri\v a-yopav KaKovp-yovvra.
1.
?uXw, i.e. the xu'owv w xov auye'va evfre'vxa
10.
Hesychius has aaxtvar

it
1.
ai ap.aat.
viz.
as in the others in which
occurs,
Venus,
13,
oriental origin.
the penultimate is For the genit. plur. in

-7]wv.
In this passage, however, Eur. Hel. 131 1, and Hymn to short. The word is said to be of
-e'wv,
cf.
Archil, xiv.
2.
It
comes from -awv through

1.
1.
12. xaO-p[j.axa, 'earrings,' cf. 1'pjj.axa in

13. axiaotaxrjv,
Homer.
See on
1.
4.
a representation of the Greek sun-shade may be seen in Panofka's Manners and Customs of the Greeks, PI. xix. 9. It appears on the Parthenon Friese and the Nereid Monuments.
1.
12.
au'xw?,
'instar',
is
however, there
the dative.
Casaubon v. Buttm. Lexil. 30, where, no other example of the word in this sense with
;
i.
XXIV.
39
;
"Ayavw? ola
x.x.X.
iii.
Athen.
ix.
396 D.
Aelian Hist. An.
vii.
Schol. Pind. 01.
52. (29.)
It will
be noticed
that,
though each
line differs
from the
rest in its
;
metrical arrangement, they are all of the same rhythmical value since trochaic dipodies are equal to Ionics (v. Metre, p. 70). Horace appears to be imitating the passage in Odyss. i. 23, Vitas hinnuleo
'
Chloe Quaerenti pavidam montibus aviis Matrem'; so that we may conclude that Anacreon also is addressing a coquettish
similis
| |
me
lady-friend.
356
orf or
xs
GREEK LYRIC POETS
In oars, eg t^ cf. Alcm. II. 3, and note on Sappho xxxvn. has the force of an undeclined xi?. Monro's Horn. Gr. p. 67. than xsposW)?, the epithet as applied to a hind is more picturesque
;
correct
but
cf.
Pind.
I.e.
ypuaoxspwv sXacpov ^Xstav, and the remark

xavxs; xe'paxa syouaa; ôtouatv.
of the Scholiast,
0! 7roi7]xa\
XXV.
1.
Met?
[j.sv or)
x.x.X.
I.e.
Schol.
izspi
I
II.
xv.
92
and Eustath.
//.
1012,
1.
I.
IloatS.
Eust.
xov
yap-spiou? xpeuza; p]va.
1.
2 seq. vscpsXa;
x.x.X.
have given Bergk's conjectural reading.

uowp
yst[jL.
The
Schol.
//. I.e.
gives
veojeXv) 8'
(3apu
8'
aypioi j. xax.
'
Eust. /.
vscpsXai 8'
ooaxi (3apuvovxai, ayp. 8s
âxayoucyiv.
xiii. 2,
Aia from a comparison with Hor. Epod.
Bergk introduces Nivesque deducunt
Jovem.'
XXVI.
xii.
1.
6 MEyiaxrj? x.x.X.
Ionic (a minore) tetrameters

1.
;
Athen. xv. 671 E. cf. Alcaeus XIV.

;
and Hor.
3 Od.
MsytTcr);,
cf.
No. XIX. and
iizd
cf.
on Sappho xxxvn.
Xuyw
Athen. xv. 673, mentions that the custom of wearing willowSamians. chaplets was popular among the Carians, and copied by the
XXVII.
r^[j.to7:wv
7][3r),
Ti? IpaafjLirjv x.x.X.
Restored from Athen.
iv.
177 A, Tie
ip.
xp. ahi[J.. sas'{3r)V xs'psv' to; r^[j.(oôv x.x.X.;
Bergk
IX.
s;
rjPr)v,
Casaubon
xspsvtov
from Athen.
iv.
182
C.
cf.
'merriment,' 'revelry,'
on No.
1.
2.
xv.
These passages are quoted by Athen. 'Erfi 8' ocppuaiv x.x.X. 674 in illustration of the custom of wearing garlands on the brows, and hanging from the neck over the breast. (Cf. Alcaeus VI.) Aiovuaw. 1. Perhaps merely a figurative expression 3. 6pxr,v for his wine-party, although Bergk quotes passages from Hesych. and
XXVIII.
in Samos. Steph. Byzant. indicating an extensive cult of Bacchus

-
XXIX. These
In the
first
passages refer apparently to the wars which drove

is
;
Cf. Biog. p. 183. else to troubles at Samos. imminent in the second the blow has fallen upon his city in the third and fourth, which are retrospective, he is lamenting the fate of his friends, and frankly confessing the insignificant part he himself took in the contest.
Anacreon from Teos, or

the attack
;
(a) 'Opaolor.os.
[ff)
Hephaest. 90.
x.x.X.
Nuv aTO
[jlsv
Schol. Pind. 01.
viii.
42, illustrating oxsoavo?

7:oXsus
in the sense of the wall of
city.
Bergk conjectures
as the
Ionic contraction from
raiXso;.
Fick, however,
xiii. 4.
declares that this
belongs to a later period. Anth. Pal. (e) 'aXxijjlwv x.x.X. (d) I 1. Ei. Gud. 333. 22.
1.
2.
Attil.
Fortunat. 359.
Adopting Schneidewin's suggestions of
ANACREON
ai>x%
357
metre,
and <puyov for aux7j; and I have joined these two

. .
suyo),
which restore the choriambic

It must r.po-/_6a.i. and the circumstances to
. .
I. 2. 7rap' Bergk piia; be confessed that both the text of the which they refer are quite uncertain.
.'
lines together. oy9a; for ovl' $

lines
XXX.
'Ara'xEipa?
x.x.X.
Phavor. ap. Stob. Flor.
lxvi.
6, ysXolo;
av
oavEtT] 6 'Avaxpe'tov
xa\ [.uxpoXoyo;,
xw
xaiot
[i.s[j.od[j.vo;
x.x.X.
Cf.
Max.
x.x.X.
Tyr. xxiv. 9, [j.s<rxa 3s auxou (Anacreon) xa aajxaxa xij; SfJiepSio? xo'jat]; Aelian F. H. ix. 4 says that Polycrates, in jealousy of Anacreon, cut off Smerdis' hair but from this passage and from the words with
;
which
it is
introduced
it
would appear that Smerdis did
it
himself.
XXXI. Sxscpavou; 8' av^p x.x.X. Athen. xv. 671 E. An explanation of the term Nauxpaxixrjv, which is declared to signify 'myrtle,' is
attempted
in
Athen. 675
F, seq.
XXXII.
'Gtvo/osi x.x.X.
Athen.
xi.
475
F.
SI
I.
MON IDES
Diod. Sic.
xi.
Tiovev
Gcpjj.07:uXat? x.x.X.
II.
2t[j.wviorj;
aijiov
xr;?
apx% auxiov
~ot7jaa? syxtoîov.
It is
doubtful to what description of Melic poetry this song belongs,
for Diodorus' expression lyxw[i.iov is obviously not to be understood It may have been intended for some public in a technical sense.
funeral ceremony, as
1.
it were, in honour of the heroes of Thermopylae. Glorious their fortune, and splendid their fate.' Tu'ya = fors, = sors (Schneidewin), the former being the chance or oppor7:0x^0? tunity given to them for distinguishing themselves.
2.
'
tomb [3w[xo?, implying that they would be worshipped at their they were heroes or demigods. for rpoyovwv. He is, however, inclined to regard xrpo yowv, Ilgen the words ?:poyovwv ok jj.v. as an interpolation by singers of Scolia in later times. Mehlhorn retains -poyovwv, and explains thus
I.
3.
as
if
'
majorum virtutem
'O
8' cTixxo?
posteris in
'
oTxo?.
Muaivo?,
i.e.
Oixxo? Jacobs, for Instead of pitying their untimely end,
mentem
revocat.'
we
congratulate them on
5-6. ypovo?.
II.
their glorious lot.' 'Av8pcov ay. Bergk, for ypdvo;, dvSpwv ayaO-tov.
avSp. ay.
The
latter
would give an awkward redundancy,

toioutov.
i.e.
being merely
explanatory of
11.
6-7. oixExav x.x.X.,
quarters, so to speak, in the

11.
7-8.
jjLapxupEt
the glory of Greece has taken up its headtomb of her brave defenders. These words form a tame conclusion xXe'o;.
to see
to the
poem, and
it is
hard
what
[j.apxupst
refers to.
Ilgen
is
of
353
GREEK LYRIC POETS
opinion that the passage is an addition by a singer some century or so after the time of Simonides.
II.
"Oxs Xapvaxi
x.t.X.
Dion. Hal. dc Verborum Compos,
c.
26, eoti
oe q 3ia 7iXayou; cpspoÊvr] Aavarj, toc; eau-rij? aôoupo[j.EV7] -cu/a;.
The metrical arrangement of the passage is uncertain, since Dionysius expressly avoids writing the poem in lines, remarking that if it is written according to the divisions not of poetry, but of prose, the poetical rhythm escapes us XrjaExai as 6 ou9[j.o; ttJ; wStJ? xat ouy
e'^siS
oute exwoov. cuji-PaXstv guts aTpd<prjv outs avxiaxpocpov
From
the last
words we gather that the song was choral with the usual strophical system. As there is no correspondence distinctly traceable between any two parts of the fragment, Bergk and Schneidewin and others conclude that it consists of an antistrophe and epode, though where Line 13 seems the most natural point, the latter begins is uncertain. and is consequently chosen for the purpose by Schneidewin and by Bergk in his earlier edition, though in his last he places the epode 10. back to
1.
is generally regarded as part of a Threnos, though, as is pointed out on p. 12, it does not follow that it was sung on the actual occasion of the burial. For the choral form taken by a Threnos, v. p. 24; and for the introduction of a mythological episode, v. p. 19.
The song
Schneidewin conjectures that the reference to Perseus
is
to
be ex-
plained by assuming that the song was written either for the Scopadae or Aleuadae with whom Perseus was a domestic hero. (Cf. Bdckh
on Pind. Pyth.
'
x.)
in the fair-wrought chest the blast of the wind and the heaving ocean dismayed her with terror, her cheeks bathed in tears she cast her loving hand around Perseus etc.
1.
1,
etc.,
What time
',
In this doubtful passage I have followed Schneidewin who in 1. 2 In 1. 3, rjptrav is has altered jx^v to jxtv, and in 1. 3 out' to oux. Brunck's conjecture for EpEirav. It is true that ps(ic in the 2d Aor.
Schneidewin quotes Hdt. is usually intransitive, but transitive use, hzi^r^m tou tei/eo? xai 7jpi7tov.
ix.
70 for a
Certainly in the reading given aS. 7:apsiai? is an unusually bold In none of the other cases example of the 'comitative' dative. quoted, e.g. in Monro's Horn. Gr. p. 99, is this dative so isolated from the rest of the sentence.
for auTat;, or oouts elg (Athen. ix. 396 E) ; which would be awkward before thou sleepest Schneidewin awpel? 'thou heedest not'. xvto'aasis in the next line in Dion. Hal. we have the unintelligible 1. 6. aT7jO-EY Schneidewin
1.
5.
auxio;,
Mehlhorn
'
Casaubon
awTst;
',
oeiO-ei,
in
Athen.
is
I.e.
yaX.
o'
^Topi,
which
is
objectionable since the

classical Greek.
dative of ^xop
XaO-sV.
1.
not elsewhere found in

'
Bergk
7-8. vu/.TtXa|i.ra1
xaaki;
as thou liest outstretched in the dark

'.
gloom
that illumines the night
vux.
'
ov.
tenebrae quales noctu
SIMON IDES
lucent
(h. e. oxoxos)
',
359
part of the light

optP,
ETOtxa
8e
Schneidewin, as if the gloom at night plays the by day. Compare Oed. Tyr. 419, pXeirovTa vuv p.ev Bergk tkotov, and Eur. Hel. 518, pXaâss Ipô?.
dXa;j.7:Ef,
accepts Ilgen's vuxtI
remarking that hiatus
is
frequent in
Simonides
xaakt?
1.
(cf.
1.
3).
Schneidewin, for xaoe si?. Bergk's reading aX[j.av followed by xsav xojj.av (Ahrens for Thou heedest not the rsav xo'fj.av) is too attractive to be resisted. deep briny-waters above thine hair as the wave rolls by.' The usual 'Thou heedest not the wave teccv xd[j.av x.t.X. reading is auaXeav
9.
' . . .
uncombed, thick hair, high above.' The employment of the two epithets auaXs'av and paOftav without a conjunction would be hardly justifiable in this instance auaXe'av would stand in an undeservedly emphatic position, and [BocO-siav would be a curious epithet to apply to the hair of the new-born Perseus.
as
it
rolls past thine
1. 1.
II.
12.
cpfroyyov
r.poator.ov
'.
Bergk, on the authority of 3 MSS., for

xaXov,
if
cpO-dyyiov.
correct,
must mean
xaXdv
'beautiful child that
thou art
As some
MSS. give
r.poa.
Tipocpaiviov,
various con-
jectures have been made,

T.povwTzw Bergk.
1.
e.g. rcpda.
xaX. ^poceafvwv Ahrens, 7rpda. xXiS-sv
13.
14.
p7)[juxTwv,
genit. as if urar/s;
I.
xsXop\ar euSe, the

i.
oua?= u-yjxous;. pause accounts for the hiatus.
Cf.
Pratinas
Dithyr. Poets
II.
16.
15-16. u8s x.t.X.

is
out,
song.
Doubtless the poet, as the commentators point pathetically imitating the style of the (3auxaX7][j.a or CradleCompare the beautiful lullaby in Theocr. xxiv. 7-9
:
Euost'
euost'
E[J.a [3ps<psa ;j.a
yXuxepov xai
eyc'pat[j.ov
ut:voV
J/uya Su' aSeXosio euaoa Texva" oXpiot suvaota9s xai dXj3tot aw "xotafrc.
'change of purpose' on the part of Zeus. Bergk's would rather signify 'change of circumstances', the prayer With [xaxatopouXta, for which could hardly be called SapsaXsov e'tos. the usual reading, the sense would be may the counsels of my foes
1.
17.
MTa[3ouXta
[XExaiPoXta
'
fail
'.
is
Schneidewin remarks that the ray of hope displayed in this line intended as a consolation to those for whom Simonides was
1.
writing.
18.
In lengthening the last syllable of 9-apaaXEov before
etco?,
we
need not assume that Simon, was conscious of the influence of the
old
Digamma.
He
is
vii.
more probably simply imitating a constant

35, xii. 737, xxiv. 744, etc.) due, of course, to
et:o?,
Epic usage
(e.g.//.
the influence of the old F\n
but
it
does not follow that Simonides
was aware of the

1.
fact.
v o(xav, so Mehlhorn, with the exception of the which I have added for the improvement, as I think, of Schneidewin takes 01/av to mean 'for the sake of my the metre.
19.
TExvdcpiv
<pXxuaT.
360
child,
GREEK LYRIC POETS

comparing Aeschyl. Prom. 614, Sixtjv may clearly be (as) the
'
however,
is
xou oi'xqv jâ'aya? xa3s; where, penalty.' Possibly oixav here

'
:
accusative in apposition to the sentence
Grant
me
thy pardon, as
father, Zeus.
voaiyi o>V.a?.
compensation to my child', i.e. for its abandonment by its The MSS. have xexvdcpt 8!xa? and xvoowixac. Bergk reads
III.
"Av9pw7:o?
ehjv
x.x.X.
Stob. Flor.
cv.
62 and
9.
TOtrjxrjs
twv Szoâooj'v aO-poav aTcw'Xsiav, see Biog. p. 199. I. 2. avSpa tocov, the hiatus, due originally to the influence of the ancient F is employed by Simonides probably merely in imitation of the Epic practice cf. on II. 18. II. 3-4. The order of translation is ou3e yap a [jiExaax. xav. |j.ui. ouxw; toxsta (saxtv). ou xdaa [jLsxaaxaat? For Bergk reads wzaa yap, ouoe
ScsÊpysxai xrjv
} ; '
. . .
the change, and not so great is that of, etc. This reading improves the metre, but otherwise is objectionable loxsta yap standing alone is very tame and xdaa is out place, since the
swift
is
; ;
comparison
is
not with the greatness of the change in the physical nature of the fly, but with its suddenness.
IV. Oux
d'axiv
xaxov
x.x.X.
Theophil.
ad
Autol.
ii.
37.
Conjec-
turally
from a Threnos.
dXiyov
x.x.X.
V. 'Av8-pw7cwv
2t[.uovt07];
Plut.
.
.
Consolat.
.
ad.
AftolL
c.
11.
av9pwmov <prjatv dXiyov [j.ev The metre of 1 would be improved if we could assume [jlsv to have been added by Plutarch, and treat the first syllable of a-pjjxxoi as short we should then have
1.
;
x
\j
-w
w ^ w \j w
'
a form of choriambic verse with basis very Alcaeus.

1.
common
in
Sappho and
1.
Schneidewin
a^pijxxoi for arcpaxxot.

vii. 7,
'
Not. Crit. Pind. Isthm.

a^paxxov,
1.
a^piixxov, itiutile,
'.
on the strength of Bockh's quo nihil proficias,
quod
perfici
non potest
have not adopted Schneidewin's suggestion of 6'jj.w? for h\xQ>% ('equally') since, although it certainly adds to the pathos of the lament For all our labours nothing but death awaits us', it is not so consistent with the words in 11. 4-5.
3.
I
'
VI. Ouos yap oc rcpdxspov x.x.X. Stob. Flor. xcviii. 1 5. Notice the frequent resolution of the long syllable in arsi, as a sign of later metrical style.
With
Pyth.
tzixq'
iii.
the nature of the consolation Schneidewin aptly compares 86 atiov 6" aaoaXrj? oux s'ysvx' ouV Aiaxioa 7uapa II7]Xe"i ouxs
avxttk'io
Ka3[j.w.
(j.iav x.x.X.
VII. navxa yap
Stob. Flor. cxviii.
5.
SIMONIDES
VIII. noXXo? yap.
Stob. Flor. cxxi.
'
361
1.
'
good example of the force of the perfect Tsfrvavou, Long time for us to lie dead Long is the time after death
',
'.
is
the
ETHICAL SUBJECTS
of this poem must always be a matter of have with some hesitation followed Bergk, who with no very considerable violence to the text of Plato, wherein amplification and paraphrase are entangled with quotation, has reproduced a monostrophic song, which, even if not entire, is yet sufficiently complete in itself, exhibiting a regular and simple metrical system, and an intelligible succession of ideas. The poem is pieced together from scattered quotations in Plato's Protag. 339-346, where it is discussed and criticised in detail. The IX.
uncertainty.
I
The arrangement
Protagoras first cites 11. 1-2, avopa (339 b), in apparent contradiction to which he quotes a otiSe |aoi passage further on in the poem (xpo'to'vxo? tou aap.aTo;) &r9\ov ^|i|xvai ', 11. 7-9. The object of the discussion in ep.|i\os Plato is to reconcile, if possible, these two passages with each other.
:
quotations occur as follows

'
TTv-y|i'vov
'
who eventually undertakes the task, remarks that Simonides' comment on the dictum of Pittacus is that he misapplies the term
Socrates,
ya.'ksr.ov
to
what
is
really aouvaxo'v, namely, the task of
always main-
taining one's virtue (f[j.[j.vai as distinct from ysvsa-9-ai) ; God alone can attain to this, '8ebs &v |j.dvos Ka.9eX.Ti ', 11. 10-11 (344 c), to which
.
is
kcikws', 11. 12-13, an d in 345 C, a paraphrase from which commentators obtain 1. 14 (v. note ad loc). All these remarks of Simonides, Socrates proceeds, are directed
E),
added (344
'irpdlcus
against Pittacus, /.at ira Imo'vxa ys tou a?[i.aTT; i'xt fxaXXov oi\koV Toweicev |idxovTcu\ 11. 15-21 (345 C, d).
. . . '
cprjat
yap*
Lastly are quoted (346 c), though without their position in the song being indicated, the lines ?(xot-y' âpKtt 8s &v n^ ko-kos "n w'H.iKTai,' are omitted by Bergk, v. note ad 11. 2-7 (the first two words and
[j.rj
Now Socrates regards, or at any rate applies, these words as I don't a personal explanation from Simonides to Pittacus, thus blame you, Pittacus, out of a cavilling spirit (cm sq-u cpiXo'loyo;), since But your I am quite satisfied with mediocrity and am not cptAdpuoô?. mistake is too serious (r.eo\ tmv [xeyiaxtov isuSci'[Jievo;) even for me to
loc).
'
:
condone.'
At first sight then it would appear that, wherever these words are be placed, they must come somewhere after the mention of Pittacus Bergk, however, is with little doubt right in urging that (1. 8, etc.). vSocrates for his own purposes is applying the words of Simonides
to
a manner not warranted by the poet. This point once granted, the position assigned to the lines by Bergk is far the most suitable, and they thus fill up what would otherwise be a gap in Strophe a'.
in
Hermann, followed by Schneidewin,
treats
the
lines
as forming
362
GREEK LYRIC POETS

;
an epode, occurring after cpiXeWt (1. 14 above) the monostrophic arrangement, places them
tional strophe
o'.
in
Hartung, preserving a final and addi-
The poem,
{v.
Plato
p.
tells us,
339
it
A, is
is
addressed to Scopas of Thessaly
generally considered, though with little reason, to form part of an Epinician ode. Bergk, not accepting this view, regards the poem as complete, with the exception of the
199),
Biog. Simon,
and
exordium, or first strophe, dedicating the song to Scopas. Socrates insists that throughout the whole song Simonides' object is to confute
Pittacus (a^>oopa xal
pr)(j.axt,
St'
oXou tou
;
aapta-co; lr.i\ipyvca.i toj
tou
IIiTxaxou
l since he hoped (octe cpiXoxip-o; wv eVi ao<j>ta) 344 B) by successfully opposing and improving upon the dictum, or yvwpj, of one of the Seven Sages, to establish his own reputation for pithy wisdom of the Laconian order ([3pay_uXoyt'a xt? AaxioviJO], v. Protag. 343 His mode of attack hardly wins him respect, since he A, B, C). wilfully distorts an obvious truism of Pittacus, so as to render it liable to hostile criticism. We may perhaps find some excuse for the poet if we regard him as writing for a patron, the extenuation of whose vices required no small ingenuity. The song was evidently well
345
B, cf.
known and much admired

Strophe
be
11.
(see Protag. 339 B, and 344 b). must to reach perfection is indeed hard. satisfied with mediocrity in a man plenty fall short even of that.'
a'.
'
Ever
We
1-2.
'
The emphasis
to become,'
in the
yevEdQ-ai,
i.e.
1.
contrast
with
Ep.jj.svou,
sentence, if Socrates be right, is on ever once to reach the level of virtue, in 9, signifying 'to keep oneself up to the
explained by Socrates (343 e) as u;:sp(Baxov, or transposed, belonging, he says, not to dya9dv, but to ycclenov 'the real difficulty is, etc.,' in contrast to the 'difficulty' of Pittacus, which
standard.'
'AXaQ-sw?
is
is
not a difficulty at
all,
but a sheer impossibility.
Socrates will not
of course allow that virtue could be anything but genuine or real, and thus the epithet as attached to dyafrov would be meaningless. Simonides, however, was probably not so particular in his
phraseology.
'
sound
86,
vdo> Tsxpaywvo; is explained, Schneidewin says, by yepaiv all round, alike in mind and in body '. Compare Hor. 2 Serm.
. . .
vii.
'
Fortis et in se ipso totus teres atque rotundus.'
editors, employing a different metrical arrangement, words given by Plato, sp-oiy' iapxsi,' but as the quotation occurs in the midst of an imaginary address from Simonides to Pittacus (346 c), Bergk may well be right in rejecting the words from the text. He deals similarly with ou yap eIjjli cptXdp.io[j.o;,' which occur
1.
3.
Most
insert the
'
'
The words
Si'
song, or at
any rate leave
oAou tov ao>iaTos seem to show that we have before us nearly the entire little room for the subjects proper to an Epinician Ode, as some
suppose
this to be.
S
in Plato after p.pjao[j.at.
MON DES
I
363
[j.rj
He also,
metri causa, omits
before
stccxog,
urging that
eiSw;
. . .
it
is
easily supplied
'
from p]3' dyav
d-dXa[j.vo;.
oiV.av,
with justice in his heart,' like the

^' ou xv* Bergk, for ou pjv.
in retaining
Homeric
/.sovd,
dfrspuarta, siSto?, etc. 1. 4. uy 1 7)? sc ^ aTt '
\yh
1.
5.
have followed Mucke
[j.to[j.7]'ao(j.ai
(Schneidewin
754,
and Bergk -d<xo[j.ou). He compares fitoj/iiv, Hesiod Op. from a stem [j.MfAs-. (j.iop.suvxai, Theogn. 369,
'
and
We may call those virtuous who display no See Protag. 346 D, t<x pica dôSs'yexat w'ctte \p\ tyiyitv. For the Homeric -roiai xe, v. Monro's Horn. Gr. p. 243, 'ts is used when the relative clause serves to describe a class,' and pp. 184, 186. Cf. note on Sappho xxxvn. 1. 4, and Anac. XXIV. Pittacus should not have said it is "hard" for a man Strophe [3'. to maintain his virtue; it is not "hard," but impossible, for man's
1.
7.
7tdvTa, etc., i.e.
flagrant vices.'
'
virtue varies with his fortune, on the favour of the gods.'

1.
and
1.
is
therefore dependent entirely
8.
ejj.jj.eXew;
sc. E?p7)[iivov
from
9.
1.
9.
so
it is
This word is of uncertain origin, âta, a Doric form of owia. hardly safe to compare Dor. Tipaxo; = 7ipwxo;, from rpoaxo?.
. . .
s"ij.[jtvat
mean
yvo[j.vov (dyafrov) oiaf/ivciv ev
(344 c), as if of vice or imperfection
Simonides, according to Socrates, understands this to xaux^ ttj lêt, xai Eivai dvopa dyaSdv Pittacus was speaking of never exhibiting any trace
an
ideal
which, Simonides remarks,
is
for ov dv (metri causa). See Monro's Horn. Gram. '(In conditional Relative clauses) the pure Subjunctive (i.e. without dv or xs'v) is used when the speaker wishes to avoid reference
p. 204.
superhuman. 1. 11. ov, Bergk
to particular cases, especially to
any future occasion or state of things.
the governing verb is generally a Present or Perfect IndicaAll this is true of the present instance. tive.' 1. 12. 7:pd?at$, Lesb. Dial. p. 83.
1.
Hence
13. xt is
it
may
1
easily
added by Bergk to complete the line. He remarks that have fallen out in the text of Plato, as it is succeeded
xt?
by the word
14.
v
i
(345 a).
etu ^Xaaxov ok xa\ dptarof eisiv ou? dv Plato's paraphrase runs ot 9-eo cptXwaiv. In the above text xdxfcXEtaTov is Blass' suggestion, the rest Hermann's. Bergk diverges too far from the paraphrase. Geo\
must be scanned as monosyllabic.

Strophe y'. blameless man.
into vice
OiXewchv (trisyllabic)
is
more
cf. p.
cor80.
rect than qnXwaiv, since the choral poets
do not contract
s-w,
'
for when
'
therefore will never seek idly for that impossibility, a All meet with my esteem who do not plunge wilfully
circumstances drive
men
to
it,
they cannot help
themselves.'
1.
life
I will never 15-17. fling to render it void, seeking
away upon an
idle hope my span of what can never be a blameless man
(among)
all
of us who,' etc.
364
1.
GREEK LYRIC POETS

16.
/.svs'av
'
Buchholz takes not with IX-ioa but with [-latpav, as a Balko is dissyllabic. 01 apouprj? xaprcov eoouat.' supus'Sous, etc., on the model of the Homeric 1. 18. Festive haec addita', Schneid. the Scopadae or an 'Y[j.[jliv, imaginary audience (See Lesb. Dial, for ufifuv and E7catvr)[xt, 1. 19.), Socrates remarking that Simonides is purposely imitating Pittacus'
proleptic epithet.
'
own
1.
dialect (346 E);

20. Ixoiv
cf. xpaSjai?
in
1.
12.
epSr,
Socrates (345
D and
e) professes to take not with
but with ijcaiv. x. cXe'co ; would never speak of a
the philosopher is own favourite doctrine of the involuntariness of vice.
he urges, a wise man like Simonides man voluntarily pursuing vice. Doubtless ironical in putting into the head of the poet his
for,
X. "Etci
of the text,
1.
xi?
'
Xdyo?
x.x.X.
Clem. Alex. Strom,
Every one who believeth on him
iv. 585, in illustration shall not be ashamed

'.
3.
-8'ewv
'
I.
seq.
Bergk, for S-uav, Schneid. frsav. Neither is she visible to the eyes of all mortals, save to
him in whom the soul-consuming sweat issueth from the inmost pores, and who cometh to the topmost height of manhood.' Surely this is a more natural interpretation than that of Schneidewin (whose text
have followed), Neque conspicuus est inter homines, nisi cui, etc.', nor is any one conspicuous among men save him in whom, etc' Bergk in this passage departs too far from the original. For the myth, see Hesiod, Works and Days, 287 seq.
'
'
XI. Ouxi?
I
<zvu 9'eiov. Theoph. ad Autol. ii. 8. have adopted Bergk's conjecture of iort 9-vaxot? for
11.
saxiv ev auxot?.
3.
With
XII.
xa\
1-2
compare Diagoras, Dithyr. Poets

x.x.X.
ill. a,
1.
Tt's
yap aoova; axsp

oo?av
\tz!l
Athen.
xii.
512
c.
xa\ 01 <ppovi[j.wxaxoi
xrjv
[j.Eyt<3X7]v
aocpta syovxs?
fisytaxov
ayaftov
tjSovtjv
Eivat
vojjitôuatv"
SipLtoviSr]?
jjlev
With
this
passage,
xoi
I
ouxw; Xc'ywv z.x.X. cf. Pind. Frag. 92. (Bockh),

avop\ Xcpxvo;
altov.'
'
MrjS'
a[j.aupcu
xipJuv ev (Biw tcoXu
Schneidewin, with some reason, supposes that the words of Simonides, like those of Pindar, were addressed to his patron Hiero. If so, 7iota xupavvt; is an. especially appropriate illustration. In this passage, as in the next, we recognise the signs of the approaching contest of the Philosophers over the Summum Bonum.
cpE'oxidxov
XIII. ou'oe xaXa; aocsia? x.x.X. Sextus Emp. Adv. Matth. Bekk., Schneidewin restoring the Oratio Recta. Compare the address to'YyiEia, p. 253, and Scol. IX.
xi.
556
XIV. Gnomic passages.

(a.)
Stob. Flor. cxviii.
6.
',
Compare, of course, Horace's

3
'
Mors
et
fugacem prosequitur virum
Od.
ii.
14.
SIMONIDES
365
For the choreic dactyl -yj in this and the following passage instead of the cyclic, -û see Metre, pp. 63-4. Cf. Hon 3 Od. xxix. 47 Agathon ap. {b.) Schol. Soph. Aj. 375.
;
Arist. Ethics, vi. 2
Movou yap auxou xa\ S'Eo? oTspidxsxat aysvrjTa 7COtetv aa^ av fj Ke7tpay{Jiva.
(&) Aristid. II. 192. et fideli tuta silentio
Translated by Horace in 3 Od. ii. 25, 'Est Merces'. Comp. Pind. Frag. XI. $', saO-" ore
maxo-raxa aiya? 63d?.
For the Epitrits

pp. 66-7. (d.) Stob. Eclog.
Zed's.'
in this
and the following fragments,

Cf. //. vi. 234, 'rXau'xoj.
. .
v.
Metre,
ii.
10.
<ppeva? e?sXeto
Schneidewin takes the words
to
be a Simonidean excuse for a
patron's misconduct. Eur. Or. 236 (xpeiaaov oe to ooztiv, -/.av aXrjikia; owuf). (e.) Schol. Thus tcoXi; appears to signify seni resp. sit ger. c. 1. (/) Plut. not mere civic life', but political life', the holding of political office'.
An
'
'
'
EPINICIAN SUBJECTS
of the fragments from Simonides are quoted from Epinician Odes, e.g. No. XXI. seq. but I have placed under the above heading only such as relate to the special subject of such songs. Others I have classified in the manner that appeared to me most suitable.
Many
OuSe IIoXuoeuxeo; (3fa /..x.X. Quoted by Lucian pro /mag. c. 19, Oratio Obliqua, ouos IIoX. |3{av cprâa? avaTsivaafrai av aoxw Evavt. xa; x.t.X. I have retained the article, which Bergk and Schneidewin -/slpa? Simonides, as appears omit, with different metrical arrangements.
XV.
in
from Lucian,
is
addressing Glaucus,
'
who won
a boxing victory at
Olympia with the ploughshare blow v. Pausan. VI. x. 1. Simonides' somewhat irreverent estimate of his powers savours perhaps rather
',
of a later period in the art of
encomium among
the
Greeks
(cf.
Miscell. XIV, XV.), and Lucian is surprised that such language brought no discredit either upon the poet or the athlete.
nioXuoEUKEo;, a
metre would be decidedly simplified by reading Doric form which occurs in Append. Alcman, No. 23, 1. The resolution of the arsis of a spondee is most unusual until 1. Cf. on No. xvil. I. 4. a later period.
In
1.
1.
the
to illustrate the
Quoted by Photius 413, 20 under TcspiaYeipof/.evoi, custom of showering down flowers and garlands upon a victorious athlete a custom, he adds, supposed to have after slaying originated at the time of Theseus' triumphant return the Minotaur. The lines are addressed to Astylus, a runner of Croat the Olympic tona, who at three successive meetings won the prize allowed himself to games. On one occasion, to please Hiero, he
XVI.
Tt?
or]
x.t.X.
366
GREEK LYRIC POETS

'
. . .
be proclaimed a Syracusan, a disloyalty for which he was disgraced Pausan. VI. xiii. i. at Crotona. xii; ori dvso7jaaTo, which of the men of this day ever garlanded
so
many
1.
victories with leaves of myrtle or chaplets of the rose

in its boldness.
'
fine
metaphor, Pindaric
3.
iv
aywvi
raptxx.,
the local contests in which a
young
athlete
first
won
his laurels.
ooupl 7tavTa; x.t.X.
x.-^.X.
XVII. "O;
tou MsXsaypoo
Athen.
iv.
172
E, 2ip.<ovior]s
jrep\
The passage probably belongs
to
an Epinician
Ode
1.
honour of a victory at casting the javelin. as no reference to the subject in Homer is known, Schneidewin supposes that Simonides is thinking of some cyclic
in
4.
"Opjpos
poet.
Sxaaiyopo?, v. Append. Stesich. No. 3. Gpwaxwv [xkv yap 'Apupiapaos, axovti ok vr/aaav MeXs'aypos, quoted by Athen. I.e. The tribrach in the fifth foot in place of a dactyl or trochee in f -time is very unusual and
not easy to account

Class.
for.
See Schmidt {Rhythmic and Metric of the
Languages,
p. 42)
who
decides that the final short syllable
is
rhythmically equivalent to a long syllable, though if it were actually long, as in XEyoâi, an undue emphasis would be given to the thesis He gives the musical notation thus (arsis in Schmidt's terminology). It is perhaps simpler to assign to the third syllable its usual -y-, e value, and to regard the first two syllables as a resolved form
I
of the syncopated syllable 1

to this foot
The musical
J
notation corresponding
would then be
J_
XVIII. 'Em?y
o Kpio;x.T.X.
Quoted Schol. Nudes
1356,
where
Strepsiades bids his son sing this evidently well-known passage from Simonides as a parcenion (cf. Introd. to Convivial Songs, p. 233).
Crius, upon whose name Simonides puns (cf. Biog. Simon, p. 206), was an Aeginetan wrestler (Schol. i.e. and Hdt. vi. j$, who appears to have been badly punished by the hero of Simonides' Epinician
Ode. As Crius is called a 7iaXai<rojs, I fail to see why Schneidewin speaks of a boxing-contest. 1. 1. Hartung compares pectere bz3-<x&, got himself well-shorn pugnis or fusti in Piautus Rud. iii. 47, etc.
' '
'.
'
'
'
1.
2.
Euosvopov
;
Dobree,
for Se'vSpov.
Aid?
the victory
may
then have been either at the Olympic or the
Nemean games.
XIX.
Polit.
c.
Xaipsx
x.t.X.
Quoted by
Arist. Rhet.
iii.
2 (and Heracl. Pont.
25) in connection with a well-known story, illustrative alike of Simonides' cupidity and of his skill in overcoming difficulties in
Anaxilas of Rhegium (or rather his son Leophron, or Cleophron, Athen. i. 3) had won the mule-chariot race at Olympia, and invited Simonides to write him an ode in honour of the occasion.
his subject.
S
The
M O N D E S"
I
367
offered, refused
poet, not being satisfied with the
payment
on
On the offer the ground that mules were unworthy of his muse. being increased he waived his objection and skilfully ignored the asinine descent of the victorious animals.
MISCELLANEOUS
XX.
T(?xv
aiv7]<jcis x.x.X.
Diog. Laert.
i.
89.
:
Simonides
is
carping
at a beautiful
epigram by Cleobulus on Midas

XaXxc'7) r:api)-vo;
ear'
e?ji.\,
Mtosto
6' iiii a/jijiaxi xeijjloci,
av uotop ts pir\ xai Se'vSpea [j.axpa XEihjXr), 'HeXicx; t' avuov ~kd[j.r.r\, Xa|j.xpa xe CcXrjvr],
xai
7ioxa(i.o(
auxou
xrfos [j.3vouaa
ys (k'waiv, avaxXui^) os 0-aXaaaa" rcoXuxXauTto eVi xu^Poj
ayysXs'io 7i:apiou3t,
Mioa;
is
oxi xt|os xs'9-arcxai.
Bergk thinks
Simonides
that
Diogenes
wrong
in
referring the
words of
epigram, since in the above the monument is of But may he not be brass, while Simonides speaks of stone (1. 5). using Xf9-o; generally, for a monument ?
to this
Simonides' criticisms are
trivial
enough
(cf.
No.
IX.
passim, and
Biog. p. 203), even though he professes to be deprecating a certain irreverence in the exaggerated expressions of Cleobulus. 1. 1. Atvoou vas'xav. Schneidewin regards these words as used con-
temptuously, implying a possible Carian origin. But Lindus at this time was the chief city in the island of Rhodes, and it was not Simonides' object to decry his adversary rather to show that, wise though the latter might be, he himself was wiser still, and able to find
;
out the
1.
weak
points in the
wisdom
2.
roxa[j.cHcuv,
Bergk
for
x:oxa[jLots,
of the sage. to avoid the pentameter, which

'
'
would be
1.
ill-suited for a Melic passage. Bergk, objecting to the epithet golden being applied to the moon rather than to the sun, re-writes the line in a somewhat unwarrantable fashion. I. 6. 9-pau'ovxt, v. Dor. Dial. p. 95.
3.
XXI.
have placed xxi.-xxin. together, as they are

a7rtpc'aioi x.x.X.
all
descriptive
of nature.
Tou xai
II.
1-3.
Tzetz
Chil.
i.
316,
'
rcep\ 'Opcpe'ws.
11.
4-6. Plut. Quaest.
viii. 3, 4, vr]VE[Aia
yap rf/woc?
x.x.X.
11.
7- 10. Arist. Hist.
Symp. Anim. v. 9,
explaining the expression halcyon days'. The three passages are very plausibly united by Schneidewin into one. ava o' r/O-us? x.x.X. There is something of bathos in the 1. 2.
transition
from the countless birds
fluttering
above the poet's head to
The idea recurs in Ap. Rhod. i. 569, where the fish the leaping fish. For the use of auv Bergk are said to leap up and follow Orpheus. compares Find. Dith. Frag. VI. 18 (p. 289), cr/axoa ^ d[j.oa( [/.eXsoIv auv
368
auXol?,
GREEK LYRIC POETS

but auv in the passage before us hardly has such a distinct in accompaniment to,' as it has in Pindar's Fragment.
' '
meaning of
We
should rather expect xaXag u^ aoioa;, as Hervverdt proposes, unless indeed auv here implies keeping up with ', the fish following the course of the vessel in which Orpheus is singing. 1. 4. IvvoaitpuXXo;, the doubling of the nasal v is Lesbian (v. p. 82),
but the poet was probably influenced in his choice of this form by the familiar Homeric Evvoaiyatog.
Schneidewin, for axiovapisva. Bekk, Aft. i. 377, 27, refers to this passage as occurring ev IlsvxaOXot;, so that probably we have before us part of an Epinician Ode. (See, however, note preceding No. XV.) pjva, Arist. I.e. tells us that these halcyon days occur yafjisptov seven before and seven after the winter solstice.
1.
5.
xiovajjivav
1.
7.
word of calming the angry Verg. Aen. i. 57, 'mollitque animos et temperat iras (referring to Aeolus and the winds), and similar expressions in that part of the Aeneid.
mvuay.T), for
the metaphor implied by this

cf.
passions of the tempest,

'
TJfxaxa,
ajj.axa.
the
rj
is
Epic, see Dial. p. 78.
Schneidewin and Bergk
XXII.
'
(a)
Ar.aXoi
iii.
o'
urap
x.x.X.
speaks of xr,v Ksiav wo7Jv sung by Simonides to the breeze, and elsewhere Eclog. xiii. 32, ix t^c, Ksi'a? Mouar)? zpoasiÊiv
Heiner. Orat.
14,
Z&ikio xov ocvs[aov

I
aâXo?
xupiaTa.
have followed Schneidewin

x.x.X.
in
omitting
X7jv
before ^ptopav, but not

8 (speaking of a
in his other alterations.

(b) "ia/ei
Quoted by
Plut. de Exil.
c.
man
going into banishment) as xtx xwv rapa 2t[j.wvt3y] yuvatxwv, whence Schneidewin not unreasonably conjectures that this is the cry of the Athenian women when deported to Salamis, and that the words belong to a poem by Simonides entitled 'H ev 2aXa[j.1vi vaujj.ayja.
XXIII.
kXvtcL,
(a) "AyyeXs x.x.X.
A-yyeXe, cf. the
Swallow-song
cf.
Schol. Birds 1410. (p. 246) and Notes.

01.
xiv.
Pyth.
x. 6,
'shrill-voiced', xXuxav oxa.
Pind.
21. xXuxav
ayysXiav.
a8uoo[j.ou, cf.
(b)
Pind. Frag. Dithyr. VI.

813.
8.
1.
15, suoofxov
sux'.
jap.
Etym. M.
Asux'
Schneidewin, for
518, yXwprfi;
Hark
yXtopauyevEc, cf. Odysi. xix. to the nightingale, the
arjSto'v,
'.
and M. Arnold's
tawny-throated
XXIV.
For Simonides'
(1)
A.
skill in
SONG AND DANCE.

art,
the orchestic
see
p.
206.
Plut.
Sympos.
t
ix. 15. 2.
opyj]aiv
ouy r,TTov r
x<qv
TtoiVjatv
Auto; youv lauxov oux cuayu'vsxcu rapi x^v lyxiofjuaîov Oxav oe yr;ptoaat vuv iX op/.
ofSa x.x.X.
S
11.
MON DES
I
369
-/..x.X.,
1-2.
have followed Schneidewin's
text in o'-x
with the
exception that I have transposed oioa and xroSwv, to simplify the metre. Obviously the passage requires some mention of the voice or song'. Bergk in 1. 2 reads eXxooov oo-/7][j.' aoiox rcootov [xiyvupv, and certainly the Cretic metre is well adapted to the passage. Kp^xx, cf. Athen. iv. 181 B Kp7)X'./x xxXou?'. xx u7:opyrj(j.axa, and p. 29.
:
to
8'
opyxvov MoXoaaov.
implied.
(2)
Athen.
I.e. I
Plut.
11.
on
1.
to
1-3,
uncertain what musical instrument is 629 E speaks of MoXotsixtj e^piXeia. 11. 2>~1 ar e quoted separately, but as they exactly fit have treated the whole passage as continuous, and
It is
vi.
placed only a
2.
comma
II.
after ouoztov.
'A[i.uzXa{av.
ftatou,
cf.
Anacr.
The penultimate is probably shortened as in Arr The fame of Laconian hounds is well known,
:
Pind. Frag. 73 (Bockh)

xpE/siv
'A~o TxuyExou
;
(J-ev
AaV.xivxv
|
irl
Ebjpafc
xu'va
'
tcuxivioxxxov
sp-Exo'v
and Midsummer Nighfs Dream,

kind.'
My
hounds are bred out of the Spartan

I
suppose, simply stands for Laconian, the poetical imagination dwelling upon the ancient times when Amyclae was the representative city of that district.
'A[J.uxXaiav,
1.
3.
xa[i.-uXov
010J/.WV,
the dancer
is
of course addressed 'Keep:
ing step with the

'
mazy
song'.
Cf. JU Allegro
The melting
voice through mazes running.'
Notice
in this line the imitative
nature of the metre, proper to a
hyporchem.
1. 4. Awuov toSi'ov, an extensive plain in Thessaly near Lake Boebeis, apparently a famous hunting country. Compare again
.
Midsummer Nighfs Dream
Was
never holla'd
In Crete, in
/.cposW
more tuneable nor cheered with horn Sparta, nor in Thessaly.'

'
cry
to,
Wyttenbach,
for
xspaaacra.
For hinds with horns,
cf.
Anacr. xxiv. and note.

I.
5.
[jLaxsutov
Schneidewin, for
text here
y.apa
is
{jucvsu'idv.
II.
6-7.
The
Tcpscpotav s'xEpov
doubtful, the original being xav o' eV auysV âvxa exoi|aov. Schneidewin s'X' and
EXEpwas
and
-avx' axoX;j.ov.
Hartung
is
verb such as
eXe
(Gnomic
Aorist)
required by the construction, and EXEpwcjs supplies us with a very graphic picture of the averted head of the overtaken quarry. On the other hand, Schneidewin's Jtavx' eV oI[jlov is appropriate if Simonides is comparing the intricate movement of his lines and his dance to the rapid doublings of the hunted animal and her pursuer.
B.
11.
VARIETY OF SUBJECT
2
(see p. 206).
Aristid.
ii.
1-3.
Bergk has united two passages quoted by
513,
370
GREEK LYRIC POETS

is
with the remark that the poet

7T0ptp.0V El?
'
praising himself,
wc.
yovip.ov
xat
Ta
[J.e'Xt].
that which
For the Muse with bounteous hand grants us a taste not alone of is set before us, but onward goes, gathering all things to
flute of
her harvest. Prithee stay (her) not, since the tuneful notes has begun sweet melodies.'
tcoXvxP^ os au^S
;
many
the epithet
is
curious
and
interesting as indicat-
ing the predominance in Greek music of string- over wind- instruments, musical terms being devised primarily for the former and then applied or misapplied to the latter. Schneidewin quotes Plut. xai xov auXov 7|p[j.oa9-oa Xs'youat scat xpoujiaxa auXr;'[j.aTa Synip. ii. 4
:
xaXouaiv,
11.
a.r.6
4-5.
.
ttj? Xupac XapJBavovxs; xa; xrpoarjyopias. Plut. de Prof, in Virt. c. 8 and Cram.
.
An. Ox.
iii.
173, 12,
xaXto as
av9-ov
oux [jiXixxav Mouarj;,

[X7jSo[jle'v7iv
<xt;o
xivtov 9-ujj.wv xai 8pt[j.uxax(ov avSiiov
jasXi
w;
opqaiv
SipnoviSrjs
x.x.X.
We may
then
assume that Simonides is comparing his Muse to a bee culling 2), and that the passage is honey from every flower (cf. r:avxa frsp. from the same poem as 11. 1-3. Pindar speaks in an exactly similar manner, Pyth. x. 51 seg., in checking the diffuseness of his muse ir.' aXXox' aXXov wte Kwxav ayaaov [j-sXtaaa iyxtopiiwv yap awxo? upiviov
1.
:
O-uvEi Xoyov.
XXV. (EupuSixa?) JoorxEoavou. Athen. The fate of the infant Archemorus.
ix. 396 E, in reference to the passage is probably from a
Threnos over the death of a child whose fate is paralleled in mythology by that of Archemorus (cf. on No. n.). Bergk supplies Eupuot/.a?, the name of the mother Schneidewin
;
<rxd[j.axo;
after toax.
iii.
XXVI. 2/e'xXis TOc! x.x.X. Quoted by Schol. Apol. Rhod. one of several genealogies of Eros.
1.
26 as
1.
Bergk, with some MS. authority, reads
2. jxal, ooXop.7]xi? 'A<ppo-
otxa x.x.X.
ooXopj/avto (Bergk arbitrarily xaxo[j.7]/avo)), is not inapplicable to Ares here, with reference to his intrigue with the wife of Hephaestus.
XXVII.
"Ovftptora, xstaai x.x.X.
Aristid.
ii.
13.
Schneidewin explains this as the remark of a pugilist, elate with But this is the slaughter of his former victims, to a new antagonist. surely out of the question, since fatal results in a boxing-match were rare exceptions to the rule, and a repetition of the occurrence on the The same occasion would have been abhorrent to Greek taste. words seem rather to be contemptuously addressed to some one whose existence is a mere death in life. Cf. Efjul/u/ov vexpdv Soph. Antig. 1 167. It should be noticed that xstaScu constantly has the technical
.
.
meaning of lying
'
in the
grave
',
e.g.
Antig. 73 and
76.
TIMOCREON
TIMOCREON
I.
371
'AXX'
e?
xuye Ilauaaviav x.t.X.

p.
Plut.
this
Them.
c.
:
21.
'
Grote,
v.
135,
remarks on
passage
The
assertions of
Timocreon, personally incensed against Themistocles, are doubtless to be considered as passionate and exaggerated. Nevertheless they are a valuable memorial of the feeling of the time, and are far too much in harmony with the general character of this eminent man to allow of our disbelieving them entirely.'
About the arrangement of these lines there is a great diversity of I have followed Ahrens and opinion. Bergk, the latter observing that these short strophes were particularly suited to songs of the
'convivial' character,
such as this and the other passages from

p. 94.
Timocreon.
II.
1-2. xuyc,
Dor. Dial.
the apodosis implying distinct opposition. The poet emphasises his admiration for Aristides, as being the Thus rival and antitype of the avaricious and corrupt Themistocles.
os in
Notice
the connecting
AtuTir/ioav,
s-si is
not inappropriate.
Ahrens, Dor. Dial. p. 214, says that this contraction appears only in comparatively late Doric, and chiefly among the Dorians of Asia Minor or the islands, who were near neighbours to
the Ionians.
Schneidewin suggests that the reference eqj.17. rj/Oaoc Aaxto Lato in her capacity as xoupoxpooos, the meaning being that Themist. was a rascal from his very cradle.
1.
4.
is
to
1.
6.
/.opaXi/otat
Bergk's suggestion for MSS. axupaXixotai, PaXtxolat,

^)
zuij.jjaX'./.ot'Ti.
1.
7.
'laXuaov
the quantities of this word. in Pind. 01. vii. 74, ^ - ^

'
the poets allowed themselves freedom in , In Horn. II. ii. 656, it is scanned <->
C7,
while
in
Anth. Pal.
vii.
716.
we
find
'IaXuaoto as the conclusion of a
hexameter ^w ^. 1. 8. Bergk. apyupiov, fortasse non sine contemtu 7;Xswv 1? oXsO-pov, went on his accursed voyage'. 'j3a 1. 10. 1-jD'jj.ot x.t.X. There is an unknown reference in these lines apparently to some stingy behaviour on the part of Themistocles on his return to Greece after the expedition referred to in the previous line. Perhaps a division of the spoil captured from Medising cities or individuals took place, at which Themistocles kept the lion's share for himself, and left 'cold comfort' ('iuypa xps'a) for his coadjutors. as an adverb from yXoioc, yXoiw; Bergk (for yzXoiwc,), stingily
',
' '
',
expl.
1.
by Hesych. as
12.
[j.rj
purapo'?.
wpav
x.t.X.
more',
i.e.
that his
'that the day of Themistocles might be no ascendancy might come to an end.
372
GREEK LYRIC POETS

Arist. Lysistr. 1037.
first
For the hiatus Schneidewin compares

:
Per-
haps, however, pi should coalesce with the the line scanned thus
syllable of w'pav,
and
^
.
II.
(a.)
Mousa
x.x.X.
Plut.
I.e.
r.oku
o\
txaskyz'Tzipz
.
[iXaacpripa
xe'yp7]Tai
pxd
x^v yuyr^ auxou (Themistocles)

Plut.
<xi[).cc
TZO'.rpxi
ou
1^
(p.)
oox apa Ttjxoxpe'wv.
/.f.
with reference to the

as follows
'
:
same circum-
stances.
The meaning seems to be
am
who has suffered for his villany (lit. lost his have turned out foxes {i.e. rascals).' There is a frank avowal of his own rascality in the fragment, which is in keeping with the bitter and cynical character of Timocreon.
III. "QcdeXe'v g
to,
not the only one Others, too, tail).
x.x.X.
Schol. Achar. 532,

is
'
axoXiov xaxa xou IIXouxqu.'
One would
think that Timocr.
inveighing against the bribery
and corruption which, as he says in No. 1., keeps him in banishment. There is however a passage in Isidor. Pelus. Ep. ii. 146, which seems to point to there being no such special reference in the lines "E-9-o;
:
i^v
rcaXaiov
pxa
\).r\it
xtjv
auvcTuaaiv
aTTTsafrai
Xupa; xai aosiv' 'AnoXoto,
u>
IlXouTc, xai
1.
v yf^ <pavsfr)?, pjx' lv O-aXasari.
I.
"QtpsXsv a
w
a
.
Ilgen, for wtpeXs;

to.
. .
he considers that the MSS.
'i2EAESQ
= (093X3
;
Nem.
ix. p.
ii.
6
;
oasiXei
For the impersonal construction, cf. Pind. vtxav Tijjlovoou rcatSa, and Luc. Dea Syr. 25 T.
(jo<peXe.
no
ota pjxE as âO-ftv, |0Jt p\ 'toa9-ai
Schneidewin, objecting to the pleonasm after yf, proposes oupavw. As a conjecture I suggest n^ 'irl -yfj, p|i sv &aX. pjx' ev rÊipw Would that thou mightest not be seen upon the earth (as x.x.X., z>. opp. to Tdpxapov, 1. 2), whether on sea or land.'
rjTOi'ow.
'
IV. Krjta
|j.s
The
lines are a
Anth. Pal. xiii. 31. parody on an epigram by Simonides, Bergk Mouaa pioi 'AXxpjV7]s xaXXtacpupou ulov asts. Ytov *AXxu.7)V7is aao Mousd xaXXtsoupou.
^poarJXO-e x.x.X.
jj.o'.
170.
BACCHYLIDES
I.
Tt'xxsi
0 xe D-vaxotaiv x.x.X.
Stob. Flor.
lv.
BaxyuXioou xaidvcov.
in
Commentators expend considerable ingenuity

restore the lost
endeavouring
to
division of strophe, antistrophe, and epode. The predominance of dactyls and of the epitrit (v. p. 67) makes it clear or f that the song is in f or time, and not in so that the
-j)
trochees must be scanned not
but
L - ^.
Altogether there
is
BACCHYLIDES
373
ring of calm but deep-felt triumph about the rhythm which is admirably suited to the subject. The description in these lines, idealised it may be, is not without value in helping us to realise the bright and cheerful existence of The passage was evidently the Greek citizen in time of peace. a famous one among the ancients. Plutarch refers to it in his Life of JVuma, c. 20, where he says that the blessings of peace bestowed by
that king outdid even the exaggerated descriptions of the poets, and he quotes 11. 6-10 as an example. Plutarch appears to be borrowing
from Bacchylides
1.
in his description of the
'
feasts, plays, sacrifices,
and bankets' (North) celebrated over

1.
all Italy.
1.
8e ts, see
note on Sap.
xxxvu.
cf.
5.
1.
2.
aoioav avO-ea, a favourite figure of speech in Pindar, e.g. aviha
ufivwv, 01. ix. 48.

id.
1.
MeXtyXwaawv,
Pind.
Is.
ii.
3, [j.sXiyapua; o[avous,
and
8, jJLaXO-ax.dcflwv&i doiSai.
and 1. 3 seq. The next three lines probably refer to the sacrifices or, perhaps, simply to rejoicings in honour of the return of peace
;
the customary ceremonies and festivities of Greek life, kept perforce in abeyance during time of war. Similarly Elpr^t] is addressed as
Siar.oiva yopwv, Ar. Peace, 976.
A'iO-safrai is
reading of Dindorf and Schneidewin for

atO-^tat,
the ingenious and probable Neue and others eO-eafre. are dependent on
tixtei,
and
f/iXsi
(1.
5).
A'tihaOai
and
fjiXstv
they were substantives co-ordinate with 7cXoutov and av9sa. 1. 4. pipa Buttmann, xavuTpfywv Schneidewin, from a MS. reading Buttmann and Neue pjpa Saauxpiywv. (jnrjpixav suTpr/wv. auX<ov Tc xai xwp.wv, perhaps a kind of hendiadys, the flute 1. 5. being the almost inseparable accompaniment of Comus- songs. Cf. p. 8 and Dithyr. Poets I. a, 1. 10. of 1. 6. atO-av, fiery-red ', which appears to be the meaning also
as
if
'
aifrtov aX(o-7)5,
v
1.
Pind. 01.
so
Stob.
;
x.
adfin.
Plut.
I.e.,
7.
icrco i,
spya,
in
syllable of apa/vav would be long,
and the
line
which case the second scanned thus

:
With
this
passage Schneidewin aptly compares Theocr.

apayvta
Xs'-Ta oiaTcrâaivTo, [3oas
8' si;
3' i'xi
xvi.
96
orcV apayvai
|j./)3'
ovojj.'
s\'r].
and Tib.
I.
i.
10, 50.
8.
Eupw;, not
given
in Stob.,
is
lessly inverts eupw?
and
oajj-vaxat.
supplied by Plutarch. Bergk needNotice the scansion of iyysa.,
and
II.
icpea,
^
'
12-13. PpMtovrt, p. 95.
the streets,' because of the processional choruses etc. ayuiai, associated with these au[j.r.6iiot. thus too are suggested the 7rai3iy.ot of love or serenades, which often formed the sequel to u'fj.voi, songs the banquet (see p. 8).
\
374
(pXs'Yovxai
GREEK LYRIC POETS

(or as
::aiav
Bergk suggests
cpXeyovxi),
'burst forth'.
Cf.
Oed.
The metaphor as applied to song is Xdpiet. particularly common in Pindar, e.g. Pyth. v. 42, as 8' jjuxopoi cdXe'yovti
Tyr.
1
86,
XapiTS?
TCUpdOV
Nem.
vi. 37,
Xapnrwv
op-.aow oXs'ysv
/y/î. vi.
23,
and
iii.
61,
U|JLV(OV.
This poem
is
perhaps imitated by Eurip. Frag. 462

Eiorjva PaO-u'xXouxs
v
.
oioov/.tx
[j.rj
j;p
8
iv
t:ovoi;
urepPaXy)
jcp\v
I*
Y^P a ?,
)(apis<i(jav topav jtpoaiSslv, xal xaXXiyopou; aot5a;
aav
cpiXoiTEâvou; te xcoudu;.
II.
rXuxel' avaY^-a x.t.X.

is
Athen.
ii.
39
is
E.
He regards it as Pind. Frag. XI. note, and p. 24), and endeavours to But surely the lines with their distinguish strophe and antistrophe. easy and regular metre fall beautifully into the form of the 4-line stanza of monodic song.
poem
a Scolion.
choral
(cf.
Neue
of opinion that this
The poem should be closely compared with Pindar ix., and we can hardly help assuming that one of the two poets borrowed from the other. Yet their treatment of a similar subject is markedly distinct, Dissen characterising Pindar's song as nervosior,
'
ingeniosior,
sublimior'.
Admitting this, I should be inclined, on the other hand, to say that the passage from Bacchylides is elegantior, pulcrior,
'
suavior', etc., out of place.

12 seq.
-.
. . '
:
and that Pindar's sublimity is in this instance a little Horace has closely imitated this fragment in 3 Od. xxi. Tu lene tormentum ingenio admoves Tu spem reducis
. . .
addis cornua pauperi

'
',
etc.
But the
spirit of
Bacchylides'
o'
poem
:
is,
think, best displayed in the lines of Burns' Tarn
Shanter
Kings
O'er
11.
may be
the
ills
rich,
but Tarn was glorious,

victorious.'
fires
all
of
life
1-3.
'Sweet compulsion speeding from the cups
with
love.'
The word avaYâ
my
soul
(cf.
Pind.
rattSa)
simply implies that wine takes thought and action. Schweighauser's explanation
ilia,
Nem. ix. 51, (3iaxav a^Xou away from men freedom of

is
unsuitable, 'vis
attrahunt ad se'. Casaubon, objecting to the omission of the preposition iv. or a-o before xuXixwv, reads
qua
calices
hominem
Yuop.va,
Bergk ifferujxsvav, which mars the beauty of the passage. Jacobs connects avotYxa xoXixuv together. Blanda ilia potandi
'
necessitas,' or
O-aX^cyt,
'
lene
tormentum quod admovent
v. This case Bergk regards as parallel to the Lesbian cpiXrjaL, and the like, on the strength of a form OaX-aw mentioned by the grammarians. cf. the
Q-a.Xr.ei,
Schem. Ibyc,
calices' (Ilgen).
cf.
on Ibyc.
Ktkptoo?,
(v.
material genitives ' 7ip^cat 7tupos,' ' rcupos Sôto 9c'p7]Tai' Horn. Gr. p. 107). In 1. 3 the MSS. give KikpiSo? ilrX; o'
' '
1
Monro's
cpp.
aiO-uacrsi
BACCHYLIDES
'
375
Erfurdt corrects to KunptSos S'lXrcls oiaifruW-. (pp., but Ilgen reasonably rather spes in urges that Ku'rcpioo? IXms is out of place, as we require 8' universum', cf. Hor. I.e. and 4 Od. xii. 19. Neue's Ku7tpt8os" sXx:ioi aiO-uWt is not in accordance with what appears to be the metrical
(pp.
scheme
Bergk's
Ku'jxpt?
w?" IXm? yap atd\
cpp.
is
very
flat.
have con-
x' Uric, 8iai9-u'a?Ei x.x.X., for if 3' jecturally written in the text Ku'rptoo;* a!9-uaat became substituted for oiatOuWi, x(ai) would naturally be
dropped as unnecessary.
1.
For the
-a; (with
elision of xat,
cppi'va;)
cf.
Scol.
I.
1.
2.
4.
ap.p.iyvu[j.s'va,
Neue
to avoid the repetition in

'
sense of aEuopiva xuXixwv. Atov. Swpoi?, cf. Hes. Theog. 975,

'
'
Aiuvu'cjou Stop' eaastpap-evo?
and
//.
The expression appropriately attaches owp' 'Acppooixrj?.' itself to deities associated with pleasure.
iii.
54,
1.
5.
u'l/oxa-irw rJ[i. [jLsp., i.e.
raises
men's thoughts to a higher
level,
explained by what follows. compares Pind. Pyth. viii. 92.

as
is
1.
For
this
sense of
jj.spip.va?
Mehlhorn
6.
auxi/' 6
[jlcv,
so
Bergk
for the unmetrical auxo? p.kv 6 piv refers
to the drinker rather than to otvo; or Atovuaos, as

Xuei
1.
Bergk explains
|
it.
as in
Cf.
//. xxiii.
513, Odyss.
'
vii. 74.
8.
Hor. 2 CW.
lacunar,'
xviii.,
Non
iv.
in
domo
1.
and Odyss.
|
71,
ebur neque aureum mea renidet XaXxou xe axspo^v opaso

. .
xa3 8wjj.axa ^yjjsvxa
Xpuaou
x'
rÊxxpou xe xa\ apyu'pou
rfi' iXe'epavTO?.
9. ko'vxov is conjecturally
supplied by Erfurdt, Bergk xapôv.
III.-XII.
I
ETHICAL PASSAGES
this
have grouped together under

life
to various classes of Melic poetry,
heading fragments, belonging which contain reflections upon
human
III.
1.
or destiny
(v. p. 223).
Stob. Eel. Phys.

ve'cpo;
1.
v. 3.
is
4.
in this
metaphorical sense
axsvaypuov, etc.),
used specially of
refers in this
evils (cf.
passage Thus, although the poet s theme is that men's lot is entirely in the hands of fate, he implies also, as he does more directly in the succeeding passages, that this lot is a hard one.
VE90?
t:oXe[j.oio, vEtpo;
and therefore
oXJjo?.
only to "Aprj; and axasu, not also to

:
1.
5.
yatav
Bockh,
for yav.
Stob. Flor. ciii. 2 and xcviii. 27, both IV. "oXpto? omvi x.x.X. passages being from the same Epinician Ode. For the trochees in f-time in this and many of the subsequent
passages
1.
cf.
on No.
altered
I.
1.
uxivt,
by Neue
to wxe, but Oeo?
may be scanned
as a
monosyllable. KaXwv, Neue suggests xaxtov, the sense then being happy the man in whose life the inevitable evil is tempered also
'
with good'.
376
I.
GREEK LYRIC POETS

2.
The
II.
3-6.
last syllable of xu/a coalesces with the first of d<pvtdv. Bergk refers to Cic. Tusc. Quaest. i. 48, where the same
is
sentiment
ascribed to Silenus.
31 ftvaxwv x.x.X.
V. naupoiat
1.
Clem. Alex. Strom,

for
vi.
745.
1.
oaijjiwv eowxe,
so
Neue
xatow
tw
3ai(j.ovi
'
Swxev.
1.
2.
7:paac;ovTas ev xaipw,
apparently
is
a signification
E'jzat'po);.
of
ev
faring prosperously ', but such doubtful. Perhaps we should read
VI. IlavTsaai Prosodion.

VII. Et? opo;
1. I.
frvaxolai
x.x.X.
Stob.
Flor.
xcviii.
25,
from
x.x.X.
Stob. Flor.
Se
cviii. 26,
from a Prosodion.
2.
3.
oiax. ouvax.
Dindorf, for Suvax.

01;
jj.upia
otax.
jj.sv
The
|JiEpi[j.va.
MSS. have
a[xp.
(pp.
Stephanus w
Neue
II.
4-5.
The
a7iXExai xE'ap.
The reading
MSS. have xoSs (or xo Se) rcapd[Jiapxs vuxxa (aeX. yap. advt Bockh ocJev in the text is that of Grotius
;
ia^xExai.
The subject implied in w (1. 3).
in this clause is
changed from
fjipi[j.va
to
oc,
11. 7-8. Quoted by Stob. I.e. 26, also from a Prosodion, and the commentators agree that it belongs to the same poem as 11. 1-6. The line is nearly in metrical accordance with 1. 1, and may have been
the
commencement
of the antistrophe.
v.
a^prjxxa
Bockh, for a^paxxa,

x.x.X.
on Simonides
V.
1.
VIII. 'O Tpws?

'
Quoted by Clem. Alex. Strom,
v.
731,
'
from
are ascribed by Sylburg to Bacchylides on the strength of the words of Porphyrio ad Hor. 1 Od. xv., Hac ode nam ut ille Cassandram fecit vaticinari Bacchylidem imitatur
Aupixo?.'
They
futura belli Trojani, ita hie Proteum.' On the other hand it may be noticed that the sentiments here are
to the inevitable
1.
contrary to the tone elsewhere adopted by Bacchylides with regard woes which the deity brings upon mankind.
2.
aXX' ev
[iiato
'.
x.x.X.
Cf. Ar.
Ethic,
i.
9 on
'
'
Euoai[i.ovta,
e'itj
S'
av
xal tcoXu/.oivov
1.
4.
ayvav coming after oatav

dXpiwv
7:at8s? x.x.X.
is
rejected
'
by Neue.
Bergk reads
ayva?.
1.
5.
Cf. //. vi.
127,
Auuxr-jvwv oi xs JuatSsg ijxw
{jle'vsi
avxtdwaiv.'
But
;
in
bereaved parents might ') while in

;
('
Homer the emphasis is on the misery of the Unhappy are the parents whose sons oppose my
passage the notion
is
lot is
perhaps that the happy 'Sons of blessed parents are they who find justice as the partner of their home.' With the Epic usage of EupdvxE?(= 0! sup.) Neue compares Pind.
this
inherited
by children from
their parents
OL
ii.
86, aood; 6 toXX' stow; oua* [j.a9-dvx; 5s x.x.X.
BACCHYLIDES
IX. AuSt'a yap
Xtfro;
x.t.X.
377
from a Hyporchem,
:
Stob. Flor.
xi.
7,
and on a gem (Caylus
Rec. d. Ant. T. v. tab. 50. 4) thus
AYAIA
AI0O2MA
. .
EIXPY
IATEIIA
ANAPQNAAP
.
.
-HSTEAEr AAHGEIA.
.
1.
i.
Auofa
XiO-o;,
'the Lydian touchstone'.
It
should be borne
in
mind that gold was one of the earliest sources of wealth in Lydia. The metaphor is a favourite one, cf. Scol. XXV., Iv XiO-tvai? axovous x.t.X., and Simonides 175 (Bergk), 'oux eotiv [jlei^wv p<xaavo;
/povou ouSevo?
1.
s'pyou
'.
2.
aocpiav is
x'
eX.,
the
eX. So Salmasius for aotpta te -ayxpaTr,; reading on the gem, and in the MSS., though there is
-ay/.pax^;
some authority for aocsiav. Neue retains aocpia ts 7iay.

(cf.
'.
te,
interpreting
aocpia
on Sapph. xviii.), so that the whole expression = 'a poet who That men's achievements require song to display speaks the truth their full glory is a favourite theme of Pindar's {e.g. 01. x. 91). But in this passage, with Neue's reading, aocpta need be no more than wisdom power of discrimination ', and aXa9-sta perhaps the force of truth as in the expression, magna est Veritas With the whole
' '
'
as 'poetic skill'
',
'
',
'.
passage
cf.
Eur. Med. 561

'O Zsu,
Tt or\
7pu30u
[j.ev
5$
-/.((3or]Xos
f x.t.X.
c.
X. nioxov
oaao[jLEv x.t.X.
Plut. de Audie?id. Poet.
14.
-irr. <paao[A.
Bockh,
for <faaw[i.Ev -kjto'v.

x.t.X.
XI. 'Q?
8'
a-a?i-Elv
Stob. Flor.
x. 14,
from an Epinician Ode.
Cf. Pind.
Pyth.
iii.
54, x;'posi xal aocpta Ss'SETai.
XII. 'Opyai [jlev x.t.X. Zenob. Prov. iii. 25, and Hesych. s.v. o{/oXou similar passage is attributed to Alcman, v. Bergk, vol. iii. p. 193.
MISCELLANEOUS PASSAGES
XIII. Ou pVov jtapean
-otoujAEvo? (Bax7uX.) tov
?Evia (or ?Evia).
x.t.X.
Athen.
xi.
500
B,
with the words

-/.ixXmv
Xoyov
t.^qc,
tou? Aioaxou'pou?,
auTOu;
E7:\
would therefore form part of a banquet Paean (v. pp. 13 and 232). Notice that the invitation to the gods is in no way different from an invitation to an honoured mortal friend. Horace appears to be imitating this song in 2 Od. xviii., Non ebur neque aureum ... At fides et ingeni Benigna vena est etc. Notice that none but pure trochees, or chorees, are employed thus a lively movement is given to a metre, which otherwise, like the
lines
'
|
The
',
378
GREEK LYRIC POETS
ordinary trochaic tetrameter, would perhaps have been more adapted for recitation than for song. Athen. I.e. mentions that Boeotian cups ev oxucpoujiv. (3oiwTioi<3iv
were famous, their

'HpaxXeios
Seo[jios.
distin-
guishing feature being the
This
is
doubtless identical with

the
'Nodus Herculeus', or Herculean Knot, employed on cups for decorative effect, or

for
its
perhaps supposed medicinal value (Plin. N. H.

xxviii.
a/.u'cpoi
63).
series of
may be seen in the British Museum with

in the
handles interlaced Herculean or reefknot, thus It is possible that Bacchylides mentions Boeotian cups in his invitation, because the Dioscuri had special connection with Thebes.
their
:
XIV. Nixa yXuxuSwpo?

in Orat.
Obliqua.
It
x.x.X. Ursinus, p. 206, from Stob. Flor. has been restored by Neue, who substitutes
iii.
31
in
1.
2,
for
/.at ev t.o\.
OX.
xi.
xsT-o;,
'prize', as in Pind. 01.
(x.),
70, ûy;j.a? xeXo;.
XV.
"Exspo?
15 sxs'pou x.x.X.
Such a passage as
Pindar.
ii.
this could not fail to
Should
1000c,
x.x.X.
this
be
so,
Clem. Al. Strom, v. 687, from a Paean. be regarded as a hit at it would be apparently in answer to 01.
.
.
86.
no\X
stow? cpua" [j.a9dvxE? os
xdpaxs?
to;
axpavxa
yaposxov xd xe rcaXai xd xe vuv, a customary formula applicable to universal truths, cf. Antig. 181: xa'xiaxo; stvai vuv xe xai 7;aXat SoxeI.
1. 2. paaxov, the superl. being somewhat out of place, Bergk 'Pa would be more consistent with ingeniously suggests pa 'arv. his own views see on Alcman xx. [i'.
;
appifjxwv,
either
'
unspoken
or
'
unutterable by
3.
common
1.
Ira'wv jtuXa?, cf.
(as Odyss. xiv. 466) i.e. original poetry, mortals ', i.e. mysteriously inspired. Pind. 01. vi. 27 (in celebrating a mule-victory)
'
yprj xot'vuv 7toXa? up.vcov dvara7:xa(./.sv auxat;.
c. 25,
XVI. Ou/ Bpa; spyov x.x.X. Quoted by Dion. Hal. de Comp. Verb. and by a grammarian to illustrate the employment of the Cretic metre in Hyporchems [v. p. 5). The resolution of the last syllable
of the
fifth
Cretic in
'ixwvia;.
An
where she had
1. 1 is exceptional. epithet of Athene, from a town I ton in Phthiotis, a sanctuary. Cf. Catul. Epithal. Pel. and Thet. 228.
BACCHYLIDES
XVII. "Eora
jcsp\
1.
379
8' in\ Xaivov ouSov x.t.X. Athen. v. 188 B, BaxyuXiSrjs 'HpaxXe'ou? Xs'ycov w; v]X0cV et:\ tov tou Ktjuxo? oixov. 1. Neue, evtuov for e'vtOvov, and e'cpa for ecpaa', the elision being
hardly possible. 2. The explanation of oe (which Brunck omits) is to be looked 1. for in the fact that Hercules is adapting a proverb isolated from its context, which is referred to in Athen. I.e. auxoixaxot o' aya)-o\ ayaQwv From tA Satxa; 'taat, in Zenob. ii. 19, and in. Plat. Symp. 174 B. Zenobius we learn that Hesiod first put the proverb into the mouth of
Hercules on entering the house of Ceux.
XVIII.
uncertain.
Aloe! -ce'xog x.t.X.
Stob. Flor. exxii.
1.
By whom we
XIX.
is
'12
are to suppose this beautiful lament to be uttered
is
mXoô;
x.t.X.
Schol. Pind. 01.
xiii.
ad init. where Corinth
described as
'I<j!>;j.iou
-oo9upov.
'Exaxa Saoocpops x.t.X. Schol. Ap. Rhod. iii. 467. have indicated in the metrical scheme that in this instance the Cretics are to be regarded as dipodies in - and not in f-time (see p. 2 an ordinary trochaic This is evident from the fact that in 70).
I
1.
XX.
dipody corresponds to the previous Cretics. A poetical and not mythological genealogy of Hecate (cf. Alcman XX. and XXII. and Alcaeus xxiv.). It is appropriate to the conception of Hecate partly as a divinity of the nether world, partly as a
moon-goddess. It is hardly necessary, with Ursinus, to alter xoXtou, 'ample-bosomed', 'all-embracing', to [jieXavoxoXTrou.
[j.syaXo-
XXI.
'
Euxs
xr]v
arJ ayxuXv]; x.t.X.
Athen.
xi.
782 E and xv. 667
C.
BaxyuX. ev'EptoTiKois.
When she throws the cast (ttqv, sc. -posaiv, Neue), for the young men, outstretching her white arm.' The reference is to throwing the cottabus, for Hesych. defines ayxuXv): 'ysip aT^yxuXtopivr; xat auvs<r:pa[j.Athen. giving a somewhat different account, sic, aôxox-ca Jtcj;j.dv
'
[j.c'vr]
'
::oT7]piov
-po; Tr v tuv xoxxaptov -aioiav yprîjj.ov

(
'.
XXII.
-otaxat
Nw[j.axat x.t.X.
drjp),
of yao? for
o' lv
BaxyuX.
jtepk
Schol. Hes. Theog. 116 (illustrating the use Cf. I bye. (Append. No. 14) toO &tov.
Si'
aXXoTpio) yast.
is
Bacchyl.
425.
perhaps imitating the Epic
ai9s'po? axpuysTolo, II. xvii.
SCOLIA,
Scolia
1.
Etc.
xv. 694-5, as
-XIX. are quoted
by Athen.
it
examples of the
most popular banquet-songs. 'Attixwv Ixei'vwv sxoXioTv, and
In 693 E, he uses the expression tiov appears to be applied to most of
3 8o
GREEK LYRIC POETS
these that he quotes, with the exception of the verses by Praxilla, which refer, directly or preHybrias, etc. I have placed first those In these and in others there will be to Athenian history.
sumably, noticed amidst the ordinary dialectical peculiarities of Lyric many which the commentators rightly Attic forms xr,v, fXrjv, x.t.X.)
{e.g.
refrain
from altering. Metre of Scolia, i.-ix. LI. 1-2 begin with the Basis, which assumes are the commonest, in which case the a variety of forms - ^ or line is equivalent to a Sapphic pentapody with the cyclic dactyl in - e.g. svix7)aa|j.Ev x.t.X. the 2d instead of the 3d foot we also find ^ Line 3 displays no x.t.X. (No. IX.).
;
;
(No.
in.),
and^-^.
uyiaivsiv
It consists its metrical scheme throughout the Scolia. of a basis always of the form ^ ^ and two catalectic dipodies. Diaeresis with many exceptions, e.g. predominates after the first dipody, though In 1. 4, on the contrary, ote tov xTavsTrjv, cf. I P', VIII., IX.
variations in
-rupavvov
diaeresis
yatpsxov eu Se xavo' x.t.X.,
one exception, syll. 1-, with where however we have elision. Had Horace, or any other poet writing for recitation and not for song, imitated this metre, he would no doubt have made diaeresis after the synconever occurs after the 6th
pated syllable in
I.
11.
and 4 the universal
rule.
HARMODIUS and ARISTOGEITON.
It
is
disputed
whether
famous stanzas are to be taken separately or regarded as forming one complete song. Hesychius, in explaining 'Ap[xoS(ou mentions only the first, which he assigns to Callistratus, [aeXo;, while in Schol. Acharn. 980, the second is taken as the beginning^
these
the poem,
if
not as the entire
apyr;, *[Xxa8-' "Ap^dSis.
although the stanzas taken together as a single poem, even time, they were intended to be In any case, if the order of their delivery was not always the same. as Engelbrecht maintains, there is no reason for us to conclude that the stanzas were sung in succession by different singers in a game of
verse-capping. For the historical blunders in popular tradition said to be exhibited in these, verses and in the writings of the philosophers, see especially
song [J.EX05 'Ap|j.ooiou xaXou[j.evov 06 The most probable view seems to be that, were not necessarily all composed at the same
r,
Thuc.
vi.
54-55, Hdt. v. 55,
these authorities
not xupavvo; at
rightly said to
and Grote pt. ii. c. xxx. pp. 38-42. From we gather (a) that Hipparchus who was slain was Harmodius and Aristogeiton could not be all, (&) that
have liberated Athens, for in the first place they were and merely endeavouring to satisfy a desire for personal vengeance, endured in an secondly, in spite of their partial success, the tyranny at aggravated form for four years longer. I think, however, that,
any rate as
far as these Scolia are concerned, the
charges of inaccu-
Hipparchus being designated -cupavvo?, it may with some reason be urged that, although no doubt the actual concludxupawo; was the elder brother Hippias, we can hardly help
racy are overstated.
to
As
SCO LI A, ETC.
381
ing even from Thucydides that Hipparchus was invested with a conHe has a bodyguard of his siderable share of the despotic power. own (Thuc. vi. 57. 4), his influence is sufficient to exclude Harmodius'
from the procession, and to banish Onomacritus (Hdt. vii. 6) Thucydides himself includes Hipparchus under the title of xu'pavvo;, for he uses the expression oc Tu'pavvot goto', in a passage we cannot urge that he is speaking of Pisistratus the (c. 54. 7) where father and his son Hippias (see Arnold's note I.e. on eJxcxtt^v, etc., ad inii., and compare the expressions in Thuc. vi. c. 54. 5). Secondly, though the attempt of the friends to overthrow the tyranny proved
sister
;
and
finally
abortive, yet they initiated that spirit of resistance to the despotism, which four years later drove Hippias from the throne and caused the
establishment of the democracy
and
it is
evident from the narrative
of Thucydides that Hippias fully realised how terribly insecure the successful position of the tyranny was rendered by the partially
Consequently I think that Grote lays too much stress conspiracy. on the literal inaccuracy of the line iaovd[jLou? t' 'AOrJva; lnoir\<j<xxi)v, nature particularly as Thucydides in his strictures on the erroneous
traditions makes no reference to any such unpardonable blunder as Grote assumes to be made in this line. At any rate we cannot charge the composer or composers of this Scolion with sharing in the mistaken view held by some that Hipparchus was the elder brother and was succeeded in the tyranny by Hippias as the
of the
younger Pisistratid. The fame of the Scolion is amply testified to by the reference in Aristophanes, see Achar. 980 (Schol.), Wasps 1226, Lysis. 632. Cf.
Hesych.'Apaooio'j
outcd; sXeyov.
1.
;ac7,q;'
to im'ApfJioSio) nooifrsv trxoXiov y-o KaXXurrpaTou
(a')
1.
[iupxou xXaS-'.
There
is
a double reference, after the usual

to the
manner
of the Scolia, on the one
hand
myrtle-bough held by
the singer (see p. 233) and on the other to the myrtle-bough in which the conspirators appear to have concealed their daggers (cf. Thuc. For the practice of carrying myrtle-boughs at sacred I.e. 58 adfin.).
festivals Ilgen refers to Arist.
Birds 43
xavouv
cf.
o'
i'/ovxc xai yuxpav xai
[J.upp'iva;'
Thesm.
37,
Wasps
s.v.
861.
On
the other
hand Hesychius speaks of

'A'JhJvrjai xai
olive-branches,
tpeptov.'
9aXXocpopoV '0 jtopceutov
IXaia? xXaSov
Harmodius is addressed separately because he won the ([5') additional credit of perishing in the very act of the tyrannicide. see Hesych. v7)<jois ftaxaptov, as loci classici on this subject,
. . .
Works
edition).
1.
164,
Pind.
01.
ii.
71
sea.,
Frag. Threnos No.
II.
(in
this
4.
Tuostorjv.
He was
Nem.
still
more
fortunate according to another

. .
tradition, v. Pind.
x. 7,
AiopjSea
rXauxwm?
'0t,/.s
I'so'v.
382
GREEK LYRIC POETS
The MSS. gives the unmetrical T. te caai tov lo-OXbv A. Bergk, unlike the other commentators, retains saO-Xov, thereby producing a metrical effect which is unparalleled in the other stanzas of this kind,
and out of harmony with the rhythmic
(y') 'AthjVairjc,
effect of
11.
1-3.
penult, short,
cf.
Anacr.
II.
4,
Ar 0ato-j.
(
e-oiv-jiaTov, so Ilgen for -r v -r,v, a reading which (0') /.TavsTov due, he thinks, to a mistaken imitation of (a') 11. 3-4.
.
. .
(
is
II.
Aloti Ast'I/uopiov.
This Scolion was composed, as we are told

fortified
in
Etym. M.
361. 31, in lamentation over the defeat of the anti-Pisis-
tratid party
headed by the Alcmaeonids, who had
Leipsydrion
and were
disastrously defeated by Hippias. Leipsydrion was a spot on the southern slopes of Mount Parnes, not far from Deceleia, and
that he detects which would have been
commanding the descent into the Athenian plain. Col. Mure {Hist, of Gk. Lit. vol. iii. p. 106) fancies
puns
one,
in
the words AenJ*uSpiov
and
7cpoSwaTatpov,
in the
and belongs
worst possible taste, for the passage is obviously a pathetic to the class of Scolia described by Eustathius as
cjcouoaioc (p. 237).

1. 3. xal Euâxpfoac. hiatus, but they are,
Various conjectures are

I
made
is
to avoid the
think, needless, since
it
softened by the
metrical pause on the syncopated syllable xai

III.
*Evi-/.7]cja[j.sv
x-.x.X.
have placed
this Scolion next, since
it
may
If so, it possibly refer to the final triumph over the Pisistratids. would appear best to accept Bergk's conjecture for 1. 3, roxpa navopoaov ws (piXrjv 'Aahjvci;, Pandrosus being the daughter of Cecrops who had
won Athene's favour by

'
refusing to follow her sister's example in spying into the chest where Erichthonius was confined (cf. Pausan. i. 27. 3). Bringing the victory to Pandrosus' will then mean that the Athenian people who worshipped her were successful against their tyrants ; or we might venture to conjecture that one of the Eupatrid families now successfully opposing Pisistratus was associated with the cult of Pandrosus. The explanation suggested by Brunck, with the reading in the text, is that the Scolion celebrates a poet's victory at the Panathenaea. The prize was a wreath of olive plucked from the sacred [xoptai which
grew
in the temple of Pandrosus, and was presented to the victorious poet in the temple of Athene (see Midler, de Miiterv. Poliad. 22, Hence the gods were said to bring the victory, Apollod. iii. 14. 1). or emblem of victory, from (the temple of) Pandrosus, to (the temple of) beloved Athene.
IV. IlaXXa? TptToyc'vst'. The mention of cnraaetov suggests that this Scolion was written after freedom had been restored, but while they
SCOLIA, ETC.
;
383
were still smarting from the effects of the civil wars or it may well have served, as Hartung suggests, for a general litany or grace appropriate before any convivial meeting (see p. 232).
Tpixoys'vEta.
The
and accordingly the
ancient explanation of this word is water-born ', birth of Athene was localised by the fabulous
'
That there was an river Triton in Libya, or by the Tritonian lake. ancient word of this kind denoting water', is indicated by Triton', ' Amphitrite', etc. the usual modern explanation of TptxoyEvsia accepts this meaning, but supposes the word to designate the 'goddess born
'
'
;
from the watery cloud'. Athene has from this point of view been regarded as the goddess of the cloud, and of the blue sky. 'AStjvoc. Bergk is of opinion that this contracted form of 'Alhjvata, or 'Afl-rjvaa, is of too recent origin to have been employed in this Scolion, not being found in Attic inscriptions till after the PeloponHe would therefore prefer the Doric 'AOava used in the nesian war. Lyric poets, and borrowed by them from the Tragedians.
V. nXou~ou
1.
|xr,Tc'pa.
earth, hence
she was called yfroviot at Sparta, as goddess of the Casaubon suggests '0[j.-viav, goddess of the corn this, however, would not only substitute a trochee for a cyclic dactyl in the second foot, but is rendered impossible, as Bergk points out, by
1.
'0Xujj.7:'!av,
'
'
the fact that the last syllable of "Oprviav (for so is short and not long. 'OXup:iav is applied to
divinity.
it
should be accented)
Demeter simply as a
ev 1. 2. (jTEcpavrjcpopoi; wpais. This is variously explained as the season of the year at which garlands are worn, or the season which brings the flowers for garlands, or, best of all, as the hour of wreathing', i.e. the banquet-time, when Scolia were sung by the garlanded boon'
companions
Nauze).
('a cette
heure du repas
oil
Ton
est couronne',
De
la
Jacobs conjectures or. auv "fipai;, comparing Orph. Hymn XL1I. 7, where Proserpine is in company with the hours. Similarly in Orph. Hymn xxvil. 9, she is called 'i2p<ov aufj-aty.xsipa. In this case the epithet axscpav^cp. would probably have merely the same force as
Pindar's
'S2pat ;:oXuavQ-c|j.cH (Ot. xiii. 17);
VI. 'Iu
much
Ilav. Bockh (Frag. Pind. p. 592) conjectures, without foundation, that this Scolion was in celebration of the assistance
given by Pan at Marathon. Pindar No. 63 (Bockh)

:
It
closely resembles a fragment from
D.
Ilav,
Apx.aota? luSe'cov, xai seavcov aouxwv <puXa,

(j.cyaAa; or.ixoi, as[j.vav Xapi'xwv
[j.s'Xr][j.a
Maxoo;
In
1.
xsp-vov.
1.
'Iu is altered
it
who
I.
treats
defended by Ilgen, to, as monosyllabic, comparing Eur. Bacch. 531, where to>
to
by Hermann
316.
but
is
Zeu answers to aiat in

2.
1.
opyrjaxa.
Cf.
Aesch. Pers. 448,
cpiXo/ppo?
Ilav,
and Orph.
3S4
GREEK LYRIC POETS

x.,
Hymn
where he
. . .
is
the Bacchic
Bpo[jJ.y.ii
nymphs and
called <mp-njT7]s. Pan of course figures among revellers in endless vase-representations.
vu[jLcpau, cf.
on Anacreon
ill. 2.
Some commentators
prefer Ppoîaig, 'the noiseful

1.
Nymphs'.
ysXaai'ai?.
;
3. 4.
ysXaaeia;
Valckenaer, for
is
1.
The
text
Bergk reads
MSS. eucppoauvat; xatao' aoioal; aeiot xsy. Euopoau'vatsi, Tobo"' ao-.oat; /./., regarding the line as a
Cf.
Hermann's
variety on the ordinary metrical scheme.
on No.
I.
[3',
1.
4.
VII. 'Ev Ar-Xio. Paus. i. 19, vao?
Cf. 'Aypotc'pa was a common title of Artemis. 'AypoTs'pa; iaftv 'ApTEi-uSo;, and Arist. Knights 660,
Thesm.
VIII.
xo
(re.
115.
E'tS'
sJfrjv.
Ilgen gives the order for translation thus
sift'
e?^v,
tov vouv sîoovtk, o~oto? xt; i^v ex.. x.t.X. Hermann more suitably regards tov vouv as a mere pleonastic repetition of The past tense ^v is either due to the attraction of ojtoIos Tt? r v Ix.
5tsX. s'-stTa
(
i^v, or we may compare the famous to t( ^v sTvat of Aristotle, where the past tense carries us back to the primal or original nature of the
everlasting essence.
Similarly in the case of the
Gnomic
Aorist,
employed of something that always did happen in the past and always does happen in the present, the attention is directed to the
former time instead of to the
Eustath.
fable of
latter.
1.
ad
Odyss.
Momus
8, compares with this Scolion the blaming Prometheus for not constructing a gate in
vii. p.
277
man's breast.
IX. 'Yytatvsiv
Alex. Strom,
iv.
x.t.X.
575),
Ascribed by some to Simonides {e.g. Clem. and by some to Epicharmus on the strength of
Schol. Plat. Gorg. 151 e.

It
is,
poet, as appears
^v',
however, probably an ordinary popular song by no known from Athen. xv. 694, 6 to axoXiov supwv ixetvo? o<m;
'
and
'
Plat.
:
'
Gorg.
I.e.
6 tco^t^; tou axoXtou
7:ot7jaa;
and
similarly in
Laws
u.
and again 6 to axoXtov ', 661 he criticises the sentiment of
'
the lines without

1.
naming the
author.
1.
Cf. the
sentiment
'Yyisia ^pEcîaTa [xaxa'ptov x.t.X., p. 253, and with the ' contrast Plat. TauTa (all sorts of external advanI.e.
Ode
Laws
tages) au;j.-avTa otxaioi;
[xev
xai oaioig avopaaiv aptara
/.T7j'[jLaTa,
dSt/.oi? 8k
xdxierra aup-roxvTa, apap.sva iizo TrJ; uyisia;.'
Notice the anapaestic basis,

cf.
unless indeed uyiaivstv can be treated as a trisyllable,

classical)
the (un-
form
uysia for uyisia (Ilgen).
1. 2. A conspicuously Greek sentiment. Similarly even Aristotle excludes the hideous man (6 Tr,v tSsav xavata/Tj;) from the possibility of attaining uoai(j.ovia. Eth. I. viii. 16; ?JPav, cf. on Anacr. IX.
X. Song of Hybrias the Cretan. That this, if a Scolion at al! T was not regarded as one of the ordinary type, is implied by the words
of Athen.
695
F,
in
quoting the passage, axoXtov
8s
<paut
tive;
to
SCOLIA, ETC.
u-6
385
should certainly have expected 'yppi'ou too Kpr)to; rM7]&iv. a Scolion of the early date, to which this seems to belong, to exhibit a simpler metrical form such as the 4-line stanza, so prevalent in Scolia and all early monodic song. Considering the popularity of the dance in Crete (v. pp. 5, 27, 29, 70) I imagine this to have been a short and simple choral song, such as might have been sung by the Dorian
nobles of Crete at their syssitia, for which see Midler's Dorians ii. The style of the Scolion is supposed to be exhibited in the 293.
We
by the second. Notice also the employment of severe Doric forms. We are carried back socially to the heroic age, when the dominant warrior-class was full of contempt for the subject agricultural
partial repetition of the first stanza
' '
population.
1.
1.
For
[jiyac, (jisya is
1574, 7, and taken by wealth's a burly spear metrical.

1.
given by Eustath., who quotes this passage, Byron in his translation of this song, 'My and sword.' Mfya, however, is obviously un-
2.
Aat37]Yov,
cf.
TzeKoi7][j.ivtx.
The word
epithet TrrepoEVTa,
Hdt. vii. 91, AaiarJYa Eiyov avu aaîStov w[j.o$oir\z occurs twice in Homer, each time with the which seems to imply that it was lighter than the
Hdt. is speaking of the Cilicians, and perhaps the large proarci;. portion of the Asiatic element in the population of Crete may account for the use of the XatcnjYov. Liddell and Scott, and others, refer to
He there states that it was such a represented and described by Tischbein 4, 51, and Millingen Cogh. 10, i.e. a large round shield differing from the aaxis only by having a long rectangular cloth hanging from it. This theory,
Miiller Arch. d. Kunst. 342, 6.
is
shield as
however, has been demolished by Michaelis, Annali delP Cf. Helbig, Homer. Epos. p. 234. p. 76.
1.
Inst.,
1875,
3.
Cf. Archil.
Bergk
[jloi
ev 3op\ [iiv
[xaa
[j.[j.ay[j.V7j,
ev 3op\ 3' oivo;
'Iapaptxo;,
1.
1.
Tz'.vio 3'
ev 3op\ x.czXi[i.Evo;.
4.
5.
afjuTsXeo, v.
Dor. Dial.
p. 93.
Mvota, [jivofa, or p.vwa is defined by Athen. vi. 263 F, as the -/.oiv^ SouXsta of Crete, as distinct from the 'Atpaj-umxai or loia. SouXsta. may infer that every state in Crete was possessed of public lands, which the Mnotae cultivated in the same relative situation to the
'
We
community
in
which the Aphamiotae stood

iii.
to the several proprietors.'
Midler's Dor.
4. sec.
ceeds to remark, the population in general.

I.
In the present passage, as Midler proterm [Avofa is probably used for the serf
1.
6.
toX[juovt(i)
ToX[i.wvxEi;,
II.
(= ToX[j.torjt, v. Dor. Dial. p. 95) so that the metre corresponds with that of 1.
a(/.ov
Hermann,
1.
for
8-10.
in
1.
Hermann,
for
q-iov.
Bergk supplies
ap.91
'
(placing
[i.6v
9) since yovu
seems
to require a preposition to
Possibly, however, yo'vu
may be
the object of -s-xrôxe;, 2 I!
govern it. crouching
386
before
GREEK LYRIC POETS
my knee ', since we get a similar, though not quite parallel, case in Aesch. Prom. 181 (174), araiXa? r.zrfca.q. Or perhaps yovu is the object of xuvsovxt with (piovsovxE? in 1. 10 for owve'ovxi. Eustath.,
:
however, (1574-7), paraphrases thus

-pocrcpwvoucji x.x.X.,
whence Bergk
1.
inserts
npooxuvouu! p.s co? Secr^dxrjv xoii in the text. |^s as indicated
If
we
follow Eustath. on this point

10,
third pers. plur. in

cpwvc'ovTs;
it is reasonable to accept also the although the MSS. authority is in favour of
rather than
-ovxt.
For
xuvsuvxt,
fflwvsov-ui,
see Dor. Dial.
p.
95 and
p. 96.
flouiished about 450 B.C., is said by Athenaeus I.e. to have been distinguished as a writer of Scolia, If these were genuine Scolia $-au(j.asTo IjA if xtov axoXiwv r.oirfisi.
XI. Praxilla of Sicyon,
who
songs written specially for the banquet), it is remarkable that the was a woman. Praxilla is also mentioned by Hephaest. 22 as a composer of dithyrambs. She gave her name to an attractive metre (see Miscellaneous and Anonymous, No. IV.) and she is classed in Anth. Pal. ix. 26, among the nine Greek poetesses designated as the Nine Muses. *A3pJTou Xdyov x.x.X. Athen. I.e. does not give the name of the composer of this Scolion, but Eustath. II. 326, 36 says that some attribute it to Alcaeus, some to Sappho (probably on account of the metre, cf.
(i.e.
writer
Sap. vi.
and XVin.), and some

1240,
states
to
Praxilla
while
Schol. Aristoph.
positively Iv xot; IIpa?iXX)s cpc'pexat 7:apotviot?. Hartung assigns the next four Scolia also to Praxilla on the strength of their metre, and of their position in close proximity in Athen. to
Scol. XI.
Wasps
He
certainly appears to be right with regard at least to

is
No.
9-tov
XII. -vide seq.
The passage
ttjv
thus explained in Eust.
I.e.,
W.e ok owe
fxsv
ysvvatav xa\ <ptXavopov uôorjXouv

9-avstv uxrep 7:aTs'pa, "? tox-vrjae
AXx7]axiv, Sta ok
xwv ayaxuv ostXtov
xdv 'A8pt.7]Too
xou
jcaiSd?.
is
XII.
'Yr.o
Tiavft
Xi'9-w
x.x.X.
very similar line
attributed to
Praxilla, Schol. Arist.

<soXaaaEO.
Thestn.
529, 'Y^d jiavxi Xi#-w axdpmov,

cf.
'xalps,
The proverb was a

etc.
/jpi]
familiar one,
Zenob.
I.e.,
vi.
20,
Diogen.
yap
|
viii.
59,
and
I
is
wittily applied
by Aristoph.
vr.o
Xi'9-io
-avxt tiou
[j.rj
oaxrj
p^xwp
a-9-pstv.
pasu Dor. Dial. p. 96.
XIV. 2uv ments of an

on Anacr.
meetings.
auv7:attovts
It is
p.01
7ftv
x.x.X.
ideal camaraderie,
very clever expression of the requiremake merry with me see auvrjpa,

'
',
IX. 2.
refers, Ilgen says, to
auoTcpavr)tpdpsi
the garlanding at convivial

380,
27, aovsoxEcsavoCxo
xat
Cf.
Demos, de Pal. Peg.
tw
$iXimtto.
rhyme
in this couplet.
perhaps possible that the poet was not unconscious of the Cf. on No. XVI.
SCO LI A, ETC.
XV.
Attic
387
and the
'A us
x.x.X.
The
close juxtaposition of the Dor. xav
tt]v is
curious, but perhaps hardly to be corrected in a Scolion
(v. p. 78).
In many editions (P') sTO^ arcupov x.x.X. (a') E'tO-s Xupa x.x.X. Schneidewin's) these four lines are printed together as if forming a single Scolion. Others separate them, and regard the second as intended to cap the first in what is often considered the usual Scolion There is a very Elizabethan ring in style (see Introd. pp. 234-5).
(*..
XVI.
the sentiment of the lines, perhaps unique in Greek poetry. are reminded of Shakespeare's O that I were a glove upon that hand', and it is likely that Dio Chrysostom's sober criticism on the
'
We
text
ou paatXsuai 7cpCTOuaag, aXXa Srjjxoxais xa\ cppaxopaiv (i. 36), eu/ag ayaO-oig xat aooopa avsijisvoig, would have been extended to many of the beautiful extravagances in Elizabethan love-poetry.
A curious feature in these lines is the assonance or rhyme which occurs in each couplet on the syncopated syllables, in a manner which can hardly be accidental. Cf. Append. Alcaeus, No. 52, if Bergk's version there given be correct. A very lively movement is
imparted by the
(a)
initial cyclic dactyls.
Xupa
et
IXstpavxivrj, cf.
Ov. Metam.
'
xi.
168,
Distinctamque lyram
gemmis specimen of a lyre inlaid with a thin veneer of ivory may be seen in the British Museum. This passage, among others, is quoted by Schmidt to show that in
dentibus Indis.'
the dithyramb
certainly used,
(P) omupov,
and other Dionysiac choral performances the and not the flute exclusively. Cf. p. 263.
lyre
was
not so
much
'
unrefined
is
need
refining.
Thus Zeus
11 17).
gold, as gold so pure as not to said to have changed himself into
'
a-upo; youaos, in a passage referring to Danae, wrongly attributed to
Euripides {Frag.
xa9\
-9cf/..
Pind.
Nem.
vdov, cf. Aesch. Prom. 163, dtftsvog ayvarj.-xov vdov, x. 89 ou yvwjxa 3i7:Xo'av {h'xo pouXav.
and
XVII. These two couplets are also united into one passage by Brunck and others. The effect would be decidedly tame and it is better to regard the two couplets as variations upon a similar theme.
:
Compare
II.
ii.
768
'AvSptov
opp'
ecu [jls'y' apioxog e'tjv TcXa[j.w'vto; A'tag, 'A/iXsu; pajviev* 6 yap rcoXu os'pxaxo; êv.
and Pind. Nem. vii. 27, xpaTiorov (Ajax) 'A/iXe'o? axsp. These lines are attributed to Pindar, Schol. Lysistr. because Ajax was a favourite hero with that poet.
XVIII. 'Ex y^;
as follows
'
:
1237, probably
ypr] xaxiSslv tcXoov.
Ilgen's interpretation of
11.
1-2 is
terra oportet
nautam de navigatione
videre,
an
possit
per temporis opportunitatem (ei ouvaixo) et scientiam rei nauticae habeat (raXa^v e/oi),' i.e. before embarking on any enterprise one
388
GREEK LYRIC POETS

'
it be achievable, and whether one has the For this use of e? with the optative as an objectclause' see Monro's Homeric Gram. pp. 228-9, where we find that
should consider whether

requisite ability.
after a
primary tense el is generally accompanied in Homer by xs(v). In this passage, as in Od. xii. 112, eV'<T7ces el r.ux; x^v oXorJv jjAv ut:sxTupofpuyoijxi XdpupStv, the pure optative should probably be regarded as equivalent to the optative in an apodosis with dv in ordinary Attic to
|
For similar cases of the omission of dv express indistinct futurity. see Goodwin's Moods and Tenses 240-2. The objection to Ilgen's interpretation is that his rendering of xaxiSstv as 'videre de' is hardly
justifiable.
It is
true
we have
oup%,
el
xaxd
ou'aiv eyei 7ue<puxuias,
whereas xocxiSelv used of mental calculation, for a man can hardly be said to view his whole voyage from the cliff. Casaubon and others regard the passage as meaning It is best, if possible, to survey the voyage from the land,
scrutiny,
'
in Hdt. ii. 38 xaxopa xd? xpi/a; X7j; but there xaxopa implies actual physical zloov must, according to Ilgen's version, be
.
go to sea at all,' i.e. to keep yourself, if you can, out of all Suave mari magno,' etc. Line 2 will then be an ordinary should a man have the chance, protasis with a slight tautology, and find any device (to escape the voyage).' 1. When once in the open sea you must needs run before the 2-3. wind that blows,' i.e. when once started it is too late for deliberation or perhaps, as Casaubon seems to take it, when once started you must make the best of your circumstances,' in which case, however, we
to
risks.
and not
Cf.
'
'
'
'
should expect
ypr\
rather than
dvdyx.7].
XIX. 'O
xapxivo; x.x.X.
is
This Scolion gives a
lively expression to
the sentiment which
upon the words
sufruv
more soberly stated and ax.oXid as applied
in Scol. XIII,
The play
especially
to the
snake
is
characteristic of this species of Lyric poetry, and there is a humour in the incident and its application suggestive of Samuel Weller.
We
find a closely parallel passage in Aesop, Fable 70,
where a crab,
admonitions lost upon the snake, throttles him remarks as he looks upon the outstretched corpse, ouxw? e8si xat x:poaO-v euQ-uv xdi d-Xouv stvat. Ilgen refers also to Aelian Hist. An. xvi. 35, where we read of certain serpents in a cave near Ephesus, which lead a precarious existence on account of the crabs which wait for them outside and choke any they catch. 1. 2. Casaubon very strangely reads ydXa x.x.X. when you pick up a
after finding his in his sleep and
'
snake
let
it
makes
1.
him drop again.' Eustath., who quotes clear that we should read yalx = (yr{kf ).
l
this Scol. 1574. 14,
in
Casaubon, from v ;j.ev, i\xev. Ilgen 't[j.v so that, bearing the sidelong gait of the crab, an additional point is given to the passage by the pot calling the kettle black.
3.
[j.[xev
;
mind
XX. Ou yprj -6XV eys.iv x.x.X. The words of Amipsias ap. Athen.
a quotation of an old Scolion.
xi.
783
E,
regarded by Bergk as
SCO LI A, ETC.
XXI.
Ouokv
r^v
389
apa
x.x.X.
A line
xiv.
'
from a certain Pythermus of Teos, referred to by Athen.

C,
625
as a writer of Scolia.
all
So then
. . .
else is
'
nought save only
gold.'
Cf.
Goodwin's Moods
imperfect (generally with apa) may express a fact just recognised as a fact by the speaker or writer, having previously been denied, overlooked, or not understood.' Compare r v vho?. Eur. Hipp. 359. xuitpfs oux ap'
p. 13.
;
and Tenses,
The
For the sentiment
cf.
Alcaeus
VII. /piâx' avrjp x.x.X.
XXII.-XXVII.
SCOLIA ATTRIBUTED TO THE SAGES.

All these passages are quoted by Diog. Laert. Bk. i., in his accounts of the various Sages. They are prefaced in each case by the words twv 8' aoo[i.c'vwv auxou [xaXiaxa uooxt;xrj<j xaSs, or some similar expression, and are very reasonably added by Brunck to the list of Scolia.
Whether or not tradition rightly ascribed the lines to the Sages can hardly be decided. Betraying, as they do, a considerable uniformity in style, metre, and dialect, Casaubon's view seems most tenable, that the passages were all written by one man who put into a poetical
form prose utterances attributed Cf. note on No. xxvi. adJin.
to the several Sages.
XXII.
Compare
'Aaxoiaiv apsaxs x.x.X. Pind. XI. a (in this edition)
and Eur. Med. 222
sea.
Xpr
5e e'vov
[j.ev
xa'pxa 7:poay<opE"tv tcoXei,
ouo' aaxov t'vet' oaxt; auOaorj; ysyw? Tuxpo? tzoV.tolk; lax\v a[j.aO-ia? u'-o.
1.
1.
a'ixs
[i-Evrj?.
This
is
most unnatural.
'
Ilgen 'si vivis in communione cum aliis civibus.' The condition is rather one of immediate
for abiding,
futurity.
'
If you are Casaubon reads a*s.

1.
propose to abide,
in
any
city.
nisi in re quae natura sua Itaque h.l. axav absolute positum arbitror emicuit periculo malo, i.e. insignem cladem tulit,' Mehlhorn. Cf. on But, though Mehlhorn's objection may hold good against Sap. III.
3.
Xaijjrw,
saepe active, sed non
Xap.x:si,
ut
<?e'yyoc, r.up.
to the present passage,
treating yav in Sappho's line as the object of Xaj^st, it hardly applies where the expression is purely metaphorical.
XXIII. "E/ovxa
I.
est x.x.X.
'
'
double-speaking as Liddell and Scott, but 'different-speaking,' i.e. a thought which would be expressed by different words than those that come from his lips. Cf. yXwaaa St/o4.
oiyo[j.u{k>v
hardly
in No. XXIV. Cobet changes to otyoS-upLov e/ouaa Bergk, objecting apparently to the boldness of the metaphor, alters to E/ouat.
(j.uO-0?
;
390
GREEK LYRIC POETS

Il(puXay|Jisvo? z.x.X.
is
2.
XXIV.
1.
The metaphor
curious,
and we can hardly take
xpaott] to
mean simply 'bosom'.

for
1.
1.
Ilgen ingeniously conjectures f/So; 'enmity',

Ilgen
<pai3po7 r.poz a' ivemj.
e'y/o;.
3.
as zpoavv7tT)
or/o'piu&os
?/.
Bergk, for
Ttpo<3Evim\.
1.
4.
on No. XXIII.
x.x.X.
4.
XXV.
Cf.
'Ev XiO-tvai?
Bacchyl. IX., AoSia [j.kv yap XtO-o? fxavua ypuaov, and Note. Here we have a more than usually apt application of a favourite simile. "ESwxa, notice the natural predominance of the gnomic aorist in Cf. Nos. xxn. 3, xxvi. 1. these sententious passages.
1.
XXVI. Oiixi xa jôXXa e^tj. 2. The meaning seems to be
'
seek out one path of wisdom, and
choose one sure guiding-principle for your life ; by keeping consistently to these you will defy captious criticism,' or perhaps, 'you will show
yourself superior to the
man who
is
full
of professions of what he can
do
(xa 7:oXXa em]).'
Schneidewin objects to Xueiv yXtJaaa? in the sense of Auasi?. 'gagging the tongues,' urging that the expression would have just the contrary meaning. (Compare the opposite metaphor KXfi? lid. He therefore suggests yXwwjt], quoted in note on Miscel. XIII.) But Xuw is so frequently used in the sense xXeissi?, Bergk rcau'trei?.
of undo,'
' ' '
frustrate,'
bring to nought,' that

to yXwaaas.
it
may
quite conceivably
01. x. 9, Xuaai
. .
.
be applied
Eju[j.o[j.9av.
in this
It
is
way
Compare Pind.
is
a strangeness in the of these attributed to several of passages metaphorical expressions the Seven Sages, which may favour Casaubon's view of the single authorship of the various stanzas. Cf. Nos. xxn. 3, xxni. 4. xxiv. 2.
worth noticing that there
being hardly translateable, and, even with considerable alteration, quite unconnected with the rest of
the passage.
'
XXVII. The last
'Ap.ouaia x.x.X. line is doubtless corrupt,
apparently opposed to Xoywv words no more than are enough '.

6 xatpo?,
'
7zXfj9-o?,
seasonable words
',
XXVIII.
"Ey/Et
y.ix\
Ktjouvi x.x.X.
at
Athen. xv. 695
E.
curious instance of a Scolion in elegiac metre.
An
Athenian Kedon
lizi
fell
Spartans (Diod.
Ti$ ev KuSwvo;,
Sic. xv. 34).
Naxos 376 when Chabrias defeated the Bergk suggests Kuowvi, cf. Diog. viii. 42.
?e'vou?.
xwv tXocppovw; osyo[jivwv xou?
Ei yprj xoi?
Porson, for
el orj
ypyj xot?.
NOTES
POPULAR SONGS
391
Although it is impossible to draw the line between popular songs and other specimens of anonymous lyric poetry, I have included under this rather unsatisfactory heading all those surviving passages which are said to have been customarily employed by the people on fixed occasions for the most part. The Scolia come under this descripbut they are more conveniently taken alone. On the other hand such poems as Paeans to definite persons are, I think, wrongly classed by Bergk among the Carmina Popularia, and I have therefore included them among the Miscellaneous and Anonymous passages {e.g. Miscel. xxvn., xxvm.).
tion,
I.
LINUS-SONG.
:
See Introd. Art.
II.
p.
13
Art. IV.,
Dance,
etc.,
p.
27
Art. VI.,
Metre, pp. 45, 62, and Midler's Hist, of Greek Lit. p. 17. Cited by Schol. //. xviii. 576, as a ôrjvrjxtxov [jlsXo? sung in a shrill learn from the tone ([ast' iT/vocpwvta;), cf. //. I.e. Xs7iTaXsY, (pcovfj. Iliad that the song was accompanied by a choral dance, and I have mentioned, p. 45, that we probably have here an example of the short lines taken in couplets from the union of which arose the hexameter. The words in the Schol. run thus 'G A. 9-eoIs tst. go\ yap jupwxto [jiX.
We
sS. aftava-coi avfrp. x.x.X.

I.e.
and Eustath. 1163

:
Some hexameters are also given, Schol. Horn. closely imitating the original song, and beginahotai
TSTt[xe've
ning thus
'{2 Atve, T:aat
acA
yap e'owxav
dxJ-avatoi jupcoTW [ajXo; dvOpwjxoiaiv aetaac z.t.X.
a stock epithet in connection 1. 4. <pwvats Xi-yvpais, perhaps simply with singing, but it is specially appropriate in reference to the high, Cf. on Terpander I. Xiysta. shrill notes of the Linus-song {v. above). Mouaai ; similarly the Muses sing the dirge of Achilles {Odyss. 1. 6. As dirge-singing was confined to females {v. p. 11), they xxiv. 60).
appear, in these cases, to be taken simply as the most distinguished Otherwise we might be surpoetical representatives of their sex. prised to find the Muses siding with Linus against their leader Apollo.
II.
THE SWALLOW-SONG.
;
Quoted by Athen. viii. 360 D (and in part by Eustath. 1914. 45) as an example of a song for mendicant purposes among the Rhodians I cannot understand how Athenaeus and after him see p. 14. Eustathius, can say that it was sung in the month Boedromion, since
it
among
to
manifestly greets the the Rhodians this
September but
to
It is true that approach of spring. (in the form Baopop.10?) was not applied June {v. Darembert and Saglio's Diet. Chelifirst
name
392
GREEK LYRIC POETS
donisma), but even this
of course, much too late. I can only is, suggest that Athenaeus was thinking of another mendicant-song, the Eiresione, which was sung at the Thargelia in May or June. Like the modern Greek Swallow-song, referred to p. 14, and our Christmas Carols, etc., the Chelidonisma was sung not by the ordinary professional mendicant, but by children (raxtota, 1. 20). The
is said to have been instituted by Cleobulus, tyrant of Lindus, in a time of great scarcity (Athen. I.e.) but we cannot accept 1 The actual so special an explanation of a custom so wide-spread. song before us can hardly belong to a very ancient period, since with the Dorian forms there is a large admixture of ordinary Attic,
practice
characteristic of the later modified (mitior) Doric (see Dor. Dial., ascribed to later alterations is shown p. 92). That the latter cannot be
by the
fact that in certain cases they are required
by the metre,
e.g.
saao[jiv, o7<jo[j.sv,
for the 'severe'
Doric
iaaoujj.se, oiaou[j.E?.
There is a charmingly naive illustration on an ancient vase, not indeed of the Chelidonisma, but of the greetings which the swallowreceived as the harbinger of spring. A man of mature age, a youth, and a boy are together, the two former being seated. Above them the swallow has suddenly appeared, and all three exhibit an attitude of delighted surprise. Their exclamations are inscribed on the vase
as they issue from the
mouths of the speakers, thus

(Youth)
"loou
-/sXioojv.
(Man)
(Boy)
N^
xov 'Hpax.Xs'a.
Auxrji
(Man)
v.
"Eap
rfir\.
Monum.
delP Institut. di Corr. Archaeol.

238.
is
1 1.
Plate xxiv.
and
Annali, do.
vii. p.
The Modern Chelidonisma
as follows
ip/exa'.
XeXtSova
'At:' ttjv
aarprjv Q-aXaaaav
seal
xaOrjas
XaXrjas*
MapT7], Mapt7] [jlou xaXe xai $Xe[Bapr] oXtpsps

-/.'
av
-/lovtaTji;,
x'
av xovuar,;
tm\z avoiiv
[j.upist;.
with ananot used, and in the original certain irregularities occur, which will be noticed below. Ahrens maintains that they are justifiable in a song of this description but I think that even in nursery-rhymes or the songs of village-children,
In
11.
Metre.
1-11 the
form
^^ - ww- an Adonius
:
crusis, prevails.
In
1.
1 1
the anacrusis
is
We may compare
in the
the practice
'
still
existing, I believe, in the Isle of

:
Man, of
children
going round
winter from house to house, saying
The
Gie
's
night is cold, our shoon are thin, a cake, and let us rin.'
POPULAR SONGS
393
the character of the rhythm, however crude, displays a tendency to monotonous uniformity rather than to licence. I have therefore followed the commentators who have endeavoured to remove the irreguAs in the Linus-song, the verses here seem to run in larities.
couplets
(cf.
specially emphatic.
pp. 35, 46), beginning at 1. 2, 1. 1 standing alone as The transition to Iambic trimeters in the latter
part of the
in their
poem
gives a
good dramatic
effect,
the children pausing
song
to remonstrate in metrical dialogue with the tardiness
of the householder.
1.
1.
2, for
3.
Hermann
is
a in the ace. plur. xaXa; wpac, v. Dor. Dial. p. 94. omits xa\ before xaXous, metri causa.
but the is not easy to parallel ', which several or of cycle period meaning closely It is, perhaps, here instances may be seen in Liddell and Scott, s.v. used as longer or more emphatic than wpa;. 1. 6. -aXa9av, expl. by Eustath. as ouxwv IrctauvS-sais. Yet au ^poxuxXsi, Hermann for the unmetrical ou jipoxuxXe??.
svtauTou's, in
the sense of seasons
'
enough akin
to
'
'
'
',
Eustath. paraphrases ou 7:aXa9-av

xai Xsxi{h oux autoQ-etxai,
'
rjToupiEv
o"vou te Sc'âarpov, a ysk.

'
want luxuries like fig-preserve and I fail to see how or wine, wheaten cakes content the swallow he arrived at this unless he read ou rcpoxuxXfi;, you are not putting forth,' i.e. you have not got to put forth,' we don't require you to With <ru the meaning appears to be, Do you from a put forth.'
i.e.
we
don't
'
'
'
'
rich house (emphatic) bring forth luxuries, (but if you won't far as that), even from rcu'pva and Xsx. the swallow turns not
in
go so
away
contempt.' Ilgen regards 7upoxuxXst as equivalent to IxxuxXet, Such a reference is hardly referring to the ixxuxX7][jux on the stage. suitable in a children's song, and the word implies nothing more than
lavish profusion.
1.
10.
xai 7:u'pva yzk.
Bergk
for xa\ nuptova
y.,
or xat zupwv a ysX.
be correct, we have a trochaic tetrameter, forming a natural transition between the lively metre of 11. 1-11 and the conversational tone of what follows. ooticojass v. Dor. Dial. p. 95, cf. 1. 14, cpEpcojis?.
1.
xai 7:upwv ysXiowv. 1. 12. If the text
13.
Cf.
Horn. Carm. Min. xv.

-
1.
14
(The Eiresione)
Et piv ti cSwasi; si ok p.r;, ou/ EaxrôixeV ou yap auvoiX7]<javres EvOao' fjXO-ojxsv.

eI otoast; is an example not of future condition (usually ev with the subjunc), but of a present condition expressing intention, v. Goodwin, Moods and Tenses, p. 146, and Monro's Horn. Gram. p. 239.
I have adopted Bergk's text for av orj spe'pfl? ti p.. orj i\ xa\ tpspoi? MSS. orj may have arisen from the succeeding Srj ; omitting xat) (two pepoio, 'mayst thou win or obtain,' is more suitable than (pEpot?, 'mayst thou bring us something large,' and the sudden change back to the
1.
17.
394
short metre
lav
tpe'prjs
GREEK LYRIC POETS

is effective.
Dindorf restores the trimeter by reading
OE Tl X.T.X.
III. As'?at x.t.X.
Argument. Theoa\
iii.,
where we are told that
shepherds etc., to be
ful
in Sicily sometimes meet together with supplies of food, given to the best singer. After the contest, the unsuccess-
selves,
competitors go round the neighbourhood to collect food for themand address this song among others to those from whom they
beg.
1. 2. Ta; Scou, probably Artemis as patroness of the flocks. For av E/caXscraaTo, which is apparently meaningless, Bergk suggests dv IxXa^sxo quam dea claustris suis retinebat ', Hermann xdyapiaaaTo.
'
Described by Pollux ix. 125, and Eustath. IV. Tortoise -Game. 1914, 56, as a game played by girls 8P d;j.oifjaiwv id[j.(3wv, in which one sits in the middle, who is called the Tortoise, while the others run
round her, asking the two somewhat disconnected questions. Compare the game of the X^P^j (Pollux ix. 113). Becq de Fouquiere (Les Jeux des Anciens) quotes a traveller who tells us that in Scio there may still be seen bands of girls dancing in a ring round one in the centre, and refusing to let her go till she has given them distich for distich but de Fouquiere trespasses a little too far into the region of conjecture, when he declares that in this song we have the wail of the bereaved mothers dwelling on the coasts of Asia Minor,
;
whose sons perished

1.
in the defeat at Salamis.
1.
yeXi or 7sXe\ is expl.
by Eustath. as
xo'prj
7ipoaxaxxixov orJO-sv napriyxopw'vr),
ou(j.svov tt]
ysXwvT]
cf.
probably,
or xopl
;
Append. Carm.
Pop. 9
I.
and
7iovw7:ov7]pos, Arist.
Wasps, 466
Lys. 350.
;
3.
riotst?
p. 208,
and juoitwv Meineke, for t.oieu;, tcouov v. Ahrens Dor. Dial. where totE'cov, jra'tavxt are quoted from Heraclean inscriptions.
'
xpoxav MtXrjatav, cf. Verg. Georg. vellera mutentur '.

I.
iii.
306
quamvis Milesia magno
explained by many commentators as the This I think objectionable, simply breakers because it offers a more or less rational explanation of what bears the appearance rather of nonsense doggrel furthermore, the preposition ano would be entirely inappropriate.
4.
Xsuxwv do'
'
"r.iztav,
'
'
white horses
or
'.
V. Flower-song. Athen. xiv. 629 E says that this was called the Anthema, or Flower-song, and that it was accompanied by a dance It is tempting to regard po8a and 'ta as and mimetic gestures. instances where the metrical beat falls not on a long syllable but on an accented one, cf. on No. vm. We could then regard each line in
the text as a short period of three lines, thus Iloij [J.01 id poSa 5
;
IIou IIou
[jloi [j.01
xd "a
Ta xaXa asXtva
Otherwise,
do not see what explanation can be given of the metre.
POPULAR SONGS
VI. Blind
395
It is interesting to read in Pollux ix. 123, Buff. One boy, he says, ties a band of remote antiquity. the rest responding tightly round his eyes, remarking yaXxrjv x.x.X., x.x.X. They then beat him with strips of leather, until he
Marts
is
thatthis
game
(hjpaaeis
(See Illustrations, PL iv.) Becq de Fouquiere, explains /aXxTjv puitav as l'insecte aux reflets metalliques que et qui lui chappe au l'enfant poursuit de buisson en buisson,
catches one of them.
'
p. 88,
moment meme ou
il
croit le saisir
'.
VII. Pollux I.e. says that when a cloud passes over the sun Cf. Arist. Frag. 346. children clap their hands and cry, e?eyj x.t.X.
VIII. "aXji, [j.uXa, aXst x.x.X. Thales (Plut. Sept. Sap. Conv. xiv.) says he heard the song sung by The Mill-stone Song was a a Lesbian woman at the mill-stone. recognised species of popular lyric (r, l-irxuXtoc, Athen. xiv. 618 D). The hit at Pittacus is directed, it is supposed, not so much at any actual oppression on his part, as against his shrewd business proclivities.
1.
1.
aXct to aXsi, the
Bergk has followed Koester in changing the accentuation of word thus being imperative in 1. 2, akzi is for rjXsi,
:
the imperf. indie.

Iltxxaxo;
It is
only reasonable to restore the Lesbian accent

is
(Bergk
ITixxaxds).
The
metrical scheme
doubtful.
See Ritschl
Oftusc.
i.
298,
who
regards the scansion as regulated by the accent rather than quantity.

IX. nXslaxov ouXov x.x.X. Athen. xiv. 618 D an invocation to Demeter, who was called 'IouXto, ' Koester thinks the Sheaf-Goddess, from ouXo? or 'touXoc, a sheaf there is also a reference to the cry lou, the cult of Demeter usually being of a mournful character. Athen. I.e. adds that others regard
;
'.
the words as belonging to a wool-worker's song.
X. Maxpat Spile; x.x.X. This mournful plaint occurs, so Athenaeus (xiv. 619) tells us, in a pastoral poem (xo zaXou'[j.vov vo'[j.iov) by a lyric poetess Eriphanis, She was enamoured with whom a romantic love-story is connected. of a hunter Menalcas, whom she sought throughout all the woods and
hills, until
she
moved
with pity the hearts of the sternest
men and
even of the fiercest beasts. The issue of the story is not told us, but from the analogy of the similar romances of Calyce and Harpalycc (Athen. I.e.) we may conclude that the maiden's efforts were fruitless.
xripuypiaxa of Sophocles Elect. 683, or poetical formulae chanted by the heralds at the games. This corresponds to the ringing of the bell (a) Julian. Caes. 289. at our athletic meetings which summons the competitors to the
start.
XL The Games. These are the opfl-ia
396
GREEK LYRIC POETS
The herald calls upon them to toe the line (P) Moeris, p. 193. 4. at the start, (3aXpto? being explained by Moeris as at sVt xwv atfE'aswv The line in Moeris is paasi? syxs-/apay[jivat at; -[5aivov ot SpofiEi? x.x.X.
corrupt, BaXjBloa 7:006? (v. I. 7:00a?) #-e'xe 7:00a 7t. 7:08a. tures BaXplot 7joSo~v 9-e'vxe? 7:00a 7:ap 7:o5a #-s1xe ( = run)
Bergk conjec;
but
who can
conceive runners being actually started, as the word S-stxs would imply, by a line of poetry ? I have inserted my own conjecture in Place your feet on the line foot to foot. the text.
'
5
(y)
Lucian in Demonactis Vita

'EXQ-Elv 7]pw AlOVUSE, X.X.X.
65.
is probably a specimen in the disguise of a later dialect, of a very ancient invocation to Bacchus, in use long before the later development of the hymns appropriated to him. See p. 7.
XII. This
is quoted by Plut. Quaes/. Gr. 36. 7. Ata xt tov twv 'HXsicov yuvalxs? up.vooaat TrapaxaXouat poe'w iroSI x.x.X. Erta oi? âoouatv' "Ajji Tavpe, d. t. Plutarch's own explanations of these expressions are fittingly described by Koester as merae nugae'. Dionysus was sometimes conceived as bearing the form of a bull (more frequently merely with the head or horns of a bull
Atov.
The passage
at
Atdvuaov
'
(xaupou.EirojTio?, xaupoxspw?, etc.), probably because that animal was the symbol of generation and fertility, and this was the province of Dionysus (cf. the Phallic processions) as being the god of vegetation and growth, the limitation of his power to the vine being
probably
sions.
later.
Compare
odvrfii xaupo?, Eur. Bacch. 108,
and many similar expres-
The union of the Graces with Dionysus is very common, arising, we may presume, from his intimate connection with music and poetry
cf.
Pind. 01.
xiii.
18, xa\
Atwvuaou
rcd-ihv
Efc'oavav auv [jorjXaxa Xapixeg
and Ben Jonson's address to Bacchus (elsewhere quoted, 'But Venus and the Graces Pursue thee in all places'. There is a very apt illustration of the text in ancient art to be seen in Miiller-Wieseler II. Plate xxxiii, 383, where the three Graces are sitting between the horns of the Ox-Dionysus. "AXtov, i.e. Elean (Welcker for a'Xtov), cf. Paus. vi. 26. 1. Gewv oe ev
8i9-upa'p.[3w,
P-
353);
xolc [jtaXtoxa
Gui'tov
Atovuaov ajpouaiv 'HXstot, xa\ x6v

(
S-eov
aotatv E7:t(potxav
xtov
x^v Eopxr v Xsyouatv.
XIII. 2cA, BaxyE x.x.X. In strong contrast to the foregoing primitive invocation we have the specimen of a polished Phallic song preserved by Athen. xiv. 622 E. The Phallophori, crowned with chaplets of roses, violets and
upon the stage from the side- and centre-entrances singing and accompanying it with measured movements (patvovxE? ev pu9(j.w). The words of the performers themselves show that the Iambics were sung and not recited, and that therefore the passage
ivy, enter this song,
may
rightly be regarded as Melic.
POPULAR SONGS
I
397
in the adaptation of
:
consists suppose that the novelty claimed for the song (1. 3 seq.) Iambics (ax:Xouv pufyov) to complicated melody
or perhaps in discarding the ruder invocations of (atdXto f/iXa) ancient times, of which No. xn. is an example. its usual sense of unmaidenly ', but 'virgina-apih'vsuTov, not in
'
pure' (a
copulative), so
Hesych.
d-impO.
a/Epato;,
xafrapa,
cf.
Soph.
Frag. 287.
XIV.
.
Schol. Arist.
xaX.
S-edv"
Frogs 479,
'Ev xot;
A7]va'iV.ot?
aywcn ...
XII.)
6 oaoouyo?
Xs'ysi
xa\ 01 ejiaxouovxe? potoai'
2'E(ieX7]Te x.x.X.
TtXouxoodxa, as the
god of fertility,
etc. (cf.
on No.
XV. The
1.
Libation.
I.
Schol. Ar.
/Wtf
968, ara'voovxs; yap eXsyoV

IIoX. xay.
xt;
xfos
eixa
01
rcapovxE;
1.
2,
u<pt][j.ô'[j.voi IXEyoV Schol. Frogs 479, -toav axovoo7:oir^wvxai
x.x.X.
XVI. 'AvaâV avw x.x.X. Plut. Quaest. Symp. iii. 6.
4, v xot; $-wv
u't-ivot?
x.x.X.
XVII.
witches
strix
('
Sxptyy'
<xr.oizo\LT.
.v
x.x.X.
Quoted by Festus,
p. 314,
the term
').
crxpiy?
maleficis mulieribus
The
being applied, he says, to reference in these lines, which
we may regard
as
xi.
H. N.
1.
as a kind of nursery-song or prayer, is rather to the a bird supposed to be dangerous to infants, {v. Pliny 232, who adds quae sit avium constare non arbitror '.)
'
1.
<x7:o7iofj.xtv
Bergk, from
MIOMIIEIEN
Hesych.
;
diroTrofJLiriv
co:o7:[j.'i/aa9'ai
1.
xai d-oxaJbjpaaO-ou.
2.
vuxxipdav.
Turneb. on the authority of Hesych.
MSS. Nuxxt-
XOIAOCV.
Bergk, for avivd[.uov, in the sense of ouawvu[Jiov. no with authority, adds iy&puv, since otherwise he fails to Bergk, The objection, however, of unintelligibility see the force of 1. 5.
1.
4.
avwvu[j.ov
applies to many passages in nursery literature, and I suppose that the swift-sailing ships may simply be representative of the sea, to which the hated bird is consigned.

I.
Y'it1X 9-WV X.X.X.

is
This passage
ascribed to Arion by Aelian, Hist. An.

taste
xii.
45, in
Modern critics are of dolphins. almost unanimous in discrediting Aelian's testimony that the hymn was composed by Arion. The language and metre are entirely
illustration of the musical
unsuited to a pupil of Alcman, as Suidas describes Arion and the shallow verbosity is eminently suggestive of the
(see p. 102), later dithy-
398
GREEK LYRIC POETS
rambic period, to which Bergk assigns the passage. The poem need not have been intended as a forgery, for, as Bergk suggests, the writer was perhaps introducing Arion as the speaker, and thus Aelian may have been misled. For the well-known legend of the
poet's escape,
and
5.
his offering at
Taenarum
consult Herod,
i.
24,
and
of opinion that the story was invented either by Arion himself or by his friends to typify his introduction of the dithyramb from Magna Graecia to the Peloponnese.
Pausan.
iii.
25.
Schmidt
is
1.
2.
Perhaps imitated by Ar. Knights 559, w
ypuaoTptatv',
to
SeXtpfvtov
[jleSe'ojv.
1.
3.
So Hermann
for yatrô/J syxutA.ovaX[j.av.
inBpay/tot is supposed to be an adjective vented by the poet from Ppayytov. Hermann reads (3payyjoi?. to dolphins. 1. 6. noSiov, an unwarrantable poetic licence as applied
1.
4.
Cf. //. xiii. 27.
1.
7.
atfj.cn
1.
I.
14.
o/eovte?
two MSS., the rest aEta[j.oi. Brunck, MSS. yopEu'ovTE?.

Reiske
aXt7ropcpupou,
18.
aXtnopcpupov,
Bergk
cno[j.a rcopcpupouv.
II.
(a) ME[j.cpo[j.oa ok x.t.X.
Apoll.
tuivya for
De
Pro/i. 324 c, to illustrate the use

(s'ywys).
Mi\j.yo\>.t]
.
among
the Boeotians of
The
for
lywvya Boeotian
.
jjiiJ.cpofj.ou
xai
following Fiihrer (De
= eyioy) the spiritus asper, 'twvya ( natural which Fiihrer discredits, enough, being due to transposition from ?iovya, where it has arisen from the loss of the guttural seen in Bockh, C. I. 720, gives many other instances from Boeotian iyw. The form twvya occurs in Ar. Acharn. 906. inscriptions of for s. Bava is Hesychius and Herod. lisp. |j.ov. Xe'?. 18-25 as
is
t
Boeotians pronounced Corinna. Bergk maintains that in
xrj Moupito. are restored by Bockh I have retained jjifj.90fj.a1 and xal, MupxiS. Dial. Boeot.) who maintains that, although the at as rj, it was not so written in the time of
. .
explained by the Boeotian form of yuvrj. For a in the

(b)
first
syllable
cf.
the Sicilian yava.
Nt/.aa' x.x.X.
Quoted by Apoll. De Pron. 358 B, from Corinna's xa-ca7uXous. famed as a Boeotian hero, see Midler's Orchom. cf. Bockh or Dissen on Pind. Nem. ii. 12. p. 100 the district was ywpav. Schneidewin ingeniously suggests that Hyria, the Oupta mentioned Append. Corinna 4. cot' sou; Ahrens (sec. 34) compare Dor. Inscr. in' a[jipas, eV tepew?. There is no Boeotian analogy, v. Fiihrer I.e. sec. 3, who discredits
'Oaptwv, Orion,
;
;
this instance.
wvouptatvEv.
(e)
Bockh and others wvou'^vev

22, as
is
see on
(a').
'H
StavE/.w? x.x.X.
an example of Synizesis in otavenw?. Bergk {q. v.) compares the between themselves that eucxve[j.os and utjvejj.o;, option poets gave ouaEpt? and Suarjpt;, avoXsQ-po; and avtoXE9-poi;.
Quoted by Hephaest.
The shortening
of the a
remarkable.

III.
399
KaXXtaxov
xou
[asv eyto x.x.X.
of the proverbial phrase Adonis, he says, gives this answer on being asked by the shades after his death what was the With the sentifinest thing he left behind him in the world above. ments we may perhaps compare Charles Lamb, Essays of Elia, ' New Year's Eve " Sun and sky, and breeze and solitary walks,
Quoted by Zenob.
iv.
21, in explanation
'Aotovioo?.
r]Xi{hw'xspo;
Ilpa^tXXr]?
'
and summer holidays, and the greenness of fields, and the delicious " juices of meats andfishes do these things go out with life ?
SsXrjvatrig,
(
= rcapO-s'vo?).
IV.
'X2
properly adjectival,
cf.
yaXrjvaia
(=
yaXrvrj),
TuapS-svtxr,
ota xa>v -iHipiotov x.x.X.
Quoted by Hephaest.
43, as
an example of
to npacjiXXeiov.
The
metre is particularly effective. For Praxilla see on Scol. XI.

'EpLJjXs'ôicja,
Lesb. Dial. p. 83.
V.
'Yyisia, 7:psa(jiaxa x.x.X.
Quoted by Athen. xv. 702 A, as a Paean to Health, and ascribed, if the reading be correct, to a certain Ariphron of Sicyon, of whom nothing further is known. On referring to Dithyrambic Poets No. v.
it
will
be noticed that three

11.
lines
4,
in
the
poem
It
is
nearly identical with
3,
9,
in
this.
of Licymnius are a vexed question
whether both passages are from one and the same poem, composed by Ariphron or by Licymnius, whether one poet is copying from the other, or whether, as Bergk suggests, both are borrowing from some The poem in the text familiar hymn to 'Yyt'sta (v. Bergk ad loc).
enjoyed a great reputation (x6 yvwpijxtoxaxov exslvo xal xaai Sta Lucian De Lapsu Liter Sal. c. 6). It is found engraved very It was probfaultily on a monument, Bockh C. I.. Athen. iii. p. 66. ably intended as a Paean suitable for convivial meetings (v. p. 232), and we may compare Scol. ix. 1. 1. Notice in this later Melic poetry the custom of addressing hymns to deified abstractions such as
axo[j.axo?,
Health, Fortune, Virtue, rather than to the old divinities of mythology. be called 1. 1. npeafJiarra 'most revered', as 'Yytsta could hardly
'
eldest of the
1.
gods
'.
2.
au'voixo?,
cf.
Bacchyl.
I.e.
VIII.,
6Xpwv
jcalSe'g
viv
(Aixav)
supovxe?
auvoixov.
1. 1.
4.
5.
Cf.
on Licymnius
2pxE<nv
Bergk, for apxuatv (Athen.) on the strength of

a(j.i:v, cf.
eXxsai
on
the
1.
1.
monument.
6.
8.
x:ovtov
[.lo/xhov ct[j.Tcvoa,
Pind. 01.
viii. J.
?:avxa is
omitted on the
monument and bracketed by Bergk.

' . . . '
instar veris, quod Schneidewin interprets the rest of the line are bright as a spring of the Gratiae reddunt pulcrum, affulgent Graces (i.e. blessed by the Graces). Bergk reads eapt.
',
'
4oo
GREEK LYRIC POETS

in Athen., is supplied
1. 9. ecpu, wanting from Licymnius.
from the monument and
VI. 'Apsxa r.o\6[xoyQ-B x.x.X. Athen. xv. 695 A, to ux:6 xou 7ToXufj.a9-<7Athen. goes on to describe the Ode xaxou ypacplv 'ApiaxoxsXou; x.x.X. kind of Scolion ', denying that it is a Paean, as a certain as a Demophilus urged, who wished to convict Aristotle of the impiety of
'
addressing a Paean to a mortal, Hermias of Atarna (v. on 1. 13) ; It is not easy to understand why Athen. classifies see on No. xxvu. the song as a Scolion, except that Aristotle was said to have sung it
daily
ev xot? auaaixiot;.
One
is
the
more
inclined to believe that the
term Scolion came to be extended to any song which, whatever its original intention, was popularly employed at convivial meetings
(see Introduction to Scolia, p. 237). Bergk describes this poem as 'jejunum, frigidum', etc., declares that it is falsely attributed to Aristotle.
learn,
and therefore
have yet to however, that the philosopher had any talent for lyric poetry, neither do I think that the song is so deficient in merit as Bergk
asserts.
1.
We
1.
7ToXu'(j.oy9-c,
'
signification,
we need hardly treat this won by much toil (Liddell and

'
'
as used in a passive rather full of Scott)

'
labour', the epithet being transferred to Arete from those who follow ' her (yevsi Ppoxstw), just as we talk of pale death ', gaunt famine ',
etc.
1.
1.
2.
5.
|3iw
(=
f3iou)
Bentley, for
(3ut>.
explained by Schweighauser as agreeing with the He is, however, of opinion that the word implied subject of xX^'vai. has been substituted for axap-axou?, for which there is more authority, and that the latter was merely a gloss explaining âXepou?, a close conax.a[i.avxa?,
nection being established between the two epithets from the constant application of either one or other of them to rcup in Homer. Such a reward dost thou bestow upon the mind, a reward 1. 6 seq.
'
= immortal, and more precious than gold ', etc. For xap7i:o'v x' a9\ ( of the misplacexaprcov ad-, xs), compare //. v. 878, and other instances ment of xs quoted in Monro's Horn. Gram. p. 242. Ilgen takes the
meaning of the passage to be you exert on the mind an influence more powerful than the temptations of gold, than the admonitions of
'
parents
',
etc.
'
= languid-eyed', but Ilgen quotes Hesych. auyslv ( = This '. would lessening pain aXysw), require a derivative rather from the verb fj.aXa/.tw than from the
(j.aXax.auyrjxoio,
and suggests that the epithet

[j.aXaxo?.
'
adjective
I.
9.
Cf.
1,
Hor. 3 Od.
epyot?
.
. .
'
iii.
9,
Hac
II.
9-1
Suvapuv, Aristotle is
ii.
doctrine in the Ethics

[xev
1.
1.
4,
et- vagus Hercules', etc. perhaps thinking of his own xa; apsxa? (which are Suvapi;) Xa[i.|3avo-
arte Pollux,
Evepyâavxe? rcpoxEpov.
14. 'Axapv. Evxpocp.,
the reference, as
we
learn from Athen.
I.e.
is
to
401
Hermias, a slave of Eubulus, Tyrant of Atarna. At one time he was a disciple of Plato and Aristotle at Athens, enjoying" particularly the He advised Eubulus to friendship of the latter (Diog. Laert. v. 9). revolt from Persia, and on his master's death, whom, according to Diog. Laert., he murdered, he himself obtained rule. He entertained
Aristotle as his guest while in possession of royal power.
At
last
Mintor, a Persian satrap, entrapped him and had him slain, B.C. 345 (Diod. Sic. xvi. 33, Strabo xiii. 420). An interesting account of the friendship of Aristotle with Hermias may be read in Blakesley's Life
of Aristot.
vol. ill.
dsX. /Tjpwasv auya;.
Liddell
and Scott
translate y*]pw in this passage
'deprive oneself of, forsake', but why not in the usual sense, 'he left desolate the light of day '? The expression is florid, it is true, but we are not dealing with first-class poetry. Schweighauser prefers the
reading auya?, and regards yjjpwcjsv as intransitive, comparing Pint. ii. 749 D, to which Liddell and Scott add Theognis 956, but in these instances eyrjpwas, yyjpw'asi, etc., may easily be a mistake of a copyist
for
1.
-//jp;u<7c,
etc.
1.
15.
16.
1.
honour
in
proleptic after au^Toutji. extol reverence for hospitality, and the of steadfast friendship.' Auijouaai is awkward after auâoucrc
aoi3t(j.ov (v.
aoiot[j.o?),
Ato;
ijsvio'j -/..T.X.,
'who
1. 15 ; Bergk reads acrxouaou, Ilgen omits altogether, taking aspa? as tov <j(jaovxa ; but, as Schweighauser in apposition to juv, Hermias, points out, the abstract when employed in such cases for the concrete
has a passive, not an active, signification

i/.sl
cf.
Soph. El. 685, ~acu
toi?
ae'Pas
of Orestes.
Aio? ijsviou, a good instance of the employment of the name of a god with a special epithet in place of a mere abstract noun, such as Cf. the well-known tov ejjiov ike'ciov Aia (Eur. Hec. 345) 'hospitality'. = my supplication Zsus ?e'vw5 occurs in Aesch. Ag. 61, 353.
'
'.
VII. Tu/a
[jjEpo^wv.
Stob. Eel. Phys.
I.
vi.
13.
The
this to
lines are attributed
be a manifest error,
by some to Aeschylus, but Bergk thinks and regards them as the composition of
Tp[j.a
some
1.
poet-philosopher. 2. T inserted by Meineke.

fraxets e'opa?,
tu
Grotius from a reading

is
Tepfj-a-n.
1.
5.
7:T:puya.
Jacobs' conjecture for axo; opaj. The representation of Toy/] as winged

if
a mere
poetic idea, rarely

'
ever exemplified in art. Cf. Hor. 3 Od. xxix. 53. ev ay.oxw, perhaps we should read ev ax.o'xov, regarding ev as the 1. 8. Aeolic' form of si;, often found in Pindar. See on Pind. Frag. VI.
1. x' x.t.X. Quoted anonymously by Stob. EcL between two passages from Sophocles. Bergk thinks that the name of the third Fate may have
1.
VIII. KXwfho Aaysai;

I.
v. 12,
1.
1.
dropped out (Awa

Pausan. x. xxiv.
4,
He points out, however, that /..t.X.). speaks of two Fates being worshipped at Delphi. 2 C
xa\ KXco&co
402
1. 1.
GREEK LYRIC POETS

4.
5.
Jtepre-t;',
Bergk reads
Dindorf, for
ra'fjareTe
8\
"A[j.[aiv,
v. Lesb.
Dial. p. 87.
asXsai;
aoeXcpa;.
I. 8. XeXocS-chxe, 'make to forget', v. Monro's Horn. Gram. p. 28, These (reduplicated) aorists are exclusively Homeric except 7]Y a Y ov and si7irov (Attic eiôv). They are mostly Transitive or Causative in
'
meaning
compare
',
'
E-Xayo-v,
'
got for
my
share
'
',
with XeXoc/o-v,
to fit\
'
made
to
share
ap^ps,
isfitting\ with
rjpaps,
made
offer of
II.
IX. Ou ypuao? ayXao? -/..x.X. gold from a friend.

-
Plat. "/. a',
quoted on rejecting an
life
1-2. Gold, bright gold, is not the rarest thing in the hope-baffling of mortals, neither does adamant nor do couches of silver, when tested in comparison with man, flash upon the gaze, etc' SuasXTciaxio,
' '
lit. hard to be hoped about hence either that about which one cannot form any secure hopes', 'hope-baffling', as above, or simply The apparent 'Schema Pindaricum' in 'cheerless', 'hopeless'. octfxpaTwtEi is accounted for by the neuter oo-/.qxao[i.Eva, referring to of aoa;j.a? and xXtvat. 'A<rcpa7rrei belongs to 11. 3-4 also by a kind
',
zeugma, unless
corn.
in
1.
we
are to think of the
gleam of the yellow
X. 2e o' aEi-jo|xat /..x.X. Quoted by Plut. Vit. Alcib. c. 11, from an Epinicion by Euripides in honour of the successes of Alcibiades in Plutarch mentions the chariot-race at Olympia. Cf. Athen. i. 3 E. that he surpassed all records in entering no less than seven chariots for the race, with which he obtained the first, second, and either third or fourth places for, curiously enough, while Euripides speaks of the third place, Thucydides in a speech of Alcibiades (vi. 16) describes it as the fourth. It is difficult to conceive how either authority could have made a mistake on such a point. Athen. I.e. adds that to celebrate his success Alcibiades gave a general public entertainment (r^v roxvrjyuptv r:aaav EcsxiaaE). See Grote vol. vi. p. 323 sea. for the importance of the whole occasion, the date of which he
;
fixes at
1.
1.
420
B.C. (01. 90).
2. 4.
Bergk reads xaXov
vi/.a"
(to)
xaXXiaxov
;
(0')
[l.
/..x.X.
The asyndeton
is
very awkward
oic,
Bergk suggests
axEcp-S-Ei?
x\
Grote points out, there, is no reason to suppose that crowns were given for any but the first and second places. Indeed, but for this passage, we have no reason to suppose that there was a prize even for the second place. The words
alter
to xp\?, but, as in
Some commentators
Thucydides (and
after
/.at
him
Plutarch)
'
lead to this conclusion.

I
'EvixTjaa oe, xai Ssu'xEpo?
XExapxo; Eysvo^v,
won
the prize
and took
the second and fourth places'. Athen. i. 3 E speaks of the 'victories' (vr/.a?) of Alcibiades on this occasion, but even if his words imply that Alcibiades won three prizes, he may easily have been misled. Con-
sequently in this passage Hermann for 81$ reads Ato?, and Bergk Either word is connected closely enough with axsipate'vxa to account for the position of xe.
follows him.

XI. "Eraixa
'
403
xeiasrat Plut.
Non
Posse Suav. Viv., Sec. Epic.

Plut.
/.<:.
26.
XII.
Q,c,
ap' sircdvxa
fAiv
x.x.X.
27.
7:pdaw7tov
Wyttenbach,
for TTpO? T07:OV.
compares a
XIII. Nai xav"oXu;j.-ov. Quoted by Clem. Alex. Strom, v. 661, who line from Aeschylus, 'AXX' etui xajjiot xXjjs e-\ yXtoaar) <pu'Xac:. Cf. also Soph. C. C. 1052. Bergk thinks that the lines are from Pindar, and, judging by the sonorous style, his conjecture is a prob-
able one.
XIV. Ou yap
oua;jur/7]Ta,
ev [xiioiai.
'.
'hard-won
Clem. Alex. Strom, v. 654. Pindar, on the other hand, in a well-known
passage {01. ii. 80, [j.a!>dvxss x.x.X.) scorns the idea of the gift of poetry being acquired by any labour. It must, however, be remembered that to be a master of the art of Greek Melic Poetry with its elaborate accompaniments, natural inspiration had to be seconded by very
careful training.
XV.
'fl
yXuxE? sipava
Cf.
x.x.X.
Theodor. Metoch.
I.
p. 515.
z:Xouxoodxapa.
Bacchylides
xtxxa
x.x.X.
XVI. Oux alii x.x.X. Plut. De Conso/. c. 28, si youv ^ Nt^ /.x.X. The words may very likely be from a Threnos, wherein consolation was frequently sought from mythology. Cf. Simon. 11. and p. 19.
XVII.
Kar.poe,
f vt/'
;
x.x.X.
Hephaest.
p.
56, as
an example of
See Introd. to Anacreon adJin. Bergk is of opinion that Glyconics. these lines are by Glycon himself, whom he considers to have been a poet of the Alexandrine period.
XVIII. Xaporav xuva

referring
to
x.x.X.
Dio Chrysos. Or.
xxxiii.
T.
II.
470,
a dog. Welcker attributes this fragment to Alcman, but, so far as we can conclude, it is entirely out of keeping with his metrical style (see p. 49). 11. 1-2. xuva, the accus. belongs to the construction in Dio Chrys. In yvaOp.u>v -oXiav, if the reading be correct, we have a singular instance of yva#-[j.o; being used like yvaOo? in the feminine, ot
the legend of
into
.
Hecuba being converted
the change in construction Bergk compares //. xvi. Od. xxii. 17, etc., in all of which cases we may regard xiv. 25 531 the participle as in the genit. absolute with the pronoun understood. 1. 4. âyot, conjecturally inserted by Bergk.
tpihyyoijiva;, for
; ;
of the
XIX. npopaxwv yap name Galaxion

7:EXXat
x.x.X.
Plut. de Pyth. Orac.
c.
29, in explanation
in Boeotia.
^cX-Xai ok.
yap Bergk, for
XX. 'Ex Santos x.x.X. Choerobosc. in Aldi Cornu Cop. 268. Ahrens has restored the Lesb. accent to the Lesb. genitive Sarow;.
404
XXI.
the
XVII.
'Eyoj
GREEK LYRIC POETS

cpajxt, x.-.y.
Plut.
line, in
an altered form,
De Garrul. c. 5. may be Sappho's.

Plut.
Cf. Sap. xvi. b,
Bergk thinks that and
ev [jmvgt.oXio o'xta.
XXII. "AXXov
xpozov for xpoôg.
tp'otov,
jct.X.
De
Antic. Mult.
c.
5.
Bergk
XXIII.
/s'paov
not/.iXXsxat
[jlsv,
/..x.X.
Demetr.
1.
De Eloc.
164.
One
is
reminded
a;j.[BpoTav
of Pindar's Dithyramb {Frag. VI.

spaxai
|
16), tots PccXXetou, tot'
It:'
"cov oât, x.t.X.
XXIV.
av,
ou
[j.r]v
-ot Clem. Al. Strom,
vi.
796.
Bergk
t.qxz for t:ox'
and
'
xc'poso? for xc'poou;,

'
the former being
more
consistent with the
lyric
dialect
(see p. 80).
XXV.
Tiv' axtav, x(v' u'Xav, x.-.X.

cf.
t'-Z
For the Bacchic metre,

Ti? a/w',
Dion. Hal. Aesch. Prom. 115.

oojj.a
De Comp.
;
Verb.
c.
17.
^poas'^Ta
[J.'
doayyvj;
I.
XXVI.
Sympos.
Mtas'to x.x.
1.
Plut.
Quaest.
Symp.
Proem, and Lucian,
c. 3.
XXVII. Tov
ap. Plut. Vit.
ixsivto
'EXXaoo?
ayaO-s'a?, x.x.X.
Lysand.
18,
was the
first
This, we are told by Douris instance among the Greeks

' ;
of an adulator)' apotheosis of a living
man
Trpwxov
jjIv
yap EXXr]vwv
v.q
pupu;
at tzoXzic, avsTcrjiav 10; O'cto xa\ 9-uaia; VI.),
Eûaav,
7iptoT0V ol
Trcu&ves (cf.
on Miscel.
fod-râ.v,
of one of which Paeans this
passage is the commencement. The degrading practice became a popular one, as we see from the two succeeding passages, and from Athen. xv. 697. It spread especially among the cities of Asia Minor, in honour of Roman generals, governors, or emperors, sapping the pagan religion of whatever soundness it still possessed, and marking the decay not only of freedom, but of the very desire for freedom. Consult on the subject Hermann, Gr. Antiq. ii. p. 59 (ed. Stark,
Heidelberg, 1858).
supoydpou Naeke, for supu/wpou.
full
'Q$ ot fiiytoroi x.t.X. Quoted by Athen. vi. 253 c with. a account from Demochares of the adulation heaped upon Demetrius For the circumstances leading to his triumphal reception at Athens.
XXVIII.
The date this occasion, see Grote, vol. xii. p. 205 seq. (cf. p. 197). of this occurrence, as indicated partly by the references to the Aetolians, and to the Eleusinian Mysteries, was 302 B.C. in the month
on
Boedromion (part of September and October). Grote's criticisms on the sentiments of the song are worthy of attention Effusions such as these, while displaying unmeasured idolatry and subservience towards Demetrius, are yet more remarkable as betraying a loss of
'
:
force, a senility,
and a consciousness of defencelessness and degraded
position, such as
we
are astonished to find publicly proclaimed at

Athens.
It is
405
avow themselves
not only against foreign potentates that the Athenians incapable of self-defence, but even against the incurIt is at least satisfactory to read that the sions of the Aetolians,' etc. brilliant young warrior himself was disgusted with the unwholesome
compliments lavished upon him (see Athen. vi. 253 a). The song is described by Athen. as an Ithyphallus, a species of religious lyric now, like the Paean, no longer confined to the service of the gods. The mode of delivering the Ithyphallus is described by Athen. xiv. 622, and it was of a nature to enhance the servility and idolatry of the performers in this instance. They wore masks representing the countenances of drunken men wreaths on their heads and arms
long white garments reaching to the ankles, etc. Either we have not the beginning of the song, which is 1. 1. '{2?. not likely from the manner in which it is cited by Athen., or u$ does not belong to the poem, but to the words of Athen., some other monosyllable beginning the line or, thirdly, we must, with Hulle;
mann, read "Q?.

1. 3. yap A7][j.. xa\, conjecturally inserted by Toupe, something of the kind being obviously required. in this description flattery was in xat xaXd; 1. 7. tXapd; accordance with fact, judging from the testimony of Plut. Vit. Demetr. Indeed his lively disposition led him to excesses which it c. 24.
. .
.
required a stretch even of Athenian reverence to condone.

vol. xii. p. 207.
1
Cf. Grote,
The text as it stands is only just translatable, forth in majesty, his friends all around him, and himself in their midst, like as if his friends were the stars and he the
9.
x.t.X. asj-Lvo? 08-1,
'
where he shines
'.
sun
A
to
majority of MSS. give
aqj.vdv,
Meineke and Mehlhorn

S[j.oiov.
as|j.vdv xi oatvsO-'.
and Bergk adopts the reading of He has also changed 6'jj.chos
flatterers,
xdXa/.Ec,
1.
13.
Oi cptXoi probably refers to Demetrius' personal retinue of Athen. 253, mentioning that the Athenians, oc twv xoXaxwv paid divine honours to these also. 7:a1 noasiotovo?, alluding probably to his maritime power;
a compliment to his beauty. This passage, with its curious mixture of outspoken blasphemy and fulsome idolatry, reveals to us how entirely the old may religion had by this time lost its hold on the Athenians.
xa<ppo8iT7]s,
1.
15
seq.
We
compare Philos. Apollon.

avooaaiv,
oi xai
i.
15
(on
Emperor
cult)
/.at
tot?
pacjiXetot;
-qrsixv,
and
1. 1.
Aid; xou ev 'OXu[j.ria cpo[jSpwxspoi tote Ovid's Trist. III. i. 35, and 11. 77-8.
Cf.
aauXtoTEpoi
18.
Hor.
Od.v. 2
1.
'Praesens divus habebitur

;
Augustus.'
AhwXd?) see Grote, vol. xii. pp. 164, 191, 204; eVi xrETpa;, in allusion to the mountainous country of the Aetolians. 29-30. In the general weakness of Greece, the Aetolians were able .to extend their cateran warfare as far as Attica itself.
25.
(v.
1.
AhwXov
31.
x.dXajov
Toupe,
for s/dXaaov.
4o6
1.
GREEK LYRIC POETS

34. smvov,
Schweighauser for
a-s(vov, -tvr[v, etc., as if there
some legend
a-'!Xov,
of the Sphinx being transformed to a finch. a rock.
were Meineke
XXIX. Ilumv ok 'Pto[j.aiojv, x.x.X. The end of a Paean sung by the Chalcidians in honour of Titus Flamininus, Plut. Vit. Flam. c. 16.
1.
2.
',
have conjectured
[j.sya),3toxaxav
'most glorious
at
keeping
oaths
for the corrupt [j-cyodsuxxoxaxav.
Bergk reads
word.
|j.syaAauyoxaxav,
but a depreciatory sense attaches
itself to this
XXX. Ode
Stob. Flor.
to
vii.
Rome.
i
some
is
It is presumed by MsXivvou? Acadia? si; Pio;j.r v. 13. that Melinno, a poetess of Epizephyrian Locri, is meant, who referred to Anth. Pal. vi. 353 ; and the epithet Lesbian may be
'
'
due to the employment of Lesbian metre and style in the poem, Schneidewin conjectures that the occasion of the Ode was either the
seizure of Locri
by the Romans
after the defeat of the soldiers of

:
or else the Pyrrhus who had occupied the city {v. Li v. ix. 16) period of the first Punic war, indicated by the allusion to maritime supremacy in 1. 10, r.o\ici<; Q-aldvvac, an expression, however, which Mehlhorn would explain as a mere laudatory exaggeration. But on the whole the language made use of throughout the Ode implies a period in the history of Rome when her empire was wider and more firmly established than at the time of Pyrrhus or even of the first Punic war and there is a ring of enthusiasm in the poem
It is, therefore, I think, far better to too genuine for mere flattery. follow Welcker and others in attributing the Ode to the flourishing period of Roman dominion, and to be content to remain in ignorance
as to the identity of Melinno. The view that the song was
composed by Erinna of Lesbos, and
that'Pwpj is simply the personification of strength is disposed of in Welcker's Kleine Schriften vol. ii. p. 160, and needs little refutation. The dialect is intended for Lesbian, but the strict Lesbian forms are not always adhered to (cf. on 11. 1 and 3). The remarks made on the metre of Lesbian Sapphics as compared
with Latin apply equally to this
1.
Ode
see
p.
154 sea.
'
applicable to Mavortia Roma'. be rather "Apsuo;, v. Meister. would the Lesbian form "ApTjos, Epic,
1.
9-uyaxTjp
"Aprjo;, particularly
p. 156.
1. 2. ypucjEO[j.ixpa, the third syllable should be long, and Welcker but in the latter case the [ip is no doubt compares oiXo[j.;j.sior^ while ypu?sop.[.uxpa due to the lost consonant seen in our ^mile would have no such justification. See Monro's Horn. Gram. sees. 37 1,
:
'
',
372, for the frequent lengthening of syllables
composed of a short
;
vowel and a
of these cases are accountable for by the others are due to influence of a second consonant subsequently lost analogy but in not a few, notably in the instances of [xs'ya; and
liquid.
Many

[xe'yapov,
407
we can allege no certain reason, etymological or otherwise. Doubtless then in ypuaEopuxpa the author is endeavouring to copy a not uncommon Epic practice. Lesbian would be vau'ei? {v. Meister, p. ill, and cf. I. 3 vaiet?.
Alcaeus Append.
2).
is
The Roman
II.
1.
1.
land
vi.
said to be a heaven
upon
atsi.
earth.
Schneidewin
compares Odyss.
6-7.
9.
42.
Sswv
SSo? aaâXs;
appifjxTw, v.
Lesb. Dial. p. 84, syoiaa, p. 83.
aSeuyXa, Lesbian Dial. p. 83.

OTEpva
yaicc?,
cf.
10.
Soph. O.
T,
691,
vii.
axEpvou'you
33.
7:apa
yOovo's,
with
Jebb's note
EupuxoXTrou
I
ad
loc.
and Pind.
Nem.
[jiyav
6[j.cpaXov
jaoXov y-ftovo;.
DITHYRAMBIC POETS
I.
(a')
Pratitias.
xiv.
Athen.
617
tells
us that this
poem was
written as a violent
protest against the dominion in the orchestra of the flute-players, whose boisterous notes cast the poetry into the shade {v. Art. v.
[.usOoôpiov /axsyovxwv xa? opyrjaxpa?, xou; auXrjxa; \xr\ auvauXstv xot yopot;, xat>a^sp r^v npaxiva; l[a.cpavtî rcaxotov, aXXa xou? yopou? auvaosiv xot? auXrjxat? ... Pratinas emphasises his invective by Sta xouoe xou ux:opy^[jLaxo?.
p. 40)
;
auXrjTtov
v.dx
yopsuxwv
ayava/tXEtv xiva? eVi
xw
scornfully employing the new metrical style, in which, by repeated resolutions of the long syllable in arsi ', poetical rhythm proper is almost unrecognisable, though the loss was not felt when the words
'
The song is called a to the music. classes of Melic various of the the distinctions but hyporchem and the dithyrambic poetry were now becoming uncertain {v. p. 106) form was beginning to pervade Melic in general ; thus, for instance, this hyporchem is addressed not to Apollo {v. p. 5), but to Dionysus ; on the other hand, the Cretics in 11. 8, 9, and 16 are characteristic of
had become subordinated
;
the hyporchem. For the alliteration of the dentals, II. 1, 2.

I.
cf.
on Sap. xxxi.
flute-player,
2.
xtva,
Stephanus
. . .
for
v..
'
II.
4-5. >o?
>,
i.e.
the poet,
and not the
worship of Bacchus.' 1. 6. -8-u|jlvov, Bergk quotes Hesych. exSu[j.evos" xa/u;. 1. 7. ayovxa, Hesych. ayw- (aeXjiw, aow, but no doubt it implies not merely singing but taking the lead in the song'. It is perhaps a mistake to attribute the song of swans to the poetic imagination. Swans of a certain breed, not known in this country, are said to have a very fine power of song. /ax. II. PaaiXEiav Bergk, from y.axaxaaîpt? (jaaftsia. 1, 8.
should take the lead
in the
' '
',
4o8
1.
GREEK LYRIC POETS

10.
/.w[j.t;>
I.
x.x.X.
v.
p.
8.
and
cf.
Anacr. xxvn. and note on
Bacchyl.
1.
5.
12.
conjectural
have given the MSS. reading, which defies any but purely emendation. Bergk defends ttoie (for which rcaue is
usually substituted) in the sense of 'abigere'; comparing Ar.
Wasps
456 (where, however,
<xr.o
follows)
and Pausan.
i.
24.
1,
where the
is
meaning
is
uncertain.
it
In <puvatou
is
probable that some such word as $puya
con-
cealed, flute-playing being constantly associated with the Phrygians (contrast Awpiov, 1. 17). Bergk reads r.otiz xov 3>puya xov aotSou r.ov/.Hov
|
rpoa/Eovxa,
1.
Hartung
'
13.
oXscncriaX.
aoXou -oixiXou zvoav r/ovxa. spittle- wasting Emperius and Bergk, foroXoataXov
kolob xov <J>puy'
'
xaXajjiov,
I.
or oXoaiaXoxaXa[Jiov. 14. 3-' u-at Emperius, for

'.
d-ur.ix,
'its
body fashioned beneath the
borer
II.
'
the meaning appears to be Bamberger, for 8s?(a way your hand and foot dash about', alluding to the fingers rushing up and down the TCoXu/opoo; auXd? (Simon. xxiv. B. 1. 3), while the feet of the dancers endeavour to keep pace with the excited notes. "Acs no doubt implies some imitative gestures on the part of the performers. 1. 18. Cf. p. 31. Awpiov, in the calm Dorian style.
16-17. Ss^ta?
!
See
this is the
((3') 'A Athen.
[xev
'A&ava
x.x.X.
xiv.
X7jv
616
E.
jxe'v
xi?
scpr)
tov MsXavi7;7no7]v xaXto; ev

'Aib)va; x.x.X.
tw Mapsua
oiasupovxa
oii
'A-9-ava, cf.
1.
aoXrjxtx^v EtprjXEvat on Scol. IV. 1. 1.

e[j.s.
rap't T7js
4.
[j.s
Bergk, for
(y)
"Ov
aoipdv x.x.X.
Athen.
1.
xiv.
616
F.
TEXs'axrjs
xw MEXavt-rfor;
avxLxopu<Tad[j.svo; ev 'Apyot.
'Which cunning thing (sc. auXo'v), I believe not that the cunning goddess, bright Athene, amid the mountain thickets took and
i.
seq.
cast the instrument
countenance.'
i.e.
"Opyavov,
etc.
again from her hands, fearing to deform her if the text be correct, resumes the object
ov.
already expressed in
unum omnium,
Schweighauser plausibly suggests ?v ooôv, Bergk reads opyavwv dep. on a'ia/o? but the
;
not described as a disgrace to musical instruments, but as causing deformity or contortions in the face of the player. I. 3. In the metrical scheme I have regarded the first two syllables
flute is
as the 'basis
1.
',
v. p. 38.
5.
yopoiTur.oi,
suggested in Liddell and Scott,
cf.
Pind. Frag. 57
Bergk yopoxxurw, MSS. /Etpoxxuro). oTjpt, this form of 8-jjp (?'. Lesb. Dial. p. 83), seems to be specially employed of human creatures partly akin to animals, such as the Centaurs and the Satyrs. 1. 7. a Dobree and Bergk, for at yap. 1. 8. a/opEuxo?, 'cheerless', 'kill-joy' (cf. Liddell and Scott), unless there is a more special meaning of unchoral i.e. averse to choral
(Bdckh).
'
',
DITHYRAMBIC POETS
singing, for which the flute verses after 1. 1 1 are added
lessly corrupt condition.
(<$')
fj
409
was particularly adapted. by Athenaeus, but they are
Two more
in a
hope-
<pu'ya x.x.X.
Athen.
xiv.
617
B.
6 TsXe'<ro]s ev xoj 'ActxXtjziw.
sovereign over the 'sweet-breathing flutes', who is here said to have been the first to adapt the flute to the human voice, Bergk supposes to be Olympus, from the mention of Auoov
The Phrygian
voji.ov
cf.
Plut. de
The
Auoov
o[j.cpa
text
o?
Mas. c. xv. "oXuprov r.v/.rfizi<jv auXâat AuSiari. however is too uncertain for any definite conclusions.
. .
Huschke,
for auoovo;
apjxoas
Schmidt, for
7j'poas
vdjx.
aioXov
Dobree and Schweighauser,

OoV. aoio x.x.X.
I
(s')
1.
Athen.
iii.
for vo[j.oatoXov dpovai. 122 D.
for asiow, in order to restore the Ionic metre as we find it in 11. 3-5. In 1. 2 a dipody of two choreic dactyls takes the place of the Ionic, being of equal rhythmical value.
1.
have put aoio
1.
I.
2.
acrjj.aTa
4.
xd -aXai
Schneidewin, for Meineke, for to
a[i.a,
Bergk
[j.aXa.
7:aXaidv.
II.
(a) IlavTE? o' aTCEaxu'yEov x.x.X.
x. 429 B to illustrate the power of wine. Hartung's reading for ouv araXau'ovxo. There is not much sense v in Bergk's xo [jlev olt:' wv oXovto. Clem. Al. Strom, v. 716. (b) KXu9i [xot x.t.X. The language of these lines is a little remarkable, and is the outcome of those higher religious sentiments which were beginning to gain ground at the time among the cultivated. Cf. Introductory
Quoted by Athen.
3.
t
1.
remarks on Pindar's Threni,

III. (a') 9'eo?, &zos x.x.X.
p.
413.
Quoted by Philodemus rcep\ suaEpstac, p. 85, ed. Gomperz, Vol. Here, nova Coll. ii. 11, with the remark that whatever may have been Diagoras' religious principles, he exhibits no trace of impiety in his
poetry.
The
lines are
addressed to a certain Arianthes of Argos,
possibly in an Encomium, or an Epinician Ode. They are certainly Pindaric in sentiment, cf. Pind. Frag. XII. (V. Aikv ev\ axrjO-Eaat vo'ov ôXuxspoEa xiii. 225. 1. 2. V(i)[xa <?ps'va, cf. Od.
vto[j.(ov.
1.
3.
Added by Didymus Alexan.

x.x.X.
de Trinit.
iii.
2,
p.
320.
Com-
pare Simon. XI. Kaxa oaijjiova (jj')
Philodemus I.e. Addressed to Nicodorus of Mantineia, a famous boxer and subsequently a legislator. ExxEXelxat, Philod. exxeXeItOoci, but Se.xt. Empir. ix. 402 quotes from
Diagoras xaxa
IV.
(a')
Saffi. x.
xu'/_.
-avxa
XEXstxai.
IlaXXaoa
TZEpai'-oX'.v x.x.X.
Quoted by the Scholia on
Arist.
Clouds 967, "H IlaXXaoa -spaE-oXiv
410
Savav
rj
GREEK LYRIC POETS

TrjXETOpov
xt
pdapia.
it
The passage
appears
Scholia almost exactly as
in the text.
a somewhat different version, and it is sidered the lines to be from Phrynichus. Thirdly, in Schol. Aristid. so that we T. iii. 537, similar words are attributed to Stesichorus
;
given in one of the Other Scholia give mentioned that some conis
accept Bergk's explanation that the three poets adopted some ancient formula commonly addressed to Pallas. This is the more likely, since in all the versions the first line exhibits the hexametric
may
form proper
1.
to the early
3.
r
oa[j.acji^ôv.
7)
hymnal style. Bergk quotes from Et. M.

lr.i\.
474.
30.
'ijntia*
105
ExX7]xh outtos
j
'AS^va,
o7]Xot
x
.
ir[c,
y.EâX^c,
xou Aid?
[xzQ-'
'imzwv avvjXaro,
etc'
aux%
is
u[j.vo$
and he thinks
that the
hymn
there
men-
tioned
perhaps the ancient one imitated by Stesichorus, Phrynichus,

TCOTavaT? x.x.X.
and Lamprocles.
(P')
a'lTE
Athen.
xi.
491
C.
Ks1<j9-e,
Bergk and Meineke
veIÔe.
V.
At7:apo'[j.[j.aTE pia-sp x.x.X.
Sext.
Emp.
v.
xi.
See Miscellaneous Passages, No.

Scol. IX.
1.
1.
and
49, 556 (Bekker). notes. Compare
also
2.
'AtioXXwvos as the
'YytEta in place of the later form 'Yysfa. 1. 6. Unless, as Bergk assumes, something is omitted between 1. 5 and 1. 6, the expression is somewhat confused, since, strictly speaking,
3.
god of healing. Bergk has improved the metre by reading
the sense requires asS-Ev /m? '? to be included in the with the words T(? yap ap/as.
1 . . .
same sentence
iaooa'![j.ovo;
apya;,
cf.
Eur. Troad. 1169,
x%
taoxk'ou xupavv(8o;,
and Eur. Hec.

of Troy, as
356,
where Polyxena describes

Ttkrp to xaxfravElv [jlovov.
herself,
when
a princess
\?r\ S-Eotat,
VI. "Yt:vo; x.x.X. Athen. xiii. 564 C, in discussing the power of the eye in love, says that, according to Licymnius, Sleep was enamoured of Endymion and kept open his eyelids in slumber. I have adopted Meineke's oauotaiv ixotpioE for oaaoi? sxoi;j.is, which gives a harsh
metre.
Schmidt reads oasoiai xoifuet xo'pag, as the pupils may be said even though the eyelids are open. For the personified "Yjcvo? see on Miscel. v. He is represented as a child on the chest of Kypselos, Pausan. v. 18. 1.
to sleep
VII.
to the
(a')
Mup(ai;
x.x.X.
Stob. Eel. Phys.
i.
41.
50,
with reference
supposed derivation of 'A/e'pwv from ayo?. I have followed Grotius in inserting 'Ay/ptov, for which there is the authority of one MS., and I have endeavoured to improve the metre
by reading
((3')
7raya1ai for ;:aya1;

I.e.
Stob.
The passage
I
(Grotius for raaai?). is of course in imitation of Aesch.
Ag.
1558, wxuôpov
TzdpOp.sujji' a/Etov.
DITH YRAMBIC POETS

VIII. '&
y.aXkir.poabyjts.
411
Quoted by Athen.
if
remark that the Cyclops, as
xiii. 564 E, with the with a presentiment of his blindness
in Galatea except her (-po[j.avTEuo;j.svo? t^v xucpXwrtv), praises everything Athen. contrasts this 'blind praise' with the lines in Ibycus eyes. Cf. above on VI. in. Ka'XXo; Fiorillo, 0-aXXo? Schweighauser, and
others S-aXo;
cf. lb. I.e.
Xapixtov OaXoi;.
IX. 2u
x' to
xov as\
/..x.X.
Macrob. Sat.
to Apollo,
i.
17. 19.
is here identified with the sun-god Helios. This became common from the time of Euripides onwards, and illustrates the tendency of the later Greeks to convert mythical religious figures into physical ideas.
The Paean was addressed
who, however,
1.
1.
2.
axxlai Xap,
3.
v
Bergk for Xajj.. a/.x. For the sake of the metre I have altered
0' x.x.X.
.
syO-poi? to i/d-potoiv.
xi. 465 C, Tqj.o'9-so? sv KuxXomu. alluding perhaps to the xtffaufiiov, the term applied to the Cyclops' cup, Od. ix. 346. The florid language is characteristic of the later Dithyrambic 1. 4.
X.
E/sue
Athen.
1.
1.
xiaatvov
oir.ac,
poets.
Ba/./iou for Ba/.yoo, as in
Soph. Atitig. 154.
/..x.X. Quoted by Plut. Vit. Pkilopoetn. c. II. The be sung just as Philopoemon was entering the theatre. The Persae was apparently a Nome, since in Plutarch's account it was being sung by a single lyre-player and the hexametric form of
XI.
'
(a')
KXsivov
to
line
chanced
'
a' is
a further indication
Plut. de
cf. c.
1
pp.
1,
7,
266.
(
(P')
And.
Poet.
Ti[J.otho? 6p(xr 9-i; ou xaxcu; evxol;
nfpaat;
xou? EXXvjva? jtapexaXsi.
XII. Plut. Vit. Agesil. c. 14. 1. 2. Plutarch has the unmetrical ypuaov ok "eXXccs -/..x.X. Bergk places SI after "EXXa?, a construction for which there would be inI have, therefore, omitted sufficient justification (see on Archil, xi. 9).
81 altogether.
XIII. Ouxoi
z.x.X.
Chrys.
k. aôipax. c. 10,
Cyclops loqidtur.
the
XIV. bad
/.at
Plut. de Sc Ips. Ma/.apto; âOa x.x.X. taste of Timotheus' self-laudation.
Laud.
c.
1,
condemning
Ka[j.tovo;
66,
'i'pvviv ok
Bergk, for Kap[3wvos, explaining this passage by Pollux iv. tov Kdfiwvos [J-eXeti noXuxaÊai xr/p7j<?0ai Xiyouaiv.
.
/..x.X. Athen. xiv. 637 A, TsXEaxr); ev 'Y(XVaia> 106 note, on the confusion at this later period between the different classes of Melic poetry). 1. "'aXXo;. Schweighauser remarks that we must suppose that there 1.
XV.
"aXXo;
o'
aXXav
8i9upd(j.pa) (see p.
are several musicians

'
all
rather expect the plural in

'EpEvh^s,
playing the magadis, and that we should He suggests aXXw;. Eps'th^s, etc.
'
digitorum pulsu velut
titillare
(Dalecamp).
412
XVI.
GREEK LYRIC POETS

IIpw-coi racpa x.x.X.
learnt the
Athen. xiv. 625 F, to prove that the Greeks Lydian and Phrygian harmonies from the Lydians and Phrygians who, as he says, accompanied Pelops to the Peloponnese.
XVII.
goatherd
gifts to
ToS'
dvaTi9-T][jLt x.x.X.
in love.
a boy
whom
Athen. xv. 670 E., the speaker being a Schweighauser supposes that he is presenting the he now neglects for a maiden. I think it preferable
to consider that, according to a offering up to some deity (aoi) the
common
emblems
custom, the goatherd
is
now
1.
forces
him
to
abandon.
To
of his calling, which love these he adds the simple rustic
offering of a rose.
3.
aXXa Schweighauser, for aXXea.
According
to
my
explanation
of the passage aXXa must be taken adverbially, xs'yuxai, cf. Pind. Isth. i. 3, AaXog, lv a xr/upiai.
1.
4.
Xapisi
cpiXav,
a favourite compliment.
x.x.X.
Cf.
Alcaeus
XIII.
XVIII. Outs
phronides.
ratoo; appsvo?
Athen.
xiii.
564 A, from Lyco-
Xpuao'fopwv, probably
1.
ypuaora'rXtov, cf. ypuaoTOTiXe xoupa,

;
Anac.
V.
7.,
and Pind.
b.
Isth. v. 75
1.
or perhaps 'wearing golden ornaments',
cf.
Scol. xvi.
1. 1.
2.
2.
3.
oiixs
Porson, for ouos. Corrected by Meineke from aXXa
xdatjiiov jrscpuxsi.
PINDAR'S FRAGMENTS
THRENOI
The well-known criticism of Dionys. Rhet. p. 69, that Pindar's Dirges were written [j.syaXo7:ps7:w; and those of Simonides âfhjxtxws will be fully appreciated by any who compare the following passages with e.g. the 'Danae' of Simonides (No. I.). The latter, by exalting
an sorrow of the mourners. Pindar endeavours to transcend the sadness of the occasion and to carry their thoughts beyond the gulf which separates this world from the next. It is not unnatural that his Threnoi should have won less popularity than those of Simonides, especially when we consider how little in harmony with ordinary Greek views were the doctrines exhibited in the passages before us. His main theme, that the upright receive everlasting rewards in the next life, may have been derived by him from the Orphic poets, or perhaps from the mysteries of Demeter or of Bacchus, wherein the doctrine was prominent. Others refer us rather to Pythagoreanism and indeed the Orphic, Bacchic, and
(cf. p.
the incident into the region of mythic ideality
19) affords
indirect consolation
by lending a poetic beauty
to the
PINDAR'S
philosophical mystics
ii.
FRAGMENTS
have had much
in
413
;
seem
to
common
cf.
Hdt.
Total 'Optptxolai xaXeojAEVOiai xa\ Baxyr/.olai, eouat Be AiyuftTtoiai xa\ Miiller in his Hist, of Greek Lit. ch. xvi., which should nuO-ayopstotai.
81.
be read on
this subject, points out that, whereas in Homer only the of Zeus, are specially favoured, such as Menelaus, the son-in-law admitted to Elysium, while of the rest even the best lead but a joyless existence
(cf.
the well-known lament of Achilles in Od.
xi.
489),
Pindar, on the contrary, holds out
some form of Paradise
to all
who
can win
it
by
their virtue.
He
is
at
ing to whom all the heroes (oX(3ioi the Blest (Whs. 169). See 01. ii. 1. 61 seq.
one rather with Hesiod, accordw s) assemble in the Islands of 7Jp
Zeller, in his Pre-Socratic Philosophy, Introd. sec. ii., asserts that Pindar is speaking of the future rewards not of the pious in general, but only of those initiated I see, however, nothing in the text to support the in the mysteries. and Plutarch's words in the with exception of Frag. v. limitation, citing No. II. are expressly against it (jrepl xwv eu'seJjojv ev aoou, and
;
He is rather, I think, in accord with the sentiments in the fragment of Euripides Chrysippus (Dindorf 836), and of the Aphrodisias of Antiphanes, Stob. Flor. 124. 27, in which passages Neverthethe doctrine of immortality has an universal application.
sucyspwv ywpov).
less
for aristocrats only, notion, to use M. Girard's expression, of 'une vaste cite divine, facilement accessible a tous.'
Pindar was probably speaking, as usual,
and had no
I.
'OXpt'a 0' OOTOCVTSS X.T.X.

. .
The
x.t.X. ad Apoll. 1. 35. ev -9-pTjvw r.sp\ Auyjj's Xe'ywv doctrine that the immortal part of us awakes to life only when our mortal members are asleep is said to be derived by Pindar from Heraclitus, from whom Bockh cites the following passages 9-avaTo? Ka\ to r)v icrciv ozosa iyeptHvTE^ opeojiiev, ox.osa oe euoovte? utxvo;
Plut. Cons,
xat to aTToO-avstv
xcft lv
tw
tjv f,(J.a;
irsxi
xai ev
to
TsS-vavoa
Z(o[j.ev
t6v exeivwv (twv frswv) -9-avaTov, T9vrjxap.v ok tov ixefvwv (3tov. well-known lines of Sophocles will also suggest themselves, Ti;
zl
The
o'
olosv
to
1
^v
1.
\v eoti xaT8-avstv x.T.X.,and Shelley's

o'
Adonais, Stanza xxxix. seq.

others there
is in
oXpia store the yaXercwv xpiat?

'
awavxe?
aiffa, i.e.
aracvces 0! euuspelg, since for

5).
(1.
conjecturally supplied by Bockh. obeys the call of. 1. judging from the context (eu8si os jxpaaaovxcuv 3. aiojvo; eiSojXov aeXewv x.t.X.) the word eKSwXov does not appear to indicate, as it usually does, any diminution in reality, but to be used of the vital spirit in its
(xETavticjovTai,
2.
1.
Insxat,
Translate perhaps the image purity as divested of its bodily form. of (true) life ', but the force of sitStoXov must not be pressed too closely unless indeed the meaning is that what was a mere semblance of life
;
'
before the death of the body survives

reality.
1.
it
and
is
transformed into a
4.
7;pa<T<To'vTwv [/eX,
when
the limbs are in action.
For
this neuter
4H
use of
I
GREEK LYRIC POETS

r.paavtii,
Bockh compares Nem.

jxeXsatv,
i.
26, irpdaasi yap epyo)
;j.sv
aJh'vog
JjouXalai k
cppr,v.
.sr.
suSovxeaat,
I.
or else av9pwjuois.
'
5.
Tjp^viov /aX. ts xptatv

Tolai Xaprst, x.t.X.
award be
it
of gladness or of sorrow
'.
II.
Quoted by
Plut. Consol.
ad Apoll.
little
c.
35,
and
reconstructed by the original.

'
Hermann and Bockh,
with but
violence to
in our nightMkv probably contrasts the lot of the righteous with the doom of the unrighteous, subsequently described (v. on 1. 8). Notice that Pindar is not speaking of the Isles of the Blest, as in 01. II. 70 seq., In that passage the sun is but of an Elysium in Hades (xdxw). described as shining both by night and by day, while the meaning of this line is probably, though not certainly, that our night is day in Elysium, and our day their night. Vergil, who partly imitates this fragment, Aen. vi. 637 seq., speaks of a distinct sun and stars for Elysium, solemque suum, sua sidera norunt
1.
1.
For them the might of the sun shineth below
season.'
'
'.
(Hermann, for rcpodoreiov), as if there were a 7:0X15 in Elysium of which this is the playing-ground. Vergil, on the other hand, I.e., speaks only of groves and glades, a garden of Eden, as it Nulli certa domus were, in which the spirits wander at random. lucis habitamus opacis,' 1. 673, cf. 638, 679, etc. His description was more in accordance with the growing fondness of the Romans of his day for country-life and surroundings. For xpoaaxiov, cf. Arnold's note The 7:poacrcaov of a Greek city was not what we on Thuc. iv. 69 call a suburb, but rather an open space, like the parks in London. ... It was used as a ground for the reviews of the army, and for public games. At Rome the Campus Martius was exactly what the Greeks call 7rpoaaxsiov.'
1.
2.
xpoacrciov
'
'
I.
3.
<mapa Hermann,
I.e. 11.
for axupav,
'
cr/.iapov.
Xpuasot;
-/.apTcol?
Bockh,
for ypuaoxaprcotai. II. 4-5. Cf. Vergil

palaestris,' etc.
oX]3a>.
642-4,
arc.
Pars
in
gramineis exercent
Is. IV. (v.)
membra
in
Euav9^;
zi&.
oX(jo?, cf.
12, suavO-fi auv
Metaphors of
e.g.
;
this
kind from flowers are very

dpexa, Is.
I.e.
;
common
Pindar,
n>a? darrov, 9-aXXota

auiJExat 8'
tepov
Euwa? atotov,
Pyth. IV. 131

/..t.X.,
I. II.
dpsxa, jrXwpats EEpaai? w; ote Ss'vSpsov aaast,
Nem.
JHi'a
VIII. 40.
7.
8-9.
to
11.
Hermann, for O-uâxa. These lines, which, as far as they go, correspond metrically 6 and 7, the last of the strophe, evidently belong to a descrip'
tion of the place of the wicked. Where sluggish streams of murky night belch forth their impenetrable gloom,' as if the darkness rose
up from the black, misty

cf.
rivers of
Hades.
With
(3Xr)ypo\
x:oTafj.o,
'visendus ater flumine languido Cocytus'; Aeneid vi. 323, 'Cocyti stagna alta vides, Stygiamque paludem. BXrj/po; is applied to calm winds in Alcaeus XXVII.
Hor. 2 Od.
xiv.
17,
PINDAR'S
III.
'"Joi/ai
FRAGMENTS
415
o'
dcjEJJs'wv, x.x.X.
22,
and
attributed to Pindar
Quoted by Clem. Alex. Strom, iv. 640, by Theodoretus. There can however be
doubt that Dissen is right in rejecting the testimony of the Pindar would hardly have spoken of the souls of righteous to heaven, and not to the Elysium in Hades, or to the Max.dpwv going nor is he likely to have used such an expression as [xdxapa Nâoi The passages mentioned in Fennell's note (from Prof. Sey[jiyav.
little
latter.
that the poet
mour) do not materially affect Dissen's argument and it is probable was of the Jewish or Christian religion. 1. 2. rcwxtovxai, Dissen compares Eumen. 98, where Clytemnestra,
;
speaking of her existence

1. 1.
in
Orcus, says
a.hyptZ<; dXw[j.ai.
4.
5.
vafotaat, Lesb.
aEioovx(t),
Dial.
p. 83.
Bockh
for dsiooua(i), v. Dor. Dial. p. 95.
x.x.X. Quoted by Plat. Metio, 81 B, in conPindar is supposed to derive nection with his doctrine of avd^vrjat?. his notions of transmigration from the Pythagoreans or from the
IV. Olsi
SI 4>cp7sova,
Orphic poets. Compare with this passage, Plat. Rep. x. 615 A, and Aeneidv'x. 713, 738, etc. Dissen, judging from the expression 7:otvdv ravO-so;, and from the period of nine years {v. Midler's Dorians, I. pp. 353 and 445), thinks that Pindar is speaking of a case of involun.
simply as an euphemism for sin is not where emphasis is laid on the penance and the number nine may very likely have some connection with Pythagorean mysticism (cf. the employment of its factor xps in a similar
tary homicide.
But
ravS-so?
inappropriate to the context,
finally, why should Pindar say that the souls of passage, 01. II. 68) kings and heroes issue from the souls of those who have atoned for involuntary homicide ? 1. cf. Pyth. IV. 22, Shoj 1. oiat, 'at whose hands oE?axo. ?avta
;
.
',
mxXaiou
r.bt.
cf.
Aen.
'
vi.
739,
veterumque
malorum
supplicia
expendunt'.
2. evccxm -[', Plato and Vergil make the period a thousand years. The expression here may possibly account for Horace's nonumque prematur in annum Ars Poet. 388.
1.
' ',
1.
3.
5.
J/uyas
7jptoEs
1.
Bockh, for Auyav. has its penultimate short as

oaxi?, x.x.X.
in ^'pwa? dvxi9-Eou?.
P.
I.
53.
Clem. Alex. Strom, iii. 518. Ilivoapo; rapt xwv dirge 'On an Athenian who had been initiated at Eleusis.' So Fennell he might have added that this is a pure assumption on the part of Bockh (not Bergk, as Fennell says), and that there is no direct evidence that the lines belong to a dirge
V. "oXp\o?
v 'eXeuto/i [xuaxrjpiojv.
at all.
I.
1.
KotXav, for
oToe
II.
2-3.
...
those initiated in
Heins and Bockh. This expression supports the view that the Eleusinian mysteries were introduced to certain
/.oiva,
p.
xsXsuxdv.
esoteric doctrines with regard to a future
life
(cf.
above, Introd. to
Threnoi).
416
VI. "Ioete
GREEK LYRIC POETS

. .
.
ev yopov, x.x.X. Quoted by Dionys. Hal. de Comp. Verb. xai auatrjpov, and 22, as exhibiting the quality of to dpya'tV.ov not to Ssatpixov -/.at yXacpupov xdXXo;, Pindar being the representac.
tive that
in prose.
he selects
in poetry of the auat^pa
dp[v.ovi'a,
and Thucydides
The song was apparently composed for the Great Dionysia at Athens, celebrated in the month Elaphebolion (part of March and and in date is subsequent to the Persian wars (v. on 1. 5). April) The excited nature of the rhythm throughout, and the rapturous enthusiasm with which the approach of spring is described, are eminently characteristic of the dithyramb at its best and it is easy to understand how such a style, in the hands of inferior poets, degenerated into the florid inanity which characterises the later dithyrambic poets (cf. p. 264, and p. 267). 1. 1. There is a preponderance of authority for 'iSsxs rather than osote. 'Ev is here used in the sense of s';, as in several passages of Pindar.
; ;
Originally Greek employed only one preposition, ev, to do duty, like the Latin :'/!, for the similar notions of in and into '. * 'Ev-?, whence but Boeotian, ei;, e?, was a later form adopted by most dialects
' ' '
Thessalian,
etc.,
retained the double signification
of
ev.
See G.
Meyer
58.
1. 2. Dissen, remarking that the word yapi? is constantly associated with Bacchus (cf. on Popular Songs ill.), translates it festivitas ',
'
should interpret it rather in its ordinary sense, 'Send, or impart, charm to our choral dance and song' (1. 1). Compare XII. 3', It is God who imparts charm to the song Xdpi? in such cases does not greatly differ from xdXXo;, only it is beauty as winning favour. Fennell renders xXutocv y.dpiv, loud song ', but the passages he quotes for this use of /apt? (Isth. iii. 8, vii. 16) hardly
'laetitia'.
I
'
'.
'
justify so bold a translation.

'
Bergk interprets the line rather strangely,

'
Pindar dixit, sed tojatcete jj.e ir\ yapw Xapi; and the XdptxE? play an important part in Pindar's vocabulary, see Donaldson's Index and Professor Jebb's article on Pindar, Hell.
non
i7twrc'[MreTe
yapiv
Journ.
1.
vol.
iii.
3.
meant
Athenian dyopd (I. 5), which, according to Miiller, was the centre from which distances round Athens were measured, and which might properly be called 7uoXu'[3a-rov,
in the
Dissen, with oôaXov. the Altar of the Twelve
much
Gods
plausibility,
urges that by this
is
'multum frequentata a
I.
diis
.
'
5.
raxvoaioaXov
(Dissen). dyopdv, the ancient
forum between the Pnyx,
Acropolis, and Areopagus. Ilavoaio. refers to its splendid restoration after the havoc of the Persian occupation (Bockh).
II.
6-7.
The reading
'
here
t'
is
uncertain
'
Xot(3av,
for Xoipdv.
Tav
sap.
Xoipldv,
eaptopoxwv Bergk, Bockh drink-offerings of springEapioporctov

'
gathered herbs
ct[j.oi[5dv
(Myers).
Bergk reads ais^dvwv xwv

ya'piv,
Aiofl-Ev /..T.X.,
explaining djxoiPav as
in
return for the
garlands offered to you.'
PINDAR'S
FRAGMENTS
'
417
down on me
For AioO-ev, which Bergk explains as from heaven', see below on I. 13.
I.
oupavod-sv,
look
8.
7;opsu9'EVT' 5
jc.
aotoai.
Ssu'xepov.
Bockh reads
Hermann, for TTOpeuSwres dotoav, it. aotoat?, auv dyXda lo. Tcopsuêvx' aotoa. Fennell suggests that the first occasion may have been
is
aotoav
that with
II.
which Frag. xiv.

[j.eX7T[j.ev
. .
connected.
'I
11-12.
EfxoXov,
. . .
came
to
sing',
so
Bockh
Aios
for
[).ikT;o\t.Ev,
x.x.X.
naxsptov
yuvatxwv, plural for singular referring

Cf. Isth.
to
Zeus and Semele respectively.
vn.
(vill.) 36,
7:ap'
Poseidon, as the Schol. say. p.v contrasts the divine father with the mortal mother, but any unnecessary emphasis on the contrast is avoided by xs taking the place of SI.
aosXcpsotat, i.e.
11. 13-14. Taking the reading in the text, the meaning of this much disputed passage apparently is as follows: 'Although I, the bard (flavins), was at Nemea, I failed not to remember the approach of the Dionysia with the spring-time.' Thus is explained the words Aiofrsv
ItzX xiaa. 0-eov, i.e. 'journeying from Nemea (where 7Topu8c'vT' Zeus was the presiding deity) to the Dionysia at Athens.' The mention of Nemea, or some place where the poet has last been staying, is natural enough after ejjloXov in 1. 12, although Bergk renders it
.
.
probable that Bockh and others are wrong in placing the Nemean in the winter [v. Poetae Lyr. Gr. vol. i. p. 14 seq.). Either the present tense Xavfrdvsi is used for the past, or we may consider that the poet did not leave Nemea in person, but in the words nopsuêvTa and ejjloXov is simply identifying himself with his song. <E>otvtxosavwv, 'bright-robed', H. A. Koch from <poiW.os savwv
games
oivwoaawv.
The
usual reading
is <poivixo$ spvos,
by the
fact that the victor at the
Nemean games
which Bockh explains received a branch of
palm, the [Jiavxtj, according to his interpretation, being the priest who looked after the sacred tree. Even if Bockh were right with regard to these games being in the winter, such an allusion as this would surely be unnatural and misplaced. With cpcuvixosaviov the subject of In Argive Nemea the bard overXavfravsi is implied in or.oxz x.t.X.
'
looked not the season when the nectarous plants feel the fragrant spring-time as the chamber of the bright-robed hours is flung open.' Cf. Alcaeus I., 'Hpo? dvO-spLOEvxo; grott'ov Epyof/ivoio, and with oiyjkVro?
cf.
Lucr.
i.
10'
Simul ac species patefacta est verna diei Et reserata viget genitabilis aura Favoni.'
many
94).
ebb, in his article on Pindar already referred to, suggests that of Pindar's epithets may refer to well-known contemporary
.
. .
Aajj.orcpa {01. vi. pictures or other works of art, e.g. cpoivr/.oxrEâv The same might well be conjectured of the epithet {poivwoeavtov as applied to 'flpav.
418
ETcattoatv,
GREEK LYRIC POETS

the plural verb with a neuter plural subject
cf.
is
not uncomou
mon
Pyth. i. 13, 01. ii. 91, 01. ix. 89. Bergk's version of 11. 13-15 is as follows: svapys'
in Pindar,
I
avs'fjiwv
[ucvttJ'i?
XavS-avsi,
I
cpotvtxosaviov
or:. 0?/. 'flp.
&<xk.
|
suoo. E7:aywaiv sap"

'
ouxa vsxxapsa
cf.
xoxe x.x.X.
1.
16.
(JaXXexai,
a good instance of the
Schema Pindaricum
,'
aysixai
Matthiae, Gr. Gr. sec. 303, remarks that in most instances there is a singular noun or a neuter plural forming part of In this the subject, as in //. xvii. 387, xxiii. 380, and Pind. 01. x. 5-6.
below.
xu[3spvacriss, such an expassage, however, as in Pyth. x. 71, xstrai In both, as in most other instances, planation does not hold good. the verb precedes its subject, and, in the words of Professor Gildersleeve {Introduction to Pindar, p. lxxxviii.), we have not so much a
. . .
'
want of concord, as an afterthought

1.
'.
referring to the violet garlands worn at the Dionysia, Frag. XIV. = vj/st, cf. Oed. Col. 1500, where, how1. 18. aystxai, for the middle Bergk ays! x' ojj.cpca ever, Jebb takes the verb to be in the passive. x.x.X. AuXots, the usual Bacchic instrument, cf. p. 37.
17. 'iwv <po|3ai,
cf. toTrs'oavoi
in
VII. 'Axx\; 'AeXiou

c.
x.x.X.
Dionys. Hal.
De adm.
vi
die.
Demosth.
7.
The eclipse which was the cause of this supplication is said by Ideler to have been that which occurred on April 30th, 463 B.C. at 2 The fragment is assumed P.M., just falling short of a total eclipse.
by Bockh to be from a hyporchem, both on account of its metrical nature and from the words of Dionys., who is speaking of Dithyrambs and Hyporchems,' to the former of which, from the nature of
'
the subject, this cannot belong. The hyporchem belongs to the cult of Apollo {v. p. 5) but Dissen properly warns us not to think that Apollo is in this fragment identified with the sun. See on Dithy;
rambic Poets, No.

in the
1.
ix.
course of the
More special reference may have been made poem to Apollo as aXîxaxog, or the like.
Antig.
1.
1.
'Axxl; 'AsX., cf.
100, so that conceivably this

.
.
phrase
;
was a common form of addressing the sun. [?$ #xa? 6p.jj.axwv, O mother of mine eye-sight.' Dionys. has Ipjs freto pi' axep 6[j.[xaxwv Boissonade jxaxsp, the rest is my own conjecture. In Philostrat. Eftist. sivat xwv ejjlojv 53 we find the words paraphrased thus xr,v axxtva 098-aXpwv [oixpa hence Bockh reads eât? ah'at? jj-sxp' 6;j.[j.axwv, which he interprets visui meo mensura rerum adspectabilium,' regarding = 9sa[j.axa, for which he compares Soph. El. 903, and Plat. o|i.(j.axa as PJiaedr. 253 E. But Qi<xi in the plural for eyesight is objectionable, and Bergk remarks that the MSS. of Philostrat. give not pixpa but See Bergk for many other conjectures his own reading is pjxs'pa.
. '
'
'
'
xt 7:oXuaxo7T:'
Sotov p.axp 6[ji[j.axtov and Aesch., Sept. contr. Th. 390, 1. 2. aaxpov, of the sun, cf. 01. I. 6 calls the full moon 7:p:'aPiaxov aaxpwv.
epLrJaao,
; ;
PINDAR'S
I.
FRAGMENTS
Frag. 273,
-xrjva?
419
3.
'Made
useless unto
men
Similarly Lid.
is
and
'
Scott,
soaring, aspiring strength.'
the wings of their strength' (Myers). But why not
'transient, fleeting', as in Eur.
sXîoa;
'
This
constantly associated with the attribute of wings, as in the quality instances of Victory, Fortune, and Love.
augury and foreknowledge Corrected by Hermann and Schneider from stcicjxotxxev dx.
'
1.
4.
uocpta;,
especially
(Fennell).
Eaaafjiva.
|
1.
5.
eXau'vstv, cf.
Nem.
;
III.
74
s'Xa
os xai XEaaapa? dpsxa;

;
d [j.axpo;
atwv.
'some strange thing' (Myers) a familiar euphemand Soph. Phil. 1229, etc. ism, cf. Pyth. iv. 155 I. 6. I have slightly altered Hermann's '0:71:01; fl-oats, MSS. '(r.r.o<; Q-oa;.
Ti vsu-cspov
II.
7-8. xpdraiio,
is
MSS.
xpoTroio.
The use
of the middle
xpsxropiat
in
an
active sense
doubtful,
and some
editors therefore read xpdrroc;.
1. I have 9. 0' el aaj-ia Hermann, for Si? d;j.a. partly followed Bergk's inversion of the order of the words in this sentence, axdsiv ou. occurring in the MSS. most inappropriately between vicssxou ad-. u~. and r
t
"GVXOU
1.
1.
XEV. x.x.X.
13.
oispov Scaliger, for tspov.
14. xaxaxXuaaiia, Lcsb.

15.
Dial.
p. 83.
. .
I.
Hermann's reading from one MS. 0X09

. .
.
3ev oxt, x.x.X. the
rest giving oXoou
ravxtov, x.x.X.
:
Fennell compares Eur. PJweniss. 894

-
z\ yap wv tjoXXwv
pxa
xd
[jleXXov si /pyj jreiaofJiai
xt
yap xravho
VIII.
II.
(a')
1-5.
Xatp u 9'oo[j.axa, x.x.X. Philo De Corrupt. Mundi,
p.
961 (ed. Francof.)

'
the rest by
Strabo
x. p.
'
742
B,
743 A.
Paean
(r:aidv jrpoaoStaxds),
a Prosodion, or rather Processional sung by worshippers approaching Delos,

It is
of the kind mentioned by the Schol. Isth. 1. ad init. 1. 2. epvo?, further explained by t:ovxou Q-u'yaxsp (1. 3).
In Hdt. vi. 98, we are told that Delos was first disI. 3. dxivijirov. turbed by an earthquake in 490 B.C. in accordance with an oracle
xivrjaw xa\ ArJXov axtvTjxdv rsp souaav.
Thucyd.
dXtyov
ii.
8,
speaking of the
xou'xwv, rcpoxspov
Peloponnesian War, says,

ou7tto oeiO'9-siCTa, da>' ou
A7JX0? Ixivij&T]
7xpo
Klein endeavours to reconcile the discrepancy by supposing that Hdt. ante-dates, and Thucyd. post-dates, the same occurrence. may either assume that Pindar wrote before the earthquake, whatever its date, or take dxtv^xov simply
eXX7]ve; [jiu.vr]vxai.
We
as opposed to xo-dpoi#-
II.
cpopr,xd below. AdXov 'Far-seen'; dsxpov, the ancient name being Asteria. Dissen remarks that primitive names are constantly ascribed, especi-
4-5.
ally in xaXsouai
Epic poetry,
0-eoi,
1.
to
the gods 291

;
(cf.
Odyss.
x.
305
MwXu
o;
[juv
and
4,
//. xiv.
//.
i.
403).
xatvoyEvr];.
Porson's correction from xdl 6 ys'vo?, Rhod. Argon, ii. 710; Arjxw Koioyi'vsia, and Hes. Theog. 404. Goat; Bockh, for 9-u'ot?, -Ociat? Bergk duoiJ = {h!ouaa), with a different metrical arrangement. (
Antistr.
Koioysvris,
Cf. Apoll.
420
1.
GREEK LYRIC POETS

5.
Then verily from foundations deep in the earth there shot up four straight pillars, shod in adamant, and held up the
3^
)
TS
impa
vtv
Porson, for imfiaivav.

'
x.t.X
rocky
1.
isle
on their
capitals.'
npfp-viov
Hermann, for
xpujj.vwv.
a fine example of Pindar's terse descriptive power, a picture of the mother's fond gaze on her 'goodly offspring' being called up by a single stroke.
8.
ir.6'ba.xo
yevvav,
Aristid. T. II. p. 379. Bockh concludes (P') Tlpoi 'OXupciou, x.t.X. that the passage is from a Prosodion on approaching Delphi, and apparently the poet himself took part in it. Donaldson thinks that this refers to the dancing-place at ywpio.
Delphi, where the choral odes were performed. IItpJ3wv jipocpaxav, cf. Fr. Il8 (Bockh), Mavxsu'so Motaa, ^pooaxsuaw 3' syw, and Plat. Laws, iv. 719, r.oifiir^ 6~oxav sv x<o xpiraSi X7js Mouarj?
y.avK7]xai.
In Plat. Phaedr. 262, Mouawv
jcpocpifxai is
used of grasshop-
pers
cf.
on Alcaeus,
II.
1.
3.
SCOLIA.
Bergk, Poet. Lyr. It is doubtful whether they were comprised in an independent book, but that he wrote songs falling under this division of Melic poetry, we know from his own testimony in Fr. 87 (Bockh), xoibcvoe [ieXicppovos ap/av Their peculiarity was that they were choral, thereby supojjLsvov axoXiou. illustrating the tendency in Greek Lyric poetry to extend the province of choral song {v. p. 24). Bockh conjectures that they were delivered by only one singer at a time, while the rest of the band accompanied him in silence with the dance. The strophes, so far as we can judge,
For Pindar's
i.
Scolia, see
Bockh,
vol.
iii.
p.
607
Gr. vol.
371
and Engelbrecht De
Scol. Poesi,
adfin.
were short, and the metrical system was in the simple Dorian There are several fragments which seem to be referable to the
style.
class
of choral Scolia, their common characteristic being that they relate to the appropriate convivial subjects, love and the banquet.
IX. Xprjjv [jlev xaxa xatodv, z.x.X. Quoted among various specimens of love-poetry by Ath. xiii. 601 c, who speaks of Pindar as ou (j.exptw; wv It is only in these fragments that this feature in his charspwxwd;.
acter exhibits
itself,
since, with rare exceptions {e.g. in the beautiful
passage concerning the love of Apollo and Cyrene, Pyth. IX.), it is conspicuously absent in the Epinician Odes. The lines are in praise of Theoxenus of Tenedos, a youth in whose arms Pindar is said to have died (Suidas). I. 1. Notice yprjv, not /p^, it were right under other circumstances Mev i.e. the beauty of Th. makes me forget what becomes old age
'
'
;
'
'.
Heyne,
II.
for
p.s.
2,
3,4.
Quoted elsewhere
o pieyaXocpwvdxaxo; nlvoapo;.
also by Athen. 564, with the expression In this passage Ath. gives oaawv instead
PINDAR'S
of
jupoffwjrou,
FRAGMENTS
421
which occurs
(Lesb.
Hermann
restores the metre
Map[jtapioi<ia;
[i.ap;i.atpovxa
1.
Ath. 601 c, and which is less poetical. by the insertion of xi;. Dissen compares the op.p.axa Dial. p. 83).
in
iii.
of Venus,
xapS.
//.
397.
Dissen, who compares Soph. Aj. 955, xeXaivwroxv the epithet as implying not dulness of heart, of regards Ulysses, ih)[j.6v If so, Pindar is regarding vice as the natural but villany or brutality. associate of insensibility, just as Shakespeare does in the passage
4.
[xil.
:
But I think that that has not music in his soul,' etc. the force of pisXouvav is explained rather by 'iu/oa 0X071, i.e. 'The
dark metal of his heart has never been heated
possibly
to a red
'The man
glow
'.
Or
'black'
in
compare 7iop<pupw, and turbid surface

I.
connection signifies 'turbid', 'brooding', xaXyaivw, perhaps from the notion of the black
this
of a pool. Btaiw;, 'strenuously', 'with all his force', not in the sense of Aristot. Ethics I. v. 8, 6 8s yp7];jiaxiaxr;; ((Bloc) ptaios xi$ laxi, i.e. a life one would only take to of necessity.
6.
yuv.
9-p. x.x.X.
'
after frspa-cuwv,
Fennell suggests that frpaasi an attendant on shameless
is
'
Pindaric
',
'
dative
women
the
meaning
being that such a man is incapable of true love. Dissen, adopting Schneider's -iuyav forAoypav interprets 'muliebri nequitia vagatur hue illuc animo, omnem viam sequens'. II. But I by her power (Aphrodite's) melt away like the wax 8-9. of sacred bees, when caught by the heat.' Taao' IV.axt Hermann, for o' r/.axi xac. EXx tpav Bergk,'for IXsTjpav, sXsxpav. Bockh reads aXX'
'
eyw (wpa;)
sx.axt
honeyed
bees).
is
xa; (-oikiva;) -/.r]po; w; Aayd-iiz eXairjpdv p.sXiaaav (the With xaso' i'xaxt cf. Alcman xvi., Ku-pwo; Fxaxi. The
|
epithet Upo?
ispofidi [xsXiacjai;
applied by Pindar to bees in Frag. 129 (Bockh), xat; the fact that x;'p-orj.ai., and Bockh explains it from
bees were closely connected with the worship of Ceres and ProserDemeter and Artemis were both called MsXtacra, and the pine.
and Scott) and there seems have been a special connection between bees or honey and prophecy. See Pind. Of. vi. 47, and Horn. Hymn to Mercury 556 seq.
priestesses at Delphi MjXickjou (v. Liddell
to
;
Krjpo; ozydziz Tax
the sense of
Hipp. 1303. iii. 487 seq.
however, a doubtful expression, though oayfhl; in is not uncommon cf. Eur. P/ioe?i. 303, With the whole passage Cookesley compares Ov. Met.
is,
'
love-smitten
'
'
.
ut intabescere flavae
Igne
levi
cerae
...
sic
attenuatus amore
'.
Liquitur, et caeco paulatim carpitur igni

1.
is in favour of omitting the words uiov 'Ayrja., and perhaps somewhat unnatural to say In Tenedos Persuasion and charm dwell in the son of Ages', as if Persuasion, like It is not unlikely that utov is yapt?, were a personal quality of his.
10.
Hartung
is
indeed
'
it
422
GREEK LYRIC POETS

'
& overned by a verb not preserved, so that 1. 10 would be simply Tenedos Persuasion dwells'. For Peitho, see on Sappho I. 18.
In
X.
Avix' dv9-pionwv x.t.X.

xi.
782, in illustration of the inspiring influence the veiy similar passage from Bacchylides II. and note. From the nature of the subject I have placed this fragment under the heading of Scolia'.
Quoted by Athen.
of wine.
Compare
'
I.
3.
"era
Hermann,
reads
5
for Taa.
Bergk,
who
objects to "sa as an adverb
in Pindar,
II.
"c'aa.
Dissen thinks that the gap indicated after ^Xoute'ovte? by Transl. 'And the rich grow E7:dyi) is a small one. (wealthier still), their senses mastered by the vine-shaft
4-5.
Athen.
(six
'.
XI. Bockh thinks that these three passages, only the first of is quoted as Amphiaraus' admonition to his son, form part of a single poem, probably a Scolion (see however on y'), which was very likely, as Dissen suggests, addressed by Pindar to some youth
which
about to assume the toga virilis (a) 'Q te'x.vov -/..t.X. Athen. xii. 513 c. Amphiaraus to his son Amphilochus.
'.
'
'
In
Rome
do as
Rome
does.'
Cf. Scolia XXII.
Pindar is apparently borrowing from a Cyclic poet quoted by Athen. vii. 317 A:
7iOuXut:o3o?
|xoi
teV.vov
e/wv voov,
'AjJwptXoy' rjpw;,
I'ktjch.
To'aiv !oap[J.oou,
ETraivTjaai?
iwv
xsv xat o^-iov
{Lesb. Dial. p. 83), 'assenting to',

"E/.xopi
[J.v
cf. 77. xviii.
312
yap ir.r^râv
x.ax.a
[j.7]tioojvti.
(p').
Mr; r:pos a-avra?

I.
x.x.X.
Clem. Al. Strom.

1.
345. 11.
avappâi, like upocpatvEtv, must be taken in an imperative sense, and, as these fragments occur amidst a series of precepts, Monro's remark that this kind of infinitive usually follows an imperative may very well apply to the present instances {Horn. Gram. p. 162).
1.
For the expression cf. Ar. Knights 626, and 'rumpitque hanc pectore vocem', Acn.
for dpyatov, the
yp7iat[a.ov
IXaatPpovx' avappr]?a;
iii.
en*},
246.
'Aypslov
Bockh,
correction being supported by the words St' ouSsv quoted by Clem. Al. in illustration of this passage. 'AypElov irritatappears to be an example of [xstwai?, useless i.e. harmful 'unseasonable exhortation or ing', unless ./. Xoyov signifies rather
' ' '
',
',
admonition
1.
'.
2.
raat.
tiiy.
600? 'Silence
Cf.
-iGzoid.xa.ic,
aiya? 65o1?.
|
is the safest course'. Sylburg for cm Simon, xiv. C and Nem. v. 15 oifcoi
a'âoa xspSuov
i<rc\
maivoicra 7:poato-ov
'
dXd frsi'
axpex.r\<;
xai to aiyav rcoXXaxi?
ao'-pcoTaiov dv!)-pu>~o} vorjaai.
6 /.pa-rtaxEuwv Xoy.
overbearing language
'.
P
(y')
N D A R'S
FRAGMENTS
according to one MS.
[i'
423
'AXXoxpiotai x.x.X.
IIivoocpou "Y(i.vwv
Stob. Flor cix.i.
so as to form one conBockh attaches these lines to Frag, tinuous passage. The transition, however, would be abrupt both in
language and sentiment.

11.
1.
1-2.
4.
Cf.
Pyth.
iii.
84, xa
xaXa
tpeJ/avxes sw.
axX. xax.
ax7].
Bockh, for
axXrjXTjxcxa;, axXrjxrjxdxa.
Bergk
axa,
from
a MS.
XII.
v.
(a) Tt
o' eXtceoi x.x.X.

ii.
Stob. Eel. Phys.

726.
18.
Iltvoapou IlaiaVov.
and Clem.
For the
Al. Strom.
Bockh
of eX^sou, To the
I'[j.[j.vat,
ipeuvdaei, for sivat, s'psuvaaat.
signification
cf.
Nem. vii. 20. poem in which the passage occurs may perhaps belong
the
expression which Pindar uses of xou? tpuatoXoyouvxa; (Stob. Flor. lxxx. 4) ocxeXt] aocpta? xaprcov opsreiv, quoted by Plat. Rep. v, 457 B." Pindar's words suggest to us the long-standing quarrel between poets and philosophers, mentioned by Plato, Rep. x. 607.
(P')
Geou
ok ostijavxo;
I.,
apyav
x.x.X.
Eftist. Soer.
from a hyporchem, of which the Cretic rhythm

1.
in
the lines
ev
is
characteristic.
1.
= e;,
see on Pind. VI.
(y')
6ew
oe Suvaxov x.x.X.
Clem. Al. Strom, v. 708, 6 [j.skor.oi6c, and assigned to Pindar by Theodoret. Gr. Aff. Cur. vi. 89. 27.
Perhaps suggested by the eclipse
at
Thebes
(see
on Frag.
VII.).
Compare Archiloch.
(o')
XI., note.
x.x.X.
iii.
0eo<; 6
Didymus
For
(e')
Alex.
xa -avxa xsuywv De Trin.
1,
p. 320,
and Clem.
c. 6.
Al. Strom, v. 726.
yapiv, see
on
vi. 2.
Kitvoi yap x.x.X.
Plat, de Sitperst.
6 Ilivoapo? -9-eou?
<f>7]rsi.
Bockh supposes, with reason,
that the lines are
from a Threnos.
XIII. Ksxpox7]xai x.x.X. Aristid. 1. 1. Xpuasa, an epithet often

'glorious',
cf.
ii.
509.
used
by Pindar
3a<pv7)
for
'splendid',
Kpr^l?,
cf.
ypuasa iXaia 01. X. 13, ypuaij
01. X. 40, uyfsiav
ypuasav Pyth. III. 73, ypuaEaiatv fmrai? {Frag. VI. Bockh). favourite architectural epithet in Pindar {v. Jebb, I.e.),
aocpwv exewv Pyth. IV.
xprjriioa
138, xprjri; dotoav Pyth. VII. 3, cpasvvdv xpTjrftS' Bockh points out that the word stands (Bockh). 196 /^r^. EXsuO-spia; not for the foundations below the ground, but for the whole basement Thus 7:otxi'X. xo<x[j.ov = the 'beautifully-wrought (cf. Pausan. vi. 19. 1).
superstructure
I.
'.
2.
eta xtyt[j.v,
Bergk's alteration to rcotxiXwv is unnecessary. which has the authority of one MS., is far more
spirited than 01a xEiytôjxsv.

II.
4-5.
8-ewv xai xax' avft-pwrtov ayuia?
may be
regarded as a case of
424
GREEK LYRIC POETS

'
'
The poet is speaking of Thebe as a goddess, and not zeugma. merely as representing the city. The goddess Thebe is painted on a vase, seated, and with name attached see Millingen Uned. Momim.
;
pi. xxvii.
XIV.. 'Q xa\ Xwcapoi.

11.
1-2.
pa[j.[3tov,
where
Schol. Arist. Achat'. 673, rcapa xa ex xwv Ilivoapou SifruCf. Ar. Knights 1329, Schol. Nub. 299, Schol. Aristid. i. 319. From these and a score of other the line is parodied.
(v.
references to the passage
Bergk ad
loc.)
it
is
evident that the
eulogy had become a household word in the mouths of the Athenians. It is in connection with these lines that we have the well-known story (Aeschin. Epist. iv. 474) that the Thebans fined Pindar for his compliments to the Athenians, but that the latter repaid him and erected a
statue in his honour (Pausan.
i.
8), Isocr.
de Antid. 166 adding that
they
1.
made him Proxenus, and gave him

1.
10,000 drachmae.
toaxsWvoi,
cf. vi.
1.
6 and note.
i.
2.
W.
Christ scans without anacrusis
- uw
H equivalent
to a dactyl (j J^). 1. 4. Plut. De Glor. Athen.
c. 7,
same poem
as
11.
1-2.
They
refer to the battle at
implying that the lines belong to the Artemisium.

Lycurg.
c.
XV.
"Evfra (xa\) [EouXai.
Plut. Vit
21.
Compare
the very
See pp. 10 1, 22. similar passage from Terpander No. I. and note. 1. 1. Plut. Ev3a pouXat yep., but the metre seems to require another
long syllable, and
Motaa,
I
have inserted
xal.
.
Bockh reads
. .
evO-a (3ouXai
|j.sv.
ap'.Tusu'oiatv
(Bockh
for Mouaa,
-ouaiv) Lesb. Dial. p. 83.
ADDITIONAL NOTES
A.
SAPPHO AND ALCAEUS

See Alcaeus
The
on no
XI., Sappho x., and Plate 1. (Frontispiece). story of romantic relations between Alcaeus and Sappho rests less authority than that of Aristotle. In Rhet. i. 9. 20 he states
9-sXw
xt
s't-rjv x.x.X.
that Alcaeus addressed the line

that the poetess
line
'IoTcXoy.'
to
Sappho, and
made answer
x.x.X.
is
in the
stanza Et
o'
rf/s; s'crXwv /..x.X.
The
ayva
is
Alcaeus, but
his
quoted separately by Hephaestion from plausibly enough connected with 1. 2 by Bergk, and
in
example is generally followed. There would have been little hesitation
accepting Aristotle's
is
jj.e
statement but for the fact that

evidently quoting loosely from
Anna Comnena, who, however,

aXkd.
memory, ascribes the words
ADDITIONAL NOTES
xwXusi atStj; to
;
425
Sappho (w? t:ou cprja-.v r\ y.oCki] Sarcoto) and Stephanus Cram. Ann. Par. i. 266, 25, expressly casts doubt on Aristotle's version and speaks of the whole passage from {hXw onwards as a dialogue composed by Sappho alone. His words are as follows
ap.
:
Erre 6 'AXxaio; rjpa xdp7]s nvd?, i] aXXo; xi? 7jpa, -apaysi ouv o(J.w? r\ Sorrow One of three courses otaXoyov, xa\ Xs'ysi 6 Iptov xpo; xrjv ip(0[ie'v)v x.x.X.
Either let us regard Stephanus as thought satisfactory. unduly sceptical, and accept Aristotle's testimony, together with or we may urge Bergk's addition of the first line 'IotcXox' ayva scx.X. that Aristotle, who is not here speaking as a commentator or critic, adopted a common, though perhaps erroneous tradition or, finally,
;
may be
accept, not without boldness, a suggestion that Aristotle merely wrote sJ-dvxo? xivog, and that xou 'AXxaiou was substituted for Consult xtvo? by a glossator imbued with the popular tradition.
we may
Museo
It is of course posItalico Antichita Classica, vol. ii. (1886). sible to urge that biographical gossip was a priori certain to bring the great Lesbian poet into connection with the still greater Lesbian
and we are put on our guard by the story of Anacreon love to Sappho, who was some two generations his senior. On the other hand, there is not the slightest inherent improbability in Alcaeus becoming enamoured with Sappho contrariwise, in the
poetess
;
making
can hardly have failed to come into contact, nor is the susceptible poet unlikely to have succumbed to the charm which the writer of the surviving Sapphic fragments must have possessed. Some weight too may be attached to the argument in support of the tradition from the fact that each writer adopted
limited society of a
Greek
city they
the other's favourite metrical style. The incident implied in the verses
became a popular subject in art. Munich belonging to the fifth century, in which Alcaeus and Sappho with their names inscribed are standing together lyre in hand apparently singing the See Plate I. (Frontispiece), and Millingen Uned. one to the other. Momim. 33, 34. There is also a terra-cotta in the British Museum,
The most famous
instance
is
that of a vase at
i.
without names, but conjecturally described as a representation of the same subject. In neither case is there any direct proof that Alcaeus
is
making
it
vase
is
love to Sappho, though from his expression on the Munich All that we can safely affirm is that certainly probable.
Alcaeus and Sappho were brought into connection in works of art some time before Aristotle. In the article in the Italian periodical above referred to there will be found a full description with illustrations of the chief representaIn one case, see Plate n., Sappho is seated reading tions of Sappho. a scroll, with three maidens around her. It is likely that these are intended for some of her pupils ([j.aO-r]-p'.at), to whom I have referred in the introduction to her poems, p. 150. Upon the scroll certain words are inscribed, which are not improbably to be interpreted
:
0sc/i, rjepitov
ItAmv
ocpyopiai
aXXtov, or
a'5siv.
426
ADDITIONAL NOTES
;
It is supposed that these are from one of the poetess' own songs and the assumption is strengthened by the occurrence of the word 2Ar(ri22), referring apparently to the scroll and its contents. Dumont, I must add, considers that the painting is merely a scene from an Athenian 'gynaeceum', idealised by the employment of the name of Sappho and he points out that the other names, Nicopolis and Kall(i)s are not those of any known pupils of Sappho. He thinks that we have an illustration of the important part played by music and lyric poetry in the life not alone of the Lesbian women, but of the secluded Athenian ladies.
;
B.
EROS IN THE LYRIC POETS

attention from the fact of
the early lyric poets is worthy of being quite distinct from that of later times. From the scattered passages in Alcman XV. xvi. Sappho VIII. Ibycus I. II. and Anacreon VI. VII, vm. IX. etc., we can construct the conception of a youthful divinity in the first bloom of manhood, with
in
its
The character
of Eros
golden wings, and with that profound expression in the eyes (Ibyc. II.) which appears so effectively in the sculpture of Praxiteles. Though at times sportive, no childish attributes are as yet imputed to him he is conceived rather as a relentless deity, whose approach is full of terror to his victims compare Alcaeus XXIII. Seivotoctov frscov. Thus the lyric age regarded him more seriously than the Alexandrine, and also invested him with more dignity as a cosmic power, the idea of the god being not yet entirely distinct from the idea revealed in the early worship at Thespiae, where Eros was revered almost as the manifestation of a physical force and traces of this older conception
; ; ;
appear to survive Ge and Uranus.
in
Sappho 132 (Bergk), where he
is
called a son of
The wings usually attributed to him both by poets and artists probably did not belong to the original religious conception, but were an addition of the poetic imagination. Plate in. (see Millingen Utied. Mon. xii.) very closely illustrates the conception of Eros in the lyric poets. He is playing with a ball, as in
Anacreon
vi. (see note).
representation of Eros as a young child or infant, and of his actions as the mischievous pranks of a child, becomes common in literature and art from the end of the fourth century onwards, and it
is
The
a distinguishing mark of the Anacreontea as distinguished from the genuine fragments of Anacreon.
APPENDIX
ALCMAN
Bergk
1.
Vit.
Arati
ed.
Buhle
/,
ii.
437.
5'
'Eyiovya Aio? ap/0|xsva.
asicrojxai
2.
Apol. de Pron. 399 B.

'T[J.
Jtai
(TCpSTSptO?
3.
Priscian
rtfe
Afc/r. Terent. 251.
Kal vao;
*4.
ayvc<; U7tupyo) SspaTtva?.

i.
Schol. Apol. Rhod.
146.
Tw?
HEROD,
t/. ol -8-uyaTyjp
[xa>catpa.
rXauxoj
5.
-apt
ayrjjj..
61.
&[/.aT?;p;,
9
It: OTai
COCpOl,
KacTtop ts 7tojawv coêcov
*6.
Hephaest.
3.
10
Kal
*7.
GvJkzrjai tcoaaoi? yjp.svo? [v.axap; avvjp. sajvo? ev
Apol. d? /V*w. 334 A.
Max.ap;
8.
S/tetvo?.
lb.
356 B.
'E|X, Aaroi'Sa, teo Sau/vocpopov.
17
9.
Schol. Hom.
'
//.
<p.
485.
18
Eâîva
*10.
TOpi Sp[7.a.Ta {bjpoov.

19
Schol. Hephaest.
p. 77.
Ou<$ toj KvajcaAW ouc> to! Nup<7u7>a.
430
ATHEN.
APPENDIX
Bergk
iii.
11.
114^.
ts
y.al
20
jcptjUava; vcovto;.
SoJ)y.y.{a/.o!.c,
12.
23
See Text,
Alcman
I.
ffTp.a.
Page
1.
...
IIco'XuSsux.T]?
oiov ou Aujcawrov sv jcafxoufftv aXsyco,

. . .
'Evapacpdpov ts xal 2s(3pov
-oSo'y.vj,
Btoxdôv ts tov (SiaTav, .... T TOV JCOpUGTOCV.

Eutei^v] te, /-avastTa t' aprôv
.
s<;oyov r,[/.M7iv
tov aypsTav
{Asyav,
EupuTOv te
xXovov.
IO
"Apso? av
xcopti)
'A'Xx.wva te too; apicTco;

.
xaor.Toasc
34
atkxcxtx.
(For lines 35-68, .sw Text.)
Page 3 70
...
ouSs Tal Navvto?
tov
ayaty.a,
<co[/.ai,
a.XV ou&' spara cieioti?,
ouSs SuXa/.ic te
jcal
KXs7]c>icr7jpa,
-
oucV s? Alvyjcrtp.PpoTa? sv&oicra, cpsccEi?
'AcTacpi; te \j.o\ ysvotTO xal 75 7TOT7]vs7rot <>ikuKka., Aajxaydpa t' spaTa te 'Iavfrsaic,
a^l' 'Ayvjci/opa
ij.s
TVjpsT.
Ou
80
yap a
y.xXTaacpupo;
crrp. C'
'Ayvjciyopa 7rap' auTSt, 'AyiSoi Ss TcapixsvEt,

B-wrrr/jpta
-8-'
ay.' STroavst,
.
aXXa
tscv
utoi,
ALCMAN
Sziy.ad
x.al
.
43i
Bergk
. .
tsXoc
85
v: owrccv jviv d-KOipi
aura
.
TOxpaevo?
[/.octoiv
.
yXau" eytov o
avSxvvjv
a(/.iv
eptlj'
[/.aAiffTa
ttg'vcov
yap
90
zE,
. .
'Ayvjaiyopa;
.
iarcop sysvTO" Ss veavtoe?

.
spaxa; srspav.
13.
Arist.
ii.
40.
ovu[/.'
27
av^pi, yjvai/.l
IIolXa>iycov
14.
Si Hotoi^sdpYJa.
Apol.
rtfe
/*;-.
399
B.
30
2)9ea Ss xpoxl
15.
youvaxa ~t~tco.
iv.
CYRILLUS
a^.
Cram.
y4;/.
Am
1S1. 27.
Tco Ss yuva rayia

16.
cr<pea<;
ssi^s X.<opac.
EUSTATH.
//.
IO, 25.
sit'
32
("Apx.Tov 5')
17.
apwiTspa
X7]?^
tov
Athen.
XV.
682
A.
I'cra
39
Xpuctov op;/.ov sytov paStvav TCTa/ô&;

18.
xaXyav.
4i
SCHOL. HOM.
//. -.
236.
Kai
7tot' 'OSuacrvjO? TaXxGi<ppovO(; tuT-afr' sxaiptov

STOxXe(j;o7a.
z/.
Kip/ca
19.
AMMON.
Ira;.
43
jcai 7roi>'.i'Xov i>ta,
tgv
a.p.TtsAwv
6<p&aAf/xov oAST/jpa.
20.
Herodian.
jtspi [j.ov. Xe'.
44, 10.
44
(/.afito;
Too 5s s/.oûvSea
21.
/.ax'
av Jtappav
~ta(,sv.
Schol. Hom. Odyss.

Ilap
#'
y.
171.
46
7capa
ispov
cx-OTislov
ts ^Fupa.
47
22.
Aristid.
ii.
509.
EiuaTE
23.
(7.01
Taê,
<pu/\a
ppoTy-ca.
Hephaest.
40.
49
[j.iv
TaijTa
to?
av 6
5a[j.o;
axa?.
432
APPENDIX
Bergk
Apol. de Pron. 324
B.
24.
51
Ou yap
25.
sytovya, fixvacua, Aio; -ftuyaxsp.

c.
fts
Apol. de Pron. 366
52
ITpo;
*26.
ts Ttov
<piAiov.
/A
Ts! yap 'AXsâv&po? oaf/.acsv.
53
*27.
/A
s
54
yap
u.Lo[j.y.i.
28.
"/.
M.
622. 44.
"Ejqsi
[/.'
55
aôc,
to 'as
Saty.ov.
29.
Apol. de Pron.
403.
56 A
290!'; aSeXfpiosoi?
xapa
30.
stal
<povov.
7. /%/-. Miller Af/jr. 213.

Eitto
[/.'
56 B
Al'a?.
S'
auTS <pai<Wo?
*31.
$wi.
Fa. ^. Gaisf. Et.
M.
p. 327.
57
Mvj^s
32.
[/.'
aeiSvjv awspuxe.
Schol. Hom.
//. v.
588.
59
Miocra, Ato? fruyarsp,

wpaviacpt Aiy'
33.
asi<?0(/.ai.
Apol.
dfe C<?;{/'.
.
. .
Bekk. ^4/^.
ii.
490.
61
;
'Hpa tov
ol 8ov
(
ovstpov siSov
34.
Eustath. CW. 1787,43.

"Ettl TrapsvTiov p/acmv s i$s<7&ai.
64.
35.
Apol. de Pron. 378

r
a
T
i.
65
lq y.[jM
36.
xaAov
94.
[/.saiocov.
CHOEROBOSC. Efiimer.
Aoup! Ss Euctco
68
;ji|X7]vsv
Aia? aiâra? ts Msp.vwv.

69
oaif/.ova<;
37.
Schol. Hom.
77. a.
222.
"O? FsOsv
toxaoi?
t~ ocasv
t'
doaaaafo.
ALCMAN
38.
433
Bkrgk
Athen.
iv.
140
c.
70
SpucpyJToa y.rpi\
K^m
39.
lb.
xa
[/.uaoc
txX$ <7uvatx.Aiat;.
71
Aix,Aov 'A^jcjaocwv apjxoEaTO.

40.
Herod. Cram.
Aft. Ox.
i.
159. 30.
72
'Hcr/ rig GxacpEu;
avacawv.
73
41.
Apol.
<jfe
/Sfrfy.
Bekk. Ann.
ii.
563.
IIpdG&' 'Atcgaacovo? Aua-qto.

42.
/ /7<?r.
Miller Misc. 55.
74 A
Naotatv
43.
atôisaTatrov. avS-ptoTroiciv
b.
Apol. de Pron. 383
77-8
At,
yap
ap.tv
.
. .
TO'JTOOV [/.SAOt
'Ap.lv
44.
vTza.u'krpzi f/iXoc.
Priscian
i.
21.
79
yetj/.a 7r0p
i.
Kal
45.
te Saîov.
4.
Herod. Cram.
y?. (9r.
287.
80
aivco.
Oijtx? yap
46.
7. 60. 24.
^p a ^w
81
vyjAEYji;
Ae7TTa. &' aTap7roc,

47.
S'
avay>ta.
82
STRABO
xii.
580.
<J>puyiov auAvjcsv [xs'ao? Keppr^ctov.

48.
Hephaest.
'Ivto
81.
ai,
82-3
ITepictfov
yap 'Atcoaacov 6 Au/.yjoc

av
octto
<7aAaG<70[AsSoic', 66.
[/.ac&tov.
49.
Hephaest.
85 A
"Ex,aTOv usv Ai6<; uiov TaSe Mtoaai >tpoxo7ve7rAOi.

50.
"/. .F/cr.
Miller
yJ/<r. p.
206.
85 R
Aiyux.opTOv xaAiv ayet.

51.
Apol.
</<?
^ww.
365 a.
86
6 yopo? ap-o? seal toI, FavaE.
4 34
APPENDIX
Bergk
52.
Herod. Cram. An. Ox.

'
'
i.
418.
8.
88
$'
Ottots
utco
tou l-KTzoloyw, xlio$
(iaAAov
OU VUV UTCGTiXVTlOV.
53.
Apol. Z?jw.
fc
Synt. 212.
89
S'
Nixo
54.
6 /capptov.
Athen.
iii.
81
f.
Mvjov
55.
lb. xiv.
vj
xo&jjxaAov.
9i
636
F.
MayaStv V
56.
a7tofr<70at.
Et.
M.
171. 7-
92
TauGia
57.
lb. 506. 20.
7raAAa/UU>.
93
Kal
59.
lb. 620. 35.
Ke'px.upo? ayeiTai.
94
"Ox/.a
60.
7)
yuva
s'fy
Eustath.
//.
1547. 50.
95
Tav Mtocav
61.
xaTaOcsi?.
Schol. Hom.
//.
[x.
66.
96
Tiov v <raaAia yJXetTSt..

62.
Eustath.
77.
1147.
1.
97
si[/.s'va
AaSo?
63.
*aAov.
98
/. Af.
p. 486. 39-
KaAAa
64.
[j.EAicSoîvai.
Apol. de Pron. 396
c.
99
Fa.
Ta
65.
xaêa.
10
Athen.
ii.
39 a.
To
66.
vx.xap sSp.svai.
10
1
Eustath.
<9</.
1618. 23.
'ApTs'pTO? &pa7rovTa.
67.
/. Flor. Miller iT/w. 291.
IDI B
a.[7.6p7).
MfiAlGJtOVa TOV
APPENDIX
435
ALCAEUS
Bergk
1.
Hephaest.
79.
'ft 'va
2.
"Attoaaov, 7rat p.EyaXo) Ato;.

9
Strabo
ix.
411.
^ftvacrd'
'A&avaa
;
7roAy..ao*6'>to;.
7rot
Kopwvr a; i%i 7d<jo)v vauw TOxpot&v ajjwpt (paivetc)

1
KtopxXico TCOTap.w xap' cfy&ai;,

3.
APOL. Dysc. de Pron. 358

"ftcTe #io)v
B.
n
aTsp
Fe8-v.
13
AOaat. [/.TjosV 'Oaujj-tticov

b.
4.
Apol.
</(?
/V^/z. 387
To yap Oiwv
av&rÊt.
"5.
LoTar'
uf/.f/.s
AayovTtov yspai acpO-irov
Apol. dV
./V0#. 395 a.
14
To a
*6.
pyov ayâatTO rsa xdpa.
APOL. de Adv.
. .
.
in
Bekk. An.
x.al
ii.
613, 36.
p.<7ot.
17
Taia?
vtcpoEvro? topavw
T.
Strab.
xiv. 661.
22
Aocpov te Gicov Kapi/.ov.

8.
Herod. / Flor.
7rEp\ jaov.
lit 10, 25. Miller ^/*w. 264 (1.
26
3).
Ou
7TC0
IToCTElSaV
oiov (toSov)
*9.
aA[XUp0V CTTU(pEAlC, 7T0VT0V ya? yap 7fiASTi

iii.
cro>v.
237.
1.
"Apo 0V190P0; $a6cn]p.

*10.
ChoerobOSC. Epim.
i.
210.
29
"ApUO? CTp7.Tl0iTp0t;.
1 The passage as it stands above is mainly conjectural, otherwise should have inserted it in the text. In Strabo we have onlyÂaar' 'Aâva ajioXe a~o Koipwvta? E7tt5so.iv auw TtapoiO-ev ajxcpi KcopaX'lw
x.x.X.
436
APPENDIX
Bergk
30
To yap
"Apeu'i x,aT&av/jv xaXov,
31
v
Miav
*11.
S'
sv aAAaXoi;
Apua.
38
Hephaest.
63.
Tpi{3o)ATsp*
12.
00 yap 'Apx.ao*EGGi At/pa.

42
x.<paAa<;
1
Plut. Sympos. iii. 1, 3. Koct xa? 7roAAa Tra-SmcTa;

3Cal 3C0CT T(J3 7T0AIO)
xaxÊa-rto p.upov
CiTTJ&EO;.
13.
Athen.
xi.
481 a.
43
Aaraye?
xuA!.y(vav
14.
TTOTSOvrai
a7rd
Tyjiav.
Athen.
ii.
39
b.
47
p.iv {asakxSeo?,
"Aaaotoc
aAAoxa
S'
dÛTEpCD TptÔAdiV apUTT^fAEVOl.

15.
Hephaest.
61.
48 a
KpovioV. (3aaiA7]0? yvo? Al'av, tov apirrrov

7teo"
'AyjXkzcx..
16.
Eustath.
. .
a</.
.
Dionys. Per. 306.
48 B
pio*t;.
i.
'Aîaaeu, 6 ya; Sjcu&taai;

Hercul. Ox.
*17.
Demetr.
. .
.
TOpl 7iot7][xaTwv, Vol.

S'
5c'
122.
50
Ao/Uf/.ot
apwrros
E[/.p.Svai
7rcovcov ai Se
ovyjci âo\x; tcoI <ppva; otvo?,

Si; a-9-Aio;.
au
Ka.7ro;
yap xEcpaXav
x.a.Ti<ri"
tov ^dv &af/.a

aiTta{/.vo;
-&u{/,ov
7rSa[/.udp.vd?
t' acra^st"
tox' oujceti FavSavEf

7TG)
TaV,
7T<5.
17.
Athen.
IlETpa;
. . .
iii.
85
f.
. . .
51
x.al
xoAia; &aAa<7(7a; tsjcvov
ix.
Se xaiScov âuvoi; psvas, a 9-aAaaaia
A7ra<;.
1 Conjecturally restored from Plutarch's (xeXeuwv) xaxaêat to jiupov auTou xata toe? 7toXXa âfrofaa; xecpaXa? xat xto 7ioXtcJ arrÊos.
ALCAEUS
18.
437
Bergk
Athen.
xi.
460
D.
52
'Ex. &
7TOT7]piG)V 7U{OV7j$ AtVV0[-/.EV7] 7rapiffSwv.
*19.
EtM.($9,$i.
Xaips xal xio tocvSe
54 a b
AsOpO
20.
<7U[J.77<i)iH.
SCHOL. PlND.
01.
x.
15.
58
OuxsV Eyw Auxov

ev
21.
Moicoa; aAsyto.
i.
144-6.
7ra/\a(/.ai<7tv.
60
"Etctov KuTcpoyevâ;
22. /. 413, 23.
61
Tepsvae avO-o; oirtopa?.

23.
112
'Ex
24.
-fiVyw.
TO'J ^SCpO'X
TO^SUOVTE?.
Gad.
162, 31.
64
Kal
25.
7rXeiGT0t? eavactfe Aaoi?.
Strabo
xiv. 606.
65
IIpcoTa
26.
[jiv
"AvxavSpo? Asaeywv
7^6X1?.
HESYCH.
'Eni7:v3uwv.
66
GuvayavSptovSa<7^.vov
VOW.IGI7.EVOC 7TVOtC7a.
"H
7TOU
CTpaTOV
27.
Cram.
^4. /"ar.
iv.
61. 13.
say).
66
Tov yaTavov apxo;

28.
Harpocr.
175. 15.
fV
68
Itu^ciXt',
ex.
ft'
Tla{y.7rav
s/\stg cppsva?.
*29.
Hephaest.
43.
69
ti?
Kai
30.
eV
EGâxiaiTcv obtst?.
Photius
244. 11.
70
Miy&a
31.
p.aXeupov.
71
Comment
in Arat. a/. Iriart. p. 239.

'fls /ôyo;
ex
7ry.T'po)v
opwpev.
438
APPENDIX
Bergk
Apol. de Pron. 363
a.
*32.
72
'Epiauftp 7raXaâ7o;j.ai.
33.
lb.
388
B.
73
"Ot'
34.
lb.
accp' a7TOAAU[7.evoi;
catoc.
395
a.
0'ix.to
74
ts
Trip
ceo x,al
rap' afifAias. 75
35.
7.
vJ/.
290. 47.
Elc tcov
36.
Suo/'.aiSsx.tov.
/&
639- 3 J-
76
Kai
37.
y.'
ouSev
ex,
Ssvo; ysvoiTO.
Apol.
di?
/Vtf. 384 b.
77
Ai
*38.
/.
Si y
ap.iAi
Zeu? tsXsot]
vo7jjxa.
363
a.
. .
.
78
Noov
S'
eauTto
Tiap.Tirav asppsi.
39.
i.
298. 17.
vasortv.
79
KaTUTCAsW/)
40.
Apol.
^ Pre;?.
384
B.
80
vfaav.
41.
"/.
M.
188. 44.
8l
outi 'Awar7&)i)|JU /.v./mi;'

42.
yap
oi
(ptAOt..
Eustath.
//.
633. 61.
S'
82
NuV
(abT') OUTO? 7WX.pETSt xivraaig tov a^' ipa; 7UJ[/.aTOv

719.
ftEASi?,
>iO-ov.
43.
Procl. Hesiod. Op.

A't
/'
83
t/]?
xa
(auTO?) a/.ouaat; toc x' ou S-eaoi;.
x.
44.
Hephaest.
Nuftcpat?,
60.
Tfflc,
85
Aio; s
[-1.0V.
odyio/jto 9atcrt
TETuypivat;.
86
45.
HERODIAN.
jcepi
Xe?. 27. 7.
Ai yap xocaao&sv
ea&t) toSe, 901 x7]vo&v sjAfxevat.
ALCAEUS
46.
439
Bergk
Apol. de Pron. 263
B.
87
...
47.
/*.
2''
Se crauTti) TO[jia<;
ect/].
381
c.
88
TCAa<; ap.u.eo)v
71.
MtjS' oviat; toi?

48.
xapey^v.
89
Schol. HOM. Odyss.
<p.
OuSs
49.
Tt |Auva|Avoc ocaaui
Hi.
to
v6v]f/.a.
Cram. An. Par.
121.
5.
90
'EppacpetoTOu yap avaE.

50.
Artemidor.
6><?zV.
ii.
25.
91
"ApxaSe; Escav paAavvjcpayoi.

51.
Schol. Pind.
01.
i.
97.
93
(TavraAw)
-/teicS-ai
xp x,<paAa?
90.
[/.sya?,
to
AicijAiSa, aC9o;.
52.
Hephaest.
94
'Hp' ti, Aivvoj/ivv], to) TuppaSvja) Tap[Ava Aap-Trpa xiavT* v MupciA'^cp

53.
lb. 15.
"E'/t
[/.'
95
tkOLGCLC, (XAyEtOV.
54.
Apol.
dfe
Pron. 382
B.
96
OlTIVS?
ECTAOt
U[A[/itOV
x.al
afX(Ati)V.
55.
Schol. Soph. Oed. Reg.
156.
97
'EXa<pw Se ppo'pLO? v onnd-sat <pusi cpd,6epoc.

56.
Herodian
nepl fxov. Xs5. 35, 32.
98
istvyjTai.
'Ex! yap ilapo; ovtapov

57.
Paroemiog.
t.
ii.
765, ed. Goth.
99
IlaAiv a Cc xapopivei.
58.
Apol. de Pron. 383
100
"A[/.[A<jIV 77f>aOpOV.
59.
/A 363
B.
01
'Alia cauTto
;ASTsya)v a(Ua; xpo?
7Co'giv.
44Q
M.
APPENDIX
Et.
264. 17.
60.
Bergk. 1 02
"Eyw
61.
p.Ev
ou Sew
TaOxa
[/.apTupsOvTa?.
Harpocrat.
168.
103
2/tu&focoa? U7roo*Yj(7a(/.svo?.
36.
1
Kal
62.
HERODLAN.
juep\ [j.ov. Xe?.
5.
104
p.a&o?.
105 A
b.
'Arc
*63.
xaTspwv
c.
Apol. Dysc. de Pron. 381

'
ITaTeptov
a[/.[/.wv
Af/.(/.TpO)V v.jioiv.
SAPPHO
1.
Strabo
i.
40.
"H
2.
as
Kuxpo? xal rioÔ!; ^ IIavop(/.o?.

364
c.
7,
Apol.
dfe
/Vtf.
3Ca7TlAlÔ) TOt.
3.
Apol. de Syn.
291.
13
"Eyto
-Tto rt? Epaxai.
4.
0*
K7,V
OT-
Apol. de Pron. 324
B.
15
'
"Eywv
touto
5.
Eâura
cruvotSa.
2s ^/. 576. 22.

.
lb. 335. 38.

. .
17
Kar'
S'
jaov
GraXayp-ov
t6v
7ri7rAaôvT? ajzoi <pspoisv
xal f/.eAe<Wvai?.
6.
Ammon.
23.
18
{/.'
'Apxtw?
7.
a ^puG07TîAXo? Auo);.
i.
SCHOL. Apol. Rhod.

va
727.
20
/jJoi'atGtv.
SAPPHO
*8.
441
Bergk
Apol. de Pron. 343

. . .
B.
2
S'
"Ef/.s&ev
E^sic&a Xa&av.
22
*9.
lb.
"H
M.
Ttv'
aXXov
((/.aXXov) av&pc)7rtov [/.e&ev <piX>]<>&a.
*10.
7.
485. 45.
23
Kal
*11.
TTOibjco
B.
xal {Aaop.ai.
24
Apol. de Pron. 379
Ou
12.
/*.
Tt
j/.ot ujy.p.E?.
25
"A? QiXsT
13.
up.fASc.
ATHEN.
ii.
54
F.
30
SOEplvfrot, 77' ato'viOV <pU0VT0.
XpUGEWl O
14.
lb. xiii.
571 D.
x.al
31
Aarco
*15.
Ntopa p.aXa piv

Xs 26. 20.
p//j
cptXai
r<j av
sraipai.
Herod.
Ksp\
(j.ov.
35
7rspi.
"AXXa,
16.
p.syaXuvso SaxruXito
Julian
Epist.
xviii.
126
p.'X7]p.a TCOp.OV.
to
17.
Apol.
dfe
Pron. 386
b.
43
a<7<pi
"Oia
18.
7ravvuô?
xaTaypsi.
Athan.
ix.
410 D.
XEipop.ax.Tpa Vz /.ayyovwv
44
xopcpupa
Kal TauTa piv dmp,a(7Sts, axu <3?(oy.aa; E7Tp.tj/

o<3pa Tip.ta y.ayyovoiv.
19.
/. xv.
674 D.
46
KaTOzXan;
<j7ro&up.io*a;
nrXsV.Tai; ap/rc'
1
a7raXa &Epa.
Bergk has
U7:o0-o[.u8a;, I
presume, by an oversight, since he adopts
Psilosis throughout the Lesbian poets.
442
Zenob.
APPENDIX
Bkrgk
iii.
20.
3.
47
TsXXw;
21.
7raiSo<piAtoTpa.
Ald. Cornu. Cop. 268
B.
48
Svj x/top7jL/.eva?
MaXa
Athen.
xv.
ropyco?.
22.
690
e.
49
23.
Herod. mp\
jjlov.
Xe'?.
39. 27.
^'
"Eyto
~l [./.aA&ax.av
[/.EAea.
TuXav
*24.
lb. 26. 21.
(tttoaeco
55
"Afipa Stjuts xapjcjt a-6lx aAAc'p.av.

25.
/.
i^/.
822. 39.
56
Svj
Oafct.
xoxa
A-/]Sav ua>avihvov
to'lOV
7T7VUX.aS|7.V0V
SUOVJV.
26.
72. 117. 14-
57
'OcpB-aAfAOt; o [j.sAoa; vjx.to; acopo;.

27.
Philodem.
7isp\ EUCTcPsta?, p.
42, ed.
Gomperz.
57
XpuacKpavj freparaivav 'AcppoStTa?.

28.
Hephaest.
82.
59
âTicpoi, ti
29.
xav
770Auoa[2ov 'A^poStTav.
61
Attil. Fortun. 359.

IIap>vov aS'Jcptovov.
*30.
Mar. Plot.
p. 266.
H TOV
63
"AotOVlV.
31.
Pollux,
x.
124.
ic,
64
opavto xopûpiav (sôvto)
7Tp9|7.VOV ÂOCfAUV.
"EaO-ovt'
32.
Priscian.
vi.
92.
<paict
66
x,v
'O
S'
"Apsu?
'Acpaurrov ay/jv
fiia.
SAPFHO
33.
443
Bergk
Athen.
xi.
.
460
.
d.
67
S'
IIoAAa
avaptaty.a 7TOT7]pia
*34.
Ald.
CV#
Cop. 268
B.
ex,
71
"Hptov eSioa'
35.
Tuaptov Tav
Tavu<7ipoj/.ov.
Schol. Ar. T/iesm.

.
401.
73
Aurap
opaiai GTSCpavy]Id/isuv. 74
x.ap.0; 0-epaTrtov "Epo?.
36.
Max. Tyr.
.
xxiv. 9.
.
Su ts
37.
Hephaest.
64.
76
Euij.opooTepa MvacrtStx.a ra?

38.
lb.
araAa?
Fupivvto?.
77
'Acaporlpa?
39.
to ouoaj/.' err',
pavva, ge&ev Tujfotaa.

81
Herod,
rapl
piov. Xe'.
39. 27.
Kap. asv te TUAav xaG7iroAto.

40.
Hephaest.
85.
82
Aura
41.
Ss cu KaAAiOTCa.
V.
jf/.
250. 10.
83
Aauot; aTraAa? drapa?.

V GT7-<9<71V.
42.
.
Hephaest.
102.
.
. .
84
AeiJpo Stjute Moicat, ypuctov li-KWiox.

43.
Max. Tyr.
xxiv. 9.
.
.
86
.
IToAAa
[j.oi
rav
IltoAuavaV.TiSa xaiâ
44.
jfaipvjv.
Hephaest.
69.
S'
87
Ac;yp.v
Za
45.
ovap KuTrpoyEvvja.
88
Hephaest.
66.
[J.z
Ti
46.
IlavSiovi;
to
pavva
jfsXiotov.
Pollux,
. .
vii.
73.
&'
ajiipot.;
89
Aacioi; eo
/
*Au.<pl
ux.acrGSv.
444
Demetr. de
APPENDIX
Bergk
Eloc. 162.
47.
122,123
^pucrto ^pucroTepa.
48.
i.
71. 19.
96
'Airazp-ftevcx; ecraop.ou.
49.
7#.
i.
190. 19.
Ato(jo[/.ev, ^<ri 7caT7)p.
97
50.
Hephaest.
102.
S' iiz'
100
MEAAtjao?
51.
ipipTW /.eûtou
ii.
7:po<no7i>.
ApOL. de Conj.
in
Bekk. An.
490.
102
'Hp' Sti TCap&svia? S7ri(3aAAO[/.ai.

*52.
Hephaest.
25.
vu[/.<pa,
103
Xaipotaa
53.
âtpsTto
%' 6
yaf/.(3po;.
DlONYS.
de.
Comp.
Verb.
xxv.
106
ya^-Pps, TOtauT*.
107-8
Oo
*54.
yap ^v aTspa
266.
v
rcai?, to
Plotius
E(77Tt'
'Tp.^vaov.
fl
TOV 'AÔJVtOV.
26. 21.
[y.7j
*55.
Herod,
rcepi jaov. Xejf.
no
1 1 1
"AXAav
56.
xa^-eGTspav cppeva.
Apol. de Pron. 366
A.
/-bi
1
c&atvSTod
57.
y.yjvo?.
Athen.
ii.
57 D.
'fltoi
112
uoXu Asoxoxepov.
113
58.
Moschopul.
Opusc. 86 (ed. Titz).

StXOt
i.
MtJt'
59.
[AAl p.^TS piAiacra.
Schol. Apol. Rhod.
1123.
xivvj
114
Mv;
60.
^spaSa;.
115
ap.p.e.
Apol.
fc
/Vv?. 387 a.
"07UTai;
See on Sappho
II.
1.
1.
SAPPHO
61.
445
Bergk
Schol. Arist. Plut.

'
729.
116
H[/.itu|3iov
62.
CTocXacaov.
117 xaAsi.
Apol. de Pron. 396
B.
Tov fov xaiSa
STESICHORUS
1.
EL M.
'
544- 54-
'
sSooxs xal EpfASia$ (pAoysov [aev
"Apuayov
.
coxsV.
xsxva IIooapya<;.
"Hpa
2.
5e Ha'v&ov xal
iv.
KuAAapov
ATHEN.
172 D.
Sacay.iSa? ôv&pov ts xai Eyxpioa;, aAAa ts 7CS[/.[AaTa xal {/.sai Âcopov.

3.
Athen.
iv.
172 E.
[/iv
ptocxcov
yap t
oi vixaasv 'A[//piapao:, axovxt,
MsAsaypo?.
4.
Athen.
iii.
95 d.
14
axpov ya? uTCVEp&sv.

*5.
EUSTATH.
316. 16.
17
narpti)' [xov avTi9-sov

*6.
MsXa^TroSa.
35
Schol. Ar. Pac.
775.
[/iv
. . .
Mouca
au
[/.st'
;aou
xAeiouca
atetov
ts yajy-ou; av&ptov te SaiTa? xal ftaAiai; [/.axapiov.

36
*7.
/. v. 780.
"Otocv
8.
TJpos topa xsAa&Jj ysAtScov.
Eustath.
//. 10. 1.
45
Atysta.
Aeup' aye KaAALOTCta

9.
Aristid.
ii.
572.
S'
dcp'
46
STEpov 7rpootatov.
MeTeijj.t
1
Conjecturally restored by Bergk.
446
Zonar.
APPENDIX
Bergk
1338.
10.
47
Maxa?
11.
et7tO)v.
Athen.
iv.
154
F.
48
cs ITuXap.aye 7up3TOv.
507.
IVrxcov
106.
Autov
12.
Schol. Hom.
//.
49
xpuTavi?, IIoaEiSav.
53
KoiAcovuywv
13.
Schol. Ap. Rhod.

'
iii.
Pa-9-ivo'j? S' 7ue7Tj/.TCOv ax,ovTac.
IBYCUS
1.
Athen.
Afa][/.',
ix.
388
e.
oi
cpiXs d-uj/i,
TavuxTEpo;
0'? 6'x.a 7rop(p'jpt;.
2.
Priscian
vi.
92.
IO A
'OvofAaicAUTOs 'Op9r]v.
3.
."/.
Af. 703. 28.

Uo'.y.ika.
6yyL<x.T<x.
10 b
y.ca
/caAUTCTpa?
TCpova?
4.
t'
avaAucaf7-Eva.
12
/.
-Af.
171.
7.
yap
a'jciov 7rat; luoeax;.
*5
DlOMED.
i.
323 (Keil).
13-14
'EXsva MsvsAal';, 'AA&aia MAaypt;

6.
HEROD. Cram. An. Ox.
i.
255.
7.
15
IIapEA<;aTO KaSpiSi jcoupr.

7.
Galen,
xvii. P.
i.
881.
17
IIux,iva; TOu/piYa? 7:t6[/.evot

8.
Herod,
jc.
[jlov.
Ag. p. 32, 20.

cr<pTpav EsXcWp.
18
Outi xara
9.
/. p. 32, 25.
19
"Ect9-aov
7cpoêSey{/ivov A$cop.
YCUS
447
Bergk
10.
Et.
M.
542, 51.
20
6
OuSe Kuapa?
11.
M'/jêiov (jTpa.Tayo's.
Herod,
k. [xov.
Xe'5.
36.
2.
21
7:
i
Aapov
12.
o aveoi xpovov
/V?/.
,7T0 fa<psi 7V7rayto;.
SCHOL. PlND.
LI.
22
Ilapa ydpcov Xiikvov ox.Xsx.tov xaXa^.atTt, {JpoTtov viv 7ieS' 7rpocT>e Se avapt/rav
1
fy&us? top.câyoi ve^.ovto.

13.
PORPHYR.
in Ptolem.
Harmon, in
Vallis.
Opp.
T.
iii.
p. 255.
26
(Tayjx xiv ti; avyjp) "EpiSo; toti p.apyov e/ojv avTta o*-/;piv S(/.ol x.opucrcoi.
14.
<rro[/.a
Schol. Ar. Av.
192.
0*'
28
v a.XXoTpioo yai.
IIoTaTai
15.
Schol. Pind.
Ztf/fc.
viii.
43.
29
KXaSov 'EvjaXiou.
ANACREON
1.
Eusth. Oct
i.
542, 47.
5
to
'AXV
Tpi?
X.X.Op'/]{/.evE
(JLSpOlY].
2.
Schol. Hom.
II. y.
219.
7
rfi
2u yap
aGTEj/Zp'/j?.
3.
Euoiy'
Athen.
xv.
687
.
e.
.
9
.
Ti
Xtajv
TOTeat
aupiyywv x.oiXwTspa
TT/j-8-Ea
4.
ypwaixsvo;
f/.'Jpo>
7. Af. 601. 20.
10
'O
1
&'
u^yjXa vEvtoyxvo;.
Conjecturally restored from

It
Ilapa
7.
XiOtvov tov naXapiai$
(3po-c<ov
rcpdafre viv 7:a15a vr^pttov /.- X.
relates to Ortygia.
448
Et M.
APPENDIX
Bergk
259. 28.
11
5.
IIoAAa
Aslvucov.
6.
S'
epiPpofxov
Schol. Eur. Hec.
361.
12
x.actv.
Out'
7.
Sjrnv axa7.7jv
/. Flor. Miller iT/wc. 208.

AUX,l7r7T(i)V 7Tt $iveai.
12 B
8.
lb. 266.
13 B
Outo;
d7]UTS aAUGtOt? tiAaei tou? x.uava<JTTiSa<;.

9.
CHRYSIPP. n
a7rocpaT. c. 22.
15
OuS' aCTOlGt. 7TpO<J7jV7^.

10.
Schol. Hom. Odyss.
?.
71.
'
16
Mu&itou
MeyCcynj,
ava
vvjaov
5i7roucriv
ipov a(JTU (Nuj7.<pscov).

11.
Hephaest.
ioi.
e*v
22
Sip-aAov eiSov
12.
7. 52.
1 ? ?
wtjxtw zyovnx xaA^v.

23
'Ex
13.
7TOTapt.ou 'Travspôâi
vi.
rcavTa <pspou<ra AajjOTpa. 26
Athen.
229
B.
Xsipa
14.
t' dv
^yavio
|3aAiv.
Priscian.
vii. 7.
27
"HAlE
15.
X.aAAtAap.7TT7J.
Hephaest.
96.
^p6|J.7jV
30
STpa.TTIV
1
Tov
16.
[AUpOXOtOV
Isth.
xop-TâEi.
Schol. Pind.
ii.
9.
x.to
33
tot'
Xa.f/.7r
OuS' apyup7]
17.
ui&co.
Attil. Fortun. 359
(ed. Gaisfd.).
34
ElfJM
Aapwv
? "Hp7]<;.
ANACREON
18.
449
Bergk
SCHOL. HOM.
//. to.
278.
35
supetv, fxiiv oyoiv 7vpd; arTcou?.

19.
Schol. Hom. Odyss.
jj..
313.
36
20.
Pollux,
vii.
. .
172.
.
37
. .
XrjXivov ayyo;
xu0-(7.va<;
sôv
21.
aypiiov aeAivtov.
HESYCH.
v. "Epfxa.
38
'Ac7J(/.tov
uTOp
spp.a.Ttov <popsut/.ai.
22.
Apol.
afe
5y/. 238.
40
2s yap
TapyTJXto?
oiaxstv.
<py]
i[>.\j.kiii>c,
23
Athen.
x.
430
d.
42
Ka&apY)
24.
' ev
ksaeP /] tcsvte xal rpi avaysurO-tov.

-
7. J/. 713. 26.

Sivap.copoi 7roXs{/.iQou<Ti 8upwp(3.
52
25.
Hephaest.
69.
55
Ba<7<7apiSs:;.
Aiovucou ca.OXoa
*26.
Schol. Aeschyl. Prom.
128.
56
OuS'
27.
ai'
[j!
saerei?
[as&uovt ot>ca^' axsAfrslv.

57
Athen.
x.
433
f. ei ^vot?,
<f>&7]
yap
saaov ^
p.s
SupwvTa
tciciv.
28.
Apol. Sophist.
87. 21.
8-s<j[/.dv
58
'Arco S' îXeto

29.
piyav
Schol. Eur. Hec. 934.

'E/cSuc7a yrrtova &wpiasiv.
59
30.
Ammon. 42, Kai
Valck.
[/.'
60
7roiyT6i?.
7ufkoTOv icaxa yEirova?

767.
S'
31.
Schol. Hesiod. Theog.

XO-dvtov
64
;y.auT0v vjpEv.
450
Schol. Pind.
APPENDIX
Bergk
01.
vii.
.
32.
5.
.
.
66
'AAAa
7rpo7rtv
paSivoO?,
33.
to
cpile, [AVjpOiVg.
Hephaest.
39.
67
'ASujaeaec, âpiEGaa yzkuSoi.

34.
/A
68
Mvaxat
35.
is/.
Stjuts (paAaxpo? "Aae?^?.

71
M.
429. 50.
Outs yap "m&Tspsiov outs

*36.
JcaXoy.
Schol. Hephaest.
'AcTSpi?, OUTS
p.
<X
163 (ed. 2 Gaisf.).
72 b
Syw
Cp'.AEtO
oCV
'AtcSAASTIJi;.
37.
/.
i/.
433- 44-
73
(ft;)
iqp.lv
BouAsxat araoouos
38.
etvai.
Julian. Misopog. 366
b.
77
Euts
39.
p,ot
Asu/.al p.eAatvai; ava[/.E[/.iovTai Tpiê;.

138.
}(Aiopc2
Schol. Soph. Antig.
78
('Ev) fj.Aa|x<p'jAAw Sa<pv<x

40.
t sXaia
TavxaAiêi.
78
Herod,
rtfe
Barbar. 193 _^<?j/

S', to
Ammon.
Valcken.
Kofyucrov
41.
ZeO, goaoixov cpOoyyov.

79
Schol. Hom.
AtOC
//. p.
542.
(J.SGTG7JV,
SspVjV }CO^S
xaS & Atoxo;

3.
SG^lG-8-7].
42.

Ai
i.
288.
81
Ss p.u <ppsvs;
siocs/CGxpsaTai.
43.
Athen.
vi. p.
498
c.
82
s^tov <Jxu7i:(pov 'EpSutovi 'Eyto TtO AEUKOAOCpOU [7.ECT0V sEeTUVOV.

44.
S'
Ammon. p. 37, ed. Valck. Kal -8aAa[7.o?, Iv ia xstvo; oux

V.
86
y>][.'-v,
<xaa'
syrpaTO.
87
45.
M.
523. 4.
Kvt^T) ti?
ct/jv
>;Sy]
xal 7T7iipa yivoy-ai
Sta [/.apyocuvyjv.
ANACREON
46.
451 Bergk
Zonar.
5 12.
88
sv S-upyjai o\/j(7lV pa/vCOV p.ox.Xov
Kou
tcd'/oc,
xa9suo*i.
47.
Strabo
xiv. 661.
91
Ss'jts
Aia
Kapi/iS'jpyso?,
ojy.voio jpfpa Tiftsy.evai.

*48.
Hephaest.
30.
92
'O
PRISC.
piv #i"X(ov
{/.ayea-9-ai,
TrapscTi yap,
49.
flfe
fy.ajscrfroo.
Metr. Terent. 249, Lind.

'XI
93
1
'paws
0*/)
Xtvjv,
[jîXziq.
tcoXXoigi
yap
S
1.
IMON DES
I
PRISCIAN. de Metr. Com. 250 Lindem.

'Epo;^p*/jTv B-aXacaa;
1-2
2.
PLUT. de Discr. Amic.

'
et
Adul.
c. 2.
15
ZaK.'jv9w IxTCOTpocpia. yap ou aXX' apo'jpatiri 7T'jpocpopoi; cratosT.

3.
Schol. Ar. /W.

. . .
117.
(/.,Tatitovto? apO-vj.
16
Kovia So xapa xpoôv

Virtut.
4.
Plut. de
Mor.
c. 6.
17
ex.
My) paXy)
5.
<poivi5ca;
/'p<3v i[/.avTa?.
18
Athen.
xi.
490
f.
AiSim
' so tiv
Maiaô;
Tt>cT S'
'Epp.a; Ivaywvioc, oupsia? sXix.o 3Xs<papoo Tat;'

l
"AxXa? rav
2
y'
soyov
sio*o$
ETCTa io7rXo/ta[/.wv qptXav O-uyarpcov, Tal xaXlovxat

IIs>.eiaSs; oupavisu.
1
Conjecturally restored by Bergk from opav
asl [jirv k.t.X.
The
is
and
part of this passage especially is in a very rough state, restored partly with the assistance of Schol. Pind. Nem. ii. 16.
first
452
APPENDIX
Bergk
Plut. Praec. Rei pub. Ger.
c. 2.
*6.
23
Aeuxa? x.a&u7tp& yaXava?

u7i:p6Go)7rot acpa?
rcapaiâv spears; vai'a;

1
xXawfo?
*7.
/apaôvTOu
iii.
5ai|/.oviav e? uppiv.
ARISTOT.
/?/**/.
8.
20 B
site
AaXoyv;,
Auxiav
toxi Aioc. j^puffsoxoâ? "Exaxe,

8.
Plut. de Pyth. Orac.c.
17.
44
"Ev-9-a ^pvLpCTGi.v
apusTai
Moiaav
9.
xaXXix6|j.tov uTCVp&v
ayvov
uotop.
/*.
45
S7ucrxo7r KXeioT, ^spvi^cov tsoXuXuttov
'Ayva
(ax') apuovTEdct, va[j.a ^puc07r7rXou

(ei' coo*<;)
iz'.c,
(Mvaôauva?)
2
ap^pocicov ex
20.
[J.uytov
spavvov uScop.
48
10.
SCHOL. EURIP. Af^.
'O
5*'
ocst'
ic,
KoptvS-ov,
o\
Mayvvjtfiav
t* avaTcrEv.
vatv,
aXoyou 5s
KoX)*to*o<;
ffuv&povo; aaxso?
11.
Asyaiou
Schol. Hom.
//. x.
252.
49
Kal
12.
a\
sl'xoci 7taio*o)v (xaxsp, iXa&i. p.v,
Schol. Pind.
01.
xiii.
78.
50
[/.avisi,
Kopiv&toi?
13.
0"
ou
ouoe Axvaoi.
54
Plut.
F/V.
7%nw.
c.
17.
TCcpupf/ivov TTpivo? av&t,

14.
spifraXXou.
55
sXfraiv.
Schol. Soph. Aj.
740.
Biotou xs
1
crs
p.aXXov wvaaoc 7cpoTpo?
text.
have considered the passage too doubtful for insertion in the 2 seq. has surcpoawTOS a<pa; roxpaxvâ? y Xw<; Schneidewin in
1.
vatat? xXaosaa' dpaijEt 7iovxou x.t.X.

2
The words
in
modelled the whole passage, which
brackets are inserted by Bergk, who has reis hopelessly corrupt in Plutarch.
SIMON IDES
15.
453
Bergk
Herod,
re.
jaov.
Xe'ij,
12, 18.
59
<pvjp
Touto yap
16.
fAaAicrra
c.
scrroye
rcutp.
Plut.
^4. Sen. resp. sit ger.
1.
63
"Eaârov Sustou jcaxa yac.

17.
Plut. Discrim. Amic.
el Adul. c. 24. scpfrdv
64
Ilapa ^pucdv axrpavrov

ouAO|/.oXuf3o*o? cov.
18.
Plut. de
Util.
Ex host.
Cap.
c.
10.
68
'Era
7racaic xopuSaAAtat,
19.
jfp-q
Aocpov dyysvsa&at.
72
Athen.
xiii.
604
b.
Iloptpupsou
oltzo
(JTop.aTO? istaa <pa)vav 7rap&evo;.

6>/. ix.
20.
Schol. Pind.
74.
o"
75
Kouptov
oivo? ou
iE,tk-yyzi vso<;
TTspucri o*<3pov
to
ap-TreXou" 6 Ss p.09oc xsvsdfppoov.

21.
Theodor. Metoch.
90.
77
Mo'vo; aXio? sv oupavto.

22.
Schol. Hom.
//.
<p.
127.
78
-nrvoia.
Eur'
23.
aAa GTiôiaa
2.
Schol. Hom.
//.
|3.
79
Tjo'ufAOV
OuTO?
24.
OS TOl
U71V0V s/wv.
Cram.
^4. /"ar.
iv.
186. 33.
80 a
(/iyav
si?
"Eva o
25.
otov svsi*s
#sa
Suppov.
Athen.
ix.
374 d.
'
80 b
Ay.spd<po)v' aAex.T(op.
454
APPENDIX
TIMOCREON
Hephaest.
71.
Bergk
6
7totI
xav
[7.aTp' <pa.
CORINNA
1.
Herod,
Tou
rc.
(j.ov.
Xe?.
11. 8.
Se, [/.axap
KpoviSa, too IIoTLo*awvo;, ava Boiwte.

4
tIv 6 (pôvspo? Sai[AWV.
2.
Apol. <&
/Vtf#. 365 B.
Ou
3.
yap
/.
379
b.
Oupi?
*4.
Si xoM.i.cr9ivT;.
8
Priscian.
i.
36.
KaAAiyopw ôvo;
Oupia; SouyaTep.
5.
Apol.
dfc
/V<?. 325 a.
'Ioivsi
10
r>'
slpwwV apsTa? ÊipwiaSwv (alow).
6.
/*.
355C.
ITspl tsou;
H
^
f
'Epaa; xot' "Apua
tcoujctsui.
7.
THEODOS.
/>.
Dindorf rtÂristoph. Schol.

AocSovto? o*ovax.OTpo<pw.
T.
iii.
p. 418.
12
8.
Hephaest.
/&
108.
13
Kyj tcvt^xovt'
9.
ouî(3ia?.
106.
14-18
Awpaxo;
wctt'
<p'
iittcw.
Kapra
IToAtv
p.sv [3pip.af/.evoi.
o*
rAooxou
7tpa9op.v, 7vpo<pavi?. Sei ti; ai'Swv
IlEAE/CEGGt, SoVSItT].
10.
Apol. <& Pron. 396
b.
19
(EUWVU[A17]C)
Tr/jSa
fov SsAwoa
cptXvj?
ayâAT)!; eaeg&t].
CORINNA
11.
455
Bergk
Hephaest.
106.
20
yspovT* atcofjiva
KXia
Tavaypuêcrcrt. ~kzwz.0T:Tzk\><;'
jt.sya
S'
S[/.r?
ysyace
tcoai?
1
AtyoupoxoiTiA*/]? SV07UVJ;.
12.
APOL. de Pron. 382
B.
22
To
13.
So Tt? otlu.iwv a/tou(?aTO).
SCHOL. HOM.
//. p.
498.
23
soma
*14.
x.aAAiyvE8-AS, <pt,Adsvs, fAOucKxpDajTe.

A.
Apol. de Pron. 356
24
Teu? yap 6 xAapo?.

*15.
lb.
381
c.
25
'Af/.OOV Sdp.wv.
*16.
i.
172. 14.
26
'EcrTapî 7rroA[AO).
BACCH YLIDES
1.
SCHOL. Pind.
01.
i.
Argum.
Hav-9dxpiâ p.iv êpsvtJtov 'AA<peov 7vap' eupuolvav tcgjaov aEAAoSpofxov

eiSe vtx.a<javTa.
2.
Apol.
<fe
/V^w. 368
a.
8
viv
IIpocnpcoveiTS
3.
em
vUat;.
25
Hephaest.
130.
'H xaAo?
4.
/.
edxpiTO?" ou p.dvo? avfrpo)7ra)v epa?"

26
2C O
j(_itc5vi [/.ouvio
7tapa tvjv
5.
tpiATjv
yuvafcta cpeuyet;.
31
<r'
lb. 76.
*fl
1
ITeptxAeiTe, tocaV ayvo^<rsiv piv ou
eA7rou.at.
Conjecturally restored by the commentators.
456
Plut.
APPENDIX
Bergk
vit.
6.
Num.
c. 4.
37
Ei s
7.
7wXaTTa xileu&o;. "Kiyzi ti; aX><oc,

38
'
7. ^/. 296.
1.
MeXayxsuOi?
8.
el'Scoôv
avSpo?
I&a>a]<Jiou.
Athen.
i.
20 d.
Me;/.<piv
x.al
39
Tav
9.
tj a^sip-av-rdv
01.
SovaxcoSsa NeiXov.
\i
Schol. Pind.
xi. 83.
Mavuvsi; Tpicoovxa âXxoSaiSo&oiGiv ev dumai (popeuvTS?.

TTocstSaviov
to?
10.
IOANN. SlCEL. Walz.

'
vi.
241.
42
'Icoviov paGiXvje?. A(3pcTVjTi ûvsaciv

11.
PRISC. Afc/r. Terenl.
p.
251 (Lind.).
43
Xpucov PpoTtSv
12.
yvto|j.at<7i (j.avuet x.a-9-apdv.
Et.
M.
676. 25.
rD/r^.'/.uptv
45
7T0VT0U <puya>v.
65. 22.
8'
13.
i.
46
ai^r?.
Auerfv-sveoov
14.
Clem. Al. Strom,
v.
715.
eicrl
34
voggjv xal ava.roi,
1
Oi
[/iv aS|/.aT
aetxe>.iav
ticsXot.
iii.
ouSev av8po)xoi!;
15.
Clem. Al. Praedag.
310.
35
u7rdx.)t07rov
1
Ou
yap
(pops?
PpoTOici (ptovasvTa 'Xdyov cotpia.
POPULAR SONGS
L Athen.
xiv.
W
636
d.
<70l
ApT|J.l
u{v.vov
p.E
Tl
CppT^V <piJXSpOV
usvai T 0&V
Ai Ss
ciov-i)-'
a[/.a
^pucocpaevva
x,pij.pala ^."XxoTtapaa ^spaiv.

1
Conjecturally restored from a corrupt
text.
POPULAR SONGS
2.
457
Bergk
ATHEN.
xiv.
622
B.
('AvaySTE xocvte;) avaysT' eupujrwpiav TW #C0 7T01EITS'

s&sAEt,
yap
-9-soi;
6p9-6? c<purWj.Evo?
o\a u.iaoi) paSêiv.

3.
PROCLUS
z'
Hes. Op. 389.

IIapi9-i, >cop>], ys'cpupav
6<70V 0U7TG) Tpl? 7C0AS0U(JIV.

4.
ORlGENES~(Hippolyt.) adv. Haeret. p. 115. 'Ispov etexe xofvia xoupov

Bpi'xto
(3pt.|xov.
c. 6.
10
5.
Heraclit. Alleg. Horn.

"HTao?
12
'AtttoAAwv, 6 8s y'
f.
'AttoAAwv
vJAtoc.
6.
Athen.
iii.
109
13
'Aâi.'V7]v
7.
CTaTO?
sy/TrAsoov
Tpayov.
22 B
HESYCH.
V.
âyw
/. x.
'Eâyto ^toAov xpaytaxov.

8.
Plut. Quaest. Graec.
c.
35.
zlc,
23
"Ia)[j,sv
9.
'A&rpctq.
25
.
H or apollo
Athen.
xv.
Hierogl.
i.
8.
( 'E>cdpsi, xop7j 3copw'vr
10.
697
b.
u.y\
27
7zoo()(Zc, ay.tj.',
'XI ti tzolg'/zv;,
7rplv
[/.^
IxetsuW
x,al
avicTio" f/.oAsv xsTvov,
x.ax.ov c
jcotl
f/iya
7roi^cryj? ty^[/i tyjv o*lAa;tpav
afxspa
11.
oVj"
to cpw? a tk? t)upi&o?
oux,
6pjjs
Pausan.
iv. 16. 6.
28
"E? T (XEGOV
17Tt'
TTsStOV
STSVUXA^piOV,
? t' OpO?
1
aXpOV
'ApiGTOyivTJ? T01? AaXESaiiJ-OVlOli;.
Although in Elegiac metre, 1 have inserted this couplet, since Pausanias distinctly describes as a song aa[j.a to xa\ I? ^[xa? hi There follow in Bergk's edition a series of riddles or the a8o[jivov. like (29-40), chiefly in Iambic metre, which hardly come under the
1
heading of Melic poetry
'
'.
458
PLUT. Amator.
APPENDIX
Bergk
c.
12.
17.
44
sgO-acov,
^n
rcai^s?
[/.in
6'ffoi
XapiTWv te *al xaxspov AaYET'

wpa? aya&oiciv
scai 6
6[/.iXiav"
Au<Jt[/.SArj?
<p9ovl9-'
guv yap avripsia
spw?
em
XaAjaSetov
ftaAAEt, xoAEffiv.
ANONYMOUS AND MISCELLANEOUS

1.
On
a Vase.
3
ap;j(0[/.'
A.
Molcra
p.01, a[/.<pl
2*af/.av&pov eoppwv
aeiSev.
2.
V.
jJ/.
48. 39.
3 B
Xstpcov TjSs 7roSa>v ax.ivayp.aTa.

3.
Priscian
i.
20.
32
'OÔp.EVO? /"EAEVaV SAlXCOTU&X.

4.
/. 21.
32
NeGTOpa s
5.
Fco 7raiSd<;.
/. 22.
'
33 a
S'
A[/i?
6.
eipavav, te
B.
Ss,
TappoSs Mcuaa
Aiysia.
Apol. de Pron. 356

AivoSpixpy^
()k
33 B
raAatva teou x.aTa TU^ÔYôvjca.

35, 35, 36, 37 a,
'
7.
Id. de Synt. p. 335.
Koi TOÔTa? Hpa/.A7]. KaAAiCT uraxuAsv.

1
Ka
MEAay.TToSa
"Apôif/.sv
8.
p.EyacSEVTj? 'Acavaia. T* 'Ap~ OAU/tOV T
yap xxo&paciwv.
38
>caya[/.S[/.vo)v.
/.
M.
579. 19.
MevaAa? te
9.
Athen.
xi.
781 d.
40
uTroSsâf/iva &ar<7aTO.
.
.
'A
S'
ypucrsov aiâ 7TOT7jpiov.

10.
459
Bergk
Apoi.. de Pron. 318.
41
M^t'
StACO
aura?
11.
lb.
328
B.
42-3
Kal tu Aio$ 9-uyaTsp
[xeyaXocQevs?.
Kai TU
12.
<plAl7l7tOV $'/]>CV.
HESYCH.
'Eve-cfSa?.
43 b
rtoikoic, <JTS<pav7j<popa)?.
'EveTtoa;
13.
Schol. Hom.
//.
7T.
52.
tcoauvei/CtJi;
44
'AXa' a
'
Si*
EAsva.
45
? OIXOV
14.
Hephaest.
p. 25.
"Ay* 0t'
15.
/.
TOV
KAE7JG17C7CO).
46 A
Eiâ' <ot' a7r' ueraajcoa
AuSEfoa.
16.
Et. Flor. Miller
Afw.
263.
46 b
TO^tOV.
"Apxap, puTEtpa
17.
Et.
M.
420. 40.
47 b
(piXov, 0? Jtev a&yjcriv.
'Aoov
18.
/. 417. 12.
48-9
'Aj(_i
Atâ piya
x.'Xeivgi;
gv^.ol'
'Ayi. 6
'A[/.<ptTpuo)viSa<;.
19.
Et. Gud. 308. 26.
50
&' sXucog poa?.
51
Kauxwv
20.
Hephaest.
81.
sis
Toioutoj
21.
/.
yâ?
wat?
ap|AaTS<je>'
oyr^svos.
54
MaAi?
(/iv evvvj aetctov ejokj'
eV aTpaxTto
aivov.
4 6o
APPENDIX
Bergk
Apol. de Adv. Bekk. An.
"Oij;i
ii.
22.
573.
57
yap
apEa/ro.
58
23.
/rf. <fc
/V<?. p. 383 b.
'Aaaoc tk; ap.p Sai'AWV.

24.
iii.
239. 28.
59
?*
IIai> 6
25.
X^P
Herod. Cram. ^#.
Ox
i.
63. 29.
ttj/rltov
60
6pwv.
61
Kocl xaT*
26.
ZJ. 327. 3.
'AAA'
27.
/. 208. 13.
Oi
TOXVf' 7T0plC "AXtE.
63
'iSpoI? af/.<poTpa.
28.
HESYCH.
Ilaaaupiov.
64
To
29.
arcavTWv yvoc. 7ra<jGuptov rp.aSv

65
/. J/. 574. 65.
KXatTjv Sa/.puctv.
30.
Et.
M.
587. 12.
66
Atriao
31.
TO.
[7.Tppa.
APOL. de Adv. Bekk.
^4^.
ii.
563.
67
'O V
32.
'J7ucr8a )ca<7Ta^tc.
/. Af. 702. 41.
68
crept
ITapa &e
33.
x.6pai
Aux.a<77ttoc.
Hephaest.
'
p. 50.
69, 70, 71
Ictoxovoi p.tpa^;.
OuSe Aovt(ov gQsvoc, ouSe xpocpai. Ai Ku&Epâ? sm7we?T opyia asuxmaevou.

34.
7. Af. 635. 22.

'fl; 7r6; î [/.aivof/ivoicuv.
72
35.
/.
.F/tfr.
Miller Misc. 249.
73
7rox,TOi<; <ppov.
ITavT? (paupoTspoi?
36.
HESYCH.
Tu8e.
74
TutS' av xoAo'vav TuvSapiSav.

37.
461
Bergk
Et.
M.
199. 52.
75
IIo&sv
8'
;
Oikv.bc, U7TTE<; t$"kt\c,
38.
i.
413. 12.
76
Napjucrcou TSpSVCuTSpOU.
39.
/2V.
M.
225.
8.
77
40.
iii.
237. 23.
'EtcI 5' tayjE
78
Zyjvo? u^specpvj*; $o[/.o?

ajpsts$.
41.
Hesych.
op.,
'
xaatv.
79 B
O[A07tcSa xaaiv Ka<JavSpa<;.

42.
Hesych.
Eu(X.
79 c
EuGSAOCVOV StOV OWCOV.

43.
Athen.
xiv.
633
a.
80-
rXuxuTaTWV
TCpuTaviv
u{/.vtov.
MsAsa
44.
(7.>.t7rTpoiTa
iii.
Mwcrav.
82
x.oupy]

KXu-iK
[7.01
237. 26.
A B
Zavo? x
Zavi
45.
t' eXeufrepiCt).
7 /%r.
Miller Misc. 142.
83
ppoTtov.
Bata)
46.
/27. Af.
S' ev aicovt,
230. 58.
83 b
47.
Origenes
adv. Haeret. v.
p. 96, ed. Miller.
84
KaAov "Av^pt07rov (co?) avScoxe youa -nrpoiTa vsyx.a(/iva

yepa?
... TO
'
ÛptV yaÊXOV,
sits BoiwTotcrtv 'AAaX/Co;y.Vu?
A^va;
U7Tp Ka(pi<riXo?
xp(3T05 av9po)7rwv av<7yv,

5
iT
Koup^TE?
<rav
yvo; 'iSaiot
9-tuv,
462
APPENDIX
Bergk
q
<J>puytoi KopujUavTS?,
Ssvo*po<pui?
ouV'Aaio; 7upwT0u? stoiSev

sit'
avaâcTGVTa?,
'ApxaSia 7rpoffeXavaiov nsXacyov,
r 'Papia? AiauXov oLjugtJjp' "Eae'jgi;,
IO
Y)
JcaXXiTcaiSa AajAvo; appvJTtov st/.vcog
sits
Kapsipov opyitov, nsXXacva ^sypxiov'AX/.uovvja TiyavToiv xpecrpoTaTov

,
.
cpavTi
<)i
7upcoTo'yovov
Tapaâvxa
Aiûs; au^v/qptov tcSicov avaouVTa yXuxela? Ai6? aTrapâG&ai |3aAavou' Neiao; Sk

. .
S.
capjtouasv' uvpa frspw.OTaTi toa Gcoaar' avo\o*oT.
48.
From
Paris, 1877,
a chart found in Egypt. See Egger ^4<r/. Acad. and Blass Rhein. Mus. xxxii. 450. 85
XXXII 450 l
"Tjavov OJV
JtAUSTS" TZZV.TZOi
co? gs,
VIV
7uaT,
KX(ei)&S{MO
'
'ATroXXtovt [xv -Ostuv,

5
arap av&ptov E/x.paTt

rcaio"!
IJu&ayysXti)
CTpav(0|j.a
oV.mx.AUTdv
7ro)av
he,
'OpyojAE-vio oitoc;-
-I7r770v"'
Vi)a
~GT
IO
'
a?
o*T
Evpuvd[/.a Xapfora?
9-aXaGcrta? stijctsv,
rpa<pov TO $ Traorlivo?
<xig'
ayXaov
jaeao:;
rcapSsv/jta.;
ottoc S'jTjpaTto
gto(a<xti 7tpavav.
49.
Athen.
v.
217
c.
/.'
86 a
(Mtj^s) xav gtti
eV
axaipif/.av
yXtoGGav
1
tto? Duly] itsXaosiv.
The fragment
text,
Bergk's
tions.
in the original is in a most mutilated condition, and as above, rests for the most part on conjectural restora-

50.
463
Bergk
Schol. Aristot.
iv. p.
26
b, 35.
/ton,
88
Xapi-rcov avapxaTo;.
91
'AcppoSixa? aAo/.a Tsp.vcov

51.
YlMT.
an. Seni sit get: Resp. 12.
"Ore TuvSapiSav aSsA<3v

paAAsi.
52.
/tf. fe
aXiov vaurav 7rd#o<;
Cto.
Fz'z/.
c. 6.
$'
92
Nuxto?
53.
a'iova? aepyiqAoTo
mrvou xoipavov.
93
Id.
Non. pos. suav.
viv.
c.
13.
Eupuo a jesXaSov
54.
a>cpoGO<po)v ayvup.svov
(W
gtoôctcov.
Id. adv. Stoic. 19.
94
r^
Ou
â;zu.o;
Jtdvi?
TCTspa Tuoi'/UAoO-pdcov oio>vo"v

apt9-[/.dv.
TOdcrov av ^suaif'
55.
Schol. Pind. Nem.
vi. 85.
95
y-psi/cov
AiTCTuyoi yap oSuvat vtv

56.
'AîaasIou Soparo?.
100
Plut. <& &' Praec.
c.
13.
ITpo ^si[7,axo; cost'
dva
7rovTiav
axpav
Bopsa
57.
xvsovto;;.
Ar.
jV#0. 966.
102
TvjAsxopdv Tt pda.[xoc Aupa?.

58.
Bacchius
Introd.
Mus.
p. 25.
103
'O tov
59.
tutuo; CTSCpaVOV.
i.
Herod. Cram.
^4.
<9.r.
171. 33.
105
IIoAU|xvia 7WCVTSpiriqs xdpa.

60.
CHRYSIP.
Jt xrcocpaT. c. 24.
106
Oux. ei&ov avep.wx.sa x.dpav.

61.
Hephaest.
p. 75.
107
tOt p.axap cptAocppdvto; si? spiv
F<?r. c. 17.
u[i.eXtttav
62.
Dion. Hal.
^ G?//.
108
Bpd(/.ie, Sopaxcxpop', evua.Aie, 7roAep.0)csAaoe, TraTEp "Apvj.
63.
lb.
109
"Iax^s
-O-piajxpE,
<7U
toovSs yopccyz.
464
APPENDIX
Bekgk
Dion. Hal. de Comp.
Verb.
c. 17.
64.
"o
65.
/J.
m
Kspxat
TCOAt? uîtcuAo;
xaxa yav,
II2
66.
lb.
Asys
67.
o*
go
xxto
p. 157.
TCo'Sa
vsoûxa
p.Aa.
Schol. Hephaest.
n3
"I*h p-OAS Taxuxofô; cti Ssp.a; Aacpou.

68.
Marius Plot.
264.
n4
IX 5
Befvs, tov 'Apûopoo ra<pov.

69.
/tf.294.
"I&i (JMXTSp {y.eyaAa,

70.
Plotius
'
293.
115 b
EAixoTOTaAs, xa&ix&a&e, cpiAoôpEUTa (Baê).

c.
71.
Dion. Hal. de Comp.
17.
ll 7
Ol
72.
o"
sWyovro
TCAuTsa; ownqvawn âAJcsôAoi;.

Il8
pu-Jty.oi;
lb., c. 25.
Kprîot? ev
73.
7raioa piAycoj/Ev.
Mar. Plot.
"Iaiov
p. 259.
a[7.<p'
"9
'Easvyj 7rem>pfa>[/ivov
c-jasto.
74.
A*
p. 273.
'
120
Ili'-fho; p.ecro(A(paAot?
&e6?
Tvap' sa/apai;.
75.
Hephaest.
68.
[J.TjTpo? opsivj? cpiAoftupcoi
I21
TaAAal
al;
76.
SpofxaSe?,
svTea TwtTayelToci
tc.
Jtai
iii.
jpcAJtsa jtpoTaAa.
p. 283.
5.
Herod,
3i-/p.
in
Cram.
^4.
122
KXaSa
77.
yp'jcreoV.apTtOv.
Cod.
v.
ap. Gaisfd.
ad Hesiod. Op. v. 664. Kal Tav ajcopsffTOV auaxav.

iii.
123
78.
Aristot. Rhet.
14.
124
Aia c
79.
x.al
TSa
17.
otop'
eI'te
cxuAa.
251
av(/.b>v.
Plut. de Prim. Frig.
c.
Eu&u<; avsuATjcev aepopaxav piyav oixov

80.
465
Bergk
Plut. Non poss. suav, viv. c. 23. E~spyoy.svov te [/.aXaôvTE? ptaxav

'
133
tcovtov to/.sia; t' av;v,tov ptTCa?.

81.
Apollon. Tyan. Ep.

'Oosiei
oite Tav
83, p. 55 (Kayser).
142
fy.oipa
xpo; teao? avSpwiv,

AEAoy/jxat ti|akv.
i.
xpwTav
82.
Plut. /. Stob. Ed. Phys.
5,
19.
143
XtO Ep
[AOVOV OCppUGt VEUG7],
scapTSpa
toutw
ksx.ao:>gt'
avayxa.
DITHYRAMBIC POETS
1.
Plat. Charmid. 155
D.
p.
564
CYDIAS
EuAapsu Se
2.
(/.?}
jcarsvavTa asovto?
vePpo? ea8-wv
[/.oipav aipsiij-9-ai jcpsoov.
ATHEN.
xiv.
651
F.
MELANIPPIDES
DANAIDS
p.
589
Ou yap
a/\/V'
avOptoTCoiv cpo'psuv f/.op<pav dvsiSo?,
ou Siarrav Tav yuvaixeiav sôv,

ev ap[/.aTff(H o\<ppouyjoi? EyujAvaôvT av si,
oY aAcrsa 7TOAAa;a ^patTtv <ppva TSpTro'p.svai, 4 -/$' ispoSaxpuv Aipavov eutoosi? te <poivi)ca<; Karriav TEjAaTsGsai, 1 crTOp.aaTa. _ ,Tspsva r Supta r rr
3.
Stob. Eclog. Phys.
i.
41. 50.
p.
590
Id.
PERSEPHONE
yaia?
KaAstroa
ays' EWtV
'A
4.
'
' eivsx.' ev /toA7rot<n
.2
7UpOyjf<OV
Ayspttv.
Athen.
ii.
35
A.
p.
591
'E-Trcovup.ov,
5.
Segtcot' oivov Oivsoi;.
Plut. Erot.
("Epo);)
c.
5.
Tauxu yap
Sipoc,
avSpo?
u7roe>7rsipo)v
7rpa7ri^<7(Ji
7T0-8OV.
1 This passage has undergone very considerable alterations hands of Bergk and other commentators. 2 Restored conjecturally from a corrupt text.
at the
466
APPENDIX
Bergk
p.
6.
600
PHILOXENUS
Aei7rvov.
(a)
Athen.
xv.
685 D.
Kara
Tj'Xufr'
ysipo;
S'
uSwp" aizoCkoc xatSicrxo; v apyupsa rcpoyoo)

l77Ta; aTCO (AUpTtSo?
(pspoov
etcs-
/EUEV
SIT'
<pSpS
<7TS<jpaV0V
'jyv7"jTO)V
X.XaSs(OV
îcruvaxTOv.
(b)
Athen.
El?
'
iv.
146
f.
<pspov
cWXoot
S'
7uat? Xarapd)7ra Tpa7i;sav
a|x;x',
Tpoi
o Tpav, aXXot,
srspav p.E/pt ou xXTJpwrav
oix.ov.
Tal Se 7rpo? uîXu^vou; ETTtXpov auya?

EucrrE^pavoi Xsjiavai? 7rapo<|/i<7t t'
6<jPa<poiv 7rX"/jpsi; erov
^Xiotocou TvavToSaTTOtdt
(j(/.aTtotcrt.
TzyyoiC,
sup^p-acrt,
7rpo?
^torav, ûya? SeXsoc-
v Kavsoi? p,aa? jôvoypoa?, a'XXot. 5' TCzpcpspov (toi; &') 7U 7rpwiTa TrapvjXx)'' ou x.a>ocaf3o;, to <ptXoTa$, aXX'
. .
aXXoxXaTEl; to piytc>TOv
tcocvt' 7ra8-v
XiTtapo'v
t' ?
sy^sXsa tivs; apiGTOv,
yoyypoiTOtcovTjTEp.wv TtXrjpe? #-OTp7usV
eV auxw
ti
S'
10 aXXo xap^XSs
vapxiov aXXo,
KCLprfi
.
to'cov, (3aTi? S' evetj; lao'xuxXo;.
p.ixpa Ss jcaxjcapt' 7^,

.
.
Eôvxa to
(aev
yaXsou
ETEpOV 7UCOV
OCTTO
TEUtka&G)V
-
x,al
<77j7rt07TOuXuXoSEtOiV
(tcov) dbraXo7tXo-/.a(/.v
1
<9-sp[/.6?
p.ETa
. .
TauTa
.
7rap'/jX&sv
i<JOTpa7TEÔ? 0X0? V7](TTl? (JUVoStiW
m>po? ETCEiTa
teu&uJe?,
o)
(3a#'p.ou<;
aTpi^wv"
7rl
tw
'
7U7TaGTat
0-put/.[/.aTtSs(;
ai xutpal <piXs, /taâv&tff(/.vat >capt^? xapYjX&ov, &' ~l Ta'JTai; sutotocXoi yXcopai &' ao\>.
<papuyy;
xupvov ts OTEyaval (pucTai p.EyaSo?

ow;
. .
x.a>ca x,ax.>caf3oo
yXuttuou
20
6{/.<paXo? &oiva<;
ucTOCTa val
{/.a
xaXEirat rcapa y' p.lv x.al tiv, <ia<p' oiSa. &sou; j7Vp[7.y^? ti i[J.<x.c, ftuvvou (aoXsv
OTCTOV eV.1&SV,
DITHYRAMBIC POETS
9-epf/.o0,
o-8-i
467
yXutpavot? TSTp.vjf/ivov
eu-8-ui; efiatpO-v)'
too
'
u7uoya<7TpiStot; Siavexeio? etoxjauveiv
eiusp [aiv T (jt&oi xal tiv, [/.aXa xsv xâpoi[AS&'.
25 d&V 6&ev
eXXt7iro[7-v,
0-otva
7caps7]<;,
6V
ti?.
ItzcCKKvôli
Suvar
e7xpaTSco(; y<oy' srt,
xoo xs Isyoi
uavra
irapvjs tu[jlo)(; af/jav*
7capS7rai<7
Se 9-Epp.ov
cnrXay^vov, 7itTa s vyjcmc
S&cpaxo?
xal
oixSTnca?
xal
vwto?
egtjX&e
xal
6<r<pu?
xal
f/.ivupiy[xaTa &pf7.a"
xs<paXaiov
6'Xov
(W.tctuê;
<pB-6v
aTCp7Tu&7]v6?
aXEXTOTpOtpOU XVlXTa? pi<pOU 7Uap-8-7]/CEV. 30 Etxa &<p$-' axpoxo&ia, ayeXtXas ts [/.st' auTcov
Xux.o<popivo^poou<;, p'uy/7], x<paXaia, rco&as ts, ^vaufxaTto'v
<JCt>.(pjJ[J.EVOV.
te
<pO-a
ETCEtxa xps' 07rnx t'
aXV
Epicpcov
t xal
apvwv
f/iv),
to
<pi>.o-
a&uTOptop.a xapo? ôp&a yXuxicrnx,

&o(' toutcov( [/.tÊpt(papvoyV7]C,av -^ (pi^sovxt
Ta<; scfroi? xs'
au
Xayaa
S' stcit'
tj&t]
alEXTpuovwv te veogcoi,
35 TCEp&xtov
(pa.GEO)v
te jûâv
7cap(3aX}.STO &pf/.a
uoXXa
xal [/.alaxoTCTUÊtov apxcov 6[/.o<7uuya & âv-0-ov t' sxeictxal yaAa au[/.7i;axTOv to xs Tupov axac ti? tJX&ev [j.zki
r,f-v <paa^'
aTraXov, x^yoiv <pap.av" ote
'
TjSyj
PpaiTUO? I^Se
XOTOTO;
ic,
XOpOV
7][7.EV
ETaTpot,
T>jva f/iv dâxaEipov
o*f/.o3q,
ETCEtTa Se 7rals<; vi7rrp' s<)o<Jav
xaTa
yziptiv,
40
Ipwof/ixTOi? ^XtEpoâXxE? u&wp EXEyÊOvTS? TOtfCOV 0<70V (Tl?) EypTjC,', EXTpi[/.f/.aTa TE Xaf/xpa
Gfr/]f/.aatv
. . .
<jivo*ovu<pr,
ol&ocav
(oi)
Y_pif/.aTa
t'"
afA[3po<7toof/.a
xal
CTEfpavou? ioQ-alEa?.
(c)
ATHEN.
xiv.
642
F.
.
.
Ta?
Se &q 7rp6c&v
izoXkiZv
f/.o'Xoucrac;
uop9|/iSa<;
aya&oSv
Xttcapauysf?, Tualtv Eicrcpspov yf/.o>j<7a?,
to; <p7]f/.pot xa>iovTi TpaTCEâ; (SsoTEpa?,) a&avaTOi Se t* 'Af/.aX9ia<; xs'pa?.

5
Taici
S'
{/.ueX6<;
xa&iSputb] f/iya X.W- a PpoTOi? Xeuxo<; yXuxEpo;, Xextoi? apaj<va? Evaliyxioici XEx'Xot?.
(/.Esau;
\).y\
cuyxa"Xu7TTOiv o^tv aldjûva? utco,

fAa>.oyV?
xaTt^rj ti?
7rwu
>.i7TOvt'
avayxai;
468
APPENDIX
Bergk
^Tjpov
sv v)paT; 'Apicxaiou 7raXippuT<Hci 7rayai;'

ovojj.'
to"
ft
if
ap.uXo?'
yspclv
S'
eto^-evto
<jto(xiov
[/.acXspati;
10
tocv
Seâpivav
> J /
ti
jcoc
o\5g5
tic'
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DITHYRAMBIC POETS
469
SUBJECT INDEX
(
The
references are to pages, jvhen not otherwise stated)
Acatalectic, see Metre (60). Addison on Sappho, 154.

Adjective, double, Ibyc.
i.
Alcman, progress of music shown
in his
5.
choral systems, 39. development of choral strophe,

49.
Admetus,
Adonius, Aegidae,
Scol. xi.
see
Adonis, Miscel. xvii.
Praise of Sparta for lyric poetry,

101.
Metre
(63).
Pindar a
member
of
the
i.
Parthenion recently found, Alcm.

note
;
family, 282. Aeolic race, some

98-9.
love of nature, xxi. note.

at
characteristics of,
Alexander spares Pindar's house Thebes, 283.

Alliteration,
Aeschylus, passages from, as banquet

songs, 233. defeated at Athens by Simonides, 200. at court of Hiero, 201. Aesop's fables, ref. to in Archil, vi. vii ; Scol. xix. notes.
Sappho Amasis and the Greeks in Egypt, 149. Amyclaean hounds, Simon, xxiv. Anabole in the Dithyrambic Poets,
265.
xxxi. note.
Anacreon,
Biography
his
position
Agesidas, Alcman's master

125.
at
Sparta,
;
Alcaeus, Biography,
loses shield
etc.
rank
date;
in fighting with
Athe-
nians ; opposes tyrants ; exiled ; defeated and captured by Pittacus, but restored to liberty ; personal qualities ; criticisms of ancients on his poetry ; how far sustained by
surviving fragments, 135-140. his 'Alcaics' compared with those of Horace, 139.
melic poets ; a court - poet a typical Ionian ; flight (cf. 103) ; from Teos ; warfare ; life with Polycrates ; with Hipparchus ; subsequent career ; character as man and writer ; metrical power ; characteristics of his metres, 182-187.
among
his refined tastes, xv. ; desertion of shield, xxix. (d) note. at court of Pisistratus, 198. his songs as banquet-songs, 233. Anacrusis, see Metre (57).
Andromeda,
Sap. xv. Antimenidas,
rival
to
Sappho,
152,
Alcaeus and Sappho, Additional Note A. his vituperations compared with
Sappho's, 152. songs as Parcenia, 233-238. effect of anacrusis Alcaics, 139 seq. in, note on Ale. xi.
;
to brother Alcaeus, serves under king of Babylon, 136. Antistrophic style, employed by Alc-
man and probably by

49-
Thaletas, 29,
addition
trast
of
Alcibiades,
his
Olympic
victories,
life
;
between
lyric
Epode, ibid ; conand dramatic

viii.
Misc.
at
x.
Alcman, Biography
birthplace
-
systems, 40. Aorist, reduplicated forms, Misc.
Sparta ; dialect ; love songs some fragments of exceptional merit,

124-6.
8 note.
gnomic,
in sententious passages,
Scol. xxv. note.

characteristics of his choral
some
songs, 30 seq.
Apollo and flute-music, and Marsyas, 106.
37.
472
GREEK LYRIC POETS

Ballads, long narrative ballads in
lish,
Apollo identified with sun-god, Dith. Poets ix., cf. on Pind. vii.
Apotheosis of living men, Carm. Pop.
xxvii. note.
with
dance
Engaccompaniment,
Archilochus, Biography How far a ' melic poet (cf. note on xii. a) ; parentage ; travels ; return to
'
compared with the epico-lyric poems of Stesichorus, 169.

Banquet songs ; chief occasion for monodic poetry early connection
;
Paros
Lycambes
Delphi;
military life ; Neobule and ; character; honoured at
comparison with Homer;
with religion ; description of banquet songs in Athenaeus, etc., as Paeans, Paroenia, and Scolia proper, the
latter as a
originator of iambic, and even of lyric poetry, m-116. metrical inventions, 47. inventor of xpouot; uuo Tr,v o')3rjv,
41.
Arganthonius, Anac. xii. note. Arion, ode assigned to him, Miscel. i. came from Lesbos ; composed mainly at Corinth ; disciple of Alcman ;
;
game of capping verses ; Engelbrecht's view on the subject ; meaning and application of term Scolion ; characteristics ; Eustathius on subject-matter ; Scolion game in later times ; origin of term, 232238. antiquity of, 12. choral, 24, and Pindar
ix.
note.
cultivated choral dithyramb, 102. Aristophanes on Ibycus, 178. on Anacreon, 186. references to Scolia in, 233 seq.
avajBoXai, 265. Aristotle, Ode on Virtue,
Barytonesis in Lesbian, 81. Basis, Metre, 58. Beauty-contests supposed by Welcker to account for choral form of Ibycus'
love-songs, 177. Bias, Scolion attributed to, Scol. xxii.
on
Misc.
vi.
Bockh on Heptachord,
36.
friendship with Hermias, ibid. on music at Sparta, 102.
on Sappho, 153. on avapoXat, 265.

Arnold, Matthew, quoted as an example
of metre, 60. Arsis and Thesis, signification in which
on musical modes, 43. on metre, 52. Boeotian cups, Bacchyl. xiii.

Plate v.
1.
2,
Brachycatalexis, Metre (61). Bread-sellers, bad reputation of, Anac.

xxiii. 6.
employed, 47 note. Artemis worshipped at Anacr. ii. 4 note. Article omitted before
Bacchyl.
iii.
Magnesia,
participle,
Burns, illustration from his employment of local dialect, 75. effect of acatalexis in, 60. line in Tarn 0' Skanter, cp. with
Bacchyl.
runner,
i.
ii.
Astragali, Anac. viii. Astylus, a Crotoniate
see also
on Sappho,
xv. d.
dis-
graced, Simon, xvi. Athene and flute, Dith. Poets,
Caesura,
|3',y'.
origin of, 72.

ibid.
,
in
Horatian Sapphics,
and
Athens, praise of, in Pindar, xiv. Atthis, 152 ; Sap. xv. b. c. d.

Attic Scolia, see Scolia.
154. Catalexis, see
Metre
(60).
Aphrodite and Eros contrasted, Alc-
man
xvii.
Bacchic song,
xii.
primitive, Pop.
Songs
Catana, Stesichorus at, 168. Catullus, Sapphics in, 156. his glyconics as compared with Anacreon's, 187. his translation of Sap. ii. note. imitation of Sap. xxxvii. note.
Bacchius, Metre, 71. Bacchylides, Biography scanty details ; nephew of Simonides accompanied him to court of Hiero ; reputation ; characteristics of his
Cea Naenia, 205. Cercylas, Sappho's husband. Chalcidian swords, Alcaeus,

note.
xvi.
6-
poetry, 222-3. ethical principles
Chappell on the Heptachord, 36. on Pythagoras and the octave,

39-
in,
note
on
Bacchyl.
iii.
Attic dialectic forms

see also p. 105.
in, 78.
on the musical modes, 43. on high pitch of Greek vocal music, note on Terp. i.
n.
Baetis, called Tartessus, Stes.
i.
/3'
Charaxus, a brother of Sappho, 149.
SUBJECT INDEX
Cheese-offerings to gods,
note.
473
Alcman
ii.
xv.
Chelidonisma, Pop. Songs modern Greek, ibid. note.

See also 46, note 1. Chilo, Scolion attributed XXV. Choral song, causes of its
to,
Croiset, A., on Pindar, 281. Crusius on Stesichorus and the EpocW-, 170.
Cyclops
Scol.
viii.
Cyclic dactyls, see Metre (63). and Galatea, Dith.

note.
Poets
iii.
Cydonian
predomiArt.
iii.
apples,
1.
Stesich.
1.
Ibyc.
i.
nance
over
monody,
passim. extension of choral form to songs properly monodic, 24. choral love-songs in Ibycus, 177. cf. on Pind. ix. Choreic dactyls, 63. Choriambic verse, 67 seq. Christ, Wilhelni, 52.
Dance
in
its
connection with melic
poetry, Art. iv. passim ; passages in epic relating to early union of dance and song; closer union in later times; how far realisable through the surviving metrical systems ; continual
on basis, 59. on epitrits, 67, note I. on choriambics, 68, note
1.
Christian religious dances, 33. Cicero on Archilochus, 113. on Stesichorus, 168, note 5. story of Scopadae in, 199. Cinesias, Dith. Poet, 266. Cleis, the mother of Sappho, 148.
novelty; Dorian style predominant ; Greek dance mimetic ; iis connection with religion not only in Greek, but even in Christian times ; its influence on metrical structure, 25-33. popularity of, contributed to prevalence of choral song amongGreeks,
21, 22.
Sappho's daughter, 149. Cleobulus, epigram of, attacked

Simonides, Simon, xx. note. and the Chelidonisma,
by
of Spartan old men, Spartan Dance-song i. note. Danae and Perseus, Simon, ii. Daphnephoria, 9. ii. 4 comitative,' Simon, Dative,
'
note.
Pop.
Delos, earthquake
note.
at,
Pindar
viii.
a'
Songs
ii.
note.
ibid.
modern Swallow-Song,
36.
.
ancient
name
of, ibid.
Clonas, composer of Aulodic nomes,
Demetrius, on Sappho, 154.

Poliorcetes,
adulation
to,
Pop.
mentioned
in
connection
with
early poetical contests, 106.
Songs xxviii. and note. Democracy, unfavourable

lyric poetry, 106.
to
Greek
Cnossian decree on Timotheus, 270. Colon, see Metre, adJin. Commerce, its importance among Lesbians, 99. Comus-song, Bacchic character, subseauent extension of term, 8. see also Anacr. xviii. (a) note.
Contests
in
lyric
OEuxspa xaxaaxacrt;, at Sparta, 28, 38.

Diaeresis, in Horace's Alcaics, 140.
Diagoras as a writer of Dithyrambs,

269. Dialect in lyric poets (Pref. Art. VII.), Sec. I general remarks, abandonment of Epic for local dialect by monodic poets ; causes leading to formation of artificial dialect of choral poetry Epic the main element with
poetry of
ancient
origin, 106. results in final
period of melic
poetry, 107. Convivial songs, see Banquet-songs.
Doric and also Lesbian admixture
Corinna, apparent exception to rule of choral poets avoiding local dialect.

75-
difficulties in restoring properdialecti-
cal forms to the text ; forms common to choral poets ; appropriate poetic
Court-poetry, absence of sycophancy

103-104. Cradle-song, traces of
in,
1.
$oix>v.txkr\[}.a.
ii.
in
diction thus created, intelligible to the whole Hellenic race, 75-80. Psilosis Sec. 2 Lesbian Dialect
Danae-passage, Simon,
16.
note
on
important effect digamma doubling of liquids, nasals,

Barytonesis,
;
its
Cretan dances,
xix.
27,
29,
70,
Sappho,
Cretics, time-value of, 70.

cf.
for Attic, ou?, a? ; 01;, ai; further characteristics, 80-91. Doric 'severior' and 'mitior,' Sec. 3
and a
Bacchyl.
xvi. note.
chiefly the latter
employed by
lyric
474
poets
;
GREEK LYRIC POETS

summary
of Doric
forms in
lyric poetry, 91-96.
Dialect, Fiihrer opposed to the theory
Elizabethan age, comparison with Lesbian period, 99. Endymion, beloved by Sleep, Dithyr.
Poets, vi.
a composite lyric dialect,' 97of Alcman, 126. Didactic element in melic poetry, 18.
'
and
note.
Engelbrecht on Scolia, 235. Epic poetry, preceded by melic, but

its
Digamma,
in
Lesbian, 82
in
Doric,
see also Simon, ii. 18 note. Digressions, from proper subject, introduced by Simonides, 206. cf. Simon, xxiv B, note. Dionysia, poetical contests at, 106.
to assume a cultivated form, I ; influence on lyric poetry in treatment of subject, 19, in dialect, 76, 78 ; traces of early "lyric metres in epic, 45 ; passages in epic descriptive of branches of melic, 5 seq., relating to union of dance and song,
first
:
Dio Chrysostom on Archilochus, 1 14, 115 ; on Stesichorus, 171. Dionysius of Halicarnassus on Sappho, on Stesichorus, 170 on 153
; ;
Simonides, 205. Dionysus with ox-attributes,
Pop.
25 seq. Epico-lyric style of Stesichorus, 169 of Ibycus, 176. Epinician ode, in primitive form, viii. note ; cultivated by Archil, Simonides, 206 ; special province of
Pindar, 19. Epinician ode
eel. x.
Songs
xii.
and
note.
Dioscuri at Sparta, Alcman i., introductory note. Dipodies in metre, 65 seq. Dirge, as a branch of lyric poetry, once sacerdotal ; description in Homer ; modern Greek dirge and funeral ceremonies compared with ancient Gp^vot as distinct from
;
on
Alcibiades,
Mis
Epithalamia, 12. Epitrit, Metre, 64, 66
seq.
Epode, attributed
to Stesichorus, 49.
i.
objections to this view, 170.
Epodic metre, Archil,
note.
'ETCiy.rjoeta,
10-12.
Eriphanis, love story of, Pop. Songs x. Eritheia, a name of Gades, Stesich. i.
(b).
Dithyramb, invention attributed to Arion comparatively late as a cultivated branch of melic poetry; mentioned by Aichilochus, 7-8. cultivated by Arion, 102. by Simonides, 201.
Eros, in lyric poets, Add. Note B. cult at Thespiae, ibid.
and Ball, Anac. vi. note. and Astragali, Anac. viii.

with golden wings, ibid. ix. Erysiche, in Acarnania, Alcm. iv. 4,
note.
melic period, 106-107. Dithyrambic Poels, introduction to innovations of Lasus, gradual corruption of lyric poetry ; complaints of Pherecrates against various composers ; general character of later
in
final
Euripides, passages from, as banquet songs, 233. Eustathius on Scolia, 237.
dithyramb (cf. 106- 107) ; lives of certain poets, 263-271. Division of labour among lyric poets,
Falling rhythm
Dochmius, Metre, 7 1. Dorian influence on melic poetry

iii.
61, Archil, ii. note. Fauriel on mod. Greek songs, II, 12. Fennell's Introduction to Pindar, 281. Flamininus, Pecan to, Miscel. xxix.
Art.
Flowers, metaphors from, in Pindar

4, note.
ii.
passim.
Dialect, 91-96.
Ear-rings, use of
among
ii.
Asiatics,
IO.
Anacr. xxiii. 4 and note. Egypt, corn from, Bacchyl.
Elean
xii.
hymn
and
;
to Bacchus, Pop. Songs,
note.
Flower-song, 14 ; Pop. Songs v. Flute music, developed by Olympus and Clonas, 36 ; by Thaletas, 38 its connection with choral song, 37 ; flute-contests at Delphi, ibid.; terms connected with flute borrowed from those appropriate to lyre, Simon.
;
Elegiac poetry, a step between epic and melic nature of its subjects, 2. Eiresione, a mendicant song, Pop.
xxiv. B. 3 note.
and Comus
songs,
Bacchyl.
i.
i.
Songs
ii.
note.
v.
Eleusinian mysteries, Pind.
and
5 note.
lyre, Dith. Poets see also under Apollo.
SUBJECT INDEX
Four-line stanza in early times, 46. Fox and Eagle, fable of, Archil,
note.
475
Scol.
i.
Aristogeiton,
vi.
note
on
viii.
earthquake
note.
at
its
Delos,
Pindar
;
Fox and Ape,

poetry, 97.
ibid. vii. note.
Hexameter,
poetry, 62.
origin, 45-6
in
lyric
Fuhrer, on the dialect of Greek lyric
Hiero, patron of Simonides, Pindar,

etc., 104, 201, 282.
Genealogies,
poets,
often
xxii.
;
Alcm.
allegorical in Alcaeus xxiv. ;
Hinds
xxiv.
with horns in poets,
Anacr.
(2),
and Simon,
xxiv.
4,
Bacchyl. xx. Genitive, usage of, in Ibycus i. 2 ; in Bacchyl. ii. 3. Gildersleeve's introduction to Pindar, 281 ; on Schema Pindaricum, Pind.
vi.
with notes.
Hipparchus, entertains Anacreon, 183, and Simonides, 198 ; regarded as

Tupavvo?, Scol.
i.
note.
16.
Girard, J., on the epoch of Pindar and Aeschylus, 284, n. 1. Glaucus, the boxer, Simon, xv.
Horace, on Archilochus, in. on Alcaeus, 137. on Anacreon, 185.

his choriambics, 59, 68.
his
Alcaics,
as
cp.
with
the
Glyconics in Anacreon, 186-7.
Gorgo, rival to Sappho, 152. Grasshopper, regarded as musical, Alcaeus ii. 3 note. Grote, on Timocreon's attack upon Themistocles, Timoc. i. note; on a popular mistake with regard to Harmodius and Aristogeiton, Scol. i. note ; on Alcibiades' Olympic victories, Misc. x. note ; on Paean to Demetrius, Misc. xxviii. note. Gyges, Archilochus contemporary with,
112.
Greek,
139. his Sapphics, 154 seq. Ionics in, 70. Hybrias, song of, Scol. x. note.
Hygieia, ode to, Miscel. Poets v. and notes.
v.
Dithyr.
Hymenaeus,
distinct
12.
from Epithalamion,
ibid.
3.
as a branch of melic poetry, Hypercatalectic metre, 61.
Hymn,
Hyporchem, nature
of, 5.
6.
Cretan origin, ibid. cultivated by Thaletas,

description in
Gymnastics, influence on melic poetry,

22.
Homer,
ibid.
Gymnopsedia, choral poetry developed by Thaletas in connection with,

29.
Iambic
between epic and
poetry, cultivated in the period lyric, its subjective character, 2.

note.
Gyrete, rocks of, Archil, xiv. 2 note.
Iambics in melic poetry, Pop. Songs,

xiii.
Halcyon, Alcm.
Scol.
note.
ii.
note.
see
Ibycus,
Biography
;
days, Simon, xxi.
rank
on
at court
;
birthplace ; of Polycrates ; story

to
Stesi-
Harmodius and Aristogeiton,

i.
of cranes
resemblance
Hebrew
lyric poetry, as cp. by Coleridge with Greek, 16. Hecuba, changed into a hound, Miscel.
xviii.
chorus; chiefly a love-poet; affinity with Lesbians ; love-poems in choral form, how far explicable ; merit of
surviving fragments, 176-8. a court poet, 103-104.
Heptachord,
note.
see
Music, 35; Terp.
ii.
Heracles and Helios' cup, Stesich.

note.
i.
Ilgen on Scolia, 233. Improvisation in banquet-songs, 233, 234Infinitive in imperative sense, Anac.
iii.
Heraclitus,
note.
doctrine
of,
Pind.
i.
8, note.
Ionic verse, Metre, 69.
Hermann on
Sappho
vi. note.
Hermes, as cup-bearer
xli. note.
Pindar's dialect, 77. to the gods,
dialect, employed by Anacreon, 182. Irrational Syllables, Metre, 65, 66.

illustrated
Hermias, friend of Aristotle, Miscel.

Herodotus, on Alcaeus, 136; on Sappho, 149 contemp. with Simonon Harmodius and ides, 197
; ;
from
i.
English
p'
Poetry, ibid. Islands of the Blest, Scol.

Italy,
note.
Melic Poetry in, 102-3. Ithyphallus Song, Miscel. xxviii. note.
476
Itonia,
xvi.
GREEK LYRIC POETS

epithet of Athene,
Bacchyl.
Ivory, decorates houses, Bacchyl. ii. ; sword-hilts, Alcaeus xxv. ; lyre, Scol. xvi. a.
bringing lightning from the clouds, Ibyc. i. 7. Lycambes attacked by Archilochus,

113-
Lydian
fillet,
Alcm.
i.
35.
J ebb,
Prof.,
reference
to
article
on
Pindar.
Lacrimae Simonideae,
205.
dye, Sap. xxix. m>te. touchstone, Bacchyl. ix. Lyre the genuine Hellenicinstrument, 38 additions of Terpander, 35.
ivory-horned, Scol. xvi. a'. Lyric poetry, see Melic Poetry.

-
Laconian (Pseudo-) decree against Timotheus, 270. Laconian hounds, Simon, xxiv. A. Lamprocles, an early Dithyrambic
poet, 268. Larichus, a brother of Sappho, 149. Lasus, earliest Greek writer on music, 40 ; rival of Simonides at court of Pisistratus, 198 ; innovator in Dithy-
first written for fixed pay by Simonides, 105. Lysander, Paean to, Miscel. xxvii.
Magadis,
:
Dith. Poets xv.
2.
ramb, 263-4.
Leighton, Sir F., his picture of the
Mahaffy on Greek melody, 42, 57 on literary influence of Spartan monarchy, IOI. Marsyas and Apollo, 38, 106. Meister, on Lesbian dialects, 81, 85,
9i-
Daphnephoria,
Leipsydrion,
Scol.
ii.
9.
defeat of
Eupatrids
at,
Melanippides, 265. confusion between an older and

younger,
latter
note.
268
Lesbian Dialect.
See Dialect, Sec. 2. school of lyric poetry, its proinfluj3'.
among
later poets
prominence of the and musi-
bable antiquity, and enduring

ence, 23.
its
Cf.
on Archil,
xxi.
circumstances favourable to
excellence, 98-9.
comparison with Elizabethan

age, 99. Lesbos, tyrants at, 135-6. position of women at,
269 ; a corrupter of old musical style, 265. mythical subjects in, 107. Melic poetry, our deficient acquaintance with, Pref. p. vii. overshadowed in early times by
cians,
1 50-5 1. Lethaeus, a river in Magnesia, Anac.
Leto xoupoxpocpo?, Timoc. i. 4 vote. Leucadian leap, 149, Anacr. xiii. Leucophris, worship of Diana at, Anac. ii. 5 note. Licymnius, a Dithyrambic poet, 271. Lindus, chief Rhodian city, Simon.
xx.
1.
;
revival and rapid developdevariety of branches ; scription of these, I-14. distinct classification in poetry ; reoccasional results of this ; ligious or didactic tone predominate
Epic
its
ment
'
'
ing
cal
objective character otrjYTjTL/.rj, 15-20.
mythologi-
penultimate period, written for fixed charges, 105. Consequences averted for a while by the inspiring circumstances
when poems
were
Linus-song, 13-14
note.
Pop. Songs
i.
and
metre
of, in
connection with
origin of Epic hexameter, 45-6.
Lions milked by Bacchantes, Alcman

xv. 5 note.
cf the times, ibid. final period that of public competition ; disappearance of all classes of song except the Nome and the Dithyramb ; low standard of
Lityerses-song, 14.
Logaoedics, Metre, 47
seq.
Longinus on Sappho, Sap. ii. note. on Bacchylides, 223. Love-songs in choral form in Ibycus,
177.
poetry, subordinated to musical ac; foreign elements, such as dialogue, introduced into of lyric passages ; importance
companiment
myth, 106-107.
attained
its
highest
excellence
Love
stories
subjects
of Stesichorus'
poems,
169.
Lucretius on the notion of the wind
just before its place was taken by dramatic literature, 283. Messoa, a district in Laconia, 124. Metre (Pref. Art. VI. ). Primitive song-
SUBJECT INDEX
metres,
;
477
how
far traceable in
;
hexa;
meter the four-line stanza primitive forms developed by lyric poets

ye'vo?
dnzktxaiov
logacedics,
nature
of; ysvo; i^jjuoXigv, Paeons, etc. ; Thaletas ; choral strophe Alcman ; causes of the difficulties in choral
;
clusion of a line ; the System, semiindependence of lines, 4574. Metre, contributions of Archilochus to, 2, 116. of existing fragments as a partial clue to the Greek Dance, 31.
rhythms
Greek metre
to
be ex-
Milesian wool, Pop. Songs Mill Song, Pop. Snngs viii.
iv.
plained on musical principles ; contrast with modern metres long and

;
Mvofa
at Crete, Scol. x. 5 note.
short syllables vary in quantitative of times the value ; equality essential principle in Greek metre cyclic dactyls ; short syllable in place of long, at the end of a verse ; limitations imposed upon the licences allowed to metre by its connection with music ; resolution of the syllable in arsi rarely employed until the decadence of Greek poetry. Variety of length of lines in the
' ' ;
Modern Greek monies, n.

12.
funeral song and cere-
wedding-song
and ceremonies,
with ancient,
2.
- swallow
14.
song, cp.
hymns sung
Molossian
flute,
in unison, 14, n.
Simon, xxiv. A. Mucke on dialect in Greek lyric poets, 77, 78, 86 note. Muller (K. O. ) on Alcman's date, 124. on position of women at Lesbos,
151-
same
strophe,
in
signifying
effective
changes
dance
and
of
melody.
lyric
on Stesichorus
as son of Hesiod,
Roman
metres.
imitations
Greek
equivalent,
its musical Anacrusis, rule. 'Irrational' syllables, meaning of the term, general Basis explained and illuseffect. trated, disappears in recited lyrics how far connected with rhythm of the
;
on Pindar's dithyrambic fragment, 264. on the later dithyrambic poets, 267. Mure, on the branches of Greek lyric
poetry,
3.
168.
line.
Catalexis, etc. explained
and
il-
lustrated. ttypercata/exisa.nd Brachycatalexis, peculiar to song-poetry ; nature of verse-pauses and signs to
on on on on
Alcaeus, 137.
Sappho, 157.
Stesichorus, 171. the Scolia, 237.
denote them. Dactylic Metres the hexameter in lyric poetry ; Prosfinal dactyls not odiac Adonius
; ;
Muses, dancing and singing in Hesiod,

singing
dirge of
Linus,
Pop.
permitted except
in
systems
Choreic
Songs Music,
dactyls ; dactyls in the Epitrit. Anapastic metre, dactylic with Anacrusis, for march - songs. appropriate
and note. in accompaniment to lyric Their close poetry, (Pref. Art. v.). music subordinate in connection
i.
A,
earlier
style,
Trochaic, the predominant Greek metre. Dipodies, explanation of trochaic diirrational syllable in podies Epitritic measure ; three kinds of trochaic dipodies ; brachycatalexis in trochaicdipodies. Choriambics, origin of term; suited only for
;
; simplicity of early traceable in metre of early the heptachord and Terpansongs der ; Clonas and Olympus develop flute-music; opposition to flute-music
;
times
song
complete
;
choriambic
lines
hardly found
amb.
of choriIonics a tnajore and a minore,
time-value
not alwaysdistinguishablefrom choriambics with anacrusis ; time-value ; Ionics a majore only suited for song ; Picons and Cretics only in
with connection dance songs ; Bact hius ; Dochmius. Colon, single and compounded ; origin of caesura
gradually overcome, important results on choral poetry ; Thaletas and flute-music ; progress of music shown in the metres of Alcman and Stesichorus ; further development in the time of Pythagoras ; music in dramatic, as compared with lyric chorus tendency of later music to predominate over poetry ; songs all in unison; one syllable one note ; exact agreement between words and musical
;
accompaniment ethical importance attached to Greek music, how far

;
and
diaeresis
complete
verse
or
UTiyo?, distinguishing
marks of con-
reconcilable with its deficiencies the musical modes,' 34-44.

'
478
GREEK LYRIC POETS

Parcemiacs, Sap. xxxiii. note.
Parcenia, see Banquet-songs. Parthenia, cultivated by Alcman at Sparta, 9. Pausanias (the Spartan general), friendship with Simonides, 203.
Music, inventions attributed to Sappho,

150.
Musical
rests, influence on Greek metre, confined mostly to the end of the
line, 55.
Myrsilus, 136. Myrtis, 282, and Miscel. ii. a. Myrtle-bough and banquet-songs, 233. at sacred ceremonies, Scol. i. a',
1
Pausanias (Geographus) on dialect of
Alcman,
126.
;
note.
Peitho in lyric poets, Sap. i. 18 note Ibyc. iii. 3 ; Pindar ix. 10.
of abstract Personifications Miscel. v. note. Phalaris and Stesichorus, 168.
Myth, its importance rambic period, 107.

its
in
the
Dithy-
ideas,
treatment in Pindar,
19.
employment
Simon, ii. Mythology in
in dirges, ibid,
and
Pherecrateans in Anacreon, 186-7. Pherecrates on the later poetical style,

264.
lyric poets, due greatly to epic influence, 19. fondness of Greeks for illustration
from, 19, and Sap.
xli. note.
Philoxenus, the Dithyrambic poet, 265. mythological subjects in, 107. Phrynis, a Dithyrambic poet, 266. Pillory, Anacr. xxiii. 9 note.
Naucratis,
Nature, love
151. in
149.
of,
displayed in Sappho,
126.
Alcman,
i.
Ibyc.
note.
Neobule and Archilochus, 113. Neuter plural nouns with plural verb, Alcaeus ii. 2 Pind. vi. 15. Nine chief lyric poets, the greater
;
number
23.
of
Asiatic-Greek descent,
Pindar, Biography reasons for inser tion of his fragments, which afford typical specimens of various classes of melic poetry ; life ; period of melic poetry with which he was contemporary ; general nature of his odes ; poetry not degraded in his hands by being a profession ; earnest religious and moral tone ; seen also in his treatment of mythology ; indications of a lighter tone in his fragments,
281-285.
praises
Niobe, Miscel. xvi. Nome, a branch of religious lyric, 6. Aulodic, ibid. improvements by Terpander, 36.
in final period of epic poetry, 106.
Sparta
for
music
and
song, 101.
complains
;
of the
shackles laid
Nymphs, Gardens
Ibyc.
i.
of,
Sap.
iv.
note
note.
3.
upon poetry, 105. on Archilochus, 1 14. influenced by Stesichorus,
and Bacchus, Anacr. in. 2
Objective character of Greek

poetry, 19-20.
lyric
resemblance of their metres, 17 1. Simonides at court of Hiero, 201. Threnoi of Simonides and Pindar,
rival of
169.
Octave-system, Music, 39.
205.
36.
Olympus and
'
flute-music,
its
Dith.
Longinus on Pindar and Bacchy-
Poets i. d. note. Orchestic singing, 25 seq.

'
development,
Orpheus, Simon,
Orthia, a
note.
xxi.
i.
name
of Diana, Alcm.
28,
lides, 223.
nature of his threnoi, Pind.
i-v.
introductory note, 412. on future life, Pind. ii. note. ' representative of austere' style, Pind. vi. note ad init. and the dithyramb, 264.
Paean,
in
Homer,
5.
cultivated by Thaletas, 28.
Pisistratids, Anacreon at court of, 183, 198.

see also Scol.
i.
and Simonides
both accompanied and unaccompanied by dance in Homer, 27, 28. and Banquet-songs, 232. Painting silent poetry,' 205.
'
note.
Pittacus, 138, 139, 148.

criticised
by Simonides,
song,
ix.
(cf.
203).
Palinode, Stesich.
Pan
'Opyrjim]?, Scol.
iii.
ii. /3'
note.
vi.
and
Songs
mill-stone
Popular
viii.
Pandrosus, Scol.
note.
Scolion attributed
to, Scol. xxiii.
SUBJECT INDEX
Plato on the theory of music, 39, note
I.
479
in
Sapphics
I54-
in
Sappho and
Horace,
on its ethical value, 43. on the musical modes, ibid. on Sappho, 153. remarks on a passage from
Simonides, Simon, ix. notes. Pleiads, Dith. Poets, iv. /3\ Plutarch on Sappho, 153. Polycrates, patron of Ibycus, 176; of
effect of acatalexis in, 60.
Sappho, Biography birth and rank flight to Sicily ; return to Lesbos marriage story of Leucadian leap ; position at Lesbos as head of female poetic society quarrels at Lesbos
;
Anacreon, 183. Popular songs, signification

391. Pratinas, Biography
title,
_
personal qualities ; immense reputation, borne out by fragments, 148154. as a musician, 38, 150.
of
the
his
-
connection
comparison with Ibycus, 177.
with lyric poetry ; date, etc., 267-8. quoted by Athenaeus for invective
against Poets, i. a'.
flute
players,
Dith.
Praxilla, Scol. xi. note.
Preludes to epic narration, 26 note. Primitive names of places ascribed to the gods, Pind. viii. a' 4 note. Processional songs, many kinds of Greek lyric poetry of this nature ; a distinct feature in Greek religious
ritual, 9.
and Alcaeus, Add. Note A. her odes as Scolia, 236. Sardis, birthplace of Alcman, 124. Satyric drama, probably connected with dithyramb, 267. Scephros, a summer-song, 14.
Schema Ibyceum, Ibyc. v. note. Schema Pindaricum, Pind. vi.

note.
16
Schmidt (M.), on the

46, n.
2.
four-line stanza,
new
principles applied to
to,
Greek
56.
Paean, Pind. viii. a! note. Pro-ode, Anacr. xiii. note. Prosodia, see Processional Songs. Prosodinc Metre, 62.
^tXr)
xifrapiai;, hardly recognised as legitimate music, 43. Psilosis in Lesbian, 80- 1. in Ionic, Archil, xiv. 1 note ;
metre, 52. reference
on eurhythmy,
on basis, 58. on 'falling rhythm,' 61. on the Bacchius, and Dochmius,

7i-
Schubert, illustrations from his song-
Anac.
ii.
6.
Publicity of
Greek
civil life, influence
upon lyric poetiy, 20, 21. Punning allusions in Scolia, 237, and
Scol. xix.
accompaniment, 40, 42. Schumann, illustrations from accompaniment, 42. Scolia, see Banquet - songs,
Scolia,
their
his song'
Attic
'
metre, Scol. i. note : choral scolia in Pindar, Fiag. xi.

note
;
Pythagoras and musical improvements,

39-
and perhaps
in
Timocreon,
219.
in Pindar, iv. note.
Pythagoreanism
Quintilian on Archilochus, 116. on Alcaeus, 138. on Stesichorus, 170, 19.
Scopadae, story of their fate, 199. Scythians, notorious drunkards, Pind. xvi. 9 note. Seasons of years, certain songs appropriate to them, 14. Serenade, 8 Alcaeus xii. note.
:
Reduplicated Aorists,
8 note.
Misc.
viii.
Shelley, logacedics in, 48.

'
irrational
'
syllables in, 66.

in,
Refrain, 27, and Sap. xxxiii. Rhadina, story of, in Stesichorus, 169,
Sicily, melic
poetry
102-103.
Sicilian influence
on the compositions
and Stesich. vi. note. Rhodopis and Sappho's brother,
Rhyme,
notes.
instances
of,
Scol.
149. xiv. xvi.
Roses, sacred to Muses, Sap. vi. note. Royal power at Sparta favourable to
lyric poetry, 101.
of Stesichorus, 103. Simonides, Biography tangiblehis importdata for his career ance in the history of Greek melic poetry ; birthplace and early lifeinCeos; at court of Pisistratus in Thessaly ; story of Dioscuri and
Sages,
Scolia
attributed
to,
Scol.
xxii. note.
victory over Aeschylus successes in dithyramb ; at court of

otic
;
;
Scopad* poems
;
returns to Athens
patri-
480
Hiero
;
GREEK LYRIC POETS

poetic rivalry with Pindar maintained to the last ; his
;
activity
character
; reputation for wisdom ; careful training philosophical views ; and finished style wit ; his poetry;
;
choral metres, 38; his position in the history of Greek lyric poets, 103 ; his blindness and recovery, Stes. ii. note; imitated by Ibycus,
176.
excelled in elegy and exactitude of language

his
epigram pathos;
; ;
Strabo,
on Sappho, 153; story in Strabo of her leap from Leucadian

_
dirges
realistic
power
his
hyporchems, epinicia, etc., 197-206. Simonides: his position in Greek melic Simonides and Lasus poetry, 105 as Dithyrambic poets, 206 story of
; ;
rock, 149. Strophe, in Alcman's Parthenia, 49. Suidas on Archilochus, 114.
note ; xix. cupidity, Simon, with Timocreon, 219 ; enmity popular for banquet songs, 233. Alcm. Sirius, used of the sun, note on
his
i.
on on on on on on
Alcman, Sappho,
124. 148. Stesichorus, 168.
Simonides, 202. Pratinas, 268. Melanippides, 265, 26S.

Greeks,
29.
of any star, Ibyc. vii. 7' note. Sobriety of Greeks, Anac. xvi. note, and 237. Social precepts in Pind. xi. Socrates, and a song of Stesichorus,
170. relations
cp.
of,
Sun-shades, among xxiii. 13 note.
Anacr.
Swallow, as messenger of spring, Simon, xxiii. Swallow-song, see Chelidonisma.
Swan
note.
singing,
Dith.
Poets
i.
a'
and
his
disciples,
with those of Sappho and her

xvii.
pupils, 151.
Solon and Sappho, Sap.
note
Swinburne, quoted for metre, on Sappho, 154. System, Metre, 93. in Anacreon, 186, 187.
53.
Scolion xxiv. attributed to him. Sophocles, a remark on his poetry by Longinus, 223. Sparrows, sacred to Aphrodite, Sapph. i. 10 note. of melic poetry at ; Sparta, progress a centre to which lyric poets were attracted from all parts of Greece ; causes of her pre-eminence, and of her the absence of native talent
;
Tantalus-stone,
note.
Alcman
of
xxvii.
Tartessus,
Stesich.
a
i.
name
/3'
the
Baetis,
note.
Telesicles, father of Archilochus, 1 12. Telestes, a Sicilian Dithyrambic poet,
270.
Terpander, musical innovations, 35-6
long-enduring fame in poetry music, 100-102. Parthenia at Sparta, 9 ; Terpander at Sparta, 36 ; Thaletas at Sparta, 28 ; life at Sparta in time of Alcman,
125
i.
;
and
101 ; takes part praise of Sparta, in poetical contests, 106 ; his nomes altered by Phrynis, 266. Tetrameters, why so called, 65. how far melic, III.
in
Anacreon
v. note.
praise of Sparta in in Pindar xv.

;
Terpander
Thales, him.
Thaletas,
Scolion xxvi.
attributed
to
Alcman Spartan dishes and wines in

xii.
xiii.
Sphinx,
Aetolians cp.
at
with, Miscel.
xxviii. 33.
and Paean cultivated Hyporchem, 5, 6 part played by him in development of orchestic Thaletas and flute singing, 28-9
;
' '
Springende Heiligen
33.
Luxemburg,
Stesichorus, Biography birthplace, date, etc. ; Stesichorus and Phalaris exiled to Catana ; first great lyric epico-lyric poet of western Greeks on Pindar ; lovestyle ; influence stories ; Paeans ; epode attributed to him ; compared by ancients with
;
music, 38. 106. Thargelia, poetical contests at, Thasos, abused by Archilochus, 1 1 2. Thebe, as a goddess, Pind. xiii. 4. Themistocles, friendship with Simonides, 200. attacked by Timocreon, Frag. i.
see note.
Thermopylae, favourite subject
with
Homer
his fragments hardly representative of his powers, 168-171. of music traceable in his
;
Progress
Simonides, 200. Threnos, see Dirge. Thucydides, on victories of Alcibiades
SUBJECT INDEX
at Olympia, Miscel. x. note on earthquake at Delos, Pind. viii. a. 3 note ; on Harmodius and Aristo;
481
vii.
;
Tyche, ode to, Miscel. of, Alcm. xx.

Tyrants,
their
genealogy
influence
on
melic
geiton, Scol.
i.
note.
lyric
;
poetry, 103.
Rhodian Timocreon, charged with Medism Themistocles and

athlete ; character
poet
enmity with Simonides ;
Usener, on
early metres, 45.
subjective personal or of his poems although
choral, 219.
Timotheus, date and importance in later lyric poetry, 270 innovations,

;
Velleius, on Archilochus, 115. Violet-garlands at Dionysia, Pind. vi. 17 ; xiv. 1. Virtue, Aristotle's ode to, Miscel. vi. ;
among
inaccessible crags, Simon,
x.
266.
Tortoise-song, Pop. Songs iv. note. Touch-stone, metaphors from, Bacchyl.

ix. note.
Wedding-songs, 12. Welcker on Sappho,

177.
152
on Ibycus,
Tragedians, ethical character of their

choruses, inherited from lyric poetry proper, 285. Transmigration, doctrine of, Pind. iv.
note.
Wine, proportions of wine and water
among Greeks, Alcaeus

xvi. notes.
v.
Anac.
ix.
Wool-workers' song, Pop. Songs
Tribrach, in f time, Simon, Trimeters, nature of, 65. Trochaic metres, 65 seq.
xvii. note.
Xenelasy,
not practised in early Sparta, 100. Xenophon, discourse between Hiero
and Simonides, 201.
II
GREEK INDEX
The word note after a
occurs in the
reference signifies that the
only,
Greek expression
commentary
and
not in the text also.
'Afldxjjs,
dfJaxiSofiat,
sense of, Sap. xv.f. sense of, Anac. xix.
dXd B-sia, with penult, short, Bacch.

4.
vii.
dyavojEXscpapo? IlaO-w, Ibyc. iii. 3. dyxuXr], in connection with cotta-
'AXxjxdv for 'AXx[a.a!wv, p. 92.

dXka.
.
.
yap,
Alcm.
Anac.
xiii. 7.
bus, Bacchyl. xxi.

dypsl
1.
dXXoxa, p. 85.
'AjxaXxK?]; xe'pas,
xii.
1.
alpet,
Sap.
ii.
14.
'Ayooxc'pa, epithet
vii. 3.
of Artemis, Scol.
i.
d[j.XyopiEvo? fieXi,
dpijj.es
ri[xiii,
Misc. xx. Alcae. xvii. 3,
etc.
dyw, of singing, Dithyr. Poet.
a'
doap.avxora'8tXoi xiovs;, of the pillars
,7-
Alcae. vi. 4, etc. d[xoi[3dv, as prepn = ydpiv, vi. 6 note.

d[A|i.i,
Pind.
dStd^Twroi,
,
of Delos, Pind. viii. a' 7. of second-rate poets, 22 3-
d[j.ov
I
spiov,
. .
Bacch.
.
i.
11.
'Ap.uxXaiav
dp.u'vsiv
P\
xuva,
Simon, xxiv.
in
i.
A.
d[i.uvsaO-ai
sense
in
of
aStxrjei,
Sap.
1.
20.
dpLEijBsaO-ai,
Alcm.
32.
1-2,
deXXorcoSiov 9-uyatpe? Imvav, of mules,
dv,
omitted with optative

Scol.
in
11.
'
Simon,
xiv. 3.
xix.
dsX^xia, i% <xz\-t{i}$
de'ppw,
= aik-KTU)^ Archil.
dosis,
xviii.
aponote
omitted Sim. ix.
relative conditional,'
Sap. xxxiii. 3, Alcae. v. 2. dâXe'o;, in active sense, Ibyc. i. 18.

'Afrdva
ai
dvapoXr], p. 265.
dvdyxa, of the
influence of wine,
p.
xi.
and
Spartan Dance-song, i. 2. Mura, Alcm. vii. 2. aiO-os, of spiders, Bacchyl. i. 6. aiXtvos, as a refrain, p. 27. of wine, Dith. Poets otT[j.a Bax/tou,
ei,
'a8-7jv, Scol. iv.
1.
Bacch.
ii.
1.
dvayvwTuxo;, of Licymnius,
dvaxXwjjLEva Sip.sxpa, p. 187. Xoyov, Pind. dvappât
. .
.
271.
[3'
aisvdoiSs
I.
dvaaxaXu^w, Anac.
dvSpaia
dvSps;,
x. 4.
= auaatxia, Alcm. \i. 2. Epic usage of xe'xxove; dvSpe;,

xxxiii.
3.
xxiii. 7.
Atvojwcpis,
d'i'xa,
Alcm.
of,
xxvi.
Sap.
v. 2.
i.
^chjaeve;
dv.,
Id.
quantities,
Alcm.
Terp.
xxxvii
6.
?7jj.d,
sense
1.
i.
dtoj dist.
from xXuw, Sap.
dvEorjaaxo vixa?, Simon, xvi. 2. dvrjxov at banquets, Alcae. vi.

dv9-o;
xu|j.axo;
1.
dxajA7:To?"Ap7]<;,
dxivrjTo?,
viii. ' 3,
Bacchyl. iii. 3. as applied to Delos, Pind.
Alcm.
xix. 2
;
ii.
3,
dvO-sa
noa;,
xix.
Sap. Bacchyl. i.
3
dv.
dv.
doiodv,
xopj?,
1
;
Anac.
Simon.
'Axxt?
deXtou,
form of address to
ix. 2.
sun, Pind. vii. 1. dXdO-sa = dXr^sia, Alcae.
drcdXotpivo;,
ix.
Alcae.
vii.
GREEK INDEX
ajuapS-sveuTos,
xiii. 2.
483
for Bo]8po[jLiwv,
sense,
. . .
Pop.
yXtoacra?,
Songs
Scol.
j
BaSpdpuo?,
paivEiv, _eu
Rhodian
ii.
Pop. Songs
note.
aTOpavToXoyou?
xxvi. 4.
jcopEpetv, xxxix. 2.
|3E|37]xoTa?,
metaphorical,
4.
perhaps with dat., Sap.

dist.
1.
Archil, x. 3 ; cf. Id. xiii. 4. Bax/io? for Baxyo;, Dith. P. x.

paXjhoc?, Pop.
a^paxTo;
as
v.
from
obtprjxTos,
Songs PaXe = utinam, Alcm.

Boeot. for
yuvrj,
xi.
ii.
(3'.
2.
Simon,
aû
= goto,
[3aXoia%)-a, p. 89.
obcupos,
Alcae. xxv. 7. of gold too pure for refining,

p';
(3ava,
Misc.
ii.
a'.
Paaaaprjaw, Anac. xvi. 6.

,3au/.aX7)[j.a,
Scol. xvi.
eacuo-cpE'tpeafrai,
, 4; ajctojxoros,
with dative, Sap.

xi.
1.
vii.
the Cradle-song, Simon. 15-16 note. (3sXeus, genitive, Alcae. xvi. 4.

ii.
sense in Archil,
a'
Vjv
;
apa = apa, Archil, vi. apa in the phrase

xxi.
(Bs'vtha vu'xxo?,
Stes.
i.
3.
vii. 4.
apa,
2.
Scol.
PspPEpiov, sense, Anac. xxiii. 3. [Biaiw?, sense in Pind. ix. 6.

[BXacrcat te'xvwv,
apao = 7jpa<jo,
apyupi'a,
Miscel. xvi.
2.
Sap. xxxvi.
iii.
. . .
PXe'toiv,
1.
with cogn. accus. Anac.

|3.
;
x.
Sap.
4.
apyupopious
apoeaO-at,
jxpsxxo?,
with genitive,
xiv. (b).
Jcaya;, Stes. i. 2. lb. i. 2.
[iXriypd?,
Simon,
"Apeuos, Lesb. genitive, Misc. xxx. 1 note.
= 5a3ivo;, Sap. xiii. 4 Ppa3tvo;

2.
nc>Ta[i.o, Pind. ii. 9 Alcae. xxvii. pdaxEsO-at, with accus., Anac. v. |3payyto;, Misc. i. 4.
(3.
avE'fxwv,
5.
xxxiv.
sense in Bacchyl. xv. ap/siv, of love, Archil, xix. 1.

apprjxo?,
2.
a?
!'w;,
= paxa, [ipaxEa
xv. d. 2.
signification,
Sap.
p. 92.
aoaxo?, the bough at note 2. p. 233,

auajj-evot,
banquet songs.
= pdSwv, j3pdScov
PpoSojwcxses,
Alcae.
iv. 2.
aatpayaXou?
Anac.
ijuXivou?, xxiii. 4.
of ear-rings,
;
Sap. vi. 2. Sap. xxiii. |B'. Ppdysws, Sap. ii. 7. Buxyt?, Lesb. for Baxyo<;, Alcae.
,3-"
iv.
aaxpov, of the Dog-star, Alcae. ii. 1 of the sun, Pind. vii. 2 of the
;
Buaio;,
first
month
of
spring
at
Delphi,
p. 5.
moon,
ibid, note
reference to its Pind. viii. a' 5. aauvE~7][.u, Alcae. xvii.

aacps, acstp;, p. 87,
of Delos, with ancient name,

1.
raXafr^vw
yevva-ro,
raj'S-Ei,
yEyXwac;a(j.vo?,
Simon, Alcm. xxi.

xxiii. 3.
ii.
6.
a' 2.
Alcae.
T-
Append. Sap.
xvii.
ys'vo? 2,
wov,
y. StJiXaaiov,
atepo?, p. 93.
47
'
'Axpeioa, genitive, p. 92.
yXoiw?,
2.
%dXiov, pp. 37, 49, stingily,' Timoc. i. 10.

Sap. xxxviii.
1.
in metre, pp. 70.
auyaaoso, Spartan Dance-song i. = aXyav, Miscel. vi. 6 note. auyslv

auoto;,
yXuxujjiaXov,
yXuxurcixpov, Sap.
yvaO-[j.d?,
viii. a' 2.
Sap.
i.
6.
i.
autpo{ie'vat,
Alcm.
30.
vi. //tfte.
auaxrjpa ap[j.ovia, Pind.
feminine, Misc. xviii. 2. yvo9aXXov = xvacsaXXov, Alcae. iii. ydvva plur. of ydvu, p. 82.
Tupsat, Archil, xiv. 2.
Aaxe'0-u[j.o? t3pw'?,
8.
auioSa^; apsia, Dith. Poets iii. a' 3. auTw? with dative = instar, Anac.
xxiii.
12.
Simon,
x. 5.
ix.
sense in Sap. xv. b. = r yfi, Pind. vi. 18. ayEixat

a/api?,
t
oaxvEsfrai, SayD-st; gXa, of love, ibid. note.
Pind.
water, of
a/opsuxo;
<pa;j.a,
sense,
Dith.
xi.
Poets
a/psto;
.
i.
.
y' 8.
.
Xdyo?, sense, Pind.
P'l.
oaxpua Nui-iâv, Poets x. 4. SaxxuXos, as a Alcae. v. 1.
of
Dith. time,
moment
44
GREEK LYRIC POETS

viii.
AaXo?, origin of name, Pind. a 4. oap:astv, of Eros, Anac. iv. 4.

Saji.aXr]?"Epw?, oapcairaios, of
iv. a' 3.
oa[j.vat;,
ecxei
'iv.axi
=
.
Txsi,
. .
Sap.
ii.
7.
Ku7rpt8o?, Alcae. xiv., cf.
Pind.
ix. 8.
Anac. iii. I. Athene, Dith. Poets

viii.
1.
iii. I.
ExxuxXriiJLa,
'
Pop. Songs
it is
ii.
6 note. Sap.
vii.
ExroXsxai,
ex tou,
the lot
of,'
Alcae.
oafxvatai rcdQ-o?,
oaj-ieiTa 7td9"w,
Arch.
ExXafATtsiv,
sense in Archil, xi. 5. with accusative,

.
.
Scol.
Sap. xiii. 3. Sajj.ioji.axa, public-songs, Stes. vii. 1. Dith. of, Archil, xi. 9 8s', position Poets xii. 2 note.
;
xxii. 3.
sXaippi^wv
v'i
;
[J.ayjjv,
sense, Archil.
vi.
p' 3.
oupu
07],
= oupo,
eXixocû";, of
Semele, Pind.
x. 2
;
19.
Sap.
vii.
4 note.
EXtypuao?
E|j.[Ba'vEtv,
with w? emphasising purpose,

xiv. 3.
Ibyc. vii. a' 1. with genitive, Alcae. xviii.

ii.
Alcm.
Anac.
3-
8ia7tsiva[j.?, p.
92.
OTpaTrjyds,
E[ji|j.Ev
otaraxXiypiEvo;
xiii.
1.
Archil.
E[j.jj.t
= stvai, Sap. = Sap.

Etjj. 1,
.
2, etc.
ii.
15, etc.
2.
SiajcXs'xei cqjipav,
Alcm.
i.
5.
(accus. sing.), Sap. xiv. xii. (3 2. iv=e?s, Pind. vi. 1

EjjupEprjv
;
8tappi<pa, Se^ta? xa\ 71000;.,
Misc.
i.
a'
'EvEiixd?,
'
xeT.vjs,
16-17.
Sioaxsw,
3'xav,
3tvuvT?,
Evtauxo?,
season,' Pop.
Alcm. i. 18. Songs ii.
3.
Anac.
of,
xi. 3.
Evvoa'tpuXXo;,
ii.
Simon,
1.
xxi. 4.
p. 7,
sense
.
Simon,
II.
vdrjji.a,
19.
siiapijai,
of leading off a song,
Sap.
. .
i.
Archil, xxi.
Scol. xxiii. 4.
ix. 3.
i.
oiydji.uO'Ov
7iatvrj[xt,
Simon,
.
ix.
19.
ooxot,
sense
of,
Archil,
ooXotcXoxe, of
opaV.wv,
Aphrodite, Sap.
2.
Hpo?, Alcae. i. I. smji-dXio?, as a species of lyric, Pop.

7raVov
.
8dpu, of the pillory,

ouoxaiSExiov,
Anac. bracelet, Alcm. i.
xxiii. 9.
Songs
Ikotôiv,
;
viii.
note.
xvi.
(3\
Sap.
.
.
xxv. Alcae. note Append. Alcae. 35. SuuElmaro?, sense, Miscel. ix. 1. Suapiayrjia owpa, Miscel. xiv. 1.
.
?7iExai
awp
ii.
S-avatw, Pind.
15.
9-prjvo;, p.
i.
2.
IttlSeutjV,
Sap.
|jtix7iSe1ov, dist.
from
12.
ou'aroxpis,
Alcm.
xxvi.
Stopa,
of Bacchus and Aphrodite, Bacchyl. ii. 4 and note. AwTtov raStov, Simon, xxiv. A
. .
a cup, Anac. xvii. 4. ipEO-tÊtv, Dith. Poets xv. 2. IpEiTcw, usage of strong aorist in Simon, ii. 2. EpEtajxa 'EXXaSo;, of Athens, Pind.
Itc'tho?,
(2)4'Eapiopdrctov
lyEtprjat,
.
. .
xiv. 2.
'Epaa,
Xoi(3av,
(3'.
Pind.
vi. 6.
as daughter of Zeus and Selene, Alcm. xxii. 2.
Ibyc.
vii.
'Epuotyoctos,
Alcm.
iv. 4.
lyxcdfj.tov,
why
applied to
p. 8.
many
of
Pindar's Odes,
Eyxsijxai
iv. a'.
t,
7ud9-()),
E'ypE/.uSotjj.oi;,
Archil, i. 1. of Pallas, Dith. Poets,
Lesbian, Alcae. vii. 4. IpwTOfiavEOTaTos, of Ibycus, p. 1 77. ectXos, Alcae. vii. 4 Sap. x. 1. e5<jo, Sap. i. 28. Euav07]5 dXpo?, Pind. ii. 5.
Ipyojiivoto, in
;
xviii.
introducing 'object-clause,* Scol. 2 note with fut. indie.

;
eue'9-eipo;,
Anac.
v. 7.
suoyfroi oatTE?,
euxe'SiXXo?,
Pop. Songs
Eiapivo';,
c\'apo?,
ii.
13.
Bacchyl. Alcae. xxiv.
xvii. 2.
2.
2.
Simon, xx. 2. Alcm. ii. 4. = s'pfj vo?, Alcm. i. EijBrJ vo?

gen.,
e'iSw?
. .
supuayuta
euS-u?,
A'xrj,
Terp.
i.
punning usage
Misc.
of, Scol. xix.
26.
,
3;
e'SwXov, signification in, Pind.

.
i.
3.
EupuTteSo? yala,
ix. 3.
Sixav,
Simon,
1.
ix. 3.
EtxdaSto,
Sap. xxxiv.
Euarayu? xaprto?, Misc. xxx. 19. Eyrjai, Ibyc. v. 2.
GREEK INDEX
a(Jaiov, p. 84.
485
Demeter, Pop.
'IouXw, Epithet of
a8r]Xov,
xvii. 7.
form
and
vi.
sense,
16.
3.
Alcae.
Zeu'?,
Songs
"aa,
ix.
note.
x. 3.
5.
1.
adverb, Pind.
Zsu?
?e'vios,
Misc.
of
the sky, Anac. xxv.

'HjiSav, fjpr], ix. a' 2.
j8ovij,
'Itwvta,
significations
xii.
of,
Anac.
Wî
in
Simon, on,
y,
(
Poets v. of Athene, Bacchyl. xvi. ii|oi=uAoi, Sap. xxxiii. 1. ?w, monosyllabic, Scol. vi. 1. 2tovosca[ro]s, Dith. Poets xiv. 3. twvya, Boeot. for eywye, Misc. ii.
idoSaifxovos ap/a?, Dith.
9.
gp art Dance-song
Anac.
xxvii.
2.
i.
Ka(3a{vwv,
Alcm.
61,
xvii. 2.
>i[jLto7:oi;
auXo?,
xaJipaXXc
7]v,
present signification, Scol.
xao ok = x.axa
12.
/.aO-opav,
= xaxa(3aXXE,
Alcae. Alcae. v. 1.
iii.
5.
viii.
and
Scol. xxi.
(i^v
apa).
ii.
xaêpjiaxa, 'ear-rings,'
Anac.
si,
xxiii.
rj^toSwpo?, of
a',
Aphrodite, Stes.
of,
2
ii.
followed by
in
what
rjxop,
dative
doubtful, Simon,
6 note.
'HpaxXeto;
)'pwes,
Seo[jlos,
sense, Scol. xviii. 1-2 note. cf. Scol. xa(, elided, Bacchyl. ii. 3
;
Bacchyl.
xiii.
i.
(') 2.
v. 2.
as dactyl, Pind. iv. 5. "Hpwv, as accus. in Lesbian, p. 87.

/]/?
= et/e?,
sense of v statpw, Bacch. xax xscpaXa;, sense, Alcae. v. 5. xax.-/t, Alcae. ii. 4.
jcaipog,
xaXr][i.i,
Sap.
x.
1.
Sap.
i.
16.
xxiii.
xaXu[j.ij.a,
'a garment,' Anac.

origin
GaXXooopdc, Scol. i. a' 0/tf. &. Kut;9-aXo? Xapixwv, Ibyc. iii. 1 cf. Dith. piSos, Miscel. xvii. 3 Poets viii. 3 note.
; ;
3-
xaXyaivto,
of
its
meaning,
xxiv.
Pind.
3-
xi.
<?/\
x.a|j.7:uXov
[ieXo;,
Simon,
.
(2),
S-aXmâ^fraXrot, Bacchyl. ii. 2. thparcsuwv, perhaps with a dative, Pind. ix. 6.

0peix.ir],
x.ajJL'i/'.otauXov
/eipa,
Dith. Poets
xv. 4.
Anac.
dist.
v.
#<?&?.
etclxtjoeiov,
xappovss=xpetTTovs5, Spart.
p.
Dancesee xao,
9-pr)vo;,
from
i.
song
i.
3.
;
12.
3-pdva -oix.iXa, Sap.
#/.
xaxa, in Lesbian, p. 88 scax, xaxxav.

x.axappei,
ftupwpo;,
an
uncommon Lesbian
apparently
3 note.
non- Lesbian,
contraction, Sap. xl. 1. S-uyaxrjp 'Apijo?, of Rome, Misc. xxx. Gula, a Bacchic festival at Elis, Pop. Song xii. note adfi.71. 'in haste,' Dith. P. i. a' 6. 9-ujji.Evo;,
9-upajj.ayoi;
.
Sap.
iv.
x.axaaxaai; Ssuxspa, of the second epoch in lyric poetry at Sparta,
xaxxav = xa9-'
x.axxuTcxsaQ-e,
ojv,
Alcae.
xvi. 2.
Dith. Poets
9-o)jj.tyS-i?,
i.
7coy[j.aytaiT. a' 10.
ve'wv,
Anac.
xxiii.
10.
Sap. xxi. 2. dead, xeidfl-ai, usually of lying Simon, xxvii. xeiaS-ai with dative, to be in the power of,' Archil.
; '
'i|3u5
'IaXuaos, quantities, Timocr. i. or i|3us, in connection
7.
xix. 2.
with
name
lepd?,
of Ibycus,
p.
ix.
176.
'iopw; (=t8p(os), fern.,
Sap.
ii.
13.
of bees, Pind.
9; of
fishes,
impersonal, Sap. Sap. xii. 1. xii. 3. xrjvo?, Sap. ii. i. = xa\ iv, Sap. vi. 3. X7}v
xsXaSst,
xr]
iv.
1.
= xa,
ibid. note.
I(j.ppt,
Sap.
i.
27.
x.rjpivav 2.
07cwpav, 'honey,'
i.
Alcm.
xii.
Sap. xxvi. Alcae. xv. 'A^vai, Pind. lo<rcepavot

t(j.po9wvo? arjotov, 10x0X7:0?,
.
K^pux.tor^, Archil, vi
x.i9-apiaxrjs,
1.
= x.t9-apioo"ds,
Alcm.
iii.
iv. 2.
xiv.
1.
x.ipvai?,
participle, Alcae.
6.
486
xiaauîov, of the Poets x. note.
GREEK LYRIC POETS

Cyclops' cup, Dith.
i.
Xdw,
ii.
with penult, long, Bacchyl. 6 X. yXwaaa?, Scol. xxvi. 2.

;
xXewcc,
xXuxdg,
form and sense, Alcm. shrill-voiced,' Simon,

'
II.
Xwara,
Alcm.
i.
12.
xxiii.
MouvdXa
xXu'w, as dist.
thlfiw,
i.
Sap.
. . .
i.
18.
from afw, Sap. 7. xvwSaXa, of the monsters of the deep, Alcm. iii. 5. xo|3aXixds, Timoc. i. 6.
i.
jjuxls,
Sap.
19.
utcvou,
[j.aXaxauy7)'xoto
8.
[xaaXrji;
[j.axep
I.
.
Misc.
vi.
=
.
(AaafrXr)?,
.
xd'tXai,
Alcae. xvi. 5. Koioysv/';, of Leto, Pind. viii. a' 7. xotpavTjOv xapxo;. Misc. xxx. 7. xdXaxs? zo).a/.wv, of the Athenians, Misc. xxxviii. 9 note. xdXa?, sense in Alcm. i. 26. xdXoupt?, Timocreon, of himself,
tha;
dp.ji.axwv,
Sap. xxix. 2. Pind.
vii.
Alcae. xxv. Sap. xv. (g) 2. Miscel. xxix. (j.yaXau/oxaxav,

[xayaixav
[j-a/^x^v,
5.
[i.aiuXaxav,
note.
[j.yaXEtoxaxav, Miscel. xxix. 2.
[AyaXo7soXt;, p. 94.
Frag.
xdcjxo;,
ii.
(5'
3.
as opp. to
aO-Evsi,
xp7)7u?,
Pind.
xiii.
[j.EyaXoxdX7rou Nuxxd;,
[j-s'Set.?,
Bacchyl. xx.
;
xpainvoi
Pind.
i.
4.
xi.
as participle, Alcae. xxiii. t. p.9-ua0-r)v, aor. infin., Alcae. iv. 4

xix.
[xet?,
xpaxtaxEuwv
,
Xdyo?,
sense, Pind.
1.
P'3xpTo?=xpaxo?, Alcae. xx. 1. xprjxi?, favourite metaphor in Pindar, xiii. xpouat; urcd
xxs'vvat?,
I
;
[jiXaivav
[i.
accent in Lesbian, p. 81. xapBiav, Pind. ix. 4

.
cppEvd?,
Scol. xxiv.
5.
xiv. 4.
fj.cXa[jj:uyo;,
of the eagle. Arch.

.
vi.
xrjv worjv, p.
5.
41.
[j.Xtaoa
.
Alcae. xxv.
. . .
yapuv,
.
Kuowvuxt
xuviaiai,
p-aXtSs;,
Ibyc.
1.
i.
[jLsXiyapues
I.
7i:apQ-Evixat,
Simon, xxi. 4. Alcm. ii.

Bacchyl.
K. jxaXa, Stesich. iii. Alcae. xvi. 2.
xw[j.a^tv
= dpylaS-ai,
2.
"kffi
.
.
[j.XtyXwaawv
aotâv,
Spart.
Dance-
i.
2.
song
Asc-tt),
ii.
fjLsXtaaa,
see
and Xwaa.
.
XaSavEjjLov
Xatayj'tov,
topav,
halcyon-days.
nature
of, Scol. x. 2.
of Demeter, Artemis, and of the priestesses at Delphi, Pind. ix. 9 note. [jiXtxxa, Simon., of his muse, xxiv. B 4.
|j.eX{<cpojv urcvos,
XaXo?
2sipr]v,
Xaprw, usage
Scol. xxii.
XeXaQ-ours,
of Bacchyl. p. 222. in active signification,

3, cf.
Bacchyl.
i.
10.
xi.
|jLXXtyd|j.EtSa,
1.
;j.v
.
,
as vocative, Alcae.
Sap.
iii.
3.
Misc.
viii. 8.
xe,
'
Pind.
ii.
vi.
11- 12.
'
Xeovxeiov yaXa,
Xf^,
AvjTtov,
Alcm. xv. 5. Spart. Dance-song i. 2.

Lesb. accus., p. 87. of the Linus-song,
i.
[jiptjjiva,
thought,'
5.
aspiration,'
Bacchyl.
(jiao;
Xiyupo?,
Pop.
Songs
Xiyu?, as
4.
applied to song and music,

i.
or [jiaao?, in Lesbian, p. 83, Alcae. xvii. 3 with Sap. ix. 2. = JSpw?, Sap. ii. 3 note. [juSpw? Mvoia, at Crete, Scol. x. 5.
cf.
Terp.
1.
Xt7iapd|j.p.at (j.axp, Poets v. 1.
of 'YyiEta, Dith.
ix. 1
;
Motaa,j)p. 79, 93.

potaorcdXto,
fioXro;,
Sap. xvii. I. not always of song,

pp. 79, 93.
p. 26.
AuSia
Xtfro;,
i.
Bacchyl.
34.
A. [juxpa,
*[j.dvxta,
Alcm.
Xuai[iiX7]s,
viii.
1
[j-o/O-euvxes,
Alcae.
iii.
xvii. 5.
5 note.
of love, desire,
Archil,
iii.
etc..
Sap.
[xdpptva, Stes.
[js.wfi.Etv,
3.
Simon,
ix.
Xu'yvov,
singular neuter Alcae. v. 1 note.
doubtful,
|j.wvos, p. 82.
Mwaa,
pp. 79, 93
Alcm.
vii. i, etc.
GREEK INDEX
NauxpaiiT7]s
crre'<pavos,
487
88
;
Anac. xxxi.
2.
OTTi, dxxtva?, p.
Alcae.
i.
Sap.
iii.
vauw, Lesbian, Miscel. xxx. 3 note; Append. Alcae. ii. 3. as a metaphor of evils. vs'cpos,
xv. (a), etc.

d<petXet,
impersonal,
Timoc.
note.
Bacchyl.
vswTEpdv
vii. 5.
Tt,
iii.
4.
as a euphemism, Pind.
naya; = ^r)yot;, Stes.

natSixoi
C'pLvoi,
i.
jB'
2.
v7]X$yks i^xop,
vrjvi,
Alcm.
ii.
4. vi. 3.
Ionic dat. of veavt;, Anac.

Scol.
i.
|3'
Bacchyl. i. rcaiSd'tkv, sense in Ibyc. i. r.adrsa. = 7;aaa, Alcae. xvi. 1

14.
12.
10.
;
Sap.
1.
ii.
vrjaot [jiaxaptov,
vo'[j.iov,
2.
of a pastoral poem, Pop.

x. note.
7cata8et= racist,
Alcm.
xvii.
'
Songs
Sap. ix. 2. Pop. Songsxvii.2. 8vo<6os, Simon, ii. 7. vuxxtXapi7:5; vu[i.coa, comp. with Lesbian vocative,
vuxxijBdav axpiyya,
vuxxe;, plural for sing.,
-auo, transl. by Bergk as Dith. Poets i. a' 12.

7:aXa9-av,
abigere,'
Pop. Songs
ii.
6.
r..
âXiyxoxo;, n. dpyav, Sap. xv. f; rcayo;, Archil, vj. |3' 2.

Tzajjupayo;,
p. 86.
vw[jia
. .
sense, Alcm.
xiii. 4.
opEva, Dith.
iii.
a'
r.
?:ava'[j.to[j.o;,
Simon,
. . .
ix.
17.
r:avoaioaXov
"Oy[j.o;
600?
yjj'paos, Archil, v. 2. oiyas, Pind. xi. [3' 2.

I
xaxwv
dyopav, of Athenian
iii.
oivaviKoE?,
bye.
i.
4.
forum, Pind. vi. 5. 7:av3wpo? ataa, Bacchyl. 7iavXoxs;, Alcae. xxviii.

-(XVTEpr.rfa
5.
2.
olvoyosuaa, Sap. 'OXuijîa, of Demeter, Scol. v.
v. 4.
?a/a;
p.
~avxsp7io;
auXcov,
2, etc.
Misc.
oXsaiaiaXoxaXajjios, of the flute-player,
= 7rapa', ;;ap
Dith.
i.
xi. 3.
88
Dith. Poets
i.
a'
13.
7:apapLXopu9-p.o[3axav,
p.
a'
Sap. xxiv. of the

Dith.
ii.
flute,
Opjptxwxaxo?, 115 note.

d[i.[i.aTa
of Archilochus,
14.
d(/.oav,
a' 4.
Pind. vii. 1 note. = ava[j(.v., Alcae. v. r. d[xpivojj.Ev 6[A09pa[i.tov vocals, Misc. ix. 4.
ava^:sT., Sap. xii. 2. of Demeter,' Scol. v. 1 note. 'Opzvic^ dv ava, Alcae. xvii. 3, etc.
6[j.7riaaov
= S-sap.axa,
=
"aparXrjxTov
-apy.paat;,
digressions
in
lyric
2.
poems,
p. 206.
= 7:ap9voi, -ap3-vixat
7:apavot?,
Tiaprjaps cppva;, Archil, iv. a' jrapirjopos vdou, Archil, x. 5.
Alcm.
i.
ii.
1.
Sap. i. 3. dvw = avw. Alcae. xviii. 1.

drazoxa = oTuoxav,
iii
;
dv(cuai = aviouat,
7:ap9-vwv xarco?, Ibyc.
3.
7raaov
= 7ia9'ov,
. . .
Alcm.
vii. 3, p.
94.
2.
Alcm.
i.
Alcae.
ii.
4;
II.
Sap.
7:aTptov
yuvcaxwv, singular for

p.
3-
07t7:aTSTai
plur., Pind. vi. 11.

dfjiij.a'7c,
Sap.
ii.
-Sa
= [i.xa,
88:
Alcm.
i.
25;
otcxccvxe?, p. 92.
Sap.
reeSe'/ei;,
;
vi. 4, etc.
opavo;,
iii.
Lesbian for cupavd?, Alcae. I cf. sub Sap. xvi. a'

;
Sap.
vi. 2.
wpavo;.
ops'-w,
dpvi[j.i,
jTEivavxt, p. 92. 7Ctpaxa, vix^? n.

-e'xoj,
Archil, xiv.
5.
Sap. ii. 1 1 note. Lesb. for opw, Sap.
ii.
11.
i.
opfjs,
Dorian contraction, Alcm.

of Diana, Alcm.
p. 233.
[i'
punning usage Simon, xviii. 1. r.eki/yri, Alcm. xii. 3.

-e'(j.7:e
ofEra'ifaxo
in
17'OpO-ta,
i.
= 7:vxe,
of
28.
7cwv) in
TXjjL7X(3dr]a,
declined p. 83 Alcae. xxv. 7.

;
(r.i\x-
opfria
[i.eXrj,
Timoc. ii. dpvi'/wv, Alcm. xxi. [}'. dpsdXo-og "Apr;;, Anac.

opxta-roij.Etv,
2.
ra'vS-o?,
sin,
. .
Sap. Pind.
.
xl. 2.
iv.
1
note.
7tsvxapa(3o)
pu9|o, Dith. Poets
xxix.
vi. 2.
;
a'.
xv. 3.
-7:xEpuyto[j.at,
op/rjTTr];,
oa<jo = 6'ao$,
of Pan, Scol. Sap. i. 26

ii.
xxvii.
1.
Txsp,
Sap. xxxi. Lesb. for reepf, p. 88
Alcae,
qS te,
Alcm.
3.
xvii. 6,
488
rcepi
GREEK LYRIC POETS

in
xvii.
sense of unep, 6 Sap. i. io.

;
p.
88
Alcae.
ûxxaXt^to,
7:iiXa;
. . .
Anac.
xxiv. 4.
3.
erawv, Bacchyl. xv.

sacrificial
7tepicpdpT]Tos,
Ilspoe'rtoXis,
sense, Anac. xxiii. 2. of Pallas, Dith. Poets

83.
tzuXewv,
x. 2.
wreath, Alcm.
xv.
2.
iv. a' I.
ra'aaupe?
Tajyin,
nwXuSsuxrjs,
te'cjaapss, p.
i. p 2, 0te. pp. 83, 88; Sap.i. 6.
Simon.
i.
<?/
Append. Alcm.
7iwv7)v
mjXui
of mines, Stes.
X7JXoa,
23.
jtt'veiv,
Alcae. xix.
xx.
7iiT)<y9-a,
p. 89.
'Pa
niviiaxetv,
of
'
calming
',
the
storm,
xl. 3.
paoiw?, xv. 2 0/te.

'
Alcm.
p';
Bacch.
Simon,
rciauyyoi,
xxi. 7.
601x0s, Archil, xiii. 4.
shoemakers
of
Sap.
5u9-p.dc,
disposition
ix.
',
Anac.
ix.
xix. 2
7iXavaa!>ai,
evils, Archil, x. 5.
Arch.
cuap.dc
Tclia.ii;, participle, Alcae. v. 5. 7iXouToodxtpa, of Eiprjvr), Misc. xv. 2.
7 Twte. pu9p.dc, Archil,
7.
7tdac Tc'psv dv9-oc,

tcoIeic, 7to!a>v,
Sap. xix. 3. Pop. Songs iv.

.
.
SaXXsi
aosuyXa
ae'lBac
= -9-aXXst, Alcm. xiv. 4. = ^suyXrj, Misc. xxx. 9.

vi.
yaioc, Miscel. xxiii. Alcae. xxviii. 2. 7roi/.tXdO-povo?, of Aphrodite, sense,
tcoixiXXexoci
aap.[BaXa,
jiot/.tXdoeppot,
Sap. xl. 2. applied to a person, Misc.
16 note.
2sip7)v,
i.
1.
7ioixiXo7rTspov piXoc, Dith.

7'
Poets
i.
a'
2e(ptov,
Alcman, of his muse, ix. of the sun, Alcm. 29

i.
of
any
chattering',
star, Ibyc. vii. y'.
rtoXuxpdx]s, xvii. 2.
Anac.
xxiii. p'
1.
i.
osXavva, Sap.
asXrjvairj,
iii., ix.,
xx.,
1.
1.
tcoXu/wxiXoi gojSoves,
1.
Simon,
uiEtS^s
aid?
(jeXrjvrj,
Misc.
iii.
i.
2.
-9"sotSyjc,
Alcm.
;
38.
i.
dvvovxai, Sap. xv. (a).

.
7roXu|j.o/j8'
'Apsia, Misc. vi.
S-eoc, p,
94
Alcm.
I.
TcoXurcdxaya a 3',
-9'urj.sXav,
Dith. Poets
tpavoe,
axoXidv,
7ioXu<pavoc,
perhaps from
<?/?.
a
3.
origin of term, p. 238, accent, p. 235, pun on the word, Scol. xix. 4.
torch, Alcae. xv. 2

r:oXu-/opo<; auXdc,
7tova>7tdvr)poc,
S/cuSr/o^ ;idcn;,
1
Anac.
.
.
xvi. 9.
Simon,
Anac.
xxiv. B
iii.
Pop. Song
iv.
note.
3.
azuXaxoxxdvw Misc. xvii.

.
.*
dSdvTt, of a boar,
zopcpupsV] 'A^pooixrj,
ijxuxaXr),
rcopcpupw, "brood,' origin of signifi-
axto7UTixd,
Archil, vii. 2. as applied to Scolia, p.

skill,
r.oTx, p.
cation, Pind. ix. 4 note. 85 ; Sap. xv. b. IIoxEiSdv, IloxtSav, p. 94, roxxav = rcpoc xwv, p. 95. Trpaaaeiv, intrans. 'to be in a state
2 37cjocpia,
of poetic
ix.
Bacchyl. Pind. vii.

771:1X0;,
2 #0te
Sap. xviii. 2 of augury,

;
4.
soodc, 'skilled in poetry,'
Alcm.
iv. 2.
of action', Pind. i. 4. Ttpoaaxiov, nature of, Pind.

jcpoxuxXeiv,
rock,
Misc.
xxviii.
34
ii.
2.
note.
(rue'pva
Pop. Songs
iv. 6.
yatac,
Misc. xxx.
topatc,
10.
lipoid tkioc, as
xx.
a'.
mother of Tu/rj, Alcm.

in
aTEcpav7)cpdpotc Iv
V. 2.
sense, Scol.
xvii.
Ttpo? pfav
7cpdcrto7:ov,
sense
Alcae. xix.
in
1.
ii.
axoty?,
of witches, Pop. Songs

cpps'vac,
usage
Simon,
12
1.
note.
7cpocpdxav IIisp(o<ov,
viii.
|3'
auyxpauvwO-\c
Archil, xxi.
2.
of the poet, Pind.
3up.[xa/tc,
Lesb. participle, Alcae.

9-aXi'atai
5.
xxv. 4.
aupp.Ep.iyp.svov
vs'xxap,
7rravov layu'v, sense, Pind. vii. 3. r:xdto 7:T7jaa(o, Alcae. xxvi. 1.
Sap.
v
,
7rnjcraw,
with accus., Scol.
x. 8.
ii.
auv dotoa, perhaps

6.
->
to',
'
in
accompani-
j:xod-w,
whence
27trdv, Sap.
ment
Simon,
xxi. 2.
GREEK INDEX
cruvEppaiaa
2.
489
trisyllabic,
xi. 4.
auvEtpaaa,
Sap.
vii.
uytaivEiv,
ix.
1.
perhaps
Scol.
auvrjpav, see r(3av.
uypov
viii.
Se'os,
sense, Archil,
xxxiii. (a),
Sap. xi. 2. (juvotxos, of Aixt], Bacch. 'Yyista, Misc. v. 2.

cjuvFor/.rjv,
u[j.rjvaov,
Sap.
of
upiv
uptEvats,
a formula of remote
antiquity, p. 10.
I.
TUTrspav7)cpopetv, Scol. xiv.

jcdeicov, p.
up-P-tv, p.
87,
4.
Simon,
ix.
18, etc.
in,
87.
u7caxousi,
force
of preposition
i.
ayoivoxa'vsia aoiSa,
of the old Dithy-
Sap.
ii.
ramb,
p. 263.
uôÊxptoiwv,
'
Alcm.
16.
urco7uvEtv,
drink
ix.
quietly,'
Anac.
Tapustov hzt yXwaaas, Misc. xiii. 2. xa[j.vw, p. 93. Pop. xaupopixa)7ro$, taupoxepws,
xvi.
1 1.
uTC07:dXto?,
Anac.
2.
1.
uaoo; (=oos), Sap.

<J>atai
iv.
Songs
xii.
re,
xii.
0/.
Taupog, of Dionysus,
note.
Pop. Songs
yap, etc.,
= 9a<j,
i
Alcae.
vii.
i.
1.
cpapo?, <papo?,
Se, /.at,
combined with
Sap.
note);
cpaxa,
<Dr
i
xxxvii.
5
.
tiote
;
with
ii.
o?,
= $r p,
Dorian, = cpwxa,
Dith. Poets
Alcm.
28.
Simon,
i.
ix. 9.
y' 6.
Anac. xxiv. 2 0te

fjtkv
. .
Alcm.
3
:
<p{kppio, p. 82.
^pXe'yeiv,
Pind. vi. 12 as third word, Misc. vi. 6. T#va-/.7]v, Sap. ii. 15, and p. 89. xekiaaaif Sap. i. 26, but xeXsaov, lb.
xs,
'
of poetry, Bacchyl. of the wind, Ibyc. i. 7.
i.
12
tpoivatg
= 9-otvou$,
Alcm.
vi.
xi.
1.
(potvtxoEtxvtov,
Pind.
14.
teXo?,
xs'o
prize
<jou, p.
.
',
Bacch.
95.
.
xiv. 2.
<potvtxopd8ots ev\ XEtp-wvEaat, ôp^'ptsO-a, Alcae. xvii. 4.
Pind.
ii.
ii.
2.
cpouaa,
Boeot.
= <puaa,
Misc.
2.
xsxpayr]pu;
xirjva,
aotoa, Terp.
ix. 2.
ii.
ii.
I.
<ppaai, p. 93.
<ppovxi'ao7]v,
xsxpaywvo;, Simon,
Sap. xv.
(c), 2.
a'.
Pop. Songs
2.
cpuydpiayo;,
(ptovsuaa;,
Simon,
ii.
xxvi.
T^veXXa, Archil,
x(9t)[ju,
viii. 1.
Sap.
3.
usages
of, xot; xhot? xiQ-ei

;
xa
XaX/.^v punav, Pop.
jcavxa, Archil, x. 1 as TOtstv eu e'/eiv),
eu &ito (expl.
;
Songs
xxii.
vi.
Sap. xv. (a) 2

95.
1.
XaXxiowat
yaos = drjp,
yaptsi;,
arcaO-at,
Alcae. xvi.
6.
xiv = sot, Alcm. xi. 1, and p. xtw = xtvt, p. 88, Sap. xxxiv.
xaO-apov
#-sp.s'vr]
vdov, Scol. xvi.
(3'.
Bacchyl.
/apt?, sense,
rd,
etc.,
ii.
relatival
5,
in
2.
Lesb.
of Anacreon, p. 185. Pind. vi. 2 frequency

;
;
p.
88,
Sap.
xot
etc.
ii.
in Pindar, ibid, note Sap. xv. b note.

Xapu[3oi$,
ysXi,
usage
in
<jot,
Sap.
xov?, Cretic, p. 83.
or
/eXel,
iv.
metaphorical, Simon, vii. 1. before ysXtdv7], Pop.

1.
xda, plural for note.

xpayt/.d;
sing.,
Sap.
ix.
2,
Songs
ys'w,
/Euaxw, Alcae.
p.
yrjpto,
vi. 3.
3.
/opo;,
used by Arion,
xii.
1.
vdo? xr/uxat, Dith. P. xvii.
107.
xparaaSat,
Alcm.
note.
sense, Miscel. vi. 14. y9-dvio;, sense, Anac. xix.

yXtopauysvE;
xxiii. b.
xiii. 5.
. .
xpt/opi'a, at
Sparta, Spart. Dance-
a7]3dvs;,
Simon.
song
xporox?,
i.
accus. plur. Alcm.

5.
xutoE, p. 88,
Sap. i. xw = xou, Alcae. i. tw?, Doric, p. 83.
XpXai<jt=yaXwai, Alcae. xvii. 9. yopayd?, 'leader of the chorus,'
2, etc.
Alcm.
ypr)'[j.7),
L II.
i.
yopoixu;:o;,
uyiEta, Scol.
ix.
of Pan, Dith. P. sense, Archil, x. 5.

xevds,
y' 5.
'YyEia, late 1 note.
form of
ypdvo?
in
metre
corr.
to
musical
2
I
rest, pp. 54, 55.
490
-/puscdjJUTpa,
GREEK LYRIC POETS

syll.
third Miscel. xxx. 2.

;
lengthened,
;
'Qaptwv, Orion, Miscel.

i2pat,
ii.
<.
associated with Proserpine,
v. 2. Sap. i. 8 yposou?, a favourite epithet in PinaeXava;, y. dar, Pind. xiii. I Simon, xx. 3. TiapxhVov, Dith. P. /puaocpopwv
Xpuutos, p. 85
Scol. v. 2 note.
wpavo;, Sap. i. 11. wpysuvxo, Sap. xix. 2. w; or], of purpose, Anac. xiv.
wipeXs,
3.
impers., Timocr.
ii.
iii.
note.
xviii. 2.
yu[juetv
apjioviav,
used of Ibycus,
Faosa, Alcae.
Fs'Fays,
3.
178; of Anacreon, p. 186. /uxpa, game of, Pop. Song iv. note.
p.
Sap.
ii.
8, p. 82.
F #-ev,
fs'pyov,
foi, etc. p. 82. Alcae. xvi. 7.
yv.r.\ vocative i. 20.

iil-q xiO-apilTlS,
before vowel, Sap.
Fc'j-spe,
Fffp,
Sap. xxxix.
xiv. 3.
ii.
1.
Alcm.
pp. 40, 43.
Foivto,
1.
Alcae.
1.
iCypos, signification,
Sap. xxiv.
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HANDBOUND

UNIVERSITY OF TORONTO PRESS

GREEK LYRIC POETRY

[See Alcacus xi.,

and Additional Nole A.]

;reek lyric poetry

ARRANGED WITH PREFATORY ARTICLES, INTRODUCTORY MATTER, AND COMMENTARY

ASSISTANT MASTER AT ST. PAUL'S SCHOOL

LATE SCHOLAR OF WADHAM COLLEGE, OXFORD

LONDON LONGMANS, GREEN, AND

{All rights reseri'ed.

have been preserved, there

Greek poetic literature that one important branch of it

greatest perhaps of the

Greek Lyric poets

become acquainted with choral

Pindar, however, in his only sur-

and our knowledge of Greek poetry ^

poet, or series of poets, entirely lost,

able fragments might yet be recovered

precisely the task so successfully accomplished in connection with the lost

three centuries, who,

are interested alike in

volume has been

deal only with

poetry, or the poetry adapt\\

for music, to the exclusion of Elegiac

poems, which, though times at least not without musical accompaniment,

must add that the Epinician odes of Pindar, though

poetry, or Song-poetry proper, are not

fragments from Pindar, for reasons explained elsewhere

have to thank several of

for their assistance

which he has added some valuable suggestions.

of the Classical Antiquities at the and other gentlemen connected with

that Department, have also given

20-24 25-33 34-44

VI. Metre in Lyric Poetry, VII. Dialect in the Lyric Poets

General Characteristics, Lesbian Dialect,

Text, with Biographical and Introductory Matter

Melic Poetry at Sparta

Miscellaneous and Anonymous,

Some Fragments from

A. Sappho and Alcaeus,

Appendix Fragments not included

Alcaeus and Sappho,

Sappho and her

in the Lyric Poets,

IV. Blind Man's Buff,

BLIND MAN'S BUFF See

See Bacchylides xiu.

for rXauy' read rXaux'

5,/cr Harting rar^ Hartung

127, Ale. 128,

10, for oatvrjv

31, for apj'vou

3,y2?r aaaa'p.w r^a^Z aaaa[a.w te

2,y#r xao' read *oZ

vii. 2,_/2?r 'vrjxoio ;vfl?

for Ku&ipri read